tag:blogger.com,1999:blog-52867453406132677852024-03-07T12:42:45.957-08:00NOTES ON JAZZA forum for jazz reviews, discussion of new jazz, blues music, the musicians, reviews of recent and historical releases, reviews of live performances, concerts, interviews and almost anything I find of interest.
by Ralph A. MirielloRalph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.comBlogger395125tag:blogger.com,1999:blog-5286745340613267785.post-16621267618237733352024-03-07T11:59:00.000-08:002024-03-07T12:42:14.111-08:00 The Biamp PDX Portland Jazz Festival: Sullivan Fortner Trio, Dianne Reeves & Band and John Patitucci Brazilian Trio<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirE-YDGSUX58KkXddmwojZs7YKhNcg7FwC5P6AK6KB8WcpsbZVCcL_7Au-76jtDC2EyEqZe4KMGtzFDJGzsCDEhxVEtqOcsV9Ix7iYLKV5cnTKaIVV6DheXhSiwsiImkKBjlvBXgxwlGBJ10iRM74g9OxnxF-_xwUfKa8YrtlhXxM7XxcwJ7bZIOURUX8/s4032/John%20Patitucci%20Brazilian%20Trio%20at%20Old%20Church%20%20mar%202,%202024.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirE-YDGSUX58KkXddmwojZs7YKhNcg7FwC5P6AK6KB8WcpsbZVCcL_7Au-76jtDC2EyEqZe4KMGtzFDJGzsCDEhxVEtqOcsV9Ix7iYLKV5cnTKaIVV6DheXhSiwsiImkKBjlvBXgxwlGBJ10iRM74g9OxnxF-_xwUfKa8YrtlhXxM7XxcwJ7bZIOURUX8/w400-h380/John%20Patitucci%20Brazilian%20Trio%20at%20Old%20Church%20%20mar%202,%202024.HEIC" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Yotam Silberstein, John Patitucci and Rogerio Bocacato at the Old Church</td></tr></tbody></table><p></p><p><span style="font-family: verdana;">The Biamp PDX Portland Jazz Festival brought an amazing gathering of some of jazz music's most talented, diversified, and celebrated lineups to Portland this year. The</span><span style="font-family: verdana;"> festival ran from February 16 through March 2, 2024, and included a variety of venues -The Jack London Revue, The Old Church, Revolution Hall, Arlene Schnitzer Concert Hall, Alberta Street Pub, Newmark Theater, and the Roseland Theater [place a myriad of smaller locations to name just a few. True jazz fans should tip their collective hats to the producers of this year's festival. This year truly met and exceeded all reasonable expectations for supporters of this marvelous music. </span></p><p><span style="font-family: verdana;">The festival included esteemed headliners-pianist Jon Baptiste, guitar master Julian Lage, trumpeter Nicholas Payton, modernist guitarist Mary Halvorson with drummer Tomas Fujiwara, piano master Bob James with guitar wizard Lee Ritenour, and some fine local artists that include guitarist Ryan Meagher and Dan Balmer, drummer legend Mel Brown and saxophonist Nicole Glover plus too many others to mention. Check the total lineup <a href="https://www.pdxjazz.org/lineup">here</a>. Suffice it to say, if there was music that you favored in this ever-accepting genre there was something to please almost any taste.</span></p><p><span style="font-family: verdana;">As a fan, it was a plethora of almost too many riches. The offerings were scheduled over a relatively short period, and the weather didn't always cooperate. I was lucky enough to pick and choose my events (with some help from a friend) and attended three superb events.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP6kD-2ePj0hVDyhHahmsms8PgrVexBfAvfJ1CuCVt8bjNUeBGTsvzKf-PbgDhURbACUEKUsHhJMGbBzhUMwyh-cU5HH3_9bTFkZIJr-h6LAmGQAPulJ7aT_Ku_ulZkh0yGzV9HFt7Isivd8tH6lNEApUM7IJohcM1oLaYPAPi4n8rULZ3iUyLmrZSAGg/s3024/Sullivan%20Fortner%20and%20Tyronne%20Allen%20at%20Old%20Church%20Feb%2027,%202024.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP6kD-2ePj0hVDyhHahmsms8PgrVexBfAvfJ1CuCVt8bjNUeBGTsvzKf-PbgDhURbACUEKUsHhJMGbBzhUMwyh-cU5HH3_9bTFkZIJr-h6LAmGQAPulJ7aT_Ku_ulZkh0yGzV9HFt7Isivd8tH6lNEApUM7IJohcM1oLaYPAPi4n8rULZ3iUyLmrZSAGg/w400-h400/Sullivan%20Fortner%20and%20Tyronne%20Allen%20at%20Old%20Church%20Feb%2027,%202024.HEIC" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sullivan Fortner and Tyronne Allen at the Old Church</td></tr></tbody></table><p></p><p><span style="font-family: verdana;"><b>The Sullivan Fortner Trio at Old Church: February 27, 2024</b></span></p><p><span style="font-family: verdana;">I have been a fan of the pianist Sullivan Fortner for quite some time. He was born in New Orleans and started piano at the age of four. Blessed with perfect pitch, Fortner rapidly advanced with his keyboard skills. At age seven he began playing organ publically in his mother's Baptist Church. Gospel music made a permanent impression on the young man. Fortner went on to study music at Oberlin Conservatory in Ohio and later received his master's degree from the Manhattan School of Music. The musician made his bones as a sideman with the likes of vibraphonist Stefon Harris and trumpeter Roy Hargrove. In 2011 Fortner came under the influence of the pianist master Barry Harris. He has been tapped as an astute accompanist for vocalists like Lauren Henderson and the recent sensation Samara Joy. He is most celebrated for his collaboration with the amazing vocal chanteuse Celine McLorin Salvant. He has received numerous awards including the prestigious Lincoln Center Emerging Artist Award in 2016.</span></p><p><span style="font-family: verdana;">By now, the thirty-seven-year-old pianist has become a revered master of his instrument being one of his generation's most promising artists. I named his recent 2023 release <i><b></b></i></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><i><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieOBGZvHAVgasJusTm6g-ZEvWQGSl43m9SZM6o-qx_aKFMKXmbBIWnF661BcZsoA3IUJ5ZqI0ZiF_FisadRAg6yyqmLfsy5flMD9qXo0mZGDXk7i1YVQjMYNlasKxE1zdrUCI4AJvVfrvCtaW-95F1nLmSLttuR39vvjGFpCASO4-j4pYhsTmorBwFWps/s296/Solo%20Game.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="296" data-original-width="296" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieOBGZvHAVgasJusTm6g-ZEvWQGSl43m9SZM6o-qx_aKFMKXmbBIWnF661BcZsoA3IUJ5ZqI0ZiF_FisadRAg6yyqmLfsy5flMD9qXo0mZGDXk7i1YVQjMYNlasKxE1zdrUCI4AJvVfrvCtaW-95F1nLmSLttuR39vvjGFpCASO4-j4pYhsTmorBwFWps/s1600/Solo%20Game.webp" width="296" /></a></b></i></span></div><span style="font-family: verdana;"><i><b><br />Solo Game</b></i> as one of my <i>Notes on Jazz Best of Jazz for 2023. </i>I was most interested in seeing this impressive artist play live and in the moment. His February 27th concert at downtown Portland's intimate Old Church was the perfect venue to see him perform his magic up front and personally. </span><p></p><p><span style="font-family: verdana;">Fortner casts a short, sturdy, but graceful presence at his piano bench. He is soft-spoken and when he does speak, there is an unassuming confidence in his voice, a voice that also projects a wry sense of humor and a deep sense of joy about what he does. Fortner was joined by his working band of Tyrone Allen on upright bass and Kayvon Gordon on drums. There is an immediate sense of connection between these three. A connection of respect and of the kind of familiarity that is built slowly from being exposed to many hours of woodshedding together, honing their skills as a unit, and creating that level of simpatico that usually only is seen in working bands. </span></p><p><span style="font-family: verdana;">The Maryland-born Tyrone Jackson studied upright and classical bass at the Eastman School of Music in Rochester and later attended Berklee in Boston where he was mentored by local giants like saxophonists Jerry Bergonzi and George Garzone and the late drummer Ralph Peterson. Drummer Kayvon Gordon hails from Detroit. He was mentored by trumpeter Marcus Belgrave and attended the University of Michigan where he studied with bassist Robert Hurst and pianist Benny Green. With this pedigree, there is no doubt this trio has the firepower and finesse to make this a memorable evening of music.</span></p><p><span style="font-family: verdana;">The trio entered the stage and immediately went to work on what sounded like a Monk-inspired piece of music. Jagged, angular and edgy. There was little doubt that Fortner's music would be inspired by his study and mastering of the music's history. Despite his familiarity with the material, he is like a bubbling caldron of creativity that never settles for using well-worn musical cliques. He is expressive and surprising and there is a spontaneity to his approach that is quite refreshing.</span></p><p><span style="font-family: verdana;">The group played for two sets and covered some fourteen compositions, a few of which were originals and some music from composers Thad Jones, Cedar Walton, and Bobby Hutcherson. Two highlights were Charles Trenet's "La Mer" which was played in a stunning calypso style and the gorgeously embroidered take on Hoagy Carmichael's "Stardust," which was like hearing the well-healed classic in a new light. Throughout the performance, Fortner showed some amazing double-handed, Shearing-like block chording work. He has an impressive facility but he uses his skill to tell a story. Fortner's piano takes you time traveling. You can hear the art of Thelonious Monk, Erroll Garner, Eubie Blake, and even Art Tatum in his playing without it ever becoming mimicry. His bandmates are attuned to his changing directions and inventive excursions. Both are excellent soloists when called on. The set ended with the local tenor saxophonist, Nicole Glover, as a guest. She joined the trio for one ballad and two more energetic post-bop songs that added a new voice and some local flavor to the evening's music.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPlsj313zgrcRtcR5GIbz0NQxwV93DzlBvCaTFWRRAZEI7F1f3fCWI8ryCTCP3dggF5hyhWI15nw2-wrDd-YI02NioNyhVN8E2evjJoYgDwawaPtqXQoKBQKuDIjv-QMwANQugIOEqvw8gxBTTDhyjZS-iqc_GXOJpyxe4YXb2dlLkmv-B7CNw6ppPfz8/s3024/Dianne%20Reeves%20with%20Reuben%20Rogers%20at%20Revolution%20Hall%20Feb%2029,%202024.HEIC" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPlsj313zgrcRtcR5GIbz0NQxwV93DzlBvCaTFWRRAZEI7F1f3fCWI8ryCTCP3dggF5hyhWI15nw2-wrDd-YI02NioNyhVN8E2evjJoYgDwawaPtqXQoKBQKuDIjv-QMwANQugIOEqvw8gxBTTDhyjZS-iqc_GXOJpyxe4YXb2dlLkmv-B7CNw6ppPfz8/s320/Dianne%20Reeves%20with%20Reuben%20Rogers%20at%20Revolution%20Hall%20Feb%2029,%202024.HEIC" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Diane Reeves and Reuben Rogers at Revolution Hall</td></tr></tbody></table><p></p><p><b style="font-family: verdana;">Diane Reeves and her Band: Revolution Hall February 29, 2024 </b></p><p><span style="font-family: verdana;">One highlight of this festival was the chance to see Dianne Reeves and her band at the Revolution Hall. The Detroit-born Reeves is perhaps the ruling queen of current-day jazz singers in the world. Critic Scott Yanow called her "A logical successor to Dinah Washington and Carmen McRae..." In 2018 she was named a prestigious NEA Master. Her last album <a href="https://concord.com/concord-albums/light-up-the-night-live-in-marciac/"><i><b>Light Up the Night: Live in Marciac</b></i> </a>was released back in 2016.</span></p><p><span style="font-family: verdana;">Reeves was joined this evening by the dynamic rhythm section of Reuben Rogers on bass and Terreon Gulley on drums, the talented pianist/arranger John Beasley on piano, electric piano and melodica, and the Brazilian master guitarist Romero Lubambo. </span></p><p><span style="font-family: verdana;">Ms. Reeves is an eminent professional who captures the audience with her conversational rapport. Although the concert at Revolution Hall amazingly did not sell out, Reeves's buoyant stage presence never showed signs of being affected by the smaller but enthusiastic audience. She skillfully engaged with her fans and her warmth and ability to make the interaction personal made the event all the more special.</span></p><p><span style="font-family: verdana;">The band was exquisite. Keyboard artist John Bealey opened the set on a melodica, an air-activated keyboard device that created the closest thing to an electric saxophone sound. Beasley, himself an eight-time Grammy nominee, has won a Grammy for a song on his big band album <b><i>Monk'estra Plays John Beasley</i></b> released in 2020. Bassist Reuben Rogers hails from St. Thomas in the US Virgin Islands and plays both electric and upright acoustic bass on the set. He is a prolific sideman and has been a long-time member of Diane Reeve's band and Charles Lloyd's trio. Terreon Gully is presently an Atlanta-based musician and Reeves's longtime drummer. Gully also holds down the drum chair in </span><span style="font-family: verdana;">Beasley's Monk'estra Orchestra and has worked with Christian McBride and Stefon Harris among others. Romero Lubambo is a superb guitarist from Brazil. He came to NYC in 1985 and is known for his fluidity and inventiveness on both acoustic and electric guitars. He first played in the US with singer Astrid Gilberto in the early eighties and met and played with flutist Herbie Mann shortly thereafter. In 1992 he formed the Brazilian <i>Trio La Paz</i> with bassist Nilson Matta and drummer Duduka da Fonseca. Subsequently, Lubambo became a prolific recording artist and in demand as a top-flight studio musician. This world-class group of musicians complimented Reeves's magnificent voice at the show </span><span style="font-family: verdana;">with a seamless interaction</span><span style="font-family: verdana;"> </span><span style="font-family: verdana;">that was smooth as silk.</span></p><p><span style="font-family: verdana;">The show started off with Fleetwood Mac's popular number-one single "Dreams." Reeves has the depth, timbre, and strength to let this one soar. </span></p><p><span style="font-family: verdana;">Gigi Gryce's "Social Call" </span><span style="font-family: verdana;">with Jon Hendricks lyrics </span><span style="font-family: verdana;">came next. It was popularized by Betty Carter in 1980. Reeves and the group made it all their own with the vocalist's facile scatting strongly accenting the music. </span></p><p><span style="font-family: verdana;">Horace Silver's "Peace" is a ballad that was released by the pianist in 1959. It is a meditation on finding inner peace and tranquility, often through </span><span style="font-family: verdana;">contemplation of </span><span style="font-family: verdana;">nature's beauty. Reeves's soulful interpretation here transforms the ballad into a moving prayer with her Gospel-inspired performance.</span></p><p><span style="font-family: verdana;">The Brazilian master composer/vocalist Milton Nascimento's "Ponte de Areia" was first released in 1975 on his <b><i>Minas</i></b> and famously reimagined on Wayne Shorter's seminal <i><b>Native Dancer </b></i>of the same year, with </span><span style="font-family: verdana;">Nascimento singing this mournful song. Reeves beautifully pliable voice and her talented band recreate this breezy song- a nostalgic story about the loss of a railway station as a metaphor for lost personal connections and its emotional effects. Reeves's commanding vocal acrobatics deftly replaced Nascimento's high-pitched falsetto to great effect. Lumbaro's authentic guitar playing and the added jazz sensibilities transformed the audience into being part of a true Brazilian experience.</span></p><p><span style="font-family: verdana;">Reeves with Lumbaro on acoustic guitar played as a sensational duet, one on Reeves's composition "Nine" and the other on the Gershwin standard "Love Is Here to Stay," both intuitively presented in a way that captivated the audience with a feeling of intimacy. Lumbaro's guitar work never fails to emanate with intelligence and sensitivity. </span></p><p><span style="font-family: verdana;">The set included another beautifully delivered Gershwin standard "Someone to Watch Over You" and the more challenging Wayne Shorter masterpiece "Footprints," which featured this group's musical acumen. After receiving a sustained and admiring applause from the audience, Reeves returned for her encore with her endearing composition "Better Days." If there was any doubt that Dianne Reeves's enormous stage appeal and upper-tier vocal talent were diminished in any way by her recent disappearance from the public's spotlight, this evening's performance put any doubts firmly to rest. She remains the ruling queen of vocal jazz.</span></p><p><span style="font-family: verdana;"><b>The John Patitucci Brazilian Trio with Yotam Silberstein and Romero Boccato at the Old Church March 2, 2024</b></span></p><p><span style="font-family: verdana;">It is always a treat to get to see one of the world's finest electric and acoustic bass players in the world and John Patitucci rises to that level. I have seen John play twice before. Once with Chick Corea and his Elektric Band in Tarrytown, NY, and recently with the Jon Cowherd Quintet at Portland's now-defunct <i>1905</i>. Each time you see this master musician in his milieu, his artistry and love for playing transpose you into a happy place. As the music critic, Rick Mitchell said, Patitucci is "...both a master of tone on the double-bass and the best electric bass guitar soloist since Jaco Pastorius." Praise that I certainly concur with wholeheartedly.</span></p><p><span style="font-family: verdana;">The evening at the Old Church, the fittingly closing concert of the festival, took on the rhythmic sway and lilting beauty of Brazilian music. The accomplished Israeli guitarist Yotam Silberstein, who had previously performed as a leader in one of the festival's other concerts, played beautifully. Brazilian master percussionist Rogerio Boccato offered exquisite authenticity to the trio with his understated but timely drum and percussion rhythmic work. To watch this artist provide the most subtle but powerful accompaniment was a real treat.</span></p><span style="font-family: verdana;">The group played a series of Brazilian compositions from artists like Ivan Lins, guitarist Garoto, Milton Nascimento, and singer-songwriter Djavan. One highlight of the evening was the fluid Brazilian piece "Nilopolitano" from master accordionist Dominguinhas, which showcased the rapid-fire synchronous playing of Patitucci on his six-string electric bass along with Silberstein's equally blinding guitar lines. Another treat was Chico Buarque and João Bosco's composition "Sinh<a href="https://genius.com/Chico-buarque-sinha-lyrics">á</a>" which was opened by a facile solo on Patitucci's custom electric bass. Toward the end of the performance, there was a Silberstein composition, "Requiem for Armando," a dedication to pianist Chick Corea, which highlighted the guitarists' most sensitive skills and Boccato's brilliantly subtlety. Patitucci did a solo encore and chose to play a hard bop piece on his double bass that showed just how liquid this inventive master can be.</span><div><span style="font-family: verdana;"><br /></span></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/-2Yi6SW4edE?si=Ea7SVBK7zO4-Wie2" width="480"></iframe><span style="font-family: verdana;"><br /></span><div><span style="font-family: verdana;"><br /></span></div></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-66053780362850257422024-02-12T18:37:00.000-08:002024-02-13T09:35:38.643-08:00John Leventhal's Debut Album "Rumble Strip" Scores Big Marks for Uncluttered Excellence <p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPnrgA6Ap5_81DkE9BFNqsSmLrgg2UDuMftVXrRoa-HnWZMu0DlB0f_ftB8Mzeo44SYurUSqJzfPmCVc4PPbmnE0472YfvDdPuDR7mk5Dfpg_u_AEvItr4-NfjgoouCDtatDJP8v2h0nItR5H-49PyxcIa63gGZvoYgaajo-Yke8eNwM6CBmJuEpxNNoE/s1240/John%20Lenenthal.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="819" data-original-width="1240" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPnrgA6Ap5_81DkE9BFNqsSmLrgg2UDuMftVXrRoa-HnWZMu0DlB0f_ftB8Mzeo44SYurUSqJzfPmCVc4PPbmnE0472YfvDdPuDR7mk5Dfpg_u_AEvItr4-NfjgoouCDtatDJP8v2h0nItR5H-49PyxcIa63gGZvoYgaajo-Yke8eNwM6CBmJuEpxNNoE/w400-h264/John%20Lenenthal.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">John Leventhal (photo credit unknown)</td></tr></tbody></table><span style="font-family: verdana; font-size: medium;"><br /><br />The debut album from a man who is no stranger to some fine music, producer/songwriter/musician John Leventhal's "Rumble Strip" was released on Jan 26, 2024, and it is an understated delight.</span><div><span style="font-family: verdana; font-size: medium;"><br />Leventhal has won six Grammies, written over 200 songs, and has worked with a plethora of first-rate performers. One wonders why such a talented artist hasn't been recorded on his own before this?</span></div><div><span style="font-family: verdana; font-size: medium;"><br />"Rumble Strip" includes thirteen succinct and thoughtful instrumentals and three vocally performed songs- two as a duet with his wife Rosanne Cash. Leventhal has an impressionistic approach to his music, here using crystalline finger-picking, string-bending, slide and mandolin accents, and judicious use of bass and drum accompaniment where needed. He even uses Donald Sorah Horns to add to the colors on his aural palette. All the compositions on the album are his except for "That's All I Know About Arkansas" which was written and beautifully sung by Roseanne along with Leventhal and "The Only Ghost" which was co-written with Marc Cohen. All are miniature beauties that flaunt the art of understatement. The music is a testament to the art of uncluttered excellence. You can just sit back, put on your headphones, and sink into this man's music.</span></div><div><span style="font-family: verdana; font-size: medium;"><br /></span></div><div><span style="font-family: verdana; font-size: medium;">Let's face it I'm a diehard jazzer, but Leventhal's music is just plain good. He incorporates elements of soul, blues, Country, Gospel, Americana, and a storytelling hymn-like form to </span><span style="font-family: verdana; font-size: medium;">make it all intelligently conceived and relaxingly entertaining. Don't miss this one.</span><p></p><p><span style="font-family: verdana; font-size: medium;"><br /></span><iframe frameborder="0" height="360" src="https://youtube.com/embed/Emz4g0VUST0?si=Vomo0N-o9IgNYZ0-" width="480"></iframe></p></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-39502753393456387012024-02-09T17:41:00.000-08:002024-02-11T10:31:10.235-08:00Ben Allison, Steve Cardenas and Ted Nash Play the Music of Herbie Nichols on "Tell the Birds I Said Hello"<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtG3rgdInbECoXKr2wmYhrN_KZVc0ki2bzOp26ENTS9CHLk83kCKSSZy51ow26ph0CBsY17OUpSv0ewUTZ355KESrmDVzLkmiJg65J7bpVx1sh_9k25K90ebjFPulG15B-N51ndKhXdCRz9d0UG7cDLCsxH1CaQ5s0kFWDss5d0mPPgvK0c_m1ytXBJY/s500/Tell+The+Birds+Cover.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtG3rgdInbECoXKr2wmYhrN_KZVc0ki2bzOp26ENTS9CHLk83kCKSSZy51ow26ph0CBsY17OUpSv0ewUTZ355KESrmDVzLkmiJg65J7bpVx1sh_9k25K90ebjFPulG15B-N51ndKhXdCRz9d0UG7cDLCsxH1CaQ5s0kFWDss5d0mPPgvK0c_m1ytXBJY/w400-h400/Tell+The+Birds+Cover.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><i><a href="https://benallison.bandcamp.com/album/tell-the-birds-i-said-hello-the-music-of-herbie-nichols">Tell the Birds I Said Hello</a>:</i></b> Ben Allison, Steve Cardenas, and Ted Nash <br />: Sonic Camera Records</td></tr></tbody></table><p></p><p><span style="font-family: verdana;">H</span><span style="font-family: verdana;">erbie Nichols was a promising, enigmatic piano player/composer who lived from 1919 to 1963. His premature death at forty-four years of age from leukemia always left his followers with the feeling that somehow this brilliance was cut short. The lingering question here is-<i>What more tantalizing inventions could this under-appreciated artist have come up with had he just had more time to explore his art?</i></span></p><p><span style="font-family: verdana;">The bassist Ben Allison has been one the stalwart supporters of Nichols' music. Allison, along with the late pianist Frank Kimbrough, started their <i><b>Herbie Nichols Project</b></i> in 1992. Kimbrough had been fascinated with Nichols's music since 1985 when he transcribed several of the pianist's works. Besides Allison on double bass and Kimbrough on piano, both members of the Jazz Collective, the <i><b>HNP </b></i>included, at various times, Jeff Ballard, Matt Wilson, and Tim Horner on drums, Michael Blake and Ted Nash on saxophones, </span><span style="font-family: verdana;">Wycliffe Gordon on trombone </span><span style="font-family: verdana;">and Ron Horton on trumpet. The ensemble released three albums from 1992-2001. <b><i>Love is Proximity</i></b> (1997), <i><b>Dr. Cyclops Dream</b></i> (1999), and <b><i>Strange City </i></b>(2001).</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyWt9QtuiisQ_HOTegwmLMPE3FiblIIEPiW9AN7himK5socox2MLQJ786m-ZwcFuNaBorqZ62quN7TDnQIpK5faVvq7hke8s0ucP_qybfC-gMzOgUbzlWzwGe09FSA11EmZwqPf8cmNfBixjwpH47BHepNtgT6ZAmCC5lbrUwuA47J05hww25Rvkwjrkg/s564/Herbie%20Nichols.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="564" data-original-width="564" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyWt9QtuiisQ_HOTegwmLMPE3FiblIIEPiW9AN7himK5socox2MLQJ786m-ZwcFuNaBorqZ62quN7TDnQIpK5faVvq7hke8s0ucP_qybfC-gMzOgUbzlWzwGe09FSA11EmZwqPf8cmNfBixjwpH47BHepNtgT6ZAmCC5lbrUwuA47J05hww25Rvkwjrkg/s320/Herbie%20Nichols.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Herbie Nichols (photo credit unknown)</td></tr></tbody></table><p></p><p><span style="font-family: verdana;">The music of Nichols has always been a magnet, a lodestone for artists looking for inspiration from this artist's individualistic approach to melody, harmony, and rhythm. </span><span style="font-family: verdana;">Thelonious Monk and Nichols were both enigmatic artists, </span><span style="font-family: verdana;">who were contemporaries and friends. But where </span><span style="font-family: verdana;">Monk's </span><span style="font-family: verdana;">body of work was more readily appreciated and mainstreamed into the canon, Nichols's work-perhaps because of his premature death- became less publicized and mostly preserved by a select group of avid admirers.</span></p><p><span style="font-family: verdana;">Nichols was born in the Juan Hill Section of Manhattan but descended from parents who emigrated from St Kitts and Trinidad in the Carribean Islands. Nichols' music is said to be an amalgamation of influences from West Indian folk, Dixieland, bop, and swing with classical overtones that find their way via Bartok and Satie. His sometimes fragmented lines feel to be directionally unpredictable. There is a jaggedness to his approach and his melodic development hints at an unstructured almost free flow. Some believe his music was a precursor to the free jazz movement. In support of this premise, progressive avant-garde and free jazz artists like soprano saxophonist Steve Lacy, trombonist Roswell Rudd, Dutch drummer Hans Bennik, and Dutch pianist Misha Mengelberg have all found Nichols's music worthy of being preserved and reinterpreted.</span></p><p></p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><br /></blockquote><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBEy8ea8wDbqyWLHIF-cCNX4nlIs3i7ZS0YLEN5tOQ_zMXfaQcjO8scAUHDJgf1WD0I_uJtyJG5BwEkRimBEIs0yHl9C71rWKS5W8oYu4int4WC6JhUoeudTRo9cz-Ds6PIu6hODkm2BOUCSVYD43Hy29sMeW7ibnjfY-nzGGABmlj529ygaTt0P4A2To/s720/Hi%20Res%20Ted%20Bena%20and%20Steve.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="478" data-original-width="720" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBEy8ea8wDbqyWLHIF-cCNX4nlIs3i7ZS0YLEN5tOQ_zMXfaQcjO8scAUHDJgf1WD0I_uJtyJG5BwEkRimBEIs0yHl9C71rWKS5W8oYu4int4WC6JhUoeudTRo9cz-Ds6PIu6hODkm2BOUCSVYD43Hy29sMeW7ibnjfY-nzGGABmlj529ygaTt0P4A2To/w640-h424/Hi%20Res%20Ted%20Bena%20and%20Steve.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"> Ted Nash, Ben Allison, and Steve Cardenas (photo credit Kasia Idzkowska).<br /><br /></td></tr></tbody></table><p></p><p><span style="font-family: verdana;">With this history in mind, the latest album <b style="font-style: italic;"><a href="https://benallison.bandcamp.com/album/tell-the-birds-i-said-hello-the-music-of-herbie-nichols">Tell the Birds I Said Hello</a> -</b>released on Sonic Camera Records this month- is from the trio <i>Ben Allison on double bass, Steve Cardenas on guitar, and Ted Nash on saxophone.</i> This is the fourth album released by these three creative modernists. This eight-song gem of an album includes eight Nichols' compositions never-before-recorded by the composer, six of which had been inexplicably stored away since the nineteen fifties and so have never before been recorded by anyone. For Nichols fans, this is like finding some hidden treasure. For anyone who loves creative music, this is a treat.</span></p><p><span style="font-family: verdana;">Nichols had composed over 170 different compositions many of which, like six of these songs, he never recorded. His first recording was <i><b>The Herbie Nichols Quintet</b></i>, which may be out of print. It included Danny Barker on guitar, Chocolate Williams on Bass, and Shadow Wilson on drums and was recorded in 1952. From 1955-1957 Nichols recorded and released just four albums. The two Blue Note albums <i><b>Prophetic Herbie Nichols Vol 1</b></i> and <b><i>Volume 2</i></b> with Art Blakey and Al McKibbon (1955); <i><b>The Herbie Nichols Trio </b></i>with McKibbon and Teddy Kotck alternating on bass and Max Roach on drums. (1956); <b><i>The Third World</i></b> was a Blue Note release that combined the first two recording sessions in a twofer album; and <i><b>Love, Gloom, Cash, Love</b></i> with George Duvivier on bass and Dannie Richmond on drums (1957).</span></p><p><span style="font-family: verdana;"><span>The music on Allison/Cardenas and Nash's </span></span><b style="font-family: verdana; font-style: italic;"><a href="https://benallison.bandcamp.com/album/tell-the-birds-i-said-hello-the-music-of-herbie-nichols">Tell the Birds I Said Hello</a> </b><span style="font-family: verdana;">opens</span><span style="font-family: verdana;"> </span><span style="font-family: verdana;">with "She Insists," a five-minute stroll that features the trio playing </span><span style="font-family: verdana;">synchronous patterns of jaggedly ascending notes that they execute with beautiful precision and sensory aplomb. Allison's bass is big and buoyant. Cardenas' guitar lines are sinewy and supple and Nash's tenor tone is warm and Getzian. How much skill does it take to reimagine what basically was composed to be played by Nichols as a piano-based composition and skillfully reimagine it in a pianoless trio setting? The added colors and tones that the instrumentation brings to the table here seem to add a new dimension to Nichols' work.</span></p><p><span style="font-family: verdana;">"The Aferbeat" has that strong implied bop swing feeling that is almost a Nichols' trademark. Nash's tenor opens up strongly stating the melody. Allison's bass solo has a firm, probing sway to it, and Cardenas' light electric guitar lines flow off his fretboard like warm maple syrup onto hot pancakes, never failing to surprise. Nash comes back at about the three-quarters mark and adds his own distinctive tonal approach through the coda. Just a very satisfying piece of music that these guys play with such comfortable command.</span></p><p><span style="font-family: verdana;">The album's title song is Nichols' "Tell the Birds." Opening with Nash's brief plaintive saxophone and harmonic tones off Cardenas' fretboard, the song has a folk-like storytelling quality to it. The group states the sinewy melody line in concert before Cardenas' is the first solo musical orator. His delicate harmonic approach is Jim Hall-like-gorgeous, understated, and yet inventive. Nash comes from a lineage of reed men who played in Henry Mancini's orchestras, so his sound is attuned to cinematic expressiveness here. Besides anchoring these procedures, Allison offers a brief plucky bass solo that always adds to the trio's dynamism. </span></p><p><span style="font-family: verdana;">"Enrapture" opens with a staccato line from Allison's bass. The trio follows the chicanery of Nichols' melody line with unruffled precision. These guys weave their aural ideas with an uncanny sense of intuition. It's a delight to be absorbed by the interplay from about the 2:30 min mark, as the three just seem to have telepathy and yet continue to push each other's inventiveness to the edge. </span><span style="font-family: verdana;">"Enrapture" and "Swan Song" are the only of Nichols' compositions that Allison and his </span><i style="font-family: verdana;"><b>Herbie Nichols Project</b></i><span style="font-family: verdana;"> had previously recorded. </span></p><p><span style="font-family: verdana;">On "Swan Song" Allison's ostinato bass line sets up this one. Nash's saxophone lines serpentine plaintively and with expression. Cardenas counterpoints with jagged chording comps. When he solos his guitar has some bite and slight fuzzy distortion that adds to the urgency of the whole feel. </span></p><p><span style="font-family: verdana;">"Van Allen Belt" is a jaunty piece that repeats the unpredictable lines with a distinctive bop feel. "Games and Codes" is another shifting walk through the disjointed world of the music of Herbie Nichols. The music always has a destination but the direction is hard to predict. "That Moanin Blues" is the final cut on the album. It is probably the easiest for the casual listener to relate to, a simple blues with a little syncopation and a little change in time for good measure.</span></p><p><span style="font-family: verdana;">Herbie Nichols creates a slightly unfamiliar musical world for some. It doesn't fit the usual rules of music for most, yet intrigues those of us who revel in creativity and fearlessness. Ben Allison, Steve Cardenas, and Ted Nash not only know how to navigate Nichols' coded map they can reimagine it in modern and exciting ways! </span></p><p><span style="font-family: verdana;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3536900941/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1905751628/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://benallison.bandcamp.com/album/tell-the-birds-i-said-hello-the-music-of-herbie-nichols">Tell the Birds I Said Hello: The Music of Herbie Nichols by Ben Allison</a></iframe></span></p>
Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-62281673734691019182024-01-27T15:58:00.000-08:002024-01-27T15:58:07.612-08:00Andres Koppel's Mulberry Street Symphony: A symphonic/saxophone concerto in the tradition of some of the best.<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrpbz3r-ocTrBbEOKFqQVkUTab_8rR9k-9GKlM4edpFs7YXeLHdYFRnayd_SuXuPIrNln3EXW47mTaLq6-3028N2FU4wTaEsT2kCBUDFJCamh47PEofNmUKy_e6QkoKYQo2rDcRfia4Kg8AQ7S6M1tUCD9FBHbB_BGmefAvhyJfQjiw0B_n3yKvsMX_cI/s700/a2983118355_16.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrpbz3r-ocTrBbEOKFqQVkUTab_8rR9k-9GKlM4edpFs7YXeLHdYFRnayd_SuXuPIrNln3EXW47mTaLq6-3028N2FU4wTaEsT2kCBUDFJCamh47PEofNmUKy_e6QkoKYQo2rDcRfia4Kg8AQ7S6M1tUCD9FBHbB_BGmefAvhyJfQjiw0B_n3yKvsMX_cI/w400-h400/a2983118355_16.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><a href="https://benjaminkoppel1.bandcamp.com/album/mulberry-street-symphony">Mulberry Street Symphony:</a> Cowbell Music<br />Andres Koppel, Benjamin Koppel, Scott Colley, Brian Blade, <br />Martin Yates & the Odense SymphonyOrchestra</td></tr></tbody></table><p></p><p><span style="font-family: verdana;">I recently took the time to listen to a Symphonic/Saxophone concerto released back in February of 2022- <i>Yeah, I know what took me so long?</i>- Danish composer Anders Koppel's splendid </span><i style="font-family: verdana; font-weight: bold;"><a href="https://benjaminkoppel1.bandcamp.com/album/mulberry-street-symphony">Mulberry Street Symphony </a></i><span style="font-family: verdana;">which was actually recorded in October of 2017. This glorious music is in the tradition of some of other jazz/symphony collaborations like Duke Ellington's </span><b style="font-family: verdana;"><i>Black, Brown, and Beige,</i></b><span style="font-family: verdana;"> Miles Davis/Gil Evans </span><i style="font-family: verdana;"><b>Sketches of Spain</b></i><span style="font-family: verdana;">, Stan Getz/Eddie Sauter's </span><b style="font-family: verdana;"><i>Focus</i></b><span style="font-family: verdana;">, Claus Ogerman/Michael Brecker's</span><i style="font-family: verdana;"><b> Cityscape </b></i><span style="font-family: verdana;">and even Michel LeGrand/Phil Woods/</span><b style="font-family: verdana;"><i>Images</i></b><span style="font-family: verdana;">. </span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCsyBvtx8moxig51LOWkQnRxSwctWbW5Xn3A5Bt0xtxGQjz0cj_sMimkt3rFUGPeKQgznRA4lREKCOLNFxzmEs61MkxtTNUmQEIDNQ0mO_spnddi6QFSa2dIEKwgVdQzwmTpGClIKLNmBE6FhyphenhyphenPSuB9eS-1fEErKfnKl5BBSWID_6i67UqZRaONSFIBQ/s400/0034866277_36.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="400" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbCsyBvtx8moxig51LOWkQnRxSwctWbW5Xn3A5Bt0xtxGQjz0cj_sMimkt3rFUGPeKQgznRA4lREKCOLNFxzmEs61MkxtTNUmQEIDNQ0mO_spnddi6QFSa2dIEKwgVdQzwmTpGClIKLNmBE6FhyphenhyphenPSuB9eS-1fEErKfnKl5BBSWID_6i67UqZRaONSFIBQ/s320/0034866277_36.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Anders Koppel (photo credit unknown)</td></tr></tbody></table><p></p><p><span style="font-family: verdana;">The now, seventy-seven-year-old, Anders Koppel, a new name to me, is an accomplished composer whose extensive work includes music for cinema, theater, ballet, and over one hundred and fifty classical scores for orchestra. </span></p><p><span style="font-family: verdana;">The inspiration for his <i style="font-weight: bold;"><a href="https://benjaminkoppel1.bandcamp.com/album/mulberry-street-symphony">Mulberry Street Symphony </a></i>came from viewing a retrospective of the photos of </span><span style="font-family: verdana;">a fellow Dane,</span><span style="font-family: verdana;"> Jacob Riis'. The inquisitive lens of Riis captured the expressive, poignant, sometimes unhealthy, and</span><span style="font-family: verdana;"> often</span><span style="font-family: verdana;"> </span><span style="font-family: verdana;">desperate conditions of European immigrants who fled the hardships of their homelands to settle in the Lower East Side of Manhattan in the late eighteen hundreds. Riis's photography became part of his important 1890 book <b>"How the Other Half Lives."</b> </span></p><p></p><p><span style="font-family: verdana;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNfnwv3IngPIZ7DUs8pMTuSdcrwQu7TOa5f01HNcDIBTdNUXi2BJeqxaBQjYZXY4P17CfxRyw1VxvbSx4MjviCShScTpNg37EAvDn4eu64lG5COaP_5TP0AW_xN_bd34zevDtxPIeFvk5vWpCd4-CWSxE51fnkGLFJvHIeCOKMrR_m8Zv2CTMGq9aS8Y0/s212/Jacob%20Riis.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="212" data-original-width="152" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNfnwv3IngPIZ7DUs8pMTuSdcrwQu7TOa5f01HNcDIBTdNUXi2BJeqxaBQjYZXY4P17CfxRyw1VxvbSx4MjviCShScTpNg37EAvDn4eu64lG5COaP_5TP0AW_xN_bd34zevDtxPIeFvk5vWpCd4-CWSxE51fnkGLFJvHIeCOKMrR_m8Zv2CTMGq9aS8Y0/s1600/Jacob%20Riis.jpg" width="152" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jacob Riis</td></tr></tbody></table></span></p><p><span style="font-family: verdana;">It's no surprise that Koppel-himself the product of a Jewish family lineage that fled Russian-controlled Poland and made their way to a temporary refuge in Denmark, before having to again relocate to Sweden from the Nazi occupation- would find such artistic simpatico with the refugees of Riis' moving photographs.</span></p><p><span style="font-family: verdana;">When art finds a compelling story, the artist often finds inspiration for creative expression, and Koppel's <i style="font-weight: bold;"><a href="https://benjaminkoppel1.bandcamp.com/album/mulberry-street-symphony">Mulberry Street Symphony</a> </i>certainly is a testament to that creative process being inspired by real life. The piece includes seven movements based on seven specific Riis photographs that, in the hands of Koppel, create their own aural story to complement the moving images.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRpu0HwhJ6oAr0OVUK9Pn7FtmdlUARMdvqCEgsIUIDbtcs1Q8U-pI9qrjA1-jjBJsnQakIzlBeIYyl7iQMbNpjvWiMii8ZTDOu3vcXw60NNW71sdVDSo3jfqS2u_LoXwB3o5ybRu6UbW2IoMLDNsUTN2dqdAAqEGQ-D0Y0yBNvT12bNGTkoEwJbM4FXgw/s400/Benjamin%20Koppel.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="400" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRpu0HwhJ6oAr0OVUK9Pn7FtmdlUARMdvqCEgsIUIDbtcs1Q8U-pI9qrjA1-jjBJsnQakIzlBeIYyl7iQMbNpjvWiMii8ZTDOu3vcXw60NNW71sdVDSo3jfqS2u_LoXwB3o5ybRu6UbW2IoMLDNsUTN2dqdAAqEGQ-D0Y0yBNvT12bNGTkoEwJbM4FXgw/s320/Benjamin%20Koppel.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Benjamin Koppel (photo credit unknown)</td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p><span style="font-family: verdana;">To create this emotionally charged piece, Koppel enlisted his own son, Benjamin Koppel, as the lead alto saxophonist of the three-piece jazz-oriented trio that is the primary improvisational aspect of the symphony. This talented, multi-reed player, studied with Cuban saxophonist Paquito D' Rivera. He credits his mellifluous, liquid tone as coming from influences that include Cannonball Adderley and Johnny Hodges, his heroes. Besides being active in the improvisational world of jazz, he has performed with such current and past luminaries of the saxophone as Joe Lovano, Chris Potter, Phil Woods, and Lee Konitz to name a few. He is also proficient in playing in the classical music world. Benjamin Koppel brings a unique cross-genre expertise to this project.</span></p><p><span style="font-family: verdana;">The rhythm section of the trio includes two superb musicians. Bassist Scott Colley and drummer Brian Blade bring to this music their own unique, extremely virtuosic, and highly attuned sensitives to this symphony. Colley is an American double bassist and composer who has lent his talents to groups that include Joe Henderson, Herbie Hancock, Jim Hall, Bobby Hutcherson, and Toots Thielmans to name just a few. Brian Blade, the American Louisana-born drummer, is perhaps the leading jazz drummer in the world today. Besides his award-winning group <i><b>The Fellowship Band</b></i>, Blade is the preferred drummer on a countless number of albums led by such notables as Wayne Shorter, Mark Turner, Billy Childs, and Joni Mitchell among others. </span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQumYnJQvW0Wq4A-npyzM3sHIsVtZOJtdLFls_eSO6mpXTFH8RQ0N09xhTHv0O2xDCY_8VAdlpAB1xRVcPkY_QlJ6JR1QOeJVcxg-NgbeyG_wFfeZXWekhviJ3AiIulpSdV7DnFqITg_IxC9t4F0xqhRtsKublkupHjLjBbchBzEeo6F6YW-dcPIhPrhI/s960/Scott%20Colley%20Brian%20Balde.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="960" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQumYnJQvW0Wq4A-npyzM3sHIsVtZOJtdLFls_eSO6mpXTFH8RQ0N09xhTHv0O2xDCY_8VAdlpAB1xRVcPkY_QlJ6JR1QOeJVcxg-NgbeyG_wFfeZXWekhviJ3AiIulpSdV7DnFqITg_IxC9t4F0xqhRtsKublkupHjLjBbchBzEeo6F6YW-dcPIhPrhI/w400-h266/Scott%20Colley%20Brian%20Balde.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Scott Colley and Brian Blade (photo credit unknown)</td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-family: verdana;">The other piece to this Symphony is the Danish </span><i style="font-family: verdana;"><b>Odense Symphony Orchestra</b></i><span style="font-family: verdana;"> led by conductor Martin Yates. This Odense, Denmark-based orchestra has its roots dating back to the 1800s and presently has seventy-three musicians from seventeen different countries. Anders Koppel has written for this orchestra on multiple occasions.</span><p></p><p><span style="font-family: verdana;">"Stranded in the Strange City" is based on a picture of an immigrant standing, stiff, hat in hand, anxiously staring with his one unpatched eye at the camera in a dimly lit tenement hallway. The music is cinematic and ranges from the cautiously walking sound of Colley's deep-toned bass making its way into an unknown environment. Koppel's alto and the orchestra's swelling sounds create the tension of bustling activity. Blade's percussive accents add to the scene in perfect sympathy which ultimately rises into a feeling of hopeful optimism. </span></p><p><span style="font-family: verdana;">"Minding the Baby" is based on a gritty portrait of a young child minding his younger sibling outside on what appears to be a flagstone sidewalk. The two stare at the lens with a bleary-eyed gaze that is both inquisitive and careful. The music is like a lullaby to the two. Koppel's fluid alto playing is emotive, soothing, and at times majestic. Colley and Blade together create an extraordinarily intuitive pastiche under Koppel and the through-written work of the orchestra. </span></p><p><span style="font-family: verdana;">"Tommy the Shoeshine Boy" captures a ragged young entrepreneur who stands against a soot-stained, white-washed brick wall in his dirty, unkempt clothes. His wooden shoeshine box is loosely slung over his left shoulder with his cocked stovepipe hat. His eyes are presumably squinted closed to protect them from the coming photographer's flash. The music runs for almost twenty minutes as it builds from an orchestral ebb and swell that creates a building tension. There is beauty and frantic kineticism to this as Koppel's improvising alto soars in ascending flights. There is a beautiful section midway in the piece that finds Blade's drum work, Colley's bass, and Koppel's beautiful alto all finding a common expressive connection as the orchestra creates the palette on which they create. This can't be written but just happens at the moment when intuitive musicians find their way to a common strain of creativity. As the orchestra creates a boil in the music, Blade is featured for a brief but combustive eruption that completes that section with authority. </span></p><p><span style="font-family: verdana;">This is what Anders was hoping for in creating <i><b><a href="https://benjaminkoppel1.bandcamp.com/album/mulberry-street-symphony">Mulberry Street Symphony</a></b></i> when he says</span></p><p><span style="font-family: verdana;"><span style="font-size: medium;"><b><i>"The piece is a meeting between a meticulously worked-out score, written with the discipline and care of the classical tradition, and the open, highly sophisticated and organic improvised lines played by the trio."</i></b></span></span></p><p><span style="font-family: verdana;">The cover photo of the album features "The Blind Man," perhaps one of the most expressive of the Riis' pictures that inspired this music. A tall blind man is dressed in a long black coat and doffed in a black derby. He is leaning on a street lampost for both support and protection. There is a two-horse-drawn wagon and piles of bricks dumped on the filth-filled street behind him. He holds an open cigar box in one hand and a bunch of pencils in the other to a peering crowd off the picture. He is hoping to elicit some charity from any passersby who might be moved by his condition. The music is a sober, melancholic tone poem that conjures up the loneliness, isolation, and darkness that awaits this man's daily struggle for life. A man who Anders says represents "a man who is very much himself, apart from society." </span></p><p><span style="font-family: verdana;">"The Last Mulberry" is a revelation to me. The picture is of what became Little Italy in the Lower East Side of Manhattan. The alleyway shows the encroaching squalor of an alleyway between two bustling tenements. A line of washed clothes is </span><span style="font-family: verdana;">hanging </span><span style="font-family: verdana;">on a slacked rope tied between buildings in the background. Trash sheds line the left side wall of the alley. Midway down, a lone crown of a spindly tree can be seen, its outline against the rear background of another row of tenement buildings and an upper sky. It's a solitary mulberry tree- once a part or descendant of a one-time mulberry tree grove of the revolutionary times- now the sole organic survivor of the humanity-impacted area. The music that Koppel creates has a blues sensibility. A requiem of sorts for the lost tree and to juxtapose that with the loss of innocence. The tolling bell, the cadenced processional rhythm, the counterpoint strings, Koppel's pleading alto, Colley's plucky bass lines, and Blade's impressionistic drum work all rejoice in the celebration of organic life even amongst squalor and the celebration of its memory.</span></p><p><span style="font-family: verdana;">"Bandit's Roost" is like a scene from a Scorcese gangster film. Riis' photo captures the neighborhood "hang." A small side street whose flagstones separate the entry stoops of four or five tenements. The Immigrant men- supposedly young Italian thugs- hang out like members of a gang, propped up on railings and standing on stoop platforms or in the street. Communing, maybe plotting, awaiting their next move. Koppel's music erupts with kineticism and swinging swagger. The music finds Koppel's alto loose and freewheeling, as Colley and Blade stir the pot with nervous energy that coincides with testosterone-driven energy that may have possessed the young men in the picture. The orchestra builds the scene's tension and later maintains a joyful, proud, strut-like feel that celebrates the fun that can come from male camaraderie and mischief. </span></p><p><span style="font-family: verdana;">"The New House" is a picture that is counter to most of the other Riis photos in this suite of songs. It pictures a new structure created to house orphans and homeless children. The house sits on a rise in what appears to be a countryside setting that must have been some distance from the crowding sprawl of the Lower East Side. According to the composer it represents "...the hope and knowledge that...things will change-and it matters what you do." His music naturally brings the suite to a positive and uplifting conclusion. Out of the squalor and hopelessness, the overcrowding and poverty, the fear and anxiety, people can rise above their lot and aspire to a life that offers them and their children a new future. Koppel's alto offers a Phil Woods-like solo that is gorgeously expressive as Colley's bass rings out with tonal richness and the orchestra fades out to the coda.</span></p><p><span style="font-family: verdana;">There is bonus track at the end of the album, titled "Puerto Rican Rumble" that doesn't relate to the Suite but finds the elder Koppel on organ, and in a live concert with the trio of his son, Colley and Blade. Just pure fun.</span></p><p><span style="font-family: verdana;">Andres Koppel's <i><b><a href="https://benjaminkoppel1.bandcamp.com/album/mulberry-street-symphony">Mulberry Street Symphony</a></b></i> is a modern tour de force and like any good music tells a story that is compelling to anyone, especially those of us who have emigration in our historical ancestry.</span></p><p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3602296874/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3402198995/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://benjaminkoppel1.bandcamp.com/album/mulberry-street-symphony">Mulberry Street Symphony by Anders Koppel, Scott Colley, Brian Blade, Martin Yates & Odense Symphony Orchestra</a></iframe></p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-32965769522819122852023-12-26T19:00:00.000-08:002023-12-26T19:01:13.933-08:00NOTES ON JAZZ BEST HISTORICAL RELEASES FOR 2023<p style="text-align: center;"><b><span style="font-size: large;">NOTES ON JAZZ </span></b></p><p style="text-align: center;"><b><span style="font-size: large;">BEST NEW HISTORICAL JAZZ RELEASES FOR 2023</span></b></p><p style="text-align: center;"><b><span style="font-size: large;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi84oRQhUrlQXtR7hzOSOJuIYRKJsmBUI7BDJOWuUsXpN7teH43BiVUj3tlpWP5ukjyLUM2uuEGs78yCeixMzYKxcs4bdf4EnbDeOSgjmcXc0OCdajEbp8cs06VD2o8Fly0r05sUIah865ED27sNSRDNNm5PeQQ5QlpWjsIMrVafTpiC-6A5iJhvJ-7iOA/s200/AIMP_78501__179499__06012023093735-4543.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi84oRQhUrlQXtR7hzOSOJuIYRKJsmBUI7BDJOWuUsXpN7teH43BiVUj3tlpWP5ukjyLUM2uuEGs78yCeixMzYKxcs4bdf4EnbDeOSgjmcXc0OCdajEbp8cs06VD2o8Fly0r05sUIah865ED27sNSRDNNm5PeQQ5QlpWjsIMrVafTpiC-6A5iJhvJ-7iOA/s1600/AIMP_78501__179499__06012023093735-4543.jpg" width="200" /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdRqbdy1hZUEr8ddzTBeSX4wPVQPO4bzUextiMNW1fHEPdOHatqTDAjZ8i6c5171tT61SYSZo39bFPI1OrLr6x4fyB6hvuG4Zo-Qcm0X777jfuJQ9JQwI6X-m_XG9bmfS6z8Qhy-wWBx8Z-mlkpBxdq_wK_I0LPbkoHAyIDTqZg0dccOhiTdzRu_LMlsA/s700/a3215169705_16.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdRqbdy1hZUEr8ddzTBeSX4wPVQPO4bzUextiMNW1fHEPdOHatqTDAjZ8i6c5171tT61SYSZo39bFPI1OrLr6x4fyB6hvuG4Zo-Qcm0X777jfuJQ9JQwI6X-m_XG9bmfS6z8Qhy-wWBx8Z-mlkpBxdq_wK_I0LPbkoHAyIDTqZg0dccOhiTdzRu_LMlsA/w200-h200/a3215169705_16.jpg" width="200" /></a></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSCLv9nNbHARSmHaBmD9zMiH7ypeGlaESMZ6qxklADc68ouDI1EbKZTPia03DgmlDgGhXYp0NZDvb7__POOQhwe-ThwGmXdmyZJgRokHrr6KoA6RI8ihB9wAK131u9pGN9v23RR6ech39ZM2ofXt6tBHXggHcJEgD8VmlADtWVBEoLcZj7snscolbeGn4/s500/s-l960.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSCLv9nNbHARSmHaBmD9zMiH7ypeGlaESMZ6qxklADc68ouDI1EbKZTPia03DgmlDgGhXYp0NZDvb7__POOQhwe-ThwGmXdmyZJgRokHrr6KoA6RI8ihB9wAK131u9pGN9v23RR6ech39ZM2ofXt6tBHXggHcJEgD8VmlADtWVBEoLcZj7snscolbeGn4/w200-h200/s-l960.jpg" width="200" /></a><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;"></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div></span></div><span style="font-family: verdana;">This was another year when historical gems from the world of jazz were discovered, thoughtfully curated, and sonically improved </span><span style="font-family: verdana;">where possible </span><span style="font-family: verdana;">before being released to a dedicated and anxious audience of fans. The producers of many of these important releases dedicate time, effort, and expertise to make these often-overlooked recordings into wonderful keepsakes. They assemble rewarding windows into the lives and music of some of the art's most revered jazz artists as they went about their workmanlike business of creating and performing music often in live performances. These releases were, at times, recorded without the knowledge of the performers for personal use by fans for posterity, or maybe for reasons that deemed them unworthy of being commercially released. They capture the artists and their bands in an unlacquered, unrehearsed, at times rough but often brilliant process of spontaneous creation. The releases can be released in both vinyl and CD/digital formats and the packaging can be miniature pieces of art that include beautiful booklets that accompany the music. They have detailed track listings and compositional notes, rare photographs of the artists, authoritative recollections from writers and interviews of musicians of note, essays from producers, band members, and associated jazz aficionados that can put the recording into a historical perspective with inside knowledge. A veritable treasure chest of jazz information for the fan.<br /><br />I have received several releases from this year that are worth notice. Here are a few of my favorite releases that I can recommend.</span><p style="text-align: left;"><span style="font-family: verdana;"><b>Pharoah Sanders</b>: <i><b>Pharoah:</b></i> Released September 15, 2023, by Luaka Boo Records. This is a new boxed set of a remastered version of the original recording of the same name from 1977 including two never-before-released performances of his "Harvest Time." Made with Sander's permission. </span></p><p style="text-align: left;"><span style="font-family: verdana;">For those who have always been influenced by Pharoah's playing and his connection to the spiritual, this recording is a window into some of his most inspired work from that time. You can really let the vibe of his music take you to a special place.</span></p><p style="text-align: left;"><iframe frameborder="0" height="360" src="https://youtube.com/embed/ii63fKLTSuU?si=lpaAsCap6nfEMX6r" style="background-image: url(https://i.ytimg.com/vi/ii63fKLTSuU/hqdefault.jpg);" width="480"></iframe></p><p style="text-align: left;"><span style="font-family: verdana;">Pharoah Sanders, Tenor Saxophone, Percussion and Vocals; Bedria Sanders, Harmonium; Steve Neil, Bass; Tisziji Munoz, Guitar; Greg Bandy, Drums: Clifton "Jiggs" Chase, Keyboards; Lawrence Killian, Percussion. </span></p><p style="text-align: left;"><span style="font-family: verdana;"><br /></span></p><p style="text-align: left;"><span style="font-family: verdana;"><b>John Coltrane with Eric Dolphy:<i> Evenings at the Village Gate:</i></b> Impulse Records released July 2023. </span></p><p style="text-align: left;"><span style="font-family: verdana;">These are various cuts from Coltrane's quintet with Eric Dolphy and their live performances recorded at New York City's Village Gate during the group's stay at the club in August of 1961. In the spring of that year, Trane had released his popular "My Favorite Things" from <i>The Sound of Music, </i>but by summertime, he had signed with Impulse, a new record label, and he was already less moved to follow the path of commercial success. His alignment with Dolphy was a short-lived one, but you can hear that these two were heading in similarly expansive directions. It's an important link in the chain of Trane's musical evolution that should not be missed and there are rare photos and some illuminating comments from saxophonist Branford Marsalis and jazz journalist Ashley Kahn. The sound quality is not as bright or definitive as we would like- it was recorded with a single ribbon microphone that was hung over the band as a test for the club's recently updated sound system- but it's hard to fault any chance we get to hear these guys in their prime exploring to create new directions.</span></p><p style="text-align: left;"><span style="font-family: verdana;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/DYja5pH7ciM?si=proPkhIx2-oK3Y29" width="480"></iframe></span></p><p style="text-align: left;"><span style="font-family: verdana;">John Coltrane, soprano and tenor saxophones; Eric Dolphy, alto saxophone, bass clarinet, and flute: Art Davis, double bass; McCoy Tyner, piano; Reggie Workman, double bass; Elvin Jones, drums. </span></p><p style="text-align: left;"><b style="font-family: verdana;">Bill Evans: <i>Treasures:</i> </b><span style="font-family: verdana;">Solo, Trio & Orchestra Recordings from Denmark (1965-1969): Elemental Music, released </span></p><p style="text-align: left;"><span style="font-family: verdana;"><i>Treasure</i> is an appropriate name for this gem of a compilation from Bill Evans in his solo, trio, and orchestra format. It shows the different ways Evans adapts his playing to match the diverse settings and changing bandmates. Besides offering several beautiful solo performances, it's just a treat to hear Evans and his liberating approach as he plays with three distinct trios; one with European master Neils-Henning Orstead Pedersen on bass and the drummaster Alan Dawson; one with Pedersen and Danish drummer Alex Reil; and one with his long-time bassist compatriot Eddie Gomez and sometime trio drummer Marty Morell. The two CD box set includes thirty-eight selections, some multiple takes on his well-explored standards like <i>Waltz for Debbie</i> and <i>Time Remembered.</i> Evan's work in front of the Royal Danish Orchestra features some empathetic arranging and conducting by the Danish trumpeter Palle Mikkelborg. This must-have set is produced by Zev Feldman who continues to surprise and delight with his informative well-written notes and the high quality and diversity of his releases.</span></p><p style="text-align: left;"><iframe frameborder="0" height="360" src="https://youtube.com/embed/NRgB5J9TWpM?si=uLPhsbBkM9H9rF70" width="480"></iframe></p><p style="text-align: left;"><span style="font-family: verdana;"><br /></span></p><p style="text-align: left;"><span style="font-family: verdana;">Bill Evans Trio: CD1, 1-3 Evans, piano; Neils-Henning Orsted Pedersen, bass; Alan Dawson Drums:</span></p><p style="text-align: left;"><span style="font-family: verdana;">Bill Evans Trio: CD1, 4-8 Evans, piano;</span><span style="font-family: verdana;">Neils-Henning Orsted Pedersen, bass; Alex Reil, Drums; </span></p><p style="text-align: left;"><span style="font-family: verdana;">Bill Evans Trio: CD 1, 9-14 Evans, Piano: Eddie Gomez, bass: Marty Morell drums with the Royal Danish Symphony Orchestra & The Danish Radio Big Band w/ Palle Mikkelborg Trumpet/arranger/Conductor</span></p><p style="text-align: left;"><span style="font-family: verdana;">Bill Evans Solo and Trio : CD 2, 1-16</span></p><p style="text-align: left;"><span style="font-family: verdana;"><b>Wes Montgomery/Wynton Kelly Trio:</b> <i style="font-weight: bold;">Maximum Swing: The Unissued 1965 Half Note Recordings: </i>Resonance Records, released November 2023</span></p><p style="text-align: left;"><span style="font-family: verdana;">The gentlemen at Resonance have once again unearthed and released a 2 CD jewel of a record. Guitarist wizard Wes Montgomery performed at the New York City jazz club the Half Note in 1965 with the Wynton Kelly Trio. The trio included Kelly on piano, Jimmy Cobb on drums, and a rotating bass chair that featured Paul Chambers, Ron Carter, Larry Ridley, and Herman Wright on various nights on bass. At the time, the music was broadcast over the radio by host Alan Grant on his "Portraits in Jazz" series. The originally released album <i>Smokin' at the Half Note</i> is an iconic Montgomery album that features the trio on a night with Chambers on bass and was released in 1965. It was recorded live at the club in June of 1965, but Verve producer Creed Taylor re-recorded the takes of three of the songs ("Unit 7", Four on Six" and "What's New") for the album again in September at Rudy Van Gelder's Studio in NJ. This album features seventeen songs all recorded live at the Half Note and with the four different bassists. Because it has been restored and preserved from the original dates this release is a more detailed chance to hear Wes and the trio perform in all their glory. Great interviews with Bassist Ron Carter, guitarist Bill Frisell, and Mike Stern, and bassist Marcus Miller just add to the experience. The Producers George Klabin, Zev Feldman, and Richard Seidel should all be commended for such a memorable put-together snapshot of jazz guitar history. </span></p><p style="text-align: left;"><iframe frameborder="0" height="360" src="https://youtube.com/embed/JR-YyP2WsXc?si=r5jqHmXI7DPEGrMh" width="480"></iframe></p><p style="text-align: left;"><span style="font-family: verdana;"><b>Amhad Jamal:<i> Emerald City Nights: Live at the Penthouse 1966-1968</i></b><i> </i>The third in a series of brilliant releases from the pianist Amhad Jamal and his varying trios are titled <i><b>Emerald City Nights</b></i> and are curated by the seemingly never-sleeping producer Zev Feldman. </span><span style="font-family: verdana;"> The series covers live performances recorded at Charlie Puzzo's Seattle Jazz Club <b>The Penthouse </b>from 1963 through 1968 and to say that these recently released gems are priceless is an understatement. It's nice to know that Producer Zev Feldman got the now-passed pianist -</span><span style="font-family: verdana;">the master musician left us on April 16, 2023, at the age of ninety-to give</span><span style="font-family: verdana;"> him his blessing to release these recordings from the Penthouse's archives. The album includes Jamal on piano, bassist Jamil Nasser, and drummer Frank Gant. The two previous releases found Jamal with additional players like Richard Evans on bass and drummers Chuck Lampkin and Vernal Fournier on drums on various cuts. When you listen to the three 2 CD albums in succession you are treated to a time capsule glimpse into a period from Jamal's working development. I'm especially pleased that each album stands by itself with no song being repeated between the six-disc set of selections! On the latest release you get to hear Jamal's mind working through his own interpretations of such classics as Earl Garner's "Misty," Jobim's Corcovado" Mande;'s "Emily" and Henry Mancini's "Mr. Lucky." It's like having your own Jamal piano trio in your living room.</span></p><p style="text-align: left;"><iframe frameborder="0" height="360" src="https://youtube.com/embed/3itGkxitNFM?si=XaCUpiLChhjoG8CS" width="480"></iframe></p><p style="text-align: left;"><span style="font-family: verdana;"><br /></span></p><p style="text-align: left;"><span style="font-family: verdana;">Some other worthy historically rewarding releases this past year include:</span></p><p style="text-align: left;"><span style="font-family: verdana;"><i><b>Steve Davis Meets Hank Jones Vol 1 </b></i>on Smoke Records Recorded 2008. It may be the last recording made with the great pianist and includes Steve Davis' soulful trombone and sympathetic bass work by Peter Washington. </span></p><p style="text-align: left;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSDFyASxbOiBeKH8m8FNuU5PCv_vz3myxv0kLOFWHbl4dF-3YjFD9Gj6zjx6W_ZnRcb_k0CWGvYok1bIpi9M1SGy72c7sWTY9-6bkldE2YmsZtf8vt2tEpx376KpCVdKN3s8UbCMtqzbf6QiSFjXXVO2yygTc4T64kb4LUbkSFpOo6lIuPCGZzfBAH6MU/s296/296x296bb.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="296" data-original-width="296" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSDFyASxbOiBeKH8m8FNuU5PCv_vz3myxv0kLOFWHbl4dF-3YjFD9Gj6zjx6W_ZnRcb_k0CWGvYok1bIpi9M1SGy72c7sWTY9-6bkldE2YmsZtf8vt2tEpx376KpCVdKN3s8UbCMtqzbf6QiSFjXXVO2yygTc4T64kb4LUbkSFpOo6lIuPCGZzfBAH6MU/w200-h200/296x296bb.webp" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><br /><span style="font-family: verdana;"><br /></span><p></p><p style="text-align: left;"><span style="font-family: verdana;"><i><b>Kenny Wheeler: Gnu High </b></i>from 1975 is a reissue on ECM Records of the original recording. This three-song album, although the 21-minute "Heyoke" feels more like multiple explorations in one, includes the enigmatic Canadian trumpeter and a stellar supporting group that includes Keith Jarrett on piano, Dave Holland on bass, and Jack De Johnette on drums. Jarrett is expansive and Wheeler a tonal delight.</span></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2RGUmPlDXveR6hxuOW023FG440stic1JQ7XuJQCWttXyTEEipqrlfOA7yumZEREGn46t4ToTh5ePAUyku6kEYvXFtrbWi1y9qmXrOMZrB4ofN3A1DMhQLqVUARcEffSjN_-pIjxNZHyzQNxHoRW8Nk-W4fsb_ZwE6c3GfI6U3xp7MhhCbuHfnqiOF_w4/s220/Gnu_High.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="220" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2RGUmPlDXveR6hxuOW023FG440stic1JQ7XuJQCWttXyTEEipqrlfOA7yumZEREGn46t4ToTh5ePAUyku6kEYvXFtrbWi1y9qmXrOMZrB4ofN3A1DMhQLqVUARcEffSjN_-pIjxNZHyzQNxHoRW8Nk-W4fsb_ZwE6c3GfI6U3xp7MhhCbuHfnqiOF_w4/s1600/Gnu_High.jpg" width="220" /></a></div><span style="font-family: verdana;"><br /></span><p></p><div><span style="font-family: verdana;"><b><i>Dave Brubeck Quartet Live from the Northwest 1959</i></b>: Brubeck Editions:</span></div><div><span style="font-family: verdana;">This live recording finds the iconic group in their prime at</span><span style="font-family: verdana;"> Multnomah Jazz Club and Clark College, both in the Portland, Oregon area. The personnel includes leader Dave Brubeck on piano, Paul Desmond as his alto saxophone foil, a particularly lively Eugene Wright on bass, and the inimitable Joe Morello on drums. The group is a joy to hear as they are one of the earliest jazz groups to have approached the then poorly serviced college audience where they toured extensively and became country-wide popular.</span><br /> <br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlriWYYQPBKAGN_H-BALeTExugSURuom-NTA6UVx4hlH9hHlMyKTVZh38yh4FUdFGE7Qeyqsw_dIwKtoB3rkmClcFXT2XEdpR35goCYB-mXYoWW756H0gsfAhM5CYhmgIxbhZAJm3-Jw8HzMbCftYm5y0YZfL1KinQdqD3XA4hZdxAJOtM1QHm8c68GII/s500/Northwest+1959_Dave+Brubeck_Album+Package+Artwork_Front.jpeg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlriWYYQPBKAGN_H-BALeTExugSURuom-NTA6UVx4hlH9hHlMyKTVZh38yh4FUdFGE7Qeyqsw_dIwKtoB3rkmClcFXT2XEdpR35goCYB-mXYoWW756H0gsfAhM5CYhmgIxbhZAJm3-Jw8HzMbCftYm5y0YZfL1KinQdqD3XA4hZdxAJOtM1QHm8c68GII/w200-h200/Northwest+1959_Dave+Brubeck_Album+Package+Artwork_Front.jpeg" /></a></div><br /><b><span style="font-family: verdana;">Chet Baker: <i>Blue Room: The 1979 Vara Studio Sessions in Holland:</i></span><span style="background-color: white; color: #666666;"><span style="font-family: verdana;"><i> </i></span></span></b><span style="font-family: verdana;">Jazz Detective Records. Recorded on two dates for the KRO radio jazz program Nine O'Clock Jazz in the Netherlands. The 2-CD set predominantly features a whispery Baker on horn and voice along with pianist Phil Markowitz, Jean-Louis Rassinfosse on bass, and Charles Rice on drums. There are also a few songs where Baker is accompanied by Fran Elsen on piano, Victor Kaihatu on bass, and Eric Ineke on drums. Relaxed session that adds a little more depth to Baker's discography from his European days.</span></div><div><span style="background-color: white; color: #363636; font-family: verdana;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpr27ZO3HmHtKJpkzurz_bamifw-Aai-F7DOrFMkYbFM_yLA7sb1ra_xSyJux_F5tApRDlJPJKcbmmOOLuOIZ8Q9qtXS4OgMgYcfgkh5V-c2p8dzAFRc-u1CIiQP3rEAE0LJQZEYyNSK9zM3NTQIh1LoZ6XGkOhQlZeHbDOv48OP-pltn1FnlnZn6yCZ4/s1500/Cover_Baker_Blue_Room.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpr27ZO3HmHtKJpkzurz_bamifw-Aai-F7DOrFMkYbFM_yLA7sb1ra_xSyJux_F5tApRDlJPJKcbmmOOLuOIZ8Q9qtXS4OgMgYcfgkh5V-c2p8dzAFRc-u1CIiQP3rEAE0LJQZEYyNSK9zM3NTQIh1LoZ6XGkOhQlZeHbDOv48OP-pltn1FnlnZn6yCZ4/w200-h200/Cover_Baker_Blue_Room.jpg" width="200" /></a></div><br /><span style="background-color: white; color: #363636; font-family: verdana;"><br /></span></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-85312480250043107262023-12-07T12:12:00.000-08:002023-12-08T16:33:59.817-08:00 NOTES ON JAZZ BEST OF JAZZ AND BEYOND 2023 <p style="text-align: center;"><span style="font-family: verdana; font-size: x-large;">NOTES ON JAZZ </span></p><p style="text-align: center;"><span style="font-family: verdana; font-size: x-large;"> BEST OF JAZZ AND BEYOND for 2023</span></p><p style="text-align: center;"><span style="font-family: verdana; font-size: x-large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana; font-size: x-large;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgeJwWzjKwTWWTYVzV0JRRfl0KXFj6e6midsds-IpI95Izckb1PrYNl2CAIE87gzLZ_iojTYoBZwsddcjzRfrAHtmqEVjny3xHDKpMAUS6dsfGLvnIcNLcjUOOmhCZ_lJHMsqrCcdNB8zwtmLDFrtBHfKIGZj3wV8hb1YGm4QxCFPx8pg7a9dOGvNRCm4k" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1105" data-original-width="936" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgeJwWzjKwTWWTYVzV0JRRfl0KXFj6e6midsds-IpI95Izckb1PrYNl2CAIE87gzLZ_iojTYoBZwsddcjzRfrAHtmqEVjny3xHDKpMAUS6dsfGLvnIcNLcjUOOmhCZ_lJHMsqrCcdNB8zwtmLDFrtBHfKIGZj3wV8hb1YGm4QxCFPx8pg7a9dOGvNRCm4k=w541-h640" width="541" /></a></div></div></span></div><p><span style="font-family: verdana;">Wow, another year has passed again! Time flies, but for those of us who listen to hundreds of offerings in a year, it is the time to look back, reevaluate, and identify those recordings that we feel should be recognized as being among the best of this past year. In my case, that is predominantly in jazz music and its myriad of styles. The music can be cross-genre, world or ethnically-influenced, chamber-type jazz, Latin-infused, modern, traditional, big band, straight ahead, post-bop, blues-oriented, ambient, progressive, or just originally out there in a new exploratory mode. It should never be boring, predictable, or performed without consummate ability and determined effort. Have no doubt that those who have rung the "jazz is dead" bell are not keeping up with the incredible advances and astounding creativity that can be found in today's jazz and beyond music. This music should inspire listeners to enjoy sitting back and exploring the artistry through multiple listens even in these hyperactive times. Music can evoke excitement, inspiration, and kinetic movement. It can get the blood pumping, pull at the heartstrings, and at times provide the listener with an unexplainable magical connection with the musicians. </span></p><p><span style="font-family: verdana;">My hope is that this thoughtful compilation can open up the reader/listener to some of these new and exciting artists and their music, and inspire them to offer their support to these musicians by purchasing their recordings.</span></p><p><span style="font-family: verdana;">This is a purely subjective compilation of favorites and certainly, these selections are somewhat limited to the new and reissued music that I had the privilege of being exposed to over</span><span style="font-family: verdana;"> the past year</span><span style="font-family: verdana;"> as a reviewer. I don't believe in rating music in some kind of ascending or descending order of hierarchy. The music is just so diverse. The artistic approaches used are so unique, even in a particular genre, that any attempt to choose the "best," in my opinion, is an exercise in futility. </span><span style="font-family: verdana;">My list for 2023 is, therefore, in no particular order of excellence. There was a great deal of listening and an enormous amount of effort putting this together, and it was a lot of fun. I hope you all find this music inspiring, creative, and as enjoyable and expansive as I do. I will list my favorite Historical Reissues of importance in a subsequent post. Have a great holiday and enjoy this splendid year in creative music.</span></p><p><b style="font-family: verdana;">Billy Childs:</b><span style="font-family: verdana;"> </span><i style="font-family: verdana;"><b>The Winds of Change:</b> </i><span style="font-family: verdana;">Mack Avenue Records</span></p><p><span style="font-family: verdana;">Splendid piano trio/quartet work inspired by film noir and growing up as a youth in LA. </span></p><p><span style="font-family: verdana;">Billy Childs (p), Scott Coley(b), Brian Blade (drms) guest Ambrose Akinmusire (trmpt)</span></p><div class="separator" style="clear: both; text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/HjcfCMez5Bg?si=HsPAeCKw5gQU7cEj" width="480"></iframe></div><br /><div><br /></div><div><span style="font-family: verdana;"><b>Nick Finzer: </b><i><b>Dreams, Visions, Illusions:</b> </i>Outside in Music</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Inventive ensemble music led by Finzer's ideas and trombone.</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">w/Nick Finzer (trmb), Lucas Pino (t sax, bass clarinet). Alex Wintz (g)</span></div><div><span style="font-family: verdana;">Glenn Zaleski (p), Dave Baron (b), Jimmy MacBride (drms) </span></div><div><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/10eJnPZCl8Y?si=TgUK3kEh4MrWQpsb" width="480"></iframe></div><div><br /></div><div><span style="font-family: verdana;"><b>Kenny Barron</b>: <i><b>The Source</b></i>: Artwork Records </span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Superb mastery in the solo piano format.</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Kenny Barron, solo piano</span></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/MeSqfgtqjds?si=bzcYoWyU2CY8jMWJ" width="480"></iframe></div><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div style="font-family: "Times New Roman";"><span style="font-family: verdana;"><b>Tyshawn Sorey Trio: <i>Continuing</i></b>: PI Records</span></div><div style="font-family: "Times New Roman";"><span style="font-family: verdana;"><br /></span></div><div style="font-family: "Times New Roman";"><span style="font-family: verdana;">The drummer slows the music down to great effect.</span></div><div style="font-family: "Times New Roman";"><span style="font-family: verdana;"><br /></span></div><div style="font-family: "Times New Roman";"><span style="font-family: verdana;">Tyshawn Sorey (drms), Aaron Diehl (p) Matt Brewer (b)</span></div></span></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><span style="font-family: verdana;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4136019918/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2245876899/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://tyshawn-sorey.bandcamp.com/album/continuing">Continuing by Tyshawn Sorey</a></iframe></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Rudy Royston & Flatbed Buggy</b>: <i><b>Day</b> </i> Greenleaf Music</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Americana music at its best.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Rudy Royston (drms), John Ellis (bass clarinet), Hank Roberts(cello),</span></div><div style="text-align: left;"><span style="font-family: verdana;">Gary Versace (accord), Joe Martin (b)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/eZGhhjdPu3M?si=unhsawm6V-Mn1ovi" width="480"></iframe></div><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>John Scofield</b>: <i><b>Uncle John's Band</b></i>: ECM Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Guitar master and his trio reinterpret some new classics.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">John Scofield (g), Vincente Archer (b) Bill Stewart (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270
" src="https://youtube.com/embed/ugTEBmGdrMw?si=eSH4NkJaSrKvvkM2" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Chris Potter:</b> <i><b>Got The Keys to the Kingdom: Live at the Village Vanguard</b></i>: Edition Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Incendiary saxophone and his group light up the stage at the classic venue.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Chris Potter (ts), </span><span style="font-family: verdana;"> Craig Taborn (p), Scott Colley (b), Marcus Gillmore (drms) </span></div><div style="text-align: left;"><span style="font-family: verdana;"> </span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/wBf54PPYGPE?si=sa3yxyCl7Qp_7B0N" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Gretchen Parlato & Lionel Loueke</b>: <i style="font-weight: bold;">Lean In : </i>Editon Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Enchanting vocals backed by world sounds and infective rhythms.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Gretchen Parlatp (voice/perc), Lionel Loueke (guitar/perc), Mark Giuliana (drms),</span></div><div style="text-align: left;"><span style="font-family: verdana;">Burniss Travis (elec bass), Marley Guiliana (Voice 3,6 & 12), Lisa Loueke (voice 3)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/sj5jmCcOcbo?si=WRgsbrSV80skvxAa" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Steve Lehman & Orchestra National De Jazz</b>: <i><b>Ex Machina:</b></i> PI records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Avant-garde orchestration of impressionist music with electronics.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Steve Lehman (alto sax/composition/electronics), guest artists Jonathan Finlayson (trpt), Chris Dingman (vibes), the Orchestra National De Jazz under the direction of Fredric Maurin (composition).</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/xFPii2nSn_Y?si=aLAED7MAvic1lZvf" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Ralph Towner: <i>At First Light:</i> </b>ECM Records</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;">Superlative solo guitar exploring some old favorites and some originals.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Ralph Towner solo ( classic and acoustic guitar) </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/fCCCY-DMxk8?si=5xO8gvcGYW5xz9nY" width="480"></iframe></div><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Sullivan Fortner</b>:<i><b> Solo Game:</b></i> Artwork records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">One of the most talented young pianists performs a solo album of great sensitivity and invention.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Sullivan Fortner (solo piano) </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/tZp8q0SUieA?si=qWFMZ5mXPRQr_eJi" width="480"></iframe></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Brad Turner Quintet: <i>The Magnificent</i></b>: Cellar Music group</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A top-notch outing by this Canadian trumpet player and his talented group that includes an homage to flugelhornist Thad Jones.</span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div style="text-align: left;"><span style="font-family: verdana;">Brad Turner (trmpt/piano), Cory Weeds (ts), Peter Bernstein (g), Neil Swainton (b), Quincy Davis (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/NgGzKObwel0?si=FSUgYUy39Q2-OTXf" width="480"></iframe></span></div><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Denny Zeitlin:</b> <i><b>Crazy Rhythm: Exploring George Gershwin</b></i>:</span></div><div style="text-align: left;"><span style="font-family: verdana;">Sunnyside Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">This pianist has never failed to find his own unique and inspired ways to reimagine some of the canon's classic gems. Gershwin as you never heard quite like this.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Denny Zeitlin: (live solo piano)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/Lxz8Sbt_Cuk?si=sYkJA2uLstOe5Qm5" width="480"></iframe></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Michael Blake: <i>Dance With The Mystic Bliss:</i></b> PM Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A saxophonist who used the passing of his mother,, who was a dancer and a singer, as an inspiration to create and perform this uplifting and optimistic music.</span></div><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Michael Blake (ts,sop sax, flute, alto fl, composer), Guilherme Monteiro (elec g), Mauro Refosco (per & marimba), Skye Steele (violin, rabeca, gonji), Chris Hoffman (cello), Michael Bates (b).</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/tBULf9gxhxM?si=kA7LYfu-l4gLNsjP" width="480"></iframe></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Champian Fulton<i>: Meet Me at Birdland: </i></b>Champion Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A talented pianist/vocalist who brings joy to her live performance at Birdland.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Champian Fulton (voice/piano), Hide Tanaka (b), Fukuski Tainaka (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/G670fqxkCMk?si=Zn8woJizCiA4TLdv" width="480"></iframe></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Brian Blade and the Fellowship Band: <i>Kings Highway</i>: </b>Stoner Hill Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: verdana;">This band creates cinematic vignettes that are gorgeously executed with melodicity, polyrhythmic drive, sometimes fusion tilting, and spectral artistry.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Brian Blade(composer/drms), Jon Cowherd ( piano/synth/composer), Kurt Rosenwinkel (guitar/ elect effects), Myron Walden (alto sax and bass Clarinet), Melvin Butler (tenor sax), Chris Thomas (b)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/0b7RT3TAJvI?si=QhVx2pLD8U3ggsxx" width="480"></iframe></div><div style="text-align: left;"><span style="font-family: verdana;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Chuck Owens with the WDR Big Band: <i>Renderings: </i></b>Mama Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A composer/arranger who always finds a way to make beautiful music with a big band. </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Chuck Owens (comp/arranger), The WDR Big Band w guest artist Sara Caswell (v)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><br /></div> <div style="text-align: center;"><iframe allow="autoplay; clipboard-write; encrypted-media; picture-in-picture; web-share" allowfullscreen="true" frameborder="0" height="315" scrolling="no" src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fwdrbigband%2Fvideos%2F299855488486455%2F%3Fref%3Dembed_video&show_text=0&width=270" style="border: none; overflow: hidden;" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Art Hirahara: <i>Echo Canyon:</i> </b>Positone Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">An upcoming pianist who plays beautifully with intuitively responsive partners on this wonderful album.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Art Hirahara (p), Boris Kozlov (b) Rudy Royston (drms)</span></div><div style="text-align: left;"><br /></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/FW6fkjQZGz8?si=-jxuWXpH-9qYXHXm" width="480"></iframe></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Ryan Keberle & Collectiv Do Brasil: Considerando: </b>Alternate Side Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">The trombonist and his cohort's wonderful modern take on Brazilian music.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Ryan Keberle (trmb), Felip[e Silveira (p), Paulinho Vicente (drms), Felipe Brisola (b)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/AWYTv9C1hv8?si=DYuhNfBczI13BXwI" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><span style="font-weight: bold;">Pat Metheny</span><i style="font-weight: bold;">: Dream Box: </i> Modern Records/BMG </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A solo guitar album from a master.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Pat Metheny: Solo guitar with overdubs "I Always Fall in Love Too Easily"</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/ScHpek3b1UI?si=zuK1t3TycBaYkwRs" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Sammy Figueroa: <i>Searching for a Memory</i>: </b>Ashe Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Reclaiming a link to the music of his father Charles Figueroa a one-time famous romantic Latin singer whom his son Sammy didn't know well. </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Sammy Figueroa (per, voice), Gonzalo Rubalcaba (p), Aym</span><span face=""Amazon Ember", Arial, sans-serif" style="background-color: white; color: #0f1111;"><span style="font-size: medium;">ée</span></span><span style="font-family: verdana;"> Nuviola (vocals), Miguel Zen</span><span face=""PT Serif", sans-serif" style="background-color: white; border: 0px; font-size: 17.6px; margin: 0px; padding: 0px; vertical-align: baseline;">ó</span><span style="font-family: verdana;">n (a sax) John Daversa (trmpt), Felipe Lamolgia (sax), Magalys Herrera (flute), Ricardo Rodriguez (b), Munir Hossn (multi inst) </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/iOaBV00qvLE?si=xkz35vdzka4BcwrG" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Loren Stillman: <i>Time and Again:</i> </b>Sunnyside Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A powerful modern voice on the saxophone that is influenced by his heroes Warne Marsh and Lee Konitz but has created his own unique style. </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Loren Stillman (ts), Drew Gress (b), Mark Ferber (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/wklbS5DWuBM?si=yia3kSkhGo0kJqn4" width="480"></iframe></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Nicole Zuraitis: <i>How Love Begins:</i></b><i> </i>Outside in Music</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A fresh voice that knows how to deliver a good melody.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Nicole Zuraitis (vocal/piano), Gilad Henkselman (g), Maya Kronfeld (org/Rhodes), Dan Pugh (drms) Christian McBride (b), Billy Kilson (drms) Thana Alexa/Julia Adamy (backup vocals on 2)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/eASYnT4wNEY?si=JcLnhW7n6HjPlsib" width="480"></iframe></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Ambrose Akinmusire: <i>Owl Song:</i> </b>Nonesuch Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">The enigmatic trumpeter, who often finds there is more with less in playing his instrument, has camaraderie with the way owls seem to be more quiet observers in this otherwise rapid, frenetic world of oversaturation.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Ambrose Akinmusire (trmpt), Bill Frisell (g), Herlin Riley (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2440184820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://ambroseakinmusire.bandcamp.com/album/owl-song">Owl Song by Ambrose Akinmusire, Bill Frisell, Herlin Riley</a></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Darcy James Argue's Secret Society: <i>Dynamic Maximum Tension:</i> </b>Nonesuch Records</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;">Using admiration for people like architect/futurist Buckminster Fuller, code buster/AI conceptualist Alan Turing, and sassy actress/satirist Mae West, composer/arranger Darcy James Argue creates a new suite of music for his Secret Society orchestra.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Darcy James Arge (composer/arranger/conductor), Dave Pietro (a sax), Rob Wilkerson (a sax), Sam Saigursky (a sax), John Ellis (t sax, Bass clar), Carl Maraghi (bar sax) Seneca Black (trmpt), Liesl Whitaker (trmpt), Matt Holman (trmpt), Nadje Noordhuis (trmpt) Ingrid Jensen (trmpt), Brandon Lee (trmpt), Mike Fahie (trombone), Ryan Keberle (trombone), Jacob Garchik (trombone), Jennifer Wharton ( bass tromb), Sebastian Noelle (g), Adam Birnbaum (p), Matt Clohesy (b), Jon Wilan (drms), Sara Caswell (viol), Hardanger d'Amore (viol), Cecile McLorin Savant (vocals)</span></div><div style="text-align: left;"><br /></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2694295752/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3203242309/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://darcyjamesargue.bandcamp.com/album/dynamic-maximum-tension">Dynamic Maximum Tension by Darcy James Argue's Secret Society</a></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b><i>Mark Turner Quartet:</i></b> <i><b>Live at the Village Vanguard:</b></i> Giant Steps Arts</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Distinctive saxophonist and his quartet captured live at the famous NYC club.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Mark Turner (tenor sax/composer), Jason Palmer (trmpt), Joe Martin (b), Jonathan Pinson (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div>
<div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3273783738/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4104764232/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://markturnerjazz.bandcamp.com/album/live-at-the-village-vanguard">Live At The Village Vanguard by Mark Turner Quartet</a></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Claire Daly w/George Garzone: <i>Vu Vu for Frances</i>:</b> Self Produced</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Claire Daly (bari sax), George Garzone (ten sax), Jon Davis (p), Dave Hofstra (b),</span></div><div style="text-align: left;"><span style="font-family: verdana;">David F. Gibson (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A nostalgic but modern-sounding trip back to the days in NYC when 53rd Street was the jazz hangout for such fans as Frances, a ninety-year-old fan of Daly's to whom the album is dedicated.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/YTz7s_6VhiA?si=29NxWf8FYNoVYAEo" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b style="font-style: italic;">Jim Snidero featuring Kurt Rosenwinkel: Far, Far Away: Live at the Deer Head Inn: </b>Savant Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">This intuitive, well-polished rhythm section propels this live recording giving plenty of room for brilliant interactions to develop between the altoist, the guest guitarist, and the pianist.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Jim Snidero (a sax), Kurt Rosenwinkel (guitar/electronics), Orrin Evans (p), Peter Washington (b), Joe Farnsworth (drums)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/Xxg10HMhu4U?si=SlFRwoCFaPAfWYQv" width="480"></iframe></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><div><span style="font-family: verdana;"><b>Geri Allen & Kurt Rosenwinkel:</b> <i><b>A Lovesome Thing:</b> </i>Motema Music</span></div><div><i><br /></i></div></div><div style="text-align: left;"><span style="font-family: verdana;">A magical and memorable one-time collaboration between the sensitive pianist and the enigmatic guitarist captured live at the Philharmonie de Paris in 2012.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/6ildpDK_HYo?si=JtzfnXqI_vSGMMyP" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>John Ellis Quartet: </b><i style="font-weight: bold;">Bizet: Carmen in Jazz:</i><b> </b>Blue Room Music</span></div><div style="text-align: left;"><b><span style="font-family: verdana;"><br /></span></b></div><div style="text-align: left;"><span style="font-family: verdana;">The prolific multi-reedist and his quartet tackles the music of Carmen, an opera written by <b> </b>Georges Bizet in the 1800s, and gives the music a jazz and at times New Orleans-like treatment that is inventive and quite enjoyable.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">John Ellis (saxophones and bass clarinet(, Gary Versace (p), Reuben Rogers (b) Jason Marsalis (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjbl9x35YwFbBPZgtQuRCVuARlKr5E6bP2lRAfWEgSthU_eDe78vZYf6bT29gP9Y_oWkQCUYoG_Ssof5PmnmnUWHa9COcYOyzi6Ue5ZCtCecMcqyr1bOXnorkeK-kii2Vnn6eR2NDs44Rxk5aN0g88N9Ro7wqAYcH4JlCP2wzZH-HNuLXEeJ1Po-0ipxw/s320/zz%20John%20Ellis%20Quartet.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="286" data-original-width="320" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjbl9x35YwFbBPZgtQuRCVuARlKr5E6bP2lRAfWEgSthU_eDe78vZYf6bT29gP9Y_oWkQCUYoG_Ssof5PmnmnUWHa9COcYOyzi6Ue5ZCtCecMcqyr1bOXnorkeK-kii2Vnn6eR2NDs44Rxk5aN0g88N9Ro7wqAYcH4JlCP2wzZH-HNuLXEeJ1Po-0ipxw/s1600/zz%20John%20Ellis%20Quartet.png" width="320" /></a></div><br /></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Cecile McLorin Savant: </b><i style="font-weight: bold;">Melusine:</i> Nonesuch Records</span></div><div style="text-align: left;"><b><br /></b></div><div style="text-align: left;"><span style="font-family: verdana;">The chanteuse mixes five originals and interpretations of nine other traditional songs most sung in southern French, Haitian Kreyol, and English by this talented, always surprising talent. </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Cecile McLorin Savant (vocals), Sullivan Fortner (p) Weedie Braimah (Djembe), Aaron Diehl (p), Luques Curtis (b), Paul Sikivie (b), Kyle Poole(drms), Obed Calvaire (drms) Lawrence Leathers (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/mfBcbc9oqwY?si=fSc6Kp2biyt8xNbW" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Langren, Wollny, Danielsson, Haffner:<i> 4 Wheel Drive II</i></b>; ACT Music</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A European supergroup plays their own take on popular music by Paul Simon, Paul McCartney, Phil Collins. Billy Joel and their own originals. </span></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;">Nils Langren(trombone/vocals), Michael Wollny (p), Lars Danielsson (baa/cello), Wolfgang Haffner (drms) </span></div><div style="text-align: left;"><span style="font-family: verdana;"> </span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/B3w1sycP92E?si=7KZJeU7J2ghmlmjB" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Michael Dease: <i>Swing Low</i>: </b>Positone Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">The phenomenal trombone artist and educator picks up the baritone saxophone to show he is not a one-trick pony and can swing on the big saxophone. </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Michael Dease (bari sax), Ingrid Jensen (trmpt), Art Hirahara (p), Boris Kozlov (b), Rudy Royston (drms) Altin Sencalar (trombone 7,8, 10) </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div> <div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3303644757/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://michaeldease.bandcamp.com/album/swing-low">Swing Low by Michael Dease</a></iframe></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Miguel Zenón and Luis Perdomo:</b> <i>El Arte Del Bolero Vol 2 : </i>Meil Music</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Zenon's alto meets with Perdomo's piano in this follow-up duo recording of Latin American Boleros reimagined from a jazz point of view.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Miguel Zenón (alto sax) Luis Perdomo (piano)</span></div><div style="text-align: left;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4228033610/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://miguelzenon.bandcamp.com/album/el-arte-del-bolero-vol-2">El Arte Del Bolero Vol.2 by Miguel Zenón & Luis Perdomo</a></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>J.D. Simo Trio: <i>Songs from the House of Grease:</i></b><i> </i>Self-Produced</span></div><div style="text-align: left;"><span style="font-family: verdana;"><i><br /></i></span></div><div style="text-align: left;"><span style="font-family: verdana;">A roots guitar player who crosses the lines between blues with jazz and greasy blues.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">J.D. Simo ( /vocal, vox, guitar), Todd Bolden (vocal, bass), Adam Abrashoff (drms)</span></div><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3804169576/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://jdsimo.bandcamp.com/album/songs-from-the-house-of-grease">Songs From The House Of Grease by JD SIMO TRIO</a></iframe></span></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Rachel Ekroth: <i>Humanoid: </i></b>Sam First Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">This talented composer/pianist/vocalist brings her potent quartet to LA's latest jazz club. The album is recorded live and the audience approves.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Rachel Ekroth (piano/composer), Andrew Renfroe (guitar), Billy Mohler (b), Tina Raymond (drms)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><span style="font-family: verdana;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/KtvZu05Ip98?si=29hjy1xnPmxVcFjj" width="480"></iframe></span></div><div style="text-align: center;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Blue Cranes: <i>My Only Secret:</i> </b>Butcher Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A West Coast, Portland-based group that has been together since 2004. They like to meld elements of post-bop jazz with challenging compositions that sometimes avoid definitive structure, can have rock influences, and create vibrant impressions.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><span style="font-family: verdana;">Reed Wallsmith (alto saxophone, keys, percussion), Joe Cunningham (tenor saxophone, keys, percussion), Rebecca Sanborn (keyboards), Jon Shaw (bass)<br />Ji Tanzer (drums)</span><div style="text-align: left;"><span style="font-family: verdana;"><span style="background-color: white; color: #363636;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: verdana;"><span style="background-color: white; color: #363636;"><br /></span></span></div> <div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=510407255/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://beaconsound.bandcamp.com/album/my-only-secret">My Only Secret by Blue Cranes</a></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Joshua Redman w/ Gabrielle Cavassa: </b><b style="font-style: italic;">Where Are We: </b>Blue Note Records </span></div><div style="text-align: left;"><span style="font-family: verdana;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: verdana;">The tenor master and his group explore new music with a talented new vocalist.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Joshua Redman (t sax), Gabrielle Cavassa (vocals), Aaron Parks (p0, Joe Sanders (b), Peter Bernstein (g), Kurt Rosenwinkel (g), Joel Ross ( vibes), Nicholas Payton (trmpt)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/5m-p4W2d8Ss?si=aCkol6gAKzaLuvzI" width="480"></iframe></div><div style="text-align: left;"><span style="font-family: verdana;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Walter Smith III: Return to Casual:</b> Blue Note Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A powerful album from an ever-growing voice on tenor saxophone and a new energetic group.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><span style="font-family: verdana;">Walter Smith III (t sax) Kendrick Scott (drms), Taylor Eigsti: (Piano/Rhodes), Matt Stevens: (g) Harish Raghavan: (b)</span><div><span style="font-family: verdana;"><br /></span><div style="text-align: center;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/wp1zr6zRCtA?si=CyvPOnCJUbpgSQLm" style="background-image: url(https://i.ytimg.com/vi/wp1zr6zRCtA/hqdefault.jpg);" width="480"></iframe></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><span style="font-family: verdana;"><b>Rob Luft: </b><i style="font-weight: bold;">Dahab Days:</i> Edition Records</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">A British guitarist who offers an original aerial sound with strings playing his own compositions, as well as his takes on music by Ellington, and Aphex Twins.</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;">Rob Luft (guitar and composer), Joe Wright (t sax), Joe Webb (piano/organ), Tom McCreedle (b), Corrie Dick (drms), Alice Zawadzki (voice/violin), Byron Watson (trmpt), Steve Buckley (alto sax and penny whistle)</span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><br /></div></div><div style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3153088282/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://robluft.bandcamp.com/album/dahab-days">Dahab Days by Rob Luft</a></iframe></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-15247829161799953052023-11-19T15:35:00.000-08:002023-11-19T15:35:44.401-08:00Pianist Rachel Ekroth and her Quartet live at LA's Sam First Jazz Club<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfoYUeeHiJc_7tHocUAxQfxCFHtjfU2RkNkahec5uS0XL7q-_yFtEtuATnyGPU7D4gcNdtXj0bRnqtWiFXQXIAHqCVIb7A2azO0U8WlihLiMCxks0AGcVaggLi5H1bqAlVSiQjCS-zAvhauxu2ULobxrHHe7VutBmDrJXhbcMTEVmQEEzIYVFjzm1Z-c/s1024/unnamed-11-1021x1024.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1021" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBfoYUeeHiJc_7tHocUAxQfxCFHtjfU2RkNkahec5uS0XL7q-_yFtEtuATnyGPU7D4gcNdtXj0bRnqtWiFXQXIAHqCVIb7A2azO0U8WlihLiMCxks0AGcVaggLi5H1bqAlVSiQjCS-zAvhauxu2ULobxrHHe7VutBmDrJXhbcMTEVmQEEzIYVFjzm1Z-c/w399-h400/unnamed-11-1021x1024.jpg" width="399" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rachel Ekroth <b><i><a href="https://samfirstrecords.com/">Humanoid</a></i></b> Live at Sam First's </td></tr></tbody></table><p>Pianist/vocalist/composer Rachel Ekroth released her latest album <b style="font-style: italic;"><a href="https://samfirstrecords.com/">Humanoid</a> </b>this year. It<b style="font-style: italic;"> </b>is an impressive 'live' capture of Ekroth's group's two-night performance at Los Angeles' jazz club Sam First's in Oct of 2022. The music is performed with professionalism and sincerity and there is a palpable appreciation from the audience that recognizes they are listening to a group that meshes well and enjoys making music together. </p><p>My first exposure to Ekroth was in 2022 when she released a fresh, electronically augmented, and creatively different album titled <b style="font-style: italic;"><a href="https://www.racheleckroth.com/">The Garden </a></b>with saxophonist Donnie McCaslin, bassist Tim Lefebre, Christian Euman on drums, Andrew Krasilnikov on soprano sax, Austin White on modular synth, and Nir Felder on guitar. It featured Ekroth on piano and an array of electronic keyboards playing a contemporary mix of artistically conceived soundscapes; sonic explorations that follow Ekroth's imaginations. Although heard sparingly, Ekroth also adds her own hypnotic, Portishead-like, trip-hop vocal to boot. I chose the album as one of the year's best and it was rightly nominated for a Grammy in the contemporary instrumental category.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuzGfzYLvTYIzI7XpVqmGuEo0iK2O_r4AWZ6xS3GiR4-60TT6vnGGg0JLBmA_sjGr1TdwTMOZpAEV2VZkm7smpH5U0UYarTDuJTzHPiRojUicIBXG5YFVKoBtWO71NxSxfBiDdKkpYYg-3P1r860OGWgcUPP6sxVwTXucummecGqyLiDPHrbr3goS3iDE/s2048/Rachel-Eckroth-The-Garden-1-scaled.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuzGfzYLvTYIzI7XpVqmGuEo0iK2O_r4AWZ6xS3GiR4-60TT6vnGGg0JLBmA_sjGr1TdwTMOZpAEV2VZkm7smpH5U0UYarTDuJTzHPiRojUicIBXG5YFVKoBtWO71NxSxfBiDdKkpYYg-3P1r860OGWgcUPP6sxVwTXucummecGqyLiDPHrbr3goS3iDE/s320/Rachel-Eckroth-The-Garden-1-scaled.webp" width="320" /></a></div><br /><p>On <i><b>Humanoid </b></i> Ekroth has chosen to leave both her voice and the electronics behind this time and concentrate on a more acoustic, distinctively modern jazz-oriented approach to express her musical ideas at her LA gig. </p><p>There are definitely jazz strands in this woman's DNA. Ekroth plays piano here with her well-matched bandmates Andrew Renfroe on guitar, Billy Mohler on bass, and Tina Raymond on drums. The musical selections include four Ekroth compositions, two of which "Vines" and "Under a Fig" are reprised from <i><b>The Garden</b></i>. The other songs include Duke Ellington's "Fleurette Africaine," Bill Frisell's "Strange Meeting," bandmate Billy Mohler's "Evolution," and my favorite Carla Bley's "Lawns." The two new Ekroth offerings from this live recording are "Mind" and the title cut "Humanoid."</p><p>"Humanoid" starts with a jaunty bass line by Mohler, augmented by Raymond's cadenced drums and some synchronous lines nicely matched by Renfroe and Ekroth in unison. It then expands into some airy guitar lines that show Renfroe's silky, echoed explorations in all their splendor. Ekroth's piano takes center stage as she shows an intuitive sense of direction with her improvisational expansions. Her playing is not linear but includes jaunts and turns, small atonal lines that seem to be off course before they are magically melded into logical conclusions. </p><p>The band again exquisitely employs synchronous playing to lay out the opening lines of "Mind." Mohler's bass line has a staccato feel to it and the syncopated groove gives Ekroth the background upon which to improvise. Raymond thoughtfully adds well-placed percussive embellishments that keep the sustained pulse from being repetitive.</p><p>It was certainly a timely choice to include Carla Bley's memorable composition "Lawns." "Bley's music and career have been an inspiration to any aspiring composer like Ekroth and it shows here. The sauntering feel of this contemplative jewel is captured so well by the band. Renfroe's guitar solos first and in his succinct, uncluttered approach emanates the inclusive, joyous feel that the song evokes. Ekroth's piano follows and her emotive improvisation produces a cascading set of descending lines that wrap you up like a blanket of warmth and joy.</p><p>"Under A Fig Tree" has a repeating opening line that is laid down by Mohler and Ekroth before Renfroe's probing guitar produces an eerie melodic statement. There is a cinematic feel to this one. Ekroth and Renfroe play off each other in a more free-formed exchange that grows in ever-increasing intensity. Mohler's bass maintains a pulse and Raymond's drum work adds impressionistic accents to the mix. The return to the eerie melodic statement serves almost as a coda to a soundtrack from a macabre Hitchcock film.</p><p>The inclusion of the less-known Ellington compositions like "Fleurette Africaine" is a statement of confidence from Ekroth. Ellington first released it in his 1962 album <b style="font-style: italic;">Money Jungle.</b> Besides reverence for the history of the music, it also shows a spirit of adventure for tackling this in her own way. Mohler's bass lays down a throbbing line as Ekroth pianistically searches through the possibilities of expression about this Flower of Africa-themed ode. This is certainly a fit and effective tribute to the master, Ellington.</p><p>"Evolution" opens with a Fleet, burnished bass intro by Mohler that resonates with a woody warmth before he creates an ostinato line that sets up the group. Ekroth's piano attack is darting, stabbing, and percussive. Renfroe sits this one out, but Raymond offers an explosive solo that percolates.</p><p>Bill Frisell's "Strange Meeting" is originally from his 1985 album <i style="font-weight: bold;">Rambler, </i>although he has reprised the tune on at least two other albums. A good theme can always be an inspiration for future interpretations. The mysterious melody evokes an almost unexpected encounter with someone or something or maybe an extraterrestrial. The music's unsettling line draws you in like a viewer of a Rod Serling episode. Ekroth's group brings the music to life with their own unique interpretations of the impressionistic scene. Raymond's drum work here is particularly inspired. </p><p>The closing song on this album is Ekroth's "Vines," which opens with an abstract intro from her piano. Mohler's bass pulses with a sustained hum as Ekroth explores before letting loose in a more patterned expansion. Like vines left to their own devices, the music spreads, clings for support, and propagates into a larger entity. Mohler and Raymond create a whirl before Renfroe enters the scene with his own guitar-centric thoughts. Mohler gets his strings to hum with agitated vibrations before the group ends in a faded coda. </p><p>Rachel Ekroth and her band delivered a creative evening of well-played, intelligent music and the audience responded in knowing appreciation. Ekroth is a talent that is clearly growing as a composer and we look forward to hearing more from this artist.</p><p> <iframe frameborder="0" height="270" src="https://youtube.com/embed/KtvZu05Ip98?si=RNjpOGViL5RZFTOi" width="480"></iframe> </p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-8490151076641598272023-10-09T16:36:00.001-07:002023-10-09T16:36:07.771-07:00The Dynamic Trio of Larry Goldings, Peter Bernstein and Bill Stewart Impress at Portland's 1905 Jazz Club<p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCwTkN5lMUDpC850gpmvXndPF7uF68upsJrbK5oxNZ4Ev1gDJwF4ixsAwDb7cXpEqVxeYqMGj7PE7PlcE43ZSin6eeP26y_c4lCHIr9qGDa1ohD6xqdiw3CipoPKPivurl63X3KHSDsUWsrpO5W-8iSToC4AgXs8vljg7i9IEhNuQ1vmWTQ7onAet6lPs/s2560/Goldings%20Trio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2049" data-original-width="2560" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCwTkN5lMUDpC850gpmvXndPF7uF68upsJrbK5oxNZ4Ev1gDJwF4ixsAwDb7cXpEqVxeYqMGj7PE7PlcE43ZSin6eeP26y_c4lCHIr9qGDa1ohD6xqdiw3CipoPKPivurl63X3KHSDsUWsrpO5W-8iSToC4AgXs8vljg7i9IEhNuQ1vmWTQ7onAet6lPs/w640-h512/Goldings%20Trio.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Peter Bernstein, Larry Goldings Bill Stewart</td></tr></tbody></table></p><p><span style="font-family: verdana;">The dynamic organ/guitar/drum trio of Larry Goldings, Peter Bernstein, and Bill Stewart graced the stage of Portland's <i><b>1905</b></i> for two nights on October 3 & 4th. I was fortunate to attend the early set on the Wednesday show. Anytime you can see this trio live it is a special occasion. The New York Times Nate Chinen once said</span><span style="font-family: verdana;"> <i>"Two of the best organ trios of the last decade have featured the same three players. Technically speaking, it’s just one group, variously billed ... Consisting of Mr. Goldings on organ, Mr. Bernstein on guitar, and Bill Stewart on drums..."</i></span><span style="font-family: verdana;"><span style="color: #363636;"><span style="background-color: white;"> </span></span>High praise for this trio that never seems to be a hyperbolic claim and it certainly more than lived up to the expectations on this evening at the <b style="font-style: italic;">1905, </b>which always seems to get top-notch talent.</span></p><p><span style="font-family: verdana;">These guys have known each other since 1989 and their first recording titled </span><b style="font-family: verdana; font-style: italic;"><a href="https://www.amazon.com/Intimacy-Blues-Larry-trio-Goldings/dp/B004W6JJRS">Intimacy of the Blues</a> </b><span style="font-family: verdana;">was released in 1991.</span><b style="font-family: verdana; font-style: italic;"> </b><span style="font-family: verdana;">T</span><span style="font-family: verdana;">hat's a thirty-two-year run- an impressive feat by any measure! While the</span><span style="font-family: verdana;"> members have, </span><span style="font-family: verdana;">as both leaders and collaborators</span><span style="font-family: verdana;">, followed many diverse projects with other musicians, their loyalty to each other is a lasting testimony to the true friendship and magical chemistry that these men have when they sit down and make music.</span></p><p><span style="font-family: verdana;">Larry Goldings is a talented keyboard artist who originally hailed from Boston. He studied classical piano as a youth and attended the Eastman School of Music. He moved to NYC in 1986 and attended the New School. At various times, Goldings studied with Ran Blake, Keith Jarrett, Jaki Byard, and Fred Hersch. In 1988 Goldings started to develop his B3 organ sound at a regular trio gig he procured at <b>Augies' Jazz Bar</b> (presently <b>Smoke</b>) in NYC with Bernstein and Stewart, and the rest is history. </span></p><p><span style="font-family: verdana;">Goldings' distinctive sound is often compared to the enigmatic approach of Larry Young on the B3 and he credits the pianist Dave McKenna, a master of the left-hand bass line, as an inspiration for his own bass line abilities on the B3's foot pedals. His unique approach to the instrument made his services in demand as a sideman for various artists in the worlds of pop, rock, Brazilian, R&B, alternative, as well as jazz. Goldings has collaborated with the likes of John Scofield, Michael Brecker, Herbie Hancock, and Pat Metheny, along with popular artists like Beck, Tracy Chapman, Norah Jones, and Rickie Lee Jones.</span></p><p><span style="font-family: verdana;">Peter Bernstein is a native of NYC. He attended classes at Rutgers and the New School. He studied guitar with Ted Dunbar and piano with Kenny Barron. He was twenty-three when he was offered a spot to perform at the JVC Jazz Festival by guitarist Jim Hall in 1990. Bernstein has performed with Brad Mehldau, Jimmy Cobb, Lee Konitz, Eric Alexander, Joshua Redman, and Dr. Lonnie Smith to name a few. </span></p><p><span style="font-family: verdana;">The drummer Bill Stewart was raised in the midwest in Des Moines, Iowa. He was largely self-taught but attended William Patterson College under the direction of bassist Rufus Reid. There he studied drums under one-time Bill Evans drummer Eliot Zigmund and Horacee Arnold. After moving to NYC, he joined guitarist John Scofield's Quartet and Goldings and Bernstein in the trio. Stewart has collaborated with Joe Lovano, Chris Potter, Dave Holland, Larry Grenadier, Steve Wilson, Pat Martino, and other notables.</span></p><p><span style="font-family: verdana;">On this set, the trio warmed up the audience with a melodically rich classic, Gus Arnheim's "Sweet and Lovely." Opening with Bernstein's toasty-sounding hollow-bodied guitar, which has a burnished, Wes Montgomery-like tone. Goldings enters, adding his Leslie speaker-armed B3 to the mix with his eerie ability to utilize his instrument's modulating powers to swell and ebb in simpatico collaboration. Stewart's penchant for melodicism on his skins and cymbals carries the rhythm with poise. These guys have a rapport that is almost telepathic, a sensory experience that makes you believe they have learned to tap the creative ether and can evoke that common mind space almost at will. </span></p><p><span style="font-family: verdana;">After playing a pretty, new composition by Stewart titled "Turquoise," Goldings' takes the mic and dons his alter ego personality- a dry, tongue-in-cheek humorist who uses subtle sarcasm to introduce or maybe not the next tune, Goldings' own composition "Mr. Meagles." Meagles is a character from Dickens' novel <i>Little Dorrit</i>, which to be honest, I have never read, so I can't assume to know why Goldings called this one by that name. To my knowledge, the song was first heard in 2014 on the trios recording <i style="font-weight: bold;"><a href="https://www.peterbernsteinmusic.com/ramshackle-serenadehttps://www.amazon.com/Ramshackle-Serenade-Larry-Goldings/dp/B00ISEY2YA">Ramshakle Serenade</a>. </i>Goldings activates a small electronic device that slightly synthesizes/modulates the sound of his Hammond B3. The music has an ostinato-based groove established by Berstein's guitar and Goldings' organ. It's a slow-building simmer that has a stealth-like funk to it. Bernstein's probing, warm guitar sets the melody line and Goldings' pulse-like keyboard work sets the groove, all propelled by Stewart's creative cymbal and trap work. When Goldings does solo he always fastidiously maintains the bass line while exploring the harmonic possibilities using creativity and alternate voicings. Stewart's roiling drum solo is another treat to behold. This song keeps the audience bopping their heads to the infectious beat.</span></p><p><span style="font-family: verdana;">The group picks up the pace with a Gary Bartz song "Libra" that they recently included in their latest Smoke Records release <i style="font-weight: bold;"><a href="https://www.amazon.com/Perpetual-Pendulum-Bernstein-Stewart-Goldings/dp/B09QS8D634">Perpetual Pendulum</a>. </i> Stewart starts out this one with a repeating, stabbing snare and bass drum line before Berstein's guitar and Goldings' organ play a swift, synchronous counter line that sets up the tension in this song. Goldings' bass lines are rhythmic and in the groove while he accentuates Bernstein's lead guitar lines brilliantly. Berstein fills with fleet single lines and well-placed chordal accents like a master impressionist. Like a freed bird, Bernstein releases a flow of ideas that are exhilarating. When the keyboard wizard takes his turn out front he offers a series of swirling, swelling, and modulating lines that drive this one into a frenzy of joyous and inspired excitement. Not to be left behind, Stewart explodes in a carefully controlled solo that is beautifully melodic and intuitive.</span></p><p><span style="font-family: verdana;">The group follows these two smokers with Bernstein's gorgeous take on the Ralph Rainer ballad "Easy Living" which the guitarist originally played with organist Melvyn Rhymes in 2009. There is nothing like a melody so expertly executed and explored by three so in-tune musicians. The classic Burt Bacharach song "This Guys In Love With You" was originally recorded and made popular by Herb Alpert and the Tijuana Brass in 1968. It's always nice to be an old favorite reimagined in a modern way and these guys took this gem and made it their own. </span><span style="font-family: verdana;">The set ended with a Peter Bernstein catchy composition "Jive Coffee" originally recorded on his album <i style="font-weight: bold;"><a href="https://www.peterbernsteinmusic.com/signs-of-life">Signs of Life </a></i>from 2090 and re-released on his <a href="https://peterbernstein.bandcamp.com/album/signs-live"><b><i>All Too Real</i></b> (Live) </a>from 2017. This swaying, joyful song has Bernstein/Goldings/Stewart finding their groove, allowing the song to inspire a free, exquisite interaction of expression that left the audience joyful and grateful. </span></p><p><span style="font-family: verdana;">If you have the opportunity to see these guys you will not be disappointed.</span></p><p><iframe frameborder="0" height="270" src="https://youtube.com/embed/PtqThN7-wQo?si=9eYgrhEo-InVRX2q" width="480"></iframe></p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-2467479890950008142023-09-23T17:28:00.002-07:002023-09-23T17:28:15.444-07:00 Tyshawn Sorey's Trio: "Continuing" w/ Aaron Diehl and Matt Brewer <p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh2TniMyBL5xqeZR6bfYEglYhGrCVl_7cDmgVpXjSnHuqz4mySVqvfDCN8Tobwbak1YE4OVEzO4N8sjrKiUcCIAgxwcb0O0EFi2GP6ymYjBRHd45AeVOmrhdbCRas9B0NEAhpYQXPB2yikaERwl0JIxOI9aPIFgxzfyn2_wEXshuV3qgvzYb-_xvFGprM/s700/a1804453726_16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh2TniMyBL5xqeZR6bfYEglYhGrCVl_7cDmgVpXjSnHuqz4mySVqvfDCN8Tobwbak1YE4OVEzO4N8sjrKiUcCIAgxwcb0O0EFi2GP6ymYjBRHd45AeVOmrhdbCRas9B0NEAhpYQXPB2yikaERwl0JIxOI9aPIFgxzfyn2_wEXshuV3qgvzYb-_xvFGprM/s320/a1804453726_16.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Tyshawn Sorey Trio : <i><b>Continuing</b></i>- Pi Recordings</td></tr></tbody></table><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">The drummer/composer/arranger Tyshawn Sorey never ceases to impress. This time his trio of Aaron Diehl on piano and Matt Brewer on bass released <i><b>Continuing</b></i> on Pi Recordings at the end of June and it takes a deliberate, thoughtful, sometimes slow simmer approach to make its artistic point. Sorey has one of the most creative musical minds out there today. He seems to reinforce this notion with each of his successive releases like this one on the heels of his 2022 highly acclaimed <i><b>Mesmerism</b></i> and <i><b>The Off-Off Bro</b></i></span><span style="font-family: verdana;"><i><b>a</b></i></span><span style="font-family: verdana;"><i><b>dway Guide to Synergism</b></i>. </span></p><p><span style="font-family: verdana;">On <b><i>Continuing, </i></b>Sorey and his bandmates take three</span><span style="font-family: verdana;"> songs culled from the canon of some recently passed masters' artwork. Wayne Shorter's "Reincarnation Blues" was first heard on Art Blakey's 1962 <i><b>Buhaina's Delight</b></i>, pianist Ahmad Jamal's "Selertus"first heard life on Jamal's 1958 release <b><i>Portfolio of Ahmad Jamal</i></b>, and "<span>In What Direction Are You Headed"</span><i style="font-weight: bold;"> </i>from Sorey's mentor Harold Mabern, to whom this album is dedicated. The one outlier is the Earl K. Brent/Matt Dennis classic "Angel Eyes,"<i style="font-weight: bold;"> </i>which was<i style="font-weight: bold;"> </i>from the 1953 film<i><b> Jennifer </b></i>where Dennis, the songwriter, played piano and performed it for the first time. The song later became part of the canon when it was picked up by jazz artists like Dave Brubeck, Jim Hall, Gene Ammons, and Chris Conner to name a few. </span></p><p><span style="font-family: verdana;">What is beautiful about this album is the care and extended time that these terrifically sympathetic musicians take to develop their expressive musical interpretations of these gems.</span></p><p><span style="font-family: verdana;">Starting with Shorter's "Reincarnation Blues," the trio takes this hard bop tune and gives it a slow blues saunter of a rhythm with a metronomic feel. The music is brilliantly walked by Brewer and cadenced to perfection by Sorey. Diehl's slowly developed harmonic ideas are explorative and spare, but yet never lack in grabbing your attention. At about the 3:58 mark, Brewer offers a probing bass solo that is responded to by Sorey's selective percussive responses. The group punctuates the music with a sense of increased intensity at the 7:07 min mark. They raise the heat dynamically as Diehl's piano erupts with a gush of notes, Sorey's drum work percolates with intention, and Brewer's bass pulses like a throbbing organ. There is an alloy-like quality to the way these three musicians interact, almost like being fused on the neurological level.</span></p><p><span style="font-family: verdana;">With Jamal's "Seletrtus," we find Sorey and Brewer creating a march-like cadence that sets the tone. Diehl chordally sets a line that has Brewer responding with an alternative take on his buoyant bass. The trio keeps the repeated line like a backdrop to some exploratory bass work by Brewer and syncopated lines by Sorey. Diehl ascends the line with climbing chord work that urges Sorey and Brewer to increase the pace. Sorey's drum work is incredible, a multi-tonal, kinetic feast of rhythmic invention. Diehl's work is resplendent carrying the music over the magically enticing rhythmic feast. </span></p><p><span style="font-family: verdana;">Sorey's "Angel Eyes" is a veritable reinvention of this classic. It simply captivates you. The pace is slow, real slow, and languishing, like an instrumental being given a provocative Shirley Horn treatment, and no less effective than her unique way of making a song all her own. Brewer is given high marks for being able to keep this lazy pace without ever losing the time. Diehl spells out the melody with precise notes that just hang like gorgeously ripe grapes on a fall-season vineyard arbor. Sorey judiciously uses his cymbals to great effect, tickling rhythm from subtle, swirling sounds. These guys bring new possibilities as to how you might listen to this song. Wordless music that speaks volumes. It's like a love affair with this melody. They carry it for almost fourteen intentional minutes and they make you believe that you maybe never really heard this song the way it was supposed to be played before.</span></p><p><span style="font-family: verdana;">Harold Mabern's "In What Direction Are You Headed" is a gospel-inspired, soul-drenched finger-snapping song. Brewer lays a circular line that holds down the vamp. Diehl lays out a wandering pianistic exploration. Sorey's rotating drum work is overflowing with vibrancy and drive. The music has an organic life of all its own offering tinkling piano keys that just float, staccato rolling bass lines that circle like a clock mechanism, and built on a relentless flurry of percussion that just drives this anthem throughout.</span></p><p><span style="font-family: verdana;">The Tyshawn Sorey Trio's <i><b>Continuing</b></i> is certainly worth several listens to appreciate just how rewarding reimagined music can be in the right hands.</span></p><p><br /></p>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=4136019918/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2245876899/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://tyshawn-sorey.bandcamp.com/album/continuing">Continuing by Tyshawn Sorey</a></iframe>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-64379215434008668372023-08-18T16:26:00.000-07:002023-08-18T16:26:03.559-07:00Kate McGarry and Keith Ganz Deliver Beautifully Eclectic Music to 1905 Jazz in Portland <p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoYrqPsmOHM1VA5kmMdlDVMrN55FHhN4Y-HsVDbrN37kp3xOspuS9YNBk28drDA-fo1ehxKC3M0_f_0nJ118n9IYZOTrCK7QU9fZrxSeOQjwfZj0R57Wic1lTqcdEeXqEgf4S3Id4ENLTv9geq8q51KqzHQix1s6ZCjfUWltSlWOUUkwSG0c90Tc21Fr0/s636/McGArry%20and%20Ganz.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="366" data-original-width="636" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoYrqPsmOHM1VA5kmMdlDVMrN55FHhN4Y-HsVDbrN37kp3xOspuS9YNBk28drDA-fo1ehxKC3M0_f_0nJ118n9IYZOTrCK7QU9fZrxSeOQjwfZj0R57Wic1lTqcdEeXqEgf4S3Id4ENLTv9geq8q51KqzHQix1s6ZCjfUWltSlWOUUkwSG0c90Tc21Fr0/w640-h368/McGArry%20and%20Ganz.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br style="text-align: left;" /><span style="font-family: verdana; text-align: left;">Keith Ganz and Kate McGarry (photo credit Ralph A. Miriello)</span></td></tr></tbody></table><p></p><p><span style="font-family: verdana;">The gifted vocalist Kate McGarry and her guitarist husband Keith Ganz had a one-night, two-set performance at Portland's <i><b>1905 Jazz Club</b></i> on August 15, 2023. The two artists reside in Durham, North Carolina so it was a treat to see them at the first set at <i><b>1905 </b></i>on this leg of their west coast tour. </span></p><p><span style="font-family: verdana;">McGarry is a three-time (2009,2019,2021) Grammy Nominee who has made her mark singing with elegance and superb expressivity all her own. Over the years McGarry's craft has found her performing on such revered stages as Carnegie Hall and Lincoln Center. She lights up the stage of such jazz venues as Birdland in NYC, The Velvet Note in Atlanta, hear at <i>1905</i> and after this at Sam First in Los Angeles. She has been featured at jazz festivals like the Newport Jazz Festival, Jazz Baltica, and the Berlin Jazz Fest to name a few.</span></p><p><span style="font-family: verdana;">Guitarist Keith Ganz is himself a talented Grammy nominee. His subtle, thoughtful fretboard work provides the perfect accompaniment and at times the timely rhythmic/harmonic inspiration to McGarry's vocal explorations. Watching these two interpret familiar and more obscure compositions becomes a rewarding journey into an artist's creative use of expression. What's so refreshing is that they are not hamstrung by a repertoire that is shackled by genre or style. </span></p><p><span style="font-family: verdana;">The set opened with Joni Mitchell's "Chelsea Morning" a song from the singer's second album <b><i><a href="https://katemcgarry.com/music/">Mercy Streets</a> </i></b>and released in 2005. Originally, the song was made famous by Judy Collins. It was inspired by Mitchell's neighborhood in the Chelsea section of New York City and is bursting with imagery. Certainly a folk classic, McGarry's voice is the perfect instrument, clear and vibrant, with a knack for storytelling that is effervescent with child-like excitement and awe. She and Ganz don't just play it straight. The vocalist punctuates the imagery in the lyrics with her own vitality. McGarry's instrument is so flexible, so pliant that she probes limits to the music that you maybe never thought could be applied here, revitalizing it and making it her own.</span></p><p><span style="font-family: verdana;">The second song they performed was a campy Isham Jones & Gus Khan composition from 1924 "It Had to Be You." McGarry can be wonderfully coquettish, animated, and expressive when it suits her, and on this one, she made the tune all her own. She is a master of using tone and phrasing to make whatever song she sings distinct.</span></p><p><span style="font-family: verdana;">Ganz's guitar work was precise, fluid and warm throughout. After an expressive take on Leonard Cohen's "Anthem", the two performed a song by Paul Curreri titled "God Moves on the City." Ganz used a capo to change the open stringing and his fleet fingerpicking in the higher register rang through like chimes swept by the wind. McGarry's breathy voice whispered the lyrics like a storyline folktale direct from the Americana tradition. She has an amazing ability to draw you into the story she is telling like she is living it there before you. A transcendental treat for the entire crowd.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWCF9bsa6ie-f7F0U4NN8-q1YFzQFWggrgGKKVUqBMCF1kN16ZH4K_riqX8dV7KCJEnJ9Uqkj_N51nUrR6k0hWLJR_kGgfSo0H3fAP-NHKf89GZM-BNLfmd1nQbzX132nZyJayOhTJEgf4wuYvUQVUC6gktsn31Sq8lDpDGIkPQgVv194UNY4mrq6pA8/s4032/IMG_1925.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTWCF9bsa6ie-f7F0U4NN8-q1YFzQFWggrgGKKVUqBMCF1kN16ZH4K_riqX8dV7KCJEnJ9Uqkj_N51nUrR6k0hWLJR_kGgfSo0H3fAP-NHKf89GZM-BNLfmd1nQbzX132nZyJayOhTJEgf4wuYvUQVUC6gktsn31Sq8lDpDGIkPQgVv194UNY4mrq6pA8/s320/IMG_1925.JPG" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Keith Ganz </td></tr></tbody></table><p><span style="font-family: verdana;">These musicians have </span><span style="font-family: verdana;">telepathic rapport and they next tackled Jerome Kern's "Nobody Else But You," which McGarry recorded on her 2014 album </span><i style="font-family: verdana;"><b><a href="https://katemcgarry.com/music/">The Target</a></b></i><span style="font-family: verdana;">. This shuffling tune featured a glissando of high notes from McGarry and some quick, pert lines from Ganz that allowed McGarry to skat in unison with her partner's guitar lines. There were no charts, just an embedded familiarity with each other's improvisational inclinations, and sometimes, judging by their facial expressions, they playfully surprised each other, extending the well-worn boundaries beyond what may be expected.</span></p><p><span style="font-family: verdana;">Ganz's composition "Snow Picnic" was originally written for one of his earlier bands. McGarry loved its pace and challenging multiple key changes and she included it in her 2005 release <b style="font-style: italic;"><a href="https://katemcgarry.com/music/">Mercy Streets</a></b>. In the intro, McGarry traces the serpentine guitar lines with her voice. The song morphs into a Brazilian-inspired rhythm where she sings the lyrics in Portuguese. Music is an international treasure and it's all so inspiring to hear how world savvy these artists can be in their music. </span></p><p><span style="font-family: verdana;">McGarry has used poems as inspiration for writing songs for them before. This night she chose one that I was not familiar with and missed the title of, but I remember her plaintive voice uttering the line with moving sincerity as she sang the lyrics facing Ganz "My dear, can I be more kind." </span></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlIzaE0GWBHzeMizZr2VOBYmsq2githVYjf42aZLDlGtaii5C4zCayhpoTViEVoBXQCX-w2Dp3G55yzjuzgbipN22C1yWBxiLDjKGxPhdoYhmhnzrWlZREiUq8pV9-CduL0V4o8jv6YIJ9iwILyH31QyIqdKvKSWovY7Kyqvg8uBcWZiDsVApV-7D_Haw/s4032/IMG_1933.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlIzaE0GWBHzeMizZr2VOBYmsq2githVYjf42aZLDlGtaii5C4zCayhpoTViEVoBXQCX-w2Dp3G55yzjuzgbipN22C1yWBxiLDjKGxPhdoYhmhnzrWlZREiUq8pV9-CduL0V4o8jv6YIJ9iwILyH31QyIqdKvKSWovY7Kyqvg8uBcWZiDsVApV-7D_Haw/w400-h300/IMG_1933.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Keith Ganz and Kate McGarry </td></tr></tbody></table><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">The duo changed the mood, digging into the songbook and coming up with their own vibrant take on the Duke Ellington classic from 1939 "In A Mellow Tone." McGarry's voice adapts to the feel of the music and Ganz's guitar masterfully embellishes the music with his subtly sensitive fretboard work. </span></p><p><span style="font-family: verdana;">Another anthem, Bob Dylan's classic "The Times They Are A-Changin'," was brilliantly offered with McGarry's plaintive voice being paced by Ganz's rhythmic guitar work. This song still has a sustained appeal to the audience. They relate to the song's hopeful message only reinforced by a skilled interpreter like McGarry. </span></p><p><span style="font-family: verdana;">The audience was filled with vocalists who came to see this master ply her trade so admirably and they requested that the two reprise her smoky take of the Neil Hefti song <b><i><a href="https://katemcgarry.com/music/">Girl Talk</a> </i></b>from her 2012 album of the same name. McGarry and Ganz didn't disappoint, and even sans Gary Versace's soulful </span><span style="font-family: verdana;">organ accompaniment, the two did a splendid job of digging deep and bringing out the blues in this classic torcher.</span></p><p><span style="font-family: verdana;">This is my third time seeing McGarry and Ganz live and they never fail to make a trip to see them well worth the effort. Their repertoire is impressive and</span><span style="font-family: verdana;"> as eclectic as the mind can make it. </span><span style="font-family: verdana;">Few artists can take a song, reimagine it and astonish you with unique interpretations that are so real and inspired. If you get a chance to catch them live don't miss the opportunity.</span></p><p><iframe frameborder="0" height="270" src="https://youtube.com/embed/K2VkDTyei6E" width="480"></iframe></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><iframe frameborder="0" height="360" src="https://youtube.com/embed/sR-QzAUjkHw" width="480"></iframe></span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"><br /></span></p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-13601871359258097072023-08-11T15:48:00.006-07:002023-08-11T16:01:17.395-07:00 Demonstrating the Enduring Importance of the Musical Legacy of Henry Mancini as one of the best Song writers in the last seventy years.<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBcwTYD0RN7uJFQ-zaGE3tmBNxXrapE80Bm7xxwnXwnnl09W0PUfqKh7pSPXmcTPG1e0JNeedRuiXvJpcMa10kUSWfZY4imHgZC7emcVyBiZMZEDPJCP2m3xE_MavnEjQhPivDuJILgDuxilGPHc0TjeXlTA-jrQN4pQKEZaopmc0H3mY9LaR1taTblGw/s300/Best%20of%20Henry%20Mancini.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="300" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBcwTYD0RN7uJFQ-zaGE3tmBNxXrapE80Bm7xxwnXwnnl09W0PUfqKh7pSPXmcTPG1e0JNeedRuiXvJpcMa10kUSWfZY4imHgZC7emcVyBiZMZEDPJCP2m3xE_MavnEjQhPivDuJILgDuxilGPHc0TjeXlTA-jrQN4pQKEZaopmc0H3mY9LaR1taTblGw/w320-h313/Best%20of%20Henry%20Mancini.jpg" width="320" /></a></div><br /></div><span style="font-family: verdana;">I have long been an admirer of the work of composer/arranger/conductor Henry Mancini. Of all the most prolific music writers for soundtracks of big-screen or television productions, Henry Mancini, and his musical work stands at the apex of that profession. I am going to try to make a case that his iconic and enduring music makes him one of the most important music writers of the last seventy years.</span><div><span style="font-family: verdana;"><br /></span><div><span style="font-family: verdana;">Enrico Nicola Mancini, was born in Ohio and raised predominantly in western Pennsylvania. He studied the piccolo from the age of eight. His first encounter with what would later become a fascination with movie music was his exposure to a Cecile B. DeMille film titled <i>The Crusades</i> from 1935. In 1942 he attended Carnegie Institute of Technology (Carnegie Mellon) and then Julliard in NYC. eventually studying piano, composition, and orchestration. In 1943, at the age of eighteen, Mancini enlisted in the US Army Air Forces and played with the 28th Air Force Band through the end of the war. </span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">After being discharged, Mancini worked with a reestablished Glenn Miller Orchestra as a pianist and arranger before he joined Universal-International's music department working on film scores. Here he began a prolific career as a major contributor to the music of over one hundred movie soundtracks. His score for <i>The Glenn Miller Story </i>won an Academy Award nomination.</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">In 1958 he became an independent composer/arranger where he scored his first television series, the producer Blake Edwards's show <i><b>Peter Gunn</b></i>. From there Mancini's </span><span style="font-family: verdana;">career never looked back.</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">To recall some of Henry Mancini's memorable music tracks from both television and film is to appreciate just how important this man's music was to our musical heritage. A short list of his more memorable music includes the scores of TV shows <i><b>Peter Gunn</b></i> and <i><b>Mr. Lucky</b></i>. Television movies like <b><i>The Thorn Birds</i></b> and <b><i>The Moneychangers</i></b>. Television theme songs for shows like <b><i>Newhart, Hotel, and Remington Steele</i></b>. Film scores included <i><b>Breakfast at Tiffany's</b></i>, <i style="font-weight: bold;">Days of Wine and Roses, The Great Race, The Pink Panther Series, and Victoria Victoria, </i>just a few<i style="font-weight: bold;"> </i>that he did just with director Edwards. He also scored <b><i>Charade, Arabesque, and Two For the Road</i></b> for director Stanley Donen. This list goes on with scores for films by Martin Ritt, <i><b>The Molly Maguires</b></i>; Howard Hawks' <b><i>Hatari, and Man's Favorite Sport? </i></b>, Stanley Kramer's <b><i>Oklahoma Crude</i></b>; Vittorio de Sica's <i><b>Sunflower</b></i>; Arthur Hiller's <i style="font-weight: bold;">Silver Streak, </i>and a score to Alfred Hitchcock's <i><b>Frenzy </b></i>that was ultimately not used.</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Mancini's songs have become standards that retain their appeal to this day. They include <i>Mr. Lucky, Peter Gunn, Moon River, Days of Wine and Roses, Charade, The Pink Panther Theme, A Shot in the Dark, Two for the Road, Theme from Hatari, Baby Elephant's Walk, Dreamsville, and perhaps my favorite Lujan also know as The Slow Hot Wind </i>which was originally released in the <i><b>Mr. Lucky Goes Latin</b></i> album from 1961. </span></div><div><span style="font-family: verdana;"><i><br /></i></span></div><div><span style="font-family: verdana;"><i><span style="font-size: large;">My Contention is that one of the true benchmarks used to judge the importance of a composer's work is to see just how many fellow musicians choose to sing and/or play that person's work. Clearly Mancini meets this benchmark.</span></i></span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><i></i>Let's just use one of my favorite compositions from Mancini. <i>Lujon (also recorded as Slow Hot Wind from the lyrics by Norman Gimbel)</i>, is the name of the percussive instrument used in the artist's original release. Though it was not related to anything in the show Mr. Lucky despite being part of the album <i><b>Mr. Lucky Goes Latin,</b></i> it did have a durable and endearing effect on the world of jazz music. Here are several different takes on this superb song. Let me know what is your favorite version.</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">The original from Henry Mancini :</span></div><div><span style="font-family: verdana;"><br /></span></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/RjsG3i6L9vw" width="480"></iframe></div><div><br /></div><div><span style="font-family: verdana;">Here is one of the definitive vocal performances of this great song by the inimitable voice of Johnny Hartman with Norman Gimbel's lyrics from his album from 1994.</span></div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/iyx2IJfGkOs" width="480"></iframe></div><div><span style="font-family: verdana;"><i><br /></i></span></div><div><span style="font-family: verdana;">Here is another version from the album <i><b>Herb Alpert Presents Sergio Mendes & Brasil 66 </b></i>with Lani Hall doing her most seductive vocals on the Gimbel lyrics.</span></div></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/9tHcUwUKuwc" width="480"></iframe></span></div><div><span style="font-family: verdana;"><br /></span></div><div><br /></div><div><span style="font-family: verdana;">Sarah Vaughan is the kind of vocalist who could do whatever she wanted. Her voice was exquisite and she often chose songs that others could only dream of doing justice to them. See for yourself</span></div><div><span style="font-family: verdana;"><br /></span></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/uUOLI8Pmd5s" width="480"></iframe></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Who better to express this song's nuanced emotionality on his solo guitar than master artist Pat Metheny from his album <i><b>What's It All About </b></i>from 2011. </span></div><div><span style="font-family: verdana;"><br /></span></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/Yl_MUqp8E98" width="480"></iframe></div><div><br /></div><div><span style="font-family: verdana;">The Harmonica and Vibraphonist ace Hendrik Meurkens did a seductively emotional version of this song on his album <b><i>Hendrik Meurken's Cobb's Pocket</i></b> from 2013. The group included drumming great Jimmy Cobb, Mike LeDonne on B3 Organ, Peter Bernstein on guitar, and Meurkins on chromatic harmonica. Just Beautiful</span></div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/ABlzGJCWKmg" width="480"></iframe></div><div><br /></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Ted Nash is a descendant of two of Mancini's original band players.</span></div><div><span style="font-family: verdana;">Both his uncle saxophonist Ted and his father trombonist Dick Nash were active Hollywood studio musicians and often played in Mancini's bands. If anyone can be true to the master composer/arranger's intent then certainly Ted can do so and do so with his own unique read on the song.</span></div><div><span style="font-family: verdana;">Here from his <i style="font-weight: bold;">Ted Nash The Mancini Project</i> is <i>Lujon</i>. </span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><iframe frameborder="0" height="360" src="https://youtube.com/embed/tQ6QnTf6I18" width="480"></iframe></span></div><div><span style="font-family: verdana;"><br /></span></div><div><div><span style="font-family: verdana;">There is a terrific instrumental jazz version of the song performed by the underappreciated multi-reed player Gerry Niewood </span><span style="font-family: verdana;">from his album </span><i style="font-family: verdana;"><b>Slow Hot Wind</b></i><span style="font-family: verdana;"> from 1975 w Bill Dobbins, piano; Gene Perla, bass; Lew Soloff, trumpet/flugelhorn; Bill Reichenbach, trombone and Gerry Niewood, Alto, Tenor, Soprano and Flute. I have it, but unfortunately, I couldn't find a clean youtube to post but trust me it's great.</span></div></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">If these tremendous renditions of this beautiful composition by such an esteemed and talented group of artists are not enough to make you acknowledge Henry Mancini's sustained impact on our world, maybe a few movies that have chosen to use this song in their soundtracks like <i>Sexy Beast</i>, <i>W.E.</i> and <i>Two Lovers </i>and this more famous one may change your mind. </span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><iframe frameborder="0" height="360" src="https://youtube.com/embed/neuLKqjHmaU" width="480"></iframe></span></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-32275024361553453372023-07-31T14:24:00.000-07:002023-07-31T14:24:53.869-07:00Trombonist Ryan Keberle's Collectiv Do Brasil presents "Considerando" the music of Edu Lobo<div><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlPaPjCw2HFu53YvgmXQzCs7JOjLNi-X08P6r71qasGxB_UoizBiZiR1T_p7jXf70ehEhEtF1_KyAQnct-lTgkxXWDnRfrryFRDXUNJ40e5YzHixIfKKehsujMB4fjSOe3gvutvibLBidliWa1LxOdfFg3KHXIHytvwdOIv7nXAlDlho4OSOR0SmG2jGA/s700/Ryan%20Kenerle%20Collectiv%20do%20Brasil%20Considerando%20July%2014%202023.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="700" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlPaPjCw2HFu53YvgmXQzCs7JOjLNi-X08P6r71qasGxB_UoizBiZiR1T_p7jXf70ehEhEtF1_KyAQnct-lTgkxXWDnRfrryFRDXUNJ40e5YzHixIfKKehsujMB4fjSOe3gvutvibLBidliWa1LxOdfFg3KHXIHytvwdOIv7nXAlDlho4OSOR0SmG2jGA/w400-h400/Ryan%20Kenerle%20Collectiv%20do%20Brasil%20Considerando%20July%2014%202023.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ryan Keberle's Collectiv Do Brasil <b><i>Considerando </i></b></td></tr></tbody></table></span></div><span style="font-size: medium;"><span style="font-family: verdana;"><div><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></div>The trombonist Ryan Keberle has always had a deep connection to the music of Brazil. He claims to have been smitten by it when he first heard music from the Brazilian singer Elis Regina decades ago. Regina became renowned for her song "Arrast</span></span><span style="font-family: verdana; font-size: medium;">ã</span><span style="font-size: medium;"><span style="font-family: verdana;">o" written by Edu Lobo and Vinicius de Moraes. </span></span><div><span style="font-family: verdana; font-size: medium;"><br /></span><div><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZls4Vc-JpeOPRz-qgthbihm7Xbp_HO-Yknoiei6tjirKQWqMkWjoc_B2SwZkeVhiDpNPzxKcwqty-oYZqde-oIeVz3jNC0AjlCzcy8NvjovtetuuhngTE-QkhYCxc6Le5gVun6D31YpZ3SRW9XlX7HspY6A7C9Slfo1aevgA-SwLozMVEXhYv807E_O4/s2129/Elis_Regina_no_Teatro_da_Praia.tif" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1327" data-original-width="2129" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZls4Vc-JpeOPRz-qgthbihm7Xbp_HO-Yknoiei6tjirKQWqMkWjoc_B2SwZkeVhiDpNPzxKcwqty-oYZqde-oIeVz3jNC0AjlCzcy8NvjovtetuuhngTE-QkhYCxc6Le5gVun6D31YpZ3SRW9XlX7HspY6A7C9Slfo1aevgA-SwLozMVEXhYv807E_O4/w400-h249/Elis_Regina_no_Teatro_da_Praia.tif" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Elis Regina in Teatro da Praia 1969 (photo credit unknown)</td></tr></tbody></table></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;">These songwriters, along with other trailblazers,- Ivan Lins, Milton Nascimento, and Toninho Horta- were making music that was an amalgam of Brazilian folk and pop music with jazz sensibilities. The results were creative and captured the soul of many worldwide musicians as well as the general public who fell in love with their sensuous beauty. </span></span><div><span style="font-size: medium;"><span style="font-family: verdana;"><br /></span></span></div><div><span style="font-size: medium;"><span style="font-family: verdana;">Keberle first met the Brazilian members of his first Collectiv do Brasil back in 2017 when he took a trip to Brazil and ran into three musicians- pianist </span></span><span style="font-family: verdana; font-size: medium;">Felipe Silveira, bassist Thiago Alves, and drummer Paulinho Vicente-who all had a passion for this moving music and found a kindred spirit in the trombonist. In 2019 they released the first album <i><b>Sonhos da Esquina</b></i>, which drew from the music of Milton Nascimento and Toninho Horta. On Keberle's latest release, his current Collectiv do Brasil continues with Keberle on trombone and arrangements, </span><span style="font-family: verdana; font-size: medium;">Felipe Silveira on piano and arrangements, drummer Paulinho Vicente, and the bass chair now being held by Felipe Brisola. This time the music is predominantly based on the music of Edu Lobo, still going strong at the age of seventy-nine. Of the ten compositions, six are from Lobo, "Blackbird" by Lennon and McCartney is given a Brazilian take, "Be" is by drummer Vicente and "Edu," written specifically for this album and a homage to Lobo, and "Gallop" a song formerly played with Keberle's Catharsis group, are both from the trombonist. </span></div><div><span style="font-family: verdana; font-size: medium;"><br /></span></div><div><span style="font-family: verdana; font-size: medium;">The music is performed with authenticity and reverence. These four musicians find common ground in their ability to fluidly improvise on this music with eerie intuition. This is Keberle's musical love letter to Lobo. His trombone is agile, voice-like, at times plaintive, and always emotive in a way that brings life to this music. Silveira creates some gorgeous waves of piano work that are perfectly responsive to his bandmates and add depth to the music. Brisola's bass pulses with a throb-like humanity and Vicente creates a gorgeous canopy of rhythm over the melodies.</span></div><div><span style="font-family: verdana; font-size: medium;"><br /></span></div><div><span style="font-family: verdana; font-size: medium;">One of the highlights of this album is the title cut, this group's languishingly beautiful version of Lobo's "Considerando." Keberle plays with superb restraint. He is a master of tone and attack, and here his artful trombone creates an air of wistful melancholy that can make the listener's heart simply break. Silveira's minimal piano solo is equally played with reverence and feeling and Brisola's bass bellows with large, full, accentuated notes. </span></div><div><span style="font-family: verdana; font-size: medium;"><br /></span></div><div><span style="font-family: verdana; font-size: medium;">Keberle's "Edu" is another joy. A dynamic joining of Brazilian lyricism with a jazz treatment. The music has a driving pulse on which Keberle improvises in a creatively bellowing way throughout. The three Brazilians create a pushing, probing rhythm that has a dancing flow to it. Then the group segments the flow with rhythmic breaks and Keberle's trombone navigates through it all with the facile aplomb of </span><span style="font-family: verdana; font-size: medium;">a </span><span style="font-family: verdana; font-size: medium;">capoeirista.</span></div><div><span style="font-family: verdana; font-size: medium;"><br /></span></div><div><span style="font-family: verdana; font-size: medium;">"Zanzibar" is a spectacular display of how precisely conversational these four can be. The music has an infectious rhythm to it, some spicy tradeoffs, and there is a wonderful piano solo by Silveira and some boisterous percussion from Vicente. </span></div><div><span style="font-family: verdana; font-size: medium;"><br /></span></div><div><span style="font-family: verdana; font-size: medium;">"Casa Forte/Canto Triste," which means strong house/sad corner, was written by Lobo, </span><span style="font-family: verdana; font-size: medium;">Lani Hall, and Vinicius Demoraes, and </span><span style="font-family: verdana; font-size: large;">has a memorable melody that is played beautifully by Keberle's ascending and descending trombone lines. Silveira again shows his deep understanding of this music in both his accompaniment and soloing.</span></div><div><span style="font-family: verdana; font-size: large;"><br /></span></div><div><span style="font-family: verdana; font-size: large;">You will find your favorites in the above or in the remaining music like the ballad "Toada," Keberle's Brazilinized "Gallop, "</span><span style="font-family: verdana; font-size: medium;">Pra Dizer Adeus," "Even Now," "Be" or this group's take on the Beatles "Blackbird." No matter, if you enjoy well thought out and played Brazilian music there is something here in Ryan Keberle's Collectiv Do Brasil"s <i><b><a href="https://ryankeberle.bandcamp.com/album/considerando">Considerando</a> </b></i>for everyone to savor and enjoy. </span></div><div><span style="font-family: verdana; font-size: medium;"><br /></span></div><div><span style="font-family: verdana; font-size: medium;"><br /></span><iframe frameborder="0" height="270" src="https://youtube.com/embed/NCmEKkgCfaI" width="480"></iframe><span style="font-family: verdana; font-size: medium;"><br /></span><br /></div><div><span style="font-family: verdana; font-size: medium;"><br /></span></div><div><span style="font-family: verdana; font-size: medium;"><br /></span></div><div><span style="font-family: verdana; font-size: medium;"> </span></div></div></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-13090258821779332702023-07-26T19:30:00.000-07:002023-07-26T19:30:10.590-07:00Guitarist Dominic Miller's "Absinthe" from 2019: A Beautiful Palliative for What Ails You<p><span style="font-family: verdana;"><br /></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMcB1aAyqeRYGSTRkt29zbtUB2EgocD9eLoh_18TB6ZluJxSlUDC4grm7AROZQFpmv9MZf7-u5btoEj7G2sP1rLeQv_svZvaINzcQC1b2oScwOITECKYeHpZv9oftTRT1N_PJDNw60E6V2xwb8B6Sme6iejCshnswif5NMp6xR_y_KBVVzHvh-rfwYlhs/s300/b98b1-absin.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="300" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMcB1aAyqeRYGSTRkt29zbtUB2EgocD9eLoh_18TB6ZluJxSlUDC4grm7AROZQFpmv9MZf7-u5btoEj7G2sP1rLeQv_svZvaINzcQC1b2oScwOITECKYeHpZv9oftTRT1N_PJDNw60E6V2xwb8B6Sme6iejCshnswif5NMp6xR_y_KBVVzHvh-rfwYlhs/w400-h400/b98b1-absin.webp" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Dominic Miller: Absinthe: ECM</td></tr></tbody></table><p></p><p><span style="font-family: verdana;">The guitarist Dominic Miller has been a session musician with such groups as The Pretenders and Phil Collins amongst others. He has been an important collaborator with the singer/bassist/songwriter Sting who he has toured with since 1991. He co-wrote the musician's hit song "Shape of My Heart" which was released in 1993. The talented guitarist also recorded a classical album focused on the music of Bach, Beethoven, and Edward Elgar titled <b><i>Shapes</i></b> in 2003.</span></p><p><span style="font-family: verdana;">In 2019, he released an album titled <i><b>Absinthe</b></i> on ECM Records. Absinthe is an alcoholic drink made up of wormwood, green anise, sweet fennel, and medicinal herbs. It was famously in fashion among artists and writers in Europe in the late nineteenth and early twentieth century. The drink purportedly had psychoactive and hallucinogenic properties that supposedly were one of the factors that made the creative Impressionistic era so vital The drink was used by notable artists, musicians, and writers including Ernest Hemingway, James Joyce, Erik Satie, Edgar Allan Poe and Pablo Picasso The drink's effects were so malaligned that it was banned in many countries for a period. </span></p><p><span style="font-family: verdana;">Miller's point of reference to Absinthe is his personal acknowledgment of the creative aspects that the drink was supposed to have to have inspired the artists and writers of the Impressionist age, particularly the French Impressionists.</span></p><p><span style="font-family: verdana;"><span _msthash="0" _mstmutation="1" _msttexthash="173317053">Miller is a sensitive, facile guitarist. He uses his guitar like a paintbrush in the hands of a landscape master, coloring the music with warmth and meaning in a most emotive way. He is found playing both steel and nylon stringed guitars and enlists the talented Bandoneon player Santiago Arias as his perfect foil. The two demonstrate an eery sense of intuition in complimenting each other's musical ideas. Miller's keyboardist Mike Lindup creates atmospheric settings that give the music an otherworldly sound. Nicholas Fiszman provides some anchored bass work and the drum master Manu Katch</span></span><span style="font-size: medium;">é</span><span style="font-family: verdana;"> adds his own touches of percussive magic to the mix.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnjy9u0B3TUSAsLuC-ZtI2snQHz2FCLqs7n8rDJd4iwb2094rPryO63YX02IE0zOEb2vdACnNDTAghIzyGlQ8X9hz573w-0OV1nxzEU4-BRTy2dENbk_Ny_i3VMZvCL4dlTsKN90AkJmyJwZbTXg9y2HLtqcCUVLAnlNfUPkqrzoL1QLQnpAqrgvFJYk4/s764/absinthe-portrait.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="509" data-original-width="764" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnjy9u0B3TUSAsLuC-ZtI2snQHz2FCLqs7n8rDJd4iwb2094rPryO63YX02IE0zOEb2vdACnNDTAghIzyGlQ8X9hz573w-0OV1nxzEU4-BRTy2dENbk_Ny_i3VMZvCL4dlTsKN90AkJmyJwZbTXg9y2HLtqcCUVLAnlNfUPkqrzoL1QLQnpAqrgvFJYk4/w640-h426/absinthe-portrait.webp" width="640" /></a></td></tr><tr><td class="tr-caption"> Mike Lindup, Santiago Arias, Dominic Miller, Manu Katché, Nicolas Fiszman<br /> (Photo credit: Gildas Boclé)</td></tr></tbody></table><br /><p><span style="font-family: verdana;">The music is beautiful and creates a sense of tranquility that acts like a palliative to whatever maybe be pressing on your mind. I've found myself replaying this album several times and each time I play it, I am transported into a state of peace and contentment. Not a small achievement. </span></p><p><span style="font-family: verdana;">There are ten Miller compositions Absinthe, Mixed Blessing, Verveine, La Petite Reine, Christiana, </span><span style="font-family: verdana;">Etudé, Bicycle, Ombu, Tenébres, and Saint Vincent. <br /><br />The album starts off with the title track "Absinthe," which opens with Miller's nylon string work, Katche's shimmering cymbals, and Arias's swelling bandoneon sound. At the two-minute fifteen-second mark the music morphs into a dynamic, drum-driven vibe that grabs you with a sophisticated funk. Arias's bandoneon pulses with a voice-like expression. Lindup's eerie keyboard work tantalizes the senses like a Siren drawing Odysseus to the rocks. Katche's drum and Fiszman's bass keep the pulse true and the music vibrates to the beat of your sympathetic heartbeat. </span></p><p><iframe frameborder="0" height="270" src="https://youtube.com/embed/sY6aQy0MJ7k" width="480"></iframe></p><p><span style="font-family: verdana;"><br />There are romantic guitar/bandoneon duets with subtle brushwork by Katché and airy keyboard work by Lindup like on "Mixed Blessings." It's got a Parisian-like feel to it and you find yourself transported, sipping an espresso on the Rue Montogueill with a special someone as you listen to Miller's music.<br /><br />The short "Verveine" has a melancholic sound to it. Fiszman's bass booms with authority. "La Petite Reine" has a repetitive tom-tom percussion line over which Miller's guitar lays a filigreed line of floating finger-picked strings. "Christiana" is a conversational song that has Arias' moaning bandoneon laying out human-like sighs as Miller's guitar has almost Sitar-like expressiveness and Katché's percussive work is a marvel of intuition. <br /><br />"Etudé" has a Tango-like quality to it and with Tango, there is always dance. The beat is created by the repetitive lines by Miller, Lindup's ostinato work, Fiszman's bass, and Katché's metronomic trap work. To make my point, the album released a video with dancing on it and you can see for yourself how danceable it is.</span></p><p><iframe frameborder="0" height="270" src="https://youtube.com/embed/Qn70s2nlEOA" style="background-image: url(https://i.ytimg.com/vi/Qn70s2nlEOA/hqdefault.jpg);" width="480"></iframe></p><p><span style="font-family: verdana;"><br /><br />"Bicycle" is music in motion. There is a traveling feel to this one. Miller sets it in motion with his facile guitar finger-picking, Arias's swelling bandoneon lines, Katche's roiling drum work, and Fiszman's bass maintain the pulse as Lindup adds the color. Just a delightful aural representation of riding a bike on a pastoral road somewhere in the country.<br /><br />The album ends with "Ombu" with some impressive syncopated drum work by Katché, the slow sauntering "Tenébres" and the vibrant"Saint Vincent," with Miller's quick-paced rhythmic guitar work setting the stage for Aria's probing bandoneon lines over the rhythm sections driving pulse. Dominic Miller's <i><b>Absinthe</b></i> is a delight.</span></p><p><span style="font-family: verdana;"><br /></span></p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-30633830124652574162023-07-07T15:22:00.003-07:002023-07-07T22:14:18.482-07:00Baritone Sax Ace Claire Daly offers a trip back to 52nd Street on Vu Vu for Frances w George Garzone<p class="MsoNormal"><span face=""Verdana Pro Cond", sans-serif" style="background-color: black; line-height: 107%;"><span style="color: white; font-size: x-large;"><br /></span></span></p><p class="MsoNormal"><span face=""Verdana Pro Cond", sans-serif" style="background-color: black; line-height: 107%;"></span></p><div class="separator" style="clear: both; text-align: center;"><span face=""Verdana Pro Cond", sans-serif" style="background-color: black; line-height: 107%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_e0yz_y9SxzlONk2iN1EH9BwjLlxxJmdzNJFRY6nNvz210U3xxAQUgBftvE28NYGHZZKRyEtFIlpEpXqMp84OU9DvbeM8MP2rLMCASzSI_kDJikrn26qANbbABdSPcdwwtP9gxpvGRENGt0CwA6jLnZ0JtPi0u3Whga5YwQapJRnKsIdozBWwsLJJyHc/s700/a0922521473_16.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: x-large;"><img border="0" data-original-height="700" data-original-width="700" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_e0yz_y9SxzlONk2iN1EH9BwjLlxxJmdzNJFRY6nNvz210U3xxAQUgBftvE28NYGHZZKRyEtFIlpEpXqMp84OU9DvbeM8MP2rLMCASzSI_kDJikrn26qANbbABdSPcdwwtP9gxpvGRENGt0CwA6jLnZ0JtPi0u3Whga5YwQapJRnKsIdozBWwsLJJyHc/w640-h640/a0922521473_16.jpg" width="640" /></span></a></span></div><p></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">Baritone saxophonist Claire Daly released her
latest album </span><b style="background-color: black; color: white; font-size: xx-large;"><i>VuVu for Frances</i></b><span style="background-color: black; color: white; font-size: xx-large;"> on July 7, 2023. It is a dual
saxophone session that makes you feel like you have been transported by a time machine
to a night, sometime in the past, represented by the light-filled cover
photograph of a vibrant night of jazz on the scene of 52</span><sup style="background-color: black; color: white;">nd</sup><span style="background-color: black; color: white; font-size: xx-large;"> Street in
New York. </span><span style="background: black; color: white; font-size: xx-large;">52</span><sup style="background-color: black; box-sizing: border-box; color: white; outline: 0px;"><span style="border: 1pt none windowtext; mso-border-alt: none windowtext 0in; padding: 0in;">nd</span></sup><span style="background-color: black; color: white; font-size: xx-large;"> Street between 5</span><sup style="background-color: black; box-sizing: border-box; color: white; outline: 0px;"><span style="border: 1pt none windowtext; mso-border-alt: none windowtext 0in; padding: 0in;">th</span></sup><span style="background-color: black; color: white; font-size: xx-large;"> Avenue and 7</span><sup style="background-color: black; box-sizing: border-box; color: white; outline: 0px;"><span style="border: 1pt none windowtext; mso-border-alt: none windowtext 0in; padding: 0in;">th</span></sup><span style="background-color: black; color: white; font-size: xx-large;"> Avenue – known for both its clubs and
bustling street life – was an active entertainment district northeast of Times
Square for thirty years between the late 1930s and the 1960s. Daly, along with
her cohort tenor titan George Garzone, take us through a splendid aural remembrance
of that time, that feel, that glamour and that sound. The band is composed of Daly and Garzone on
the front line, with veteran musical artists Jon Davis on piano, Dave Hofstra
on bass, and David F. Gibson on drums.</span></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">The album is a homage
of sorts to Frances, purportedly Frances Ballantyne, a longtime New Yorker friend
of Daly, who is now over ninety years of age. In her prime, Frances was a
spirited patron of the many clubs that offered a diverse selection of
entertainment in all of its permutations. She could see top-notch comedy or
racy Burlesque at places like Leon and Eddies and the showier Club Samoa. Some
places featured Dixieland and swing could be danced to at clubs like Kelly’s
Stable and “21”. The Onyx, the Three Deuces, and the original Birdland, which
was on Broadway just south of 52</span><sup style="background-color: black; color: white;">nd</sup><span style="background-color: black; color: white; font-size: xx-large;"> Street, specialized in more progressive
music like bebop and later R & B. The degradation of the area was spurred on by real estate development pressures, illicit drug use, prostitution
and Father Time led “The Street” to its eventual demise. </span></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">On </span><b style="background-color: black; color: white; font-size: xx-large;"><i>Vu Vu
for Frances</i></b><span style="background-color: black; color: white; font-size: xx-large;">, Daly is concentrating on the music and the jazz scene. A
scene where you could hear the vibe, the energy, the Vu Vu wafting onto the
street like a kind of tempting ambrosia luring you into the clubs. That music,
that street made Frances a lifelong fan. It also inspired Daly and the band members,
who have all met Frances over the years at some of their gigs, to play for her.
A personal Valentine.</span></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">Daly has a long
relationship and friendship with Garzone and the two seem to be perfect foils
to bring these songs to life. The thirteen songs are standards, but the key to
this effort is to deliver them authentically to the spirit of this music and to
the time when it flourished. Daly certainly made good on that goal. The album swings open with Daly’s big brassy bari
sound on ”All the Way” stating the melody and is then smoothly countered by Garzone’s
sultry tenor. These two bring great personality to the music and the rhythm section
keeps it swinging with a nice piano solo by Davis to boot. I can just imagine Frances
dancing to this one.</span></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">The album is
filled with gems like the brash Charles Llyod tune “Sweet Georgia Bright” which
finds Daly blasting some expressive lines that just percolate with fury and
Garzone offers his own enthusiastic response. “Fools Rush In” is a slower, romantically
languishing piece that offers some nice burlesque-like backing work by David F.
Gibson on drums, a Basie Band veteran, and some deep walking bass lines by Dave
Hofstra. </span></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">Off to the races
on “People Will Say We’re in Love” a Rodgers and Hammerstein song from the musical
“Oklahoma” with Garzone staring this one off before Daly comes in with one of
her more exuberant solos. Just the perfect inspiration for Garzone to come up
with his own inventive counter, and Gibson and Hofstra get to play their own rhythmic
duel with verve.</span></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">Not to be without
its humor, Daly enters with her boisterous baritone interpretation of the old Rogers
and Hammerstein ditty from the soundtrack of Sound of the Music, “The Lonely
Goatherd.” The band is juiced by this one and the music inspires a section that
features some wild mouse-like playing first pushed on by a Davis solo with Gibson
and Hofstra percolating. Garzone then starts a wild session of screeching and free-blowing
tenor answered with equally boisterous responses by Daly’s raucous baritone all
prodded on by fiercely driven explosive drum work by Gibson. </span></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">The sultry Ellington/Bigard
song “Mood Indigo” is a joy as it takes you back to another era. Although the
original recording featured clarinet work by Jimmy Hamilton leading the music,
here sans the clarinet are Daly/Garzone/Davis/Hofstra and Gibson taking on the
personalities of Harry Carney/Paul Gonzalez/ Ellington/Wendell Marshall and Sonny
Greer from the Ellington band at the time.</span></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">The remainder of
the album features Ellington’s “Warm Valley” joined with “What Am I Here For.”
We have a surprising Daly vocal on little-known Steve Kuhn composition called “Hold
Out Your Hand.” There is Charlie Parker/Miles Davis's bebop composition titled “Half-Nelson.”
The Hagen/Rodgers evocative classic “Harlem
Nocturne” is another Frances favorite and opens with Daly’s slow, expressive
baritone stating the melody. The pace quickens at the chorus and then becomes a
splendid piano feature by Jon Davis, whose cascading lines are simply gorgeous.
Bandleader Ray Nobles’ “The Very Thought of You” is another old-time favorite
and Daly and bassist Hofstra on bow open this one in a uniquely moving way. “The
Saga of Harrison Crabfeathers” is another Steve Kuhn/Seila Jordan song and features
the only electric piano by Davis on the album and is probably the most post-bop,
contemporary song on this album. Daly and Garzone rise to this untraveled song’s
verve and give it a modern feel that may almost be too contemporary for
Frances’ taste. The finale is Rogers and
Hart musical song “Manhattan” from the 1925 revue “Garrick Gaieties” and has
been sung by everyone from Ella Fitzgerald and Mel Trome to The Supremes. This
one swings, with some nice solo work by Davis, Garzone, and Daly, and the rhythm
section of Hofstra and Gibson keeping the time impeccably.</span></p><p class="MsoNormal"><span style="background-color: black; color: white; font-size: xx-large;">Take Claire Daly’s
</span><b style="background-color: black; color: white; font-size: xx-large;"><i>Vu Vu for Frances</i></b><span style="background-color: black; color: white; font-size: xx-large;"> out for a spin for yourself and get ready to feel
like you’ve been transported to Frances Ballantyne’s world of music and the
lights on 52</span><sup style="background-color: black; color: white;"><span style="font-size: medium;">nd</span></sup><span style="background-color: black; color: white; font-size: xx-large;"> Street.</span></p><p class="MsoNormal"><iframe frameborder="0" height="360" src="https://youtube.com/embed/x15EzxNCjKE" width="480"></iframe></p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-54082066370824935172023-07-05T17:34:00.004-07:002023-07-06T09:16:00.690-07:00Atlanta Pianist Joe Alterman and his Trio Plays the Music of Les McCann 0n Big Mo and Little Joe<p><span style="font-family: verdana; font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi-YU9mDNG6O0kcW-fAkdy6I69fH6JDO9XsY83SsML2WyBKJWKL1EZXpJ5pph-AxpnrGRHQPIeS6e7_bY2wChe_4XkmrLgV7IAK3WFjDBF1NDeC3DmiAG0QnWfuGLSmQOWmkTZuKOrXDEk08pCjxaSu-emOn6hfjtkLe2PKhhLfC0NO8f6EQs6dzKhTYi8" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEi-YU9mDNG6O0kcW-fAkdy6I69fH6JDO9XsY83SsML2WyBKJWKL1EZXpJ5pph-AxpnrGRHQPIeS6e7_bY2wChe_4XkmrLgV7IAK3WFjDBF1NDeC3DmiAG0QnWfuGLSmQOWmkTZuKOrXDEk08pCjxaSu-emOn6hfjtkLe2PKhhLfC0NO8f6EQs6dzKhTYi8=w400-h400" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><span style="font-family: verdana; font-size: large;"><br /></span><span style="font-family: verdana; font-size: x-large;">Atlanta-based pianist Joe Alterman will release his latest
album "Joe Alterman Plays Les McCann: Big Mo and Little Joe" this
August. The talented thirty-four-year-old pianist continues on his quest to
preserve, honor, and contemporize the music created by some of jazz music's often
overlooked elders of the last era.</span><p></p><p><span style="font-family: verdana; font-size: large;">Alterman has an affable persona that along
with his considerable pianistic skills just bubbles with joy and enthusiasm. He
attended school at NYU, achieving a BA and Master's in jazz piano from
2007-2012. Along the way, Alterman never lost sight of the tradition. He
befriended artists like Ramsey Lewis, Houston Person, Ahmad Jamal, Hank Jones,
and Jimmy Heath, carefully listening and where possible acquiring mentor-like
relationships that served to inspire and influence his own musical growth. He also credits his invaluable teacher/student relationship with the keyboard artist Don Friedman who took him under his veteran wing at NYU.</span></p><p><span style="font-family: verdana; font-size: large;">On
this album, Alterman has chosen to honor another of his mentors. Les McCann is
a blues/soul-based pianist/singer that is known for his trio piano work. One
record "Stormy Blues" from 1962 features the young vocalist Lou Rawls and is a classic. McCann's epic work with the saxophonist
Eddie Harris generated the protest bellwether "Compared to What." </span></p><p><span style="font-family: verdana; font-size: large;">Alterman befriended the wheelchair-bound McCann</span><span style="font-family: verdana; font-size: x-large;"> (the pianist suffered a stroke in 1995) when he opened for the artist
at the Blue Note in 2012 and the two continued the conversation ever since.</span></p><p><span style="font-size: large;"><span style="font-family: verdana;">Alterman thought McCann's compositions needed to be revisited and get the
respect he thought they deserved. From this dedicated belief comes the new album <i><b>Joe Alterman
Plays Les McCann: Big Mo and Little Joe</b></i> where Little Joe chooses ten of
McCann's ( Big Mo’s) less-known compositions and the finale is a ballad that
Alterman co-wrote with </span><span style="font-family: verdana;">McCann.</span><span style="font-family: verdana;"> </span><span style="font-family: verdana;">Alterman is
ably backed by Kevin Smith on bass and Justin Chesarek on drums, two of ATL’s
serious journeymen musicians, and the trio shows they can certainly swing. </span></span></p><p><span style="font-family: verdana; font-size: large;">Alterman
is a technically efficient player who utilizes an array of pianistic skills that include brilliant glissando runs, gospel-inspired get-downs, barrelhouse
honky-tonk, shivering tremolos, to earthy blues riffs. Alterman always abides by some advice given to him by
master pianist Ahmad Jamal who once told him “Technique without soul is
meaningless.” The man oozes with soul and his genuine joy when playing makes
listening to him infectiously uplifting</span><span style="font-family: verdana; font-size: x-large;">.</span></p>
<p class="MsoNormal"><span style="font-family: verdana; font-size: large;">The music includes music from many of McCann’s different
phases the house-raising “Gone on and Get That Church,” the funky “Someday
We’ll Meet Again,” the rousing “Could Be,” The Erroll Garner-like “The
Strangler,” the Gospel inspired “Beaux J Poo Boo,” “Samia” a ballad from the
McAnn/Harris electric days, the disco driven “Ruby Jubilation” from McCann’s
1977 <i><b>Music Lets Me Be</b></i>, the groovin’ “It’s You,” the achingly moving “Dorene
Don’t Cry,” McCann’s swinging tribute to his father “Big Jim,” and the poignant
co-written ballad “Don’t Forget to Love Yourself.” <o:p></o:p></span></p>
<span style="line-height: 107%;"><span style="font-family: verdana; font-size: large;">This is the kind of record you might have a
favorite</span></span><div><span style="line-height: 107%;"><span style="font-family: verdana; font-size: large;">one or two, but to me, you can just drop the needle</span></span></div><div><span style="line-height: 107%;"><span style="font-family: verdana; font-size: large;">on the record
player, load your cd player, or stream</span></span></div><div><span style="font-family: verdana; font-size: x-large;">it on your device, whatever, and let
this album rip </span><span style="font-family: verdana; font-size: x-large; line-height: 107%;">and </span><span style="font-family: verdana; font-size: x-large;">my bet is you’ll never be disappointed. If you want to keep
the groove going you might even spin it again just to keep the vibe from
fading. It’s nice to see a young man like Joe Alterman doing his part to
revitalize and honor the tradition of his musical elders and doing it so well.</span></div><div><span style="font-family: verdana; font-size: x-large;"><br /></span></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/8TneejF3s6o" width="480"></iframe></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-20310271332623241212023-07-03T14:15:00.001-07:002023-07-03T15:18:51.535-07:00Trumpeter Ralph Alessi brings his quartet to Portland's 1905 Jazz Club<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcDFdQBOGcbphGlglstI-m91HEeso9E5Jl1LAZyGfaH3-C5M2EHjiIjvw1EcDei5Te67c4elCij8Dk8wDSeDIAMJoU8W0dpcjNB4x7YpfExRkBtd2fRMxdpNsHAs6PihQBvMIPcz3VuYt1wBxPQtbg-YfV3vgglbpSkWHtMea7VClLD8p4ImZ6zJvp4cs/s4032/IMG_1758.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcDFdQBOGcbphGlglstI-m91HEeso9E5Jl1LAZyGfaH3-C5M2EHjiIjvw1EcDei5Te67c4elCij8Dk8wDSeDIAMJoU8W0dpcjNB4x7YpfExRkBtd2fRMxdpNsHAs6PihQBvMIPcz3VuYt1wBxPQtbg-YfV3vgglbpSkWHtMea7VClLD8p4ImZ6zJvp4cs/w640-h480/IMG_1758.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Ralph Alessi w /John Hebert and Mark Ferber at 1905 Portland June 29, 2023</span></td></tr></tbody></table><br /><p><span style="font-size: x-large;">The lyrical and expressive trumpet artist Ralph Alessi brought the latest configuration of his quartet to Portland's 1905 this past Thursday evening. Alessi is one of those hybrid players whose music references many different strains, from classical, to avant-garde, to post-bop jazz to pop influences like Stevie Wonder. Alessi is from a musical family. His mother Maria was in the opera chorus and his father Joseph Sr. was the lead trumpeter in the Metropolitan Opera. Brother Joseph Jr. is the principal trombonist at the NY Philharmonic and is world-class on his instrument. </span><span style="font-size: x-large;">Alessi himself is a respected educator who founded the School of Improvisational Music in Brooklyn, NY and has taught at Eastman School of Music, NYU, and the NE Conservatory to name a few.</span></p><p><span style="font-size: xx-large;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl2uSpQRSnNFGM9l4Uk6x0K1vre89g9Vhp-Hqr52mUxLan-WzuzDbntnuL1u8KuWn3I0mPgZqXO6JpRhx8RZf4qeF7IPA-_qxbcRyJCGBKcRhCVNerwd_jMeq1-EReQLlrU7QqaXhgx4eYxcFpUaG1-ozCEJF7wh3MXu4q4PCa9WlWQ9io9M8Lw8pd6H0/s4032/IMG_1751.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl2uSpQRSnNFGM9l4Uk6x0K1vre89g9Vhp-Hqr52mUxLan-WzuzDbntnuL1u8KuWn3I0mPgZqXO6JpRhx8RZf4qeF7IPA-_qxbcRyJCGBKcRhCVNerwd_jMeq1-EReQLlrU7QqaXhgx4eYxcFpUaG1-ozCEJF7wh3MXu4q4PCa9WlWQ9io9M8Lw8pd6H0/w480-h640/IMG_1751.JPG" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;">Ralph Alessi </span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-size: x-large;">Alessi is an ECM artist whose most recent March release is titled <b style="font-style: italic;"><a href="https://ecmrecords.com/product/its-always-now-ralph-alessi-quartet/">Its Always Now</a> </b>and included Florian Weber on piano, Banz Oester on double bass, and Gerry Hemingway on drums. </span><p></p><p><span style="font-size: x-large;">At the Portland gig, Alessi brought along three more familiar artists. The talented Canadian pianist Andy Milne, who studied with master pianist Oscar Peterson, is a veteran of the Steve Coleman M-Base days where he met Alessi in the 1990s and has played with him on <b><i><a href="https://ecmrecords.com/product/imaginary-friends-ralph-alessi-ravi-coltrane-andy-milne-drew-gress-mark-ferber/#tab_tracks_tab">Imaginary Friends</a>.</i></b> </span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOCjNe9LwayDMtDAOVb7ovoyG4LWmvn494NHEp4Y9uVOyzDSJfr0t-7qRMpPwc9qKbcwE2vPwwdmcYql1chXO1YCWNXV3a2nGFMkI4AXZVxWrGsN4gEBqPyK45Jy5GlFOZdAYMtFtTm-yCMnK-Hdn3pywJgwV2j0WnYwKYYquJIwfh53-X9tVTpndvnLA/s4032/IMG_1750.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOCjNe9LwayDMtDAOVb7ovoyG4LWmvn494NHEp4Y9uVOyzDSJfr0t-7qRMpPwc9qKbcwE2vPwwdmcYql1chXO1YCWNXV3a2nGFMkI4AXZVxWrGsN4gEBqPyK45Jy5GlFOZdAYMtFtTm-yCMnK-Hdn3pywJgwV2j0WnYwKYYquJIwfh53-X9tVTpndvnLA/w640-h480/IMG_1750.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">ANDY MILNE</span></td></tr></tbody></table><p></p><p><span style="font-size: x-large;">The loosely-limbed, propulsive drummer Mark Ferber, is a fixture in the downtown NY jazz scene and has recorded with Alessi since 2008. The new guy to the group this evening was the kinetic bassist John H</span><span face="Nunito, Calibri, sans-serif" style="background-color: white; color: #111111;"><span style="font-size: x-large;">é</span></span><span style="font-size: x-large;">bert. H</span><span face="Nunito, Calibri, sans-serif" style="background-color: white; color: #111111; font-size: xx-large;">é</span><span style="font-size: x-large;">bert hails originally from New Orleans, studied under Rufus Reid, and has worked with stellar artists from pianist Andrew Hill to multi-reed player Dave Liebman along the way. </span></p><p><span style="font-size: x-large;">Alessi oftentimes is seen in a dual horn frontline, most usually manned by long-time friend saxophonist Ravi Coltrane, like on his <b><i><a href="https://ecmrecords.com/product/imaginary-friends-ralph-alessi-ravi-coltrane-andy-milne-drew-gress-mark-ferber/#tab_tracks_tab">Imaginary Friends</a></i></b> album of 2019. But on this evening, the superb trumpeter found his foil to trade harmonic ideas in the often surprisingly inventive pianistic work of Milne and the rousingly dynamic bass work of </span><span style="font-size: x-large;">H</span><span face="Nunito, Calibri, sans-serif" style="background-color: white; color: #111111;"><span style="font-size: x-large;">é</span></span><span style="font-size: x-large;">bert. This group had an empathetic cohesion that spanned the spectrum of artistic expression through the evening. </span></p><p><span style="font-size: x-large;">The music was vibrant, at times very impressionistic, all notated on sheets that seem a well-learned habit from Alessi's classical influence. The written score was more like an armature upon which Alessi's gorgeous command of the trumpet is used to create his hybrid style of music. </span></p><p><span style="font-size: x-large;">The Allessi compositions, that I was able to catch the names of, were "First Dawn," which featured a wildly dynamic bass solo by </span><span style="font-size: x-large;">H</span><span face="Nunito, Calibri, sans-serif" style="background-color: white; color: #111111;"><span style="font-size: x-large;">é</span></span><span style="font-size: x-large;">bert.</span><span style="font-size: x-large;"> Hysteria is often considered a "Hysterical Hysterics," was a jagged, avant-garde style piece that utilized more sonic explorations than lyricism. Ferber adds a particularly exciting drum solo. "Planet Jumping," leads off with </span><span style="font-size: x-large;">H</span><span face="Nunito, Calibri, sans-serif" style="background-color: white; color: #111111;"><span style="font-size: x-large;">é</span></span><span style="font-size: x-large;">bert's bass creating a metronomic line. Alessi's trumpet explores some beautiful lyrics expansions and Milne's Monk-like pianistic work is a treat. </span><span style="font-size: x-large;">"Migratory Party" is a gorgeously expressive piece from </span><span style="font-size: xx-large;"><i style="font-weight: bold;"><a href="https://ecmrecords.com/product/its-always-now-ralph-alessi-quartet/">Its Always Now</a>. </i>T</span><span style="font-size: x-large;">he finale "Fun Room" from <i><b><a href="https://ecmrecords.com/product/imaginary-friends-ralph-alessi-ravi-coltrane-andy-milne-drew-gress-mark-ferber/#tab_tracks_tab">Imaginary Friends</a></b></i> opens with the </span><span style="font-size: x-large;">H</span><span face="Nunito, Calibri, sans-serif" style="background-color: white; color: #111111;"><span style="font-size: x-large;">é</span></span><span style="font-size: x-large;">bert/Ferber</span><span style="font-size: x-large;"> section setting up the rhythmic tone and features Alessi using a plunger on his horn, extending the aural field into a more varied sonic landscape that just sweeps you into it.</span></p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/PxMjsI9ro_Y" width="480"></iframe></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: xx-large;"><br /></span></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"> </span></p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-86151528842824728742023-05-24T12:04:00.000-07:002023-05-24T12:04:34.264-07:00Energy and elegance: Billy Childs' "The Wind of Change"<p><span style="font-size: x-large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLnHDpDu0VnHgfEHf2O_Wi7bVdRQUFKNc-36q8hHj53ni5ArlUpsep1pb9Q-dr0QURDgksYJqqa2hJAN860Bq_iQrafGl7ymTB4MirYMkan_RgAX55lTx8Q-VgJnzmQNCbtqHnxzJ4zKgVLgo3rGCs5YxMcAjh6UN-KtriL8QmPLgQLzvJ8Ev8UFiw/s4032/IMG_1494.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLnHDpDu0VnHgfEHf2O_Wi7bVdRQUFKNc-36q8hHj53ni5ArlUpsep1pb9Q-dr0QURDgksYJqqa2hJAN860Bq_iQrafGl7ymTB4MirYMkan_RgAX55lTx8Q-VgJnzmQNCbtqHnxzJ4zKgVLgo3rGCs5YxMcAjh6UN-KtriL8QmPLgQLzvJ8Ev8UFiw/w480-h640/IMG_1494.JPG" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Billy Childs at 1905 in Portland May 4, 2023</span></td></tr></tbody></table><p></p><p><span style="font-size: x-large;"><span>I've seen the pianist Billy Childs perform live recently at Portland's 1905 jazz club. He is an elegant musician who is always dressed impeccably and with style and he always brings that same elegance and sophistication to his music. </span><span>For his Portland gig, Childs brought with him the fiery trumpeter Sean Jones, the bassist Hans Glauswig and the drummer Chris Eumon. More about this at a later date.</span></span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyvOnCuNAgZQqeTSp6hKe32aqY7LxA5WfP3A2nu08L3Z75EQTj7Xmrdw0bYF7ufPDqWa8mdRkTGs7c6tVIBSR6_nx9Ziwdf0dz_PpHQ2OQ6mcGhNaBqYBpI2WVz7kHXS5TJoNFo3_RCv3Ju6-BvJZzScifohDkTTQCjGb17C39sYRxHRaSB_jE7FkY/s4032/IMG_1503.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyvOnCuNAgZQqeTSp6hKe32aqY7LxA5WfP3A2nu08L3Z75EQTj7Xmrdw0bYF7ufPDqWa8mdRkTGs7c6tVIBSR6_nx9Ziwdf0dz_PpHQ2OQ6mcGhNaBqYBpI2WVz7kHXS5TJoNFo3_RCv3Ju6-BvJZzScifohDkTTQCjGb17C39sYRxHRaSB_jE7FkY/w640-h480/IMG_1503.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">BillyChilds with Sean Jones at Portland's 1905 Jazz Club May 4, 2023</span></td></tr></tbody></table><br /><p></p><p><span style="font-size: x-large;"><span>I have admired the artist's works over the last several years and his release</span><i><b> Rebirth </b></i><span>from 2017 was, to my way of thinking, one of the best jazz releases of that year. </span></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyWbej7HjB2OwlwJzfNiT7dK8jdjKTy8akPlLyYz-ENpznxXnwkaxrAaVlyR6A35rhTgOWEpOBsiVJr1Z7dL6jBcJhERzlp9Y1BWX74uksb9dsyTAFs1SW9tNQHBI3oCg-NaKVF3N0M-P4CQXDEgdWw-MCCQnM_sycSlW3a0uIEBGSZ0XuVUxCHcpD/s700/a0909838032_16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyWbej7HjB2OwlwJzfNiT7dK8jdjKTy8akPlLyYz-ENpznxXnwkaxrAaVlyR6A35rhTgOWEpOBsiVJr1Z7dL6jBcJhERzlp9Y1BWX74uksb9dsyTAFs1SW9tNQHBI3oCg-NaKVF3N0M-P4CQXDEgdWw-MCCQnM_sycSlW3a0uIEBGSZ0XuVUxCHcpD/w640-h640/a0909838032_16.jpg" width="640" /></a></div><br /><span style="font-size: xx-large;"><br /></span><p></p><p><span style="font-size: xx-large;">Childs's new releases are always anxiously anticipated, as was his latest <b style="font-style: italic;"><a href="https://billychilds.bandcamp.com/album/the-winds-of-change">The Winds of Change</a>, </b>which was released in March of 2023. The album is a compilation of seven beautiful and inspired vehicles of expression. They include a hallowed and gorgeous version of the late Chick Corea's haunting "Crystal Silence," </span><span style="font-size: xx-large;">"Black Angel," </span><span style="font-size: xx-large;">a Kenny Barron composition first heard as Freddie Hubbard's title cut from the 1970 album of the same name and five of Childs' own narrative and cinematically inspired musical compositions. </span></p><p><span style="font-size: x-large;">The pianist/composer assembled a superbly intuitive group for the recording of this album. The excellent bassist Scott Colley and brilliant colorist Brian Blade on drums set the rhythmic pulse. The trumpet chameleon Ambrose Akinmusire is Childs' main front-line foil and collaborator. The band on <i><b><a href="https://billychilds.bandcamp.com/album/the-winds-of-change">The Winds of Change</a></b></i> is emotive, flexible, and possesses a telepathic sensitivity to executing Childs' musical demands and the results are spectacular.</span></p><p><span style="font-size: x-large;">On "Crystal Silence," after a beautifully thought-out piano intro, Childs utilizes Akinmusire's plaintive, slurring trumpet sounds to spell out the familiar melody in an expressive, humanistic way. Bassist Colley offers a moving resonant, deep-toned solo of his own and Blade adds the colors of his soft rhythmic brushes to the mix. There was a lot of reverence in the way Childs et al presents this song, a heartfelt dedication to the past composer.</span></p><p><span style="font-size: x-large;"><span>Childs' ballad "I Thought I Know" was played as a trio. The contemplative melody had a swaying feel with </span><span>Colley </span><span>offering a moving bass solo and Blade's tight snare accompaniment setting the mood. "</span><span>Masters of the Game" Childs reunites with Akinmusire. The two are excellent foils, with Childs' sensitive, classically inspired pianistic thoughts countered by Akinmusire's fluttery, often slurring accents that add excitement and slight disruption to the beautifully inspired formality of Childs' composition.</span></span></p><p><span style="font-size: x-large;">"The Black Angel" is a dynamic vehicle to include here. The tune invites comparison of the language differences between how Hubbard once played this with Barron, the composer, on the original, and how Akinmusire interprets Childs' vision of the same composition. Childs chooses a more angular, less lilting, more cadenced approach and the trumpeters have two distinct approaches to how they deliver the melody. Hubbard is brighter, lyrical, more athletically dynamic, and precise- softened by Spalding's flute- and Akinmusire's trumpet feels organic, elastic, and more liquid. Childs' playing is dynamic, gorgeously developed with inherent beauty flowing from within, accented precisely by Colley and Blade's intuitive accompaniment. This one is just an example of how in-tune this band is here.</span></p><p><span style="font-size: x-large;">The album includes the captivating, "The End of Innocence" which could easily be seen as a cinematic score. Childs, a lifetime LA resident, claims to have been inspired by some of the great scorers of film like Michel Legrand and Jerry Goldsmith and you see the link. The music is beautifully played by Childs-inspired story-telling piano and his band. Akinmusire's trumpet lingers on long sustained tones that he slurs and screechers to great effect. His playing has an earthy, primal sense sound and what would be more representative of what Childs is expressing in his "The Ending of Innocence."</span></p><p><span style="font-size: x-large;"><span>Following in the film noir tract and cinematic approaches to music, Childs composed his "The Great Western Loop" with the scenery it evokes in mind. At the Portland gig, Childs spoke of this Pacific Northwest trail several hundred miles long that inspired this song. With a staccato intro, Childs' piano fills the room with a sense of urgency. The group then plays a synchronic serpentine line in unison that demands precision and is executed with razor sharpness. His piano serves up copious lines that flow out of him like an eruption of spring-fed ideas. Blade is particularly propulsive during the statements of repeated lines in unison. The colorful drummer is perhaps the present-day Monet of the era on his kit.</span><span> </span></span></p><p><span style="font-size: x-large;"><span>The album ends with the title cut "The Winds of Change." In my mind, this is the jewel of the album. </span><span>Childs related that the tune was originally written for the late trumpeter Roy Hargrove and an orchestra. The film influence here seems strongest. I am reminded of Michel LeGrand's work on the theme of </span><b style="font-style: italic;">The Thomas Crown Affair </b><span>or perhaps Jerry Goldmsith's work on the theme to </span><b style="font-style: italic;">Chinatown </b><span>that featured Uan Rasey's celebrated trumpet work</span><span>.</span><b style="font-style: italic;"> </b><span>Memorable movie music has been permanently tattooed into our cerebellum and rightfully so!</span></span></p><p><span style="font-size: x-large;">Childs' playing can be so elegant, emotive, and resplendent. The music is a feast of sounds and emotions and I am particularly drawn to the tumultuous tom work by Blade at several apex moments, Akinmusire's superbly emotive trumpet work, Colley's buoyant bass, and Childs' superlative piano and compositional work here. If you are drawn to the majesty that film score work can bring to you, this one is just breathtaking!</span></p><p><span style="font-size: x-large;">Billy Child' <i><b><a href="https://billychilds.bandcamp.com/album/the-winds-of-change">The Winds of Change</a></b></i> is clearly one of this year's best albums.</span></p><p><span style="font-size: x-large;"><iframe frameborder="0" height="270" src="https://youtube.com/embed/DjQdDMbQKcM" width="480"></iframe></span></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: xx-large;"><br /></span></p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-39035854600727492812023-05-08T10:48:00.002-07:002023-05-08T10:48:31.755-07:00A look back at the Great Guitarist Jack Wilkins RIP June 4, 1944 -May 5, 2023<div><span style="font-size: x-large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhzuUHMxuGzYUoKcDBF7B5ULvSyyGhZUcjBkRatyMOzUYxQ9xnfdK6XoWXdqmSOkccPKe4c8g_qTTIBHTV9hTTH337c0Zcg8Y2Lo9UndipW93Fhjb8rO75QbLccXSaHVEdGiHFiMtPtz53RYo_vPj8JwToxhzYVicfqL__JJ2stH2qY914F07dt8AW/s640/Wilkins%20Red%20Brick.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="623" data-original-width="640" height="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhzuUHMxuGzYUoKcDBF7B5ULvSyyGhZUcjBkRatyMOzUYxQ9xnfdK6XoWXdqmSOkccPKe4c8g_qTTIBHTV9hTTH337c0Zcg8Y2Lo9UndipW93Fhjb8rO75QbLccXSaHVEdGiHFiMtPtz53RYo_vPj8JwToxhzYVicfqL__JJ2stH2qY914F07dt8AW/w640-h624/Wilkins%20Red%20Brick.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: large;">Jack Wilkins (photo courtesy of Jack Wilkins)<br /><br /></span></b></td></tr></tbody></table></span></div><span style="font-size: x-large;"><div><span style="font-size: x-large;"><br /></span></div>Jack Rivers Lewis, better known to the music world as guitarist Jack Wilkins, passed away this past Friday, May 5, 2023, in New York City. Wilkins was seventy-eight years of age. Details and planned services as of this date are not yet made public.</span><div><span style="font-size: x-large;"><br /></span><span style="font-size: x-large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKcBfXFHbg6XQSOr2MsKNurFH_5YfxnMsVhoDbqAR_8-UhQABEA466YNGUfRbmwXhWJlizXZIcixtxhdBX3SnPST2YipLOonShoJ9VPBbcaY43n9xenNpQhygVkMwLrSLMZW2-ABraOiuXG4zE5XrZZAchcfnXi5srQq-YUUDz1ajnjLxNwbLT5Msn/s3960/Jack%20Wilkins%20Smiling%20Solo%20June%202015.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2640" data-original-width="3960" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKcBfXFHbg6XQSOr2MsKNurFH_5YfxnMsVhoDbqAR_8-UhQABEA466YNGUfRbmwXhWJlizXZIcixtxhdBX3SnPST2YipLOonShoJ9VPBbcaY43n9xenNpQhygVkMwLrSLMZW2-ABraOiuXG4zE5XrZZAchcfnXi5srQq-YUUDz1ajnjLxNwbLT5Msn/w601-h426/Jack%20Wilkins%20Smiling%20Solo%20June%202015.jpg" width="601" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: large;">Jack Wilkins June 2015 </span></b></td></tr></tbody></table></span><p><span style="font-size: x-large;">I had the privilege of interviewing this superb guitarist just shy of his seventieth birthday in June of 2014. The experience of speaking with Jack was one that I came to cherish. The three-part interview was a fascinating look into Jack's life as one of the premier jazz guitarists of the last fifty years. He was a brilliant artist on the guitar, a dedicated, generous educator, and a genuinely humorous, thoughtful human being, who I learned had a soft spot for Sci-Fi movies. You can read this three-part interview <a href="https://notesonjazz.blogspot.com/2014/07/a-conversation-with-guitarist-jack.html">here</a>, <a href="https://notesonjazz.blogspot.com/2014/07/part-two-of-my-interview-with.html">here,</a> and <a href="https://notesonjazz.blogspot.com/2014/07/part-three-of-my-interview-with.html">here</a>.</span></p><p><span style="font-size: x-large;">A year later, when I was frantically looking for a jazz trio that would be able to play at my wedding in Westchester, and importantly to do right by my jazz sensibilities, it was Jack who came to my rescue. He was gracious, professional, and a huge hit to all the attendees. The trio thoroughly amazed the crowd with the tasteful music of three allstar jazz players Jack on guitar, bassist Andy McKee and drummer Mike Clark. Who could ask for anything more? </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSwuQCQgQ5F54X1CUddyzGglhTRasUijT7NnUTEzAJ-pKNollM1ssWxL2PJ1FkTF5Rp9C8JLGnnlYY18dsbF83y82Datlj4EfDA6avyznqEGyxl0Qc29Wbv-n-frdRqoqCYr1dVERBL3admhbqSmIxXEszSqO26nmFtsxDn_fKGyox0KXDELZAdkUg/s2773/Jack%20Wilkins%20Trio%20June%202015.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2583" data-original-width="2773" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSwuQCQgQ5F54X1CUddyzGglhTRasUijT7NnUTEzAJ-pKNollM1ssWxL2PJ1FkTF5Rp9C8JLGnnlYY18dsbF83y82Datlj4EfDA6avyznqEGyxl0Qc29Wbv-n-frdRqoqCYr1dVERBL3admhbqSmIxXEszSqO26nmFtsxDn_fKGyox0KXDELZAdkUg/w640-h596/Jack%20Wilkins%20Trio%20June%202015.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /><b><span style="font-size: large;">Jack Wilkins Trio with Mike Clark (drums) and Andy McKee (bass) June 2015</span></b></td></tr></tbody></table><p><span style="font-size: xx-large;">Upon learning of his passing from a surprise and deeply sad post that I read from his long-time friend Mike Clark, I made a point to relisten to some of Jack's great music and to re-read the interview we did together from 2014. </span></p><p><span style="font-size: x-large;">I recalled Jack's amazing speed and remember him telling me how guitarist Al DiMeola, no stranger to being blazingly fast on the fretboard himself, once told him admiringly how <b style="font-style: italic;">"Wow, man I never heard anybody play as fast as you!" </b>Peers always knew and respected Jack's excellence.</span></p><p><span style="font-size: x-large;">Though he briefly entered into the fusion side of things with his guitar in the seventies, he confidently quipped <b><i>"People don't know that, but I can play the tar out of fusion guitar."</i></b>, he preferred the undistorted sonic purity of the traditional electric jazz semi-hollow guitar sound that he so expertly mastered throughout his career. Besides his quick, flowing single-note lines, his chordal work was exceptional.</span></p><p><span style="font-size: x-large;">As an educator, who has worked as an adjunct at the Manhattan School of Music and the New School. In his own humble honesty about the challenges of teaching jazz to his students, he said </span></p><p><span style="font-size: x-large;"><i><b>"It's difficult to try and teach 'jazz.' It's an expression, it's a feeling, it's something that really can't be taught..but you can teach the language." </b></i> </span></p><p><span style="font-size: x-large;">He took his calling as an educator and as an elder passing on the art of jazz guitar seriously, telling me</span></p><p><span style="font-size: x-large;"><i><b>"When I can hear somebody starting to play better because of my helping them, I am very grateful...I want to help them because they so want to learn."</b></i></span></p><p><span style="font-size: x-large;">He was a musical history buff of sorts and spoke of his early influences -Charlie Christian, Django Reinhardt, and Johnny Smith. He admired his contemporaries like Tal Farlow, Jimmy Rainey,</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Vz8gknXr-JboHnKUnFxKr3wiUfqSPtJGQPbkgu0azLNx-n8yXM9_JQ_LGkKGQq-9VHE0Oi2cdeenEvdtDk5yL3r0rhmKZnXdjsapHpTooOYKW2_P2vP0Wg7poluolU24FUyeNh111XBKbjlbxVI_oovRjNo5-Z7KVtV6BG1mXwvu7k2-Haq2DVMR/s474/th_id=OIP%20(6).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="446" data-original-width="474" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Vz8gknXr-JboHnKUnFxKr3wiUfqSPtJGQPbkgu0azLNx-n8yXM9_JQ_LGkKGQq-9VHE0Oi2cdeenEvdtDk5yL3r0rhmKZnXdjsapHpTooOYKW2_P2vP0Wg7poluolU24FUyeNh111XBKbjlbxVI_oovRjNo5-Z7KVtV6BG1mXwvu7k2-Haq2DVMR/w400-h376/th_id=OIP%20(6).jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: large;">Atilla Zoller, Jack Wilkins, and Jimmy Rainey (photo courtesy of Jack Wilkins)</span></b></td></tr></tbody></table><br /><p></p><p><span style="font-size: x-large;">Chuck Wayne, and trailblazers Billy Bean and Joe Pass. He astutely named blues master Lonnie Johnson as one of the true original innovators on the guitar. Speaking with Jack about the history of the jazz guitar was like getting an education from a true sage.</span></p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/flHXwsl8cBI" style="background-image: url(https://i.ytimg.com/vi/flHXwsl8cBI/hqdefault.jpg);" width="480"></iframe></p><p><span style="font-size: x-large;">After his classic 1973 debut album <i><b>Windows,</b></i> Jack landed a gig with drummer great Buddy Rich. The gig was five or six days a week for thirty-five to forty weeks a year for over two and a half years with Rich starting in 1974. Despite the grueling schedule he never found it repetitive or unrewarding. He credited Rich with being more of an amazing drummer in person than even the legend that was built around him. Wilkins cherished his time with the turbulent drummer and rated his stay with him as an immeasurable learning experience of a lifetime.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGFn_Y3FN-boiZc7L6FzO_VLo-obaam8cBuq06-T-QfiRe2MVJuRZEw4sLnwXQ_9f5-3sE7AiETsch-uzaw6PuU_Fjh4QsmfdqGsPSFkwFyblgJe4Bto9ekpaHfdUKQYz4CV5EHdRfR_SHbyotOeM8960Zx_qyWi-cieGAHtsTNezELSL9MF9Rmaw4/s578/JAck%20Wilkins%20with%20Buddy%20Rich%20(1).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="552" data-original-width="578" height="613" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGFn_Y3FN-boiZc7L6FzO_VLo-obaam8cBuq06-T-QfiRe2MVJuRZEw4sLnwXQ_9f5-3sE7AiETsch-uzaw6PuU_Fjh4QsmfdqGsPSFkwFyblgJe4Bto9ekpaHfdUKQYz4CV5EHdRfR_SHbyotOeM8960Zx_qyWi-cieGAHtsTNezELSL9MF9Rmaw4/w640-h613/JAck%20Wilkins%20with%20Buddy%20Rich%20(1).jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><b>Jack Wilkins with Buddy Rich and Sal Nistico: (photo courtesy of Jack Wilkins)</b></span></td></tr></tbody></table><p></p><p><span style="font-size: x-large;">Wilkins often accompanied vocalists and enjoyed working with the likes of Morgana King, Jay Clayton, and Sarah Vaughan to name a few. Jack worked effectively in all musical groups-big bands, trios, duets, and as a solo artist. </span></p><p><span style="font-size: x-large;">Though Wilkins never chased the spotlight that many musicians with lesser abilities did, he was never jealous or resentful. He just played, played well and his reward was the knowledge that his musicianship was always appreciated by his colleagues and his fans. </span></p><p><span style="font-size: xx-large;">On his seventieth birthday celebration, held at the Jazz Standard in NYC, he was honored by some of his most esteemed colleagues, a who's who of jazz guitarists - John Abercrombie, Vic Juris, Larry Coryell, Howard Roberts, Joe Diorio, and Jack. Their mutual respect for him speaks volumes.</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvchBtkEZfRIOWqsW7iI2L7UzJtDcBWyvRvOkVUYkrqoh-Ilo-F_br8VD3yagH2Fcel4h-Hoe17ytcDRSMIcMajrCX_QHGaahGht_YN8B7v5Ev4pNmvI3OALhXPxbEkh5anEFmUxJhEDOkifogtXjFqK5cespxddAQZs5WmGxbZhkhUNnzjlIsvoIH/s535/70Th%20Birthday%20BAsh.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="425" data-original-width="535" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvchBtkEZfRIOWqsW7iI2L7UzJtDcBWyvRvOkVUYkrqoh-Ilo-F_br8VD3yagH2Fcel4h-Hoe17ytcDRSMIcMajrCX_QHGaahGht_YN8B7v5Ev4pNmvI3OALhXPxbEkh5anEFmUxJhEDOkifogtXjFqK5cespxddAQZs5WmGxbZhkhUNnzjlIsvoIH/w640-h508/70Th%20Birthday%20BAsh.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: large;">Abercrombie, Juris, Coryell, Roberts, Diorio, and Wilkins 1974 70th Birthday bash at Jazz Standard (photo courtesy of Jack Wilkins)<br /><br /></span></b></td></tr></tbody></table><p></p><br /><p><br /></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;">Listening to the feelings and expressions that are present in much of Jack's music, he always conveys a sense of artistry, commitment, excellence, and authenticity. </span><span style="font-size: xx-large;">For me, at this time of loss, his music evokes a sense of joy and condolence. </span></p><p><span style="font-size: xx-large;">Re-reading his words from the interview from 2014 reinforces Jack's humor, his humanity, and his generous thoughtfulness. </span></p><p><span style="font-size: xx-large;">Jack was not fond of listening to his own recorded music. </span><span style="font-size: xx-large;"><b style="font-style: italic;">"Music is like a portrait, you play something that you are feeling at one time in your life, and then you put it on wax, and it's recorded and it's there forever. It's really introspective when you listen to your own music. That's why I am not keen on listening to my own music."</b></span></p><p><span style="font-size: xx-large;">Fortunately for the rest of us, we can all be grateful to have his recordings to listen to and cherish.</span></p><p><span style="font-size: xx-large;">I am forever grateful for knowing him both as a brilliant musician- and although we were not close- I consider him a friend. Jack Wilkins will be sorely missed by those whose lives he touched with his musical excellence and his sincere and humorous humanity. RIP Jack. </span></p><p><span style="font-size: xx-large;">Here are two from Jack.</span></p><iframe frameborder="0" height="270" src="https://youtube.com/embed/O125v2ugXJI" width="480"></iframe></div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/cDohrMCoI54" style="background-image: url(https://i.ytimg.com/vi/cDohrMCoI54/hqdefault.jpg);" width="480"></iframe></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-24212388938162113172023-04-29T18:01:00.000-07:002023-04-29T18:01:26.684-07:00Benny Green Brings His Pianistic Excellence to Portland's 1905<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-uxvmSfALq8wCYKIkHlk92dI-G8BXfTYtAO89z6kbVasT3OmmgiOo6UZWDoaZ3uOCbPv908PyFey6ay1IcJTVZmhsNtGEgZeMh3XK0uXXWqzxPv0GSh5yJDj08YR5iYpU37lLelgyFhFmma6O7eNhoNTBak3WIOzliJvaBZCfcXEQmrRX870GkOG8/s640/IMG_1465.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-uxvmSfALq8wCYKIkHlk92dI-G8BXfTYtAO89z6kbVasT3OmmgiOo6UZWDoaZ3uOCbPv908PyFey6ay1IcJTVZmhsNtGEgZeMh3XK0uXXWqzxPv0GSh5yJDj08YR5iYpU37lLelgyFhFmma6O7eNhoNTBak3WIOzliJvaBZCfcXEQmrRX870GkOG8/w480-h640/IMG_1465.jpg" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Benny Green </span></td></tr></tbody></table><p></p><p><span style="font-size: x-large;">Last night, the superb pianist Benny Green played two solo piano shows at Portland's fantastic jazz club <i><b>1905</b></i>. I was fortunate enough to get to see him play the first set. Green is a seasoned musician who paid his dues as a pianist with jazz greats like Betty Carter, Art Blakey, and Ray Brown. Along the way, Green found time to be a potent sideman for many notable others like Freddie Hubbard, Don Braden, Houston Person, and Ralph Moore to name just a few. He has been recording as a leader since his first record "Prelude" in 1988 and has twenty albums as a leader in his discography. One of my favorites was "Source" from 2010 with the astute rhythm section of Peter Washington on bass and Kenny Washington on drums, which he was nice enough to sign my copy of after the show.</span></p><span style="font-size: x-large;"><br />On this night Green played the grand piano solo and treated the full and respectful crowd to a series of songs mined from some of jazz history's recognizable, but often forgotten pianist/composers treasure chest.</span><div><span style="font-size: x-large;"><br />The set started out with Tadd Dameron's gorgeous "If You Could See Me Now" and followed with a who's who of piano legends' work -Horace Silver's "Come On Home," John Hicks' "Naima's Love Song, "Hank Jones "Minor Contention," Bobby Timmons "This Here." Let's not forget compositions from Barry Harris, Duke Pearson, or master Tommy Flanagan's "Minor Mishap." </span></div><div><span style="font-size: x-large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQp0vljsNPExjw_t9eK3Ixn32LIBnh-7KyvP1YipaEU6vvjZKEELjF0Jx-a2N5M_1Vn8J-hpJzSb9FYIel7vCpTuQvbXNz6WpsrdwHuAfvKVIyNe6YiKvVHzF63S6Hc8OSCLJiZtzq5OPoCxfhw-3QgHBeXLZotRlYInNHo3Y5ojv1Niy7dFUXHJjb/s640/IMG_1470.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQp0vljsNPExjw_t9eK3Ixn32LIBnh-7KyvP1YipaEU6vvjZKEELjF0Jx-a2N5M_1Vn8J-hpJzSb9FYIel7vCpTuQvbXNz6WpsrdwHuAfvKVIyNe6YiKvVHzF63S6Hc8OSCLJiZtzq5OPoCxfhw-3QgHBeXLZotRlYInNHo3Y5ojv1Niy7dFUXHJjb/w480-h640/IMG_1470.jpg" width="480" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div><span style="font-size: x-large;">The man has an encyclopedic memory bank of songs that he can play like they are tattooed in his cerebral cortex. Green is a facile player who employed stunningly fast arpeggios on Kenny Barron's "NY Attitude." He chose one of McCoy Tyner's more beautiful ballads "Sunset" to show his sensitivity and subtle touch, and ended with alto saxophonist Benny Carter's wonderful "When Lights Are Low."</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">I've heard Green's scorching piano work on Bud Powell's "Tempus Fugit" from his "Source" album- the man has chops- and he showed them judiciously here. He could stride with the best of them, peppers in some boogie-woogie, give some funk a la Silver, and his double-handed Shearing-like attack on a few songs was pure pleasure.</span></div><div><span style="font-size: x-large;">Despite his knowledge of the history and the influences that he has absorbed- Powell, Oscar Peterson, and Wynton Kelly have been mentioned-Green's playing is all his own and it was a delight to see, hear him on stage and engage with him after the show. Benny Green is a true pianistic treasure that should not be missed.</span></div><div><span style="font-size: x-large;"><br /></span></div><span style="font-size: xx-large;">Benny's latest release will be titled</span><span style="font-size: xx-large;"> </span><b style="font-size: xx-large;"><i><a href="https://bennygreen.bandcamp.com/album/solo?from=discover-new">Solo</a></i></b><span style="font-size: xx-large;"> </span><span style="font-size: xx-large;">and release on May 12, 2023.</span><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/nYo-jMCMp2o" width="480"></iframe></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-24243639357485826282023-03-26T21:08:00.001-07:002023-03-26T21:08:49.103-07:00Jim Snidero's latest musical excursion "Far Far Away " with Kurt Rosenwinkel <p><span style="font-size: x-large;"><span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijT4MSuw8LOvQPyeqP8g2xX1c5rqxdwYgu8Sq-_-TYhPhFMAbRdumcm2dRR27wuJ3VLV0xsnqfbDJkjwX-3bEHinUiQnuB5SfEDf6nxFZUp1LVFHSsZZqibwWY2yjiuyWW8vADTZsP4DQTrvXyHr58UOPAQVKrWN4QjDXtk0q1VTbyA9MpMrUz5MKh/s474/th_id=OIP%20(5).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="472" data-original-width="474" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijT4MSuw8LOvQPyeqP8g2xX1c5rqxdwYgu8Sq-_-TYhPhFMAbRdumcm2dRR27wuJ3VLV0xsnqfbDJkjwX-3bEHinUiQnuB5SfEDf6nxFZUp1LVFHSsZZqibwWY2yjiuyWW8vADTZsP4DQTrvXyHr58UOPAQVKrWN4QjDXtk0q1VTbyA9MpMrUz5MKh/w640-h638/th_id=OIP%20(5).jpg" width="640" /></a></td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: xx-large; margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Jim Snidero<i><b> <a href="https://www.jimsnidero.com/">Far Far Away</a></b></i> Featuring Kurt Rosenwinkel<br />Savant SCD 2207</span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><br style="text-align: left;" /></span></td></tr></tbody></table><p><span style="font-size: x-large;"><span>The altoist/composer Jim Snidero has recently released his latest album <i><b><a href="https://www.jimsnidero.com/">Far Far Away</a></b></i> on Savant Records. </span><span>When Jim sent me an email, to let me know he was getting a copy of this to me, he mentioned <i>that he thought it was perhaps his best work ever</i>. Needless to say, I was anxious to hear this for myself. </span></span></p><p><span style="font-size: x-large;">Snidero is a beautifully articulate, expressive, and facile alto player in the line of a lineage that includes Paul Desmond, Cannonball Adderley, Sonny Stitt, and Phil Woods. </span></p><p><span style="font-size: x-large;">Like his predecessors, Snidero seems to be on a personal quest. This restless man travels roads that may not often be taken by others. He experiments with varying musical concepts and alternates band configurations; he collaborates with a changing array of fellow musicians, always looking to hopefully add to the magic of the creative experience along the way. Through all the permutations, Snidero never forgets his tone, his clarity, his passionate articulation, and his vision.</span></p><p><span style="font-size: x-large;">Jim was raised in Maryland-Washington D.C. and was educated at the University of North Texas. If you wonder how Jim got his wonderful sound, it doesn't hurt to have studied with both the great altoist Phil Woods and multi-reedist master Dave Liebman.</span></p><p><span style="font-size: x-large;">Jim relocated to NY in 1981 where he cut his teeth with jazz organist Jack McDuff and where his talents became discovered. He eventually found work on the Mingus Big Band, The Toshiko Akiyoshi Big Band, Eddie Palmeri, and played on Frank Sinatra's Big Band from 1991-1995. He started his own quartet starting in 1984 and commenced recording as a leader. Like many musicians, Jim has also been an educator, an adjunct instructor at the New School in NYC, and a visiting professor at both Princeton and Indiana University.</span></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvkSQzB7wSbJYh5jtV0lHDkhcxUOgDbnnQh7m6eFgwxMc0SA7gUduaJiO_odL8kG7NBjNeFm5nVdcW_iTlb3LStGS2um_V0v1BDtRKK_PBuYQKTOpsp2cGs7UMAQ9XhNuM6einyMSuBHJghFDFGJCWEwTXwwtBRdL1CUmCK7xHpeXK5b08J61nU_7o/s300/jim-snidero-project-k.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="300" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvkSQzB7wSbJYh5jtV0lHDkhcxUOgDbnnQh7m6eFgwxMc0SA7gUduaJiO_odL8kG7NBjNeFm5nVdcW_iTlb3LStGS2um_V0v1BDtRKK_PBuYQKTOpsp2cGs7UMAQ9XhNuM6einyMSuBHJghFDFGJCWEwTXwwtBRdL1CUmCK7xHpeXK5b08J61nU_7o/w400-h400/jim-snidero-project-k.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><span style="font-size: xx-large;">Snidero's recent releases have all featured Jim's sonorous alto. On his </span><b style="font-size: xx-large;"><i><a href="https://www.jimsnidero.com/">Project K</a>,</i></b><span style="font-size: xx-large;"> released in 2020, he is playing with a progressive group that includes trumpeter Dave Douglas, pianist Orrin Evans, bassist Linda May Han Oh, and drummer Rudy Royston. The biggest wild card on this album is the addition of Do Yeon Kim on the </span><i style="font-size: xx-large;">gayageum, </i><span style="font-size: xx-large;">a Korean stringed instrument. Following another artistic path, Snidero, in honor of his wife's Korean background and his own twenty-two-year familial immersion in the culture, seeks to discover the possible possible synergies that might exist between Korean music and the jazz format. Snidero fosters collaborations like these, where the talent is diverse, creative, and open, and where unpredictable, unfamiliar twists can get your artistic fluids flowing and can inspire new musical possibilities! </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgJNBqrcRUdllblGPsqyo-HeOAZlqdi4IRQWfwTOV7BxiL59nJ1pBwsoaw5EfOqp-6tFsB12dZJQkEANo1Cd8EX85UMFjL62HqYAp5VxRXrmBhX0T3hFZcE4VzU3mGKG4D_dscW3NoKR-lMHZORgQ61pvdh1DAXXbj-TGLj7nw7kbxeF2553yx5Gro/s200/Jim%20Snidero%20Strings.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgJNBqrcRUdllblGPsqyo-HeOAZlqdi4IRQWfwTOV7BxiL59nJ1pBwsoaw5EfOqp-6tFsB12dZJQkEANo1Cd8EX85UMFjL62HqYAp5VxRXrmBhX0T3hFZcE4VzU3mGKG4D_dscW3NoKR-lMHZORgQ61pvdh1DAXXbj-TGLj7nw7kbxeF2553yx5Gro/w400-h400/Jim%20Snidero%20Strings.jpg" width="400" /></a></div><br /><p><br /></p><p><span style="font-size: x-large;">In 2021, Snidero changed his direction and went into writing, arranging, and playing on his ambitious orchestral project <i style="font-weight: bold;"><a href="https://www.jimsnidero.com/">Strings</a>. </i>This project brought a whole new quartet with the inclusion of the brilliant Renee Rosnes on piano, Paul Gil on bass, the dynamic Billy Drummond on drums, and an eleven-piece string section that was led by concertmaster Laura Seaton. The music is grand and sumptious. It has a splendid melodicity and vigor that reminds me of some of Phil Woods' work with Michel LeGrand. Jim also adds some breezy flute work that suspends over his arrangement of the swelling string sections. Hard to imagine this artist has anything left to prove after this creative tour de force.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGW4S6pykfHB7wgdvrgwX4EkAem9kGXc-cgi3n9OHWQowgbA_ZjY0z3WY13U8NMv3-Qs_CYYTgDtKTSTgt8TPupKdCuPfNxy2AKDQeMZ20Gpy4B4ZDr7WMDPZOTH7FgXuuhg1z3x7WNPdmxnafZaGGRt_ehtGQ69JEklByAKR_ttW7WU7gLLIGFagg/s768/Deer%20Head%20InnJim%20Snidero.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="768" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGW4S6pykfHB7wgdvrgwX4EkAem9kGXc-cgi3n9OHWQowgbA_ZjY0z3WY13U8NMv3-Qs_CYYTgDtKTSTgt8TPupKdCuPfNxy2AKDQeMZ20Gpy4B4ZDr7WMDPZOTH7FgXuuhg1z3x7WNPdmxnafZaGGRt_ehtGQ69JEklByAKR_ttW7WU7gLLIGFagg/w400-h400/Deer%20Head%20InnJim%20Snidero.jpg" width="400" /></a></div><br /><span style="font-size: x-large;"><br /></span><p></p><p><span style="font-size: x-large;">Then again in 2021, Snidero tackled a "live" recording with his latest straight-ahead, hard bop quartet of Orrin Evan on piano, Peter Washington on bass, and Joe Farnsworth on drums titled <i><b><a href="https://www.jimsnidero.com/">Live at the Deer Head Inn</a></b></i>. This cooking album was named one of Downbeat's Best Releases of 2021 and I also included it in my best-of-year list for that year. The group was just on fire and the added impetus of an enthusiastic audience captured on the recording made the session all the more rewarding. What else canbe expected to come out of the fertile musical box that is Jim Snidero's mind? </span></p><p><br /></p><p><span style="font-size: x-large;">On <b style="font-style: italic;"><a href="https://www.jimsnidero.com/">Far Far Away</a>, </b>Snidero changes it up again. This time he is joined by the progressive guitarist Kurt Rosenwinkel along with his potent Deer Head Inn band members, Orrin Evans, Peter Washington, and Joe Farnsworth. It's hard to imagine this group, which showed an admirable telepathic connection in the previous "live" album as a quartet, could embrace the added inventiveness of Rosenwinkel's ethereal approach to the music, but it was almost like he was always an integral part of the group. These pros simply meshed like the gears in a fine Swiss timepiece.</span></p><p><span style="font-size: x-large;">Rosenwinkel adds a new sense of adventure to this music with his airy creative approach. His mastery of enhanced electronic tone and his fretboard fluidity on the guitar is the perfect foil to Snidero's precise, articulate, and earnest alto. With a rhythm section like Evans, Washington, and Farnsworth these two find the table set for their dual and solo explorations. </span></p><p><span style="font-size: x-large;">On Snidero's opening composition, "Far Far Away," Rosenwinkel comes out of the gate with a searing synth-like opening that just revs the music into high gear. Farnsworth's roiling drum work just accelerates in sync with the guitarist bringing the music to a combustible temperature. Snidero's alto pierces into the fray on the next solo with authority and command. Evan's piano work is on target with equal enthusiasm and Washington's bass is like a stabilizing heart beat anchor to the proceedings.</span></p><p><span style="font-size: x-large;">"Infinity" is another Snidero composition that has the altoist opening up with a more lamenting attack. Rosenwinkel's guitar replies with his own tailored guitar lines that contrast brilliantly to the mood previously created by Snidero. The contrast between these two voices is distinct and yet complimentary. They are able to navigate the same wave they attack using different musical surfboards, plying different riding techniques, and still wind up riding through the crest brilliantly.</span></p><p><span style="font-size: x-large;">To hear these two attack a reharmonizing of the Rodgers and Hammerstein composition "It Might Be Spring" is another gem. This is the most traditional take on the album, with Rosenwinkel presenting his intro using the least modified guitar tone on the set and Jim's burnished, luxurious sound is just captivating. The two find common ground here and Rosenwinkel's chops are fast, loose, and a joy to behold.</span></p><p><span style="font-size: x-large;">There are five other songs on this exceptional album including the challenging "Nowhere to Hide," and the latent funk of "Obsession," The blues-spirited "Pat" -a dedication to recently departed guitar wizard Pat Martino- gives Evans some nice stretch-out time to work his blues-tinged magic on the ivories. Other highlights are a fleet-fingered solo by Rosenwinkel, and a potent bass solo by Washington. The swinging "Little Falls" ends the remaining Snidero compositions. </span></p><p><span style="font-size: x-large;">McCoy Tyner's potent "Search for Peace" is a beautiful vehicle for Snidero to ply his warm sound to great effect. Washington's pliant bass lines are beautifully on display here and Kurt's electronically altered guitar lines accentuate the mood sparkingly.</span></p><p><span style="font-size: x-large;"><i><b><a href="https://www.jimsnidero.com/">Far Far Away</a> </b></i>may just be, as Jim wrote to me, his best work to date! Let's just hope this group makes a follow-up to this thoroughly impressive collaborative recording.</span></p><iframe frameborder="0" height="360" src="https://youtube.com/embed/9__G_3z9kxs" width="480"></iframe>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-40243351787393712572023-03-23T15:42:00.003-07:002023-03-23T15:46:10.673-07:00Interview with Pianist Steve Kuhn from July 2007 Originally published in JazzReview<div style="text-align: left;"><b><span style="font-size: 14pt;">Interview with Steve Kuhn </span></b></div><div style="text-align: left;"><b><span style="font-size: 14pt;">Friday July 6, 2007, Dobbs Ferry, New York.</span></b></div>
<p class="MsoNormal"><b><span style="font-size: 14pt;"></span></b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1bLBwRGjlYPR6g6pwyOHdyle8FIcA0yyduioIaxPF7yzdlPFZcooR9ROkmqdU0I6tkO0ww6rV8PNRiEkxPLBcIMINri9Y64np0f8rjJc6r9ixmkEiYyiaD8S-0z2OhZWaIXRvKtvPO19sLZez2t3ELS5AvIp7K0l5n5D1q7krOk3qQK2RKy0bH5P2/s2048/Steve%20Kuhn%20on%20Piano.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1363" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1bLBwRGjlYPR6g6pwyOHdyle8FIcA0yyduioIaxPF7yzdlPFZcooR9ROkmqdU0I6tkO0ww6rV8PNRiEkxPLBcIMINri9Y64np0f8rjJc6r9ixmkEiYyiaD8S-0z2OhZWaIXRvKtvPO19sLZez2t3ELS5AvIp7K0l5n5D1q7krOk3qQK2RKy0bH5P2/w640-h426/Steve%20Kuhn%20on%20Piano.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Steve Kuhn at the Piano (photo credit unknown)</td></tr></tbody></table><b><span style="font-size: 14pt;"><br /> </span></b><p></p>
<p class="MsoNormal">Steve Kuhn, maestro, jazzman, pianist extraordinaire who has
been a professional musician for over fifty years. During his remarkable and
expansive career, he has been at the center of jazz musical history. He is an
important, participant, observer, innovator, and contributor to the music in
its many forms and variations. He has borne witness to an era and an industry
that was intimately apart of the cultural, economic, and racial transformations
of its time. He has successfully collaborated with some of the foremost musical
giants of the jazz world. During these collaborations he has undoubtedly left
his musical mark on some of these icons while, in turn, being profoundly influenced
by them. His playing continues to entertain audiences and inspire younger
developing musicians. It is my great pleasure to introduce Mr. Steve Kuhn.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">RAM: Hello Steve.<o:p></o:p></p>
<p class="MsoNormal">(Steve is seated at his <st1:place w:st="on">Baldwin</st1:place>
piano in his Dobbs Ferry home.)</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK: Oh, hello Ralph.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: Let’s start at the beginning or at least the musical
beginning. You dedicated your most recent album <b><i>Promises Kept</i></b><i> </i>to your parents and a cousin. What is
the source of this dedication?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmRWNIRiYqgqdV-VN-kqu6eUqRKtrkhl-FGvg5wTW7gsWYRZWjieZOMBnrPlxxcR7HeXFM3CKsbr_wUfEUVWVW7FPZaDD1Pg9-3MsAesZKprU-65MDm_PeOZlY7PXAe-7aPTTYSTl9dKVFJePUl0tbNbxnfymbIPnIBbmpuyGdby5uiBCpXFl-HgaA/s1000/Promises%20Kept.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmRWNIRiYqgqdV-VN-kqu6eUqRKtrkhl-FGvg5wTW7gsWYRZWjieZOMBnrPlxxcR7HeXFM3CKsbr_wUfEUVWVW7FPZaDD1Pg9-3MsAesZKprU-65MDm_PeOZlY7PXAe-7aPTTYSTl9dKVFJePUl0tbNbxnfymbIPnIBbmpuyGdby5uiBCpXFl-HgaA/s320/Promises%20Kept.webp" width="320" /></a></div><br /> <p></p>
<p class="MsoNormal">SK: Well, it is actually dedicated to my grandparent on both
sides, my parents and a cousin who passed away suddenly from pancreatic cancer
about five years ago. She was incredibly
vibrant and a wonderful kid. …. Basically
….I always wanted to do a recording with a large string orchestra. I had
done a couple with string quartets in the past, which is great cause I love the
sound of strings, I love violin concertos especially…. composers from the early
twentieth century. So I was afforded the
opportunity to do this with ECM records with whom I have been associated with
since the seventies. They allowed me to do this and it’s been a life long
dream. It’s really a dedication to my grandparents from both sides that
migrated from <st1:country-region w:st="on">Hungary</st1:country-region>; my
mother was born in <st1:place w:st="on">Hungary</st1:place>
my father was born here…. in honor of them coming to this country in order to
live in a free society, and to my parents for carrying on that dream and
eventually allowing me to express myself in this free society where anything is
possible, with a recording like <b><i>Promises Kept</i></b><i>.</i></p><p class="MsoNormal">RAM: Tell us a little
bit about the early Kuhn household in <st1:place w:st="on">Brooklyn</st1:place>.
Where was the neighborhood and what kind of neighborhood was it like?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: It was Sheep head Bay, Avenue X it was a series of
attached row houses. The main level, of two levels. My folks bought the house
back in 1937 for $6500, which was a lot of money back then, and still is!
That’s where I grew up. My recollections of it are basically that I showed a
very early interest in music. I was featured in a popular book at the time by
H. Allen Smith, in 1941 called Low Man on the Totem pole…. It featured people
with special talents…. My father had an extensive 78 jazz collection and even
before I could walk or read I could identify the artist, like Benny Goodman,
with the album cover in baby talk. I responded to music my father played very
early on.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">RAM: What did your parents do for a living? Was either one a
musician?<o:p></o:p></p>
<p class="MsoNormal">SK: No. My father sold rawhides to companies that used it to
produce shoes and other items. My mother was a schoolteacher. Neither one were
musicians.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">RAM: What was the ethnicity of your <st1:place w:st="on">Brooklyn</st1:place>
neighborhood?<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">SK: Italian and some Jewish, some Afro-American but not that
much. Mostly Italian.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">RAM: Kuhn is A German surname, isn’t it?<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">SK: Kuhn is, but the name was originally Kün when my
grandparents came to this country it somehow got changed to Kuhn. Over there
they pronounced “Koon” which I don’t like but I let it go in <st1:place w:st="on">Europe</st1:place>
but not here. It is a Hungarian name, but it was changed back then.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">RAM: When did you start piano lessons and when with Madame
Chaloff?<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">SK: I started studying when I was five years old in <st1:place w:st="on">Brooklyn</st1:place>. We later moved around to <st1:city w:st="on">Chicago</st1:city>
and wound up in <st1:city w:st="on">Boston</st1:city>
around 1950 and at the age of twelve, I started piano lessons with Madame
Chaloff, who was the mother of the saxophone player Serge Chaloff. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhReDN79cqL34M4yij5Y72JOPITpCMCJjaJK7ebmIa3ApOxHuU5hRHtTIrmgMTxxDVOgqmByWbj9WhKs7spcU8pDEBHuuy6rIwFixX3ejfW3Fg35eSLfxGtrwR7ORWpFjlhxQ9t7LVsHhiNW13fPAyJwgrLZIG3_mLZJhaOQcbsaj0SHdPCc571qyjq/s606/1982%20Steve%20Kuhn%20Last%20Year's%20Waltz%20Album%20Cover.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="606" data-original-width="599" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhReDN79cqL34M4yij5Y72JOPITpCMCJjaJK7ebmIa3ApOxHuU5hRHtTIrmgMTxxDVOgqmByWbj9WhKs7spcU8pDEBHuuy6rIwFixX3ejfW3Fg35eSLfxGtrwR7ORWpFjlhxQ9t7LVsHhiNW13fPAyJwgrLZIG3_mLZJhaOQcbsaj0SHdPCc571qyjq/s320/1982%20Steve%20Kuhn%20Last%20Year's%20Waltz%20Album%20Cover.jpg" width="316" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Steve Kuhn (photo credit unknown)</td></tr></tbody></table><p></p><p class="MsoNormal">She was my main teacher who tore down certain technical
habits that I had already developed that were not really right and re-educated
me. She became very important in my life as a mentor, as a surrogate mother and
as a teacher. She was just an extraordinary woman. In terms of the technique,
she taught me, it was the Russian School of Technique.<o:p></o:p></p>
<p class="MsoNormal">All about playing as fast or as slow, in terms of the speed
and having the control to play in a range of speed from the slowest to the
fastest and also dynamically from softest to loudest and getting a sound on the
instrument. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p><i>Steve demonstrates
this technique on his <st1:place w:st="on">Baldwin</st1:place> piano.</i></p>
<p class="MsoNormal">You center yourself on the keyboard between E & F. You
sort of let your arms hang loose so that there is no weight at all you have
curvature at your hands so you do not play flat-fingered, and then its about
the sound you want. So, if you want a very, very loud fortissimo or triple
fortissimo …you envision the sound coming from your toes, coming up through
your legs, up your back and coming out at your fingertips, which is like
playing a horn. The analogy being the
fingertip being your mouth and the key being the mouthpiece of a horn. Same
principle, you’re blowing into the instrument, same with drumming everything is
the same principle. It is just easier to visualize if you’re a horn player that
the sound is coming out at the fingertip or your mouth into the reed or, on the
piano, the key which is then transmitted through the soundboard of the piano
and out.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">RAM: So it’s like a flow of energy, similar to the way
meditation techniques use breathing to flow the energy through the body?<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">SK: That’s right. Yes, absolutely. The problem is if you are
playing and you don’t have a light arm, another word you support the whole
weight of your body on your fingertips and if you don’t do that the sound gets
blocked at whatever point your arms are restricted. This produces a different
sound. Madame Chaloff was very conscious of getting a real piano sound that all
great classical players had and have, but not many jazz players are aware of or
care about that much and that’s fine. She really stressed that, so it took me a
long time to develop this technique. She was right and one of the things I
pride myself about is getting a good sound out of the piano, and in fact, it
has been noted by various reviewers that I have such a sound and having that is
very important for me.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: I noticed when I saw you in concert that you develop a
tremendously powerful, resonant sound from your playing and yet you can play
with such quiet tenderness.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: It’s all about getting the sound from the piano that you
should get and allowing the sound to flow from your body. If you want a
delicate sound, you visualize the sound coming from the second or third joint
from your fingers. The more powerful the sound you want the deeper you
visualize into your body all the way down to your toes.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You talked of Serge Chaloff before. He was a baritone
sax that played with Woody Herman and was one of the original four brothers. Do
you remember who the other three brothers were?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Stan Getz, Herbie Stewart, and Zoot Sims.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEeOBI-Dn4x0Fr-gn7gfAjQvLlIQetxbt7lK5jrfEDeIf3ZvRMGORp4MiJ3rNmUHPhfaRM_TycHmiU4y9Mi49sjYY9wFwkFvPu5wjxRMxm8_Oa6hfX3E70xN0pH4lu93_avtgh16OQDQjpkkzfuUVTCOUMPbDD3R063TTvUpDQmu_Y5f_ioQbdZ1yy/s400/4558f84d8307dbc7431c7a2054faa956.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="330" data-original-width="400" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEeOBI-Dn4x0Fr-gn7gfAjQvLlIQetxbt7lK5jrfEDeIf3ZvRMGORp4MiJ3rNmUHPhfaRM_TycHmiU4y9Mi49sjYY9wFwkFvPu5wjxRMxm8_Oa6hfX3E70xN0pH4lu93_avtgh16OQDQjpkkzfuUVTCOUMPbDD3R063TTvUpDQmu_Y5f_ioQbdZ1yy/s320/4558f84d8307dbc7431c7a2054faa956.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Serge Chaloff, Stan Getz, Zoot Sims and Herbie Stewart (phot credit unknown)</td></tr></tbody></table><p class="MsoNormal">RAM: That’s right. Eventually, Herbie was replaced by a man I
once saw in a club in <st1:place w:st="on">New Jersey</st1:place>,
Al Cohn.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Al was a lovely player with a great sense of humor. I
worked for him a little bit. He was a funny guy.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Did you ever get a chance to play with Woody’s band?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: No. When I first came to <st1:state w:st="on">New York</st1:state> I had a chance to go with the band
he had at the time. I just decided that for me in a big band, a piano player is,
unless it’s your band….</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Like Count Basie’s?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yeah, it’s just kind of boring. I really wanted a small
group situation where I could solo and comp and do things in a much smaller
context, so I turned that job down.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You played with Serge though, right?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yes, when I was a teenager…. We played around <st1:place w:st="on">Boston</st1:place> just a trio with no
bass. Drums, myself, and Serge…. He was really relentless on the bandstand. If
I played the wrong change or if I did something he didn’t like he would yell at
me, it didn’t matter where we were or who was there.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">But I learned a lot that way, some people would wilt …. I
just thrived in that kind of environment. He was like my big brother to me and
I learned a great deal from him in a short period of time. Unfortunately, he
passed away in 1955 or maybe it was 1957.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">I learned a lot about comping; I learned a lot of tunes. I
played tunes I never heard before a lot of blues changes, stuff like that. <o:p></o:p></p>
<p class="MsoNormal"><o:p>R</o:p>AM: This was <st1:place w:st="on">Boston</st1:place>
in the fifties?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yes, we moved to Boston in 1950.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: What were the social conditions concerning musicians,
race and integration of bands at this time?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: In <st1:place w:st="on">Boston</st1:place>?
It was fine. No problem. Everybody was together. There were a lot of very good
musicians up there black and white…. Boston has a reputation, especially in
athletics, which is true, but in the musical, jazz community we were all playing
together. Nobody ever thought about that. </p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: Did playing with horn players influence the way you
play your lead solos?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I don’t know. I haven’t given that much thought. I think
I am aware of the piano as an orchestra on to itself. I approach it that way. I
don’t necessarily think so. Most of what I learned was about comping behind a
horn for support without overplaying. I learned a lot when I played with Stan
Getz too. He didn’t say much, but sometimes I would tend to overplay, and he
would say either “stroll” or layout a couple of choruses while he was soloing
or just be more sparse. Over the years I learned that this really works the
best. Sometimes if you are playing with someone who is insecure, then that
happens rarely, but it happens more with singers, they like fuller
accompaniment behind them because they are a little insecure in terms of what
they are doing. I just shy away from that because it just doesn’t feel
comfortable to me, and I can play over them, and I don’t want to do that. It is
just about being sparse and staying out of their way.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: Jumping ahead a bit, you graduated from Harvard. Was it
in music?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK; No, I got a BA in Liberal Arts and took all the courses.
I was amazed I got in. I took all kinds of courses.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Then you got into the Lenox Summer Music Program in
1959 up in Lenox <st1:place w:st="on">Massachusetts</st1:place>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqwDs35FON4fGDWGWNwVYj8_H_O-3H8WRX19XPZnwmaVjMMs9bqPjqK_PU22NbK4H2DW2VAOIEj0cdTb3nMcGIT_Q9uW1d7vEXgV0yxo0DGnYHyMfmUIu00QtJxeSIvP3zWaEs17a_zfUX8w4waj4h98QyfmwKLQJnY7TXT46lbcljKZJIGaEy540y/s201/th_id=OIP%20(4).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="194" data-original-width="201" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqwDs35FON4fGDWGWNwVYj8_H_O-3H8WRX19XPZnwmaVjMMs9bqPjqK_PU22NbK4H2DW2VAOIEj0cdTb3nMcGIT_Q9uW1d7vEXgV0yxo0DGnYHyMfmUIu00QtJxeSIvP3zWaEs17a_zfUX8w4waj4h98QyfmwKLQJnY7TXT46lbcljKZJIGaEy540y/s1600/th_id=OIP%20(4).jpg" width="201" /></a></div><br /><p class="MsoNormal">SK: Yeah, that was just a three-week program. I got a scholarship to attend from Schaefer
beer and they chose different students from different colleges and non-college
musicians of promise. That year I attended with Ornette Coleman, Don Cherry,
Gary McFarland to name a few.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: These three weeks seem to have left an indelible
impression on you. That is where you met Kenny Dorham as a faculty member isn’t
it?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Kenny was on the faculty, the whole Modern Jazz
Quartet was on the faculty, Dizzy Gillespie, George Russell, Günter Schuller,
Bill Evans …..and they were the teachers, but we were all just sort of hanging
out together, members theoretically studying, but it was a little more informal
than that. I had a chance to meet a lot of people there and it was a very
intense three-week period.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You eventually joined Kenny Dorham’s quartet. How did
that happen?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I moved from <st1:city w:st="on">Boston</st1:city> to <st1:place w:st="on">New
York</st1:place> and so I called around to see where I could get
some work. So, I called Kenny and he happened to be looking for a piano player
so he hired me. It was so nice to be able to work with him. He was an
extraordinary player, underrated ….and he was somewhat bitter about that because
there was Dizzy and then there was Miles and then there was Kenny…… by this
time Brownie ( Clifford Brown) had passed away. Kenny felt he was in the same
position as they were…. maybe a tad under, in my opinion, but he was ….a
wonderful composer and a great trumpet
player.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPi24BmwIXTwqmBSQHsWdsEY-4ZNGF6WQdWeU1XDwkSJrEetqbtsTvcayH6r0Qq4gK53EnRaxSQvN5ZJimMzTvluKVUmoPSFEI5iFNpGd5wAWmdzBMMX5T_-gy44S57D2Klipk1aSo1lgMS2XpdCVTDtHmjvMSf9ZeYMlSJOtUczA6-N_Ev5vV5e9Q/s316/Jazz_Contemporary.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="316" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPi24BmwIXTwqmBSQHsWdsEY-4ZNGF6WQdWeU1XDwkSJrEetqbtsTvcayH6r0Qq4gK53EnRaxSQvN5ZJimMzTvluKVUmoPSFEI5iFNpGd5wAWmdzBMMX5T_-gy44S57D2Klipk1aSo1lgMS2XpdCVTDtHmjvMSf9ZeYMlSJOtUczA6-N_Ev5vV5e9Q/s1600/Jazz_Contemporary.jpg" width="316" /></a></div><p class="MsoNormal">RAM: You played <b><i>Lotus Flower</i></b><i> </i>one of KD’s compositions on your recent <b>Live at Birdland </b>album, any personal significance for you about
this tune?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: No other than it’s a nice tune to play harmonically…. I
also play his <b><i>Blue Bossa</i></b><i> </i>Which I have
recorded a few times. They are just nice to play. The melodies are lovely and if
you will it’s a homage to Kenny, I loved Kenny.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You mentioned in another interview that you played
together with Ornette and Don Cherry at Lenox and that you found it
uncomfortable so you “strolled” or laid off a lot with them because they were
branching off into a non-melodic form of music even back then.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: It wasn’t that so much. I really didn’t know what to do.
To comp with them in the traditional way laying down chords made no sense……John
Lewis of the MJQ was the leader of this particular group up at Lenox, and his advice
to me was to do what he did with the MJQ. He didn’t really chord, he used to
play counter lines to Milt Jackson’s vibes. I really didn’t take to that
either. So for me the easiest thing to do was to lay off when they were
soloing. In fact, over the years most of the recording Ornette has ever done
was done there was no keyboard.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You heard that Ornette just received a Pulitzer Prize
for his writing.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: God bless him. (With his music) there really is no need
for a piano in my opinion.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: Was Lenox your first encounter with Gary McFarland?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK: Yes.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: In 1966 you created with him the beautiful piece of
music called <b>October Suite.</b></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB9u56HOw4zwi2dYKJ9G7Hw7od1HyCqGWibeml_vdK2YRY8IKpqfmkM6Xh-0Fh-VrAdeRdmCW2kyim5U6KZnemSAx9TOpXtSAYPK9ShpPaBQkPRUlm1YN14UrTliB7rY8mUW8f-TPfOiY96fR-nhnQTeb96x6JYGkQHFbJVWSGtkSZ4fqCA2qATPPj/s477/Steve%20Kuhn%20and%20Garty%20McFarland.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="474" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB9u56HOw4zwi2dYKJ9G7Hw7od1HyCqGWibeml_vdK2YRY8IKpqfmkM6Xh-0Fh-VrAdeRdmCW2kyim5U6KZnemSAx9TOpXtSAYPK9ShpPaBQkPRUlm1YN14UrTliB7rY8mUW8f-TPfOiY96fR-nhnQTeb96x6JYGkQHFbJVWSGtkSZ4fqCA2qATPPj/s320/Steve%20Kuhn%20and%20Garty%20McFarland.jpg" width="318" /></a></div><br /><p></p>
<p class="MsoNormal">SK: He created it, I just played on this.<o:p></o:p></p>
<p class="MsoNormal">RAM: Well, you were nonetheless an important contributor.
Some people call this the Third Stream in jazz music …. what is your comment on
this movement?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Well, there was a period of time when people were making
recordings of classical with jazz. Some of it was more successful than others.
I didn’t care too much for most of it because they were trying to get the
classical musicians to have that …swing, which is impossible with classical
musicians especially. What Gary wrote for this particular recording, he wrote
half for a string quartet and then there was a woodwind quintet and then there
was a harp, and he wrote just straight ahead for them and then I was the jazz improvisational
element on piano everyone else was straight and so I think it worked.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>Some of the fusion of the Third-Stream stuff back then was
not very successful, in my opinion, because it was written in a way that was
trying to get the so-called classical part of it to swing. To get classical musicians
who are used to playing in a certain way, they don’t have the intuition to do
what we do and we don’t do what they do, and its very, very rare to get that
meeting that works successfully.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You played with Ron Carter on this date. Is this your first
meeting with Ron?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK; Probably not, I think we played some together before
this but it may be the first time we recorded together.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: After working with KD you were hired by John Coltrane
to join his first quartet after he left Miles in early 1960. You actually cold-called John for the job?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yeah I was working with KD and I got his number and I
called him and …….I heard he was looking for a piano player, he had just left
Miles….I was twenty-one…..after two meetings talking and playing, one at his
home in Queens……a week or ten days later he offered me $135 per week to start.
I nearly fell off my chair because I was only making $100 a week with KD and I
was getting to play with Coltrane.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: This first group was you, John, Steve Davis on bass, and
Pete LaRoca Sims on drums. You played at the <b>Jazz Gallery</b> on <st1:address w:st="on">St
Marks Place</st1:address> in NYC.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: That was the only place I played with him……. It started
out as a two-week gig and the it kept being extended to four weeks, six weeks
…… I was there about eight to ten weeks …..then ultimately McCoy Tyner took my place……they went on for
an unheard 24 or 26 weeks I believe at
the time. But we were working six nights a week for that period, and it was
just extraordinary. Six nights a week that was the way it was in those days.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: This was after <b>Giant Steps</b>. At this point was he
starting to go into his searching mode?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yeah. We were playing a repertoire that consisted of the
stuff on <b>Giant Steps</b> that had a lot
of harmonic density, then he got into <b><i>Impressions
</i></b> with just two harmonies on a 32
bar …..and he didn’t quite know (which way to go) ….he was leaning toward the less harmony but
still playing the other stuff which I guess people wanted to hear……He
eventually went, of course, the way he did. Away from all that dense harmony to
almost a-harmonic…..</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Do you think his musical direction was coincidental
with yours or do you think he was going in a direction that was a little bit
different then you felt you wanted to go.<o:p></o:p></p>
<p class="MsoNormal">SK: At that point I
was twenty-one years old…… I was thrilled to be there, and I was just trying to
do the best I could do to support him and learning.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Did you feel up to the task?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK: Some of the time I did and some of the time I didn’t. It wasn’t because I was trying to find my own
voice, I just didn’t know what to do for him. A lot of times I would chord and
then sometimes he would be out there doing what he was doing and I would be out
there with him maybe inspiring him to do other things or further or…basically
when I heard McCoy with him, he just wanted a carpet, he didn’t want anybody to
fuck with him,so to speak. Let him alone, McCoy just layed down a nice carpet
which was really what he wanted. He really didn’t articulate that to me. I said
John …is everything okay, he said, and I’ll never forget this, <i>I</i> <i>respect
you too much as a musician to tell you how to play</i>. I said John I am asking
if there is anything you want me to play, really! …he just couldn’t …. he
didn’t speak very much anyway. But when I heard McCoy with him after I had
left…</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You felt that that was a match that was more
compatible?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yeah. Absolutely, that is what he wanted but he was not
able to articulate that to me for whatever reason. Really it was a historical
time for me, something that I will never forget. I was just happy to have those
couple of months with him.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Do you think that ultimately, had you stayed with Coltrane, you would have picked up more of his musical odyssey along the lines of non-harmonious
direction and his exploratory nature?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I don’t know. Possibly. He influenced me a great deal
prior to me working with him and he continues to do so. the stuff he did at the
very end of his life I am not as crazy about as the prior stuff. I don’t know….
if I had stayed with him, career-wise I would have been potentially accelerated
but….I don’t know.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Besides the historical significance of playing with
John, what do you think is the most significant aspect of your time with him
for you?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Just being around
somebody who for the first time in my life was completely dedicated to the
music. There was no interest in drugs, he was straight as a pin in those days,
he wasn’t screwing around with women, he was married. He really was just
focused on the music going forward.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Was he on a spiritual path yet?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: He was starting, I think, but not really. That with <b><i>A Love Supreme</i></b><i>, </i>and later but this was two or three
years prior to that.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: I was at your performance at the Fazioli Salon recently
and you played Coltrane’s <b><i>Countdown</i>.</b> Is there any significance
to that particular song for you?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Other than that it was one of the songs that we played
when I was with him and I have played it since then from time to time on
recordings. That is a song that is based on <b><i>Tune Up</i></b> which is a Miles
Davis song (Steve demonstrates the chords of <b><i>Tune Up</i></b> on his piano and
then compares the changes to <b><i>Countdown</i> </b>which is an apparent derivative)
……the formula John used in the tune, it started in one place and ended in the
same place…so that’s what it was based on. Whenever there is a song when the
harmony didn’t move very much, he was able to interpolate the formula that he had,
which is the formula he used for <b><i>Giant Steps</i></b>, which is an original
and isn’t based on anything else. (Steve now plays the first few bars of <b><i>Giant
Steps</i></b> to demonstrate his point). The release, I remember mentioning
this to him, of <b><i>Have You Met Miss Jones</i></b><i>…….
</i>is the same formula as <b><i>Giant Steps</i></b>, (Steve demonstrates the
similarities of the songs by playing a few bars of each …) but that was the way
it was written by Richard Rodgers. I remember mentioning this to John and he
just smiled at me. He built a whole thing on that simple formula.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Let's jump a little bit ahead. You left John Coltrane
and joined Stan Getz I believe.</p><p class="MsoNormal"><o:p>S</o:p>K: Well I left John and went back to work with Kenny for a
period. …. then I got a call from Scott La Faro, who was an extraordinary
bassist. He had gotten a call from Stan asking if he wanted to join in a new
group that Stan was forming. Stan had just gotten back from living in <st1:place w:st="on">Scandinavia</st1:place> and wanted to work in the States again. Scott
said “Well I’ll join you, but I want the rhythm section that I want. Scotty was
maybe twenty-four.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: He was quite audacious, wasn’t he?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: But he could back it up. He was great- extraordinary player.
So, Stan said sure. So, he called Pete LaRoca, and he called me. The four of us
met one afternoon at the <b>Village</b> <b>Vanguard</b> just to play and Stan hired us
and that’s how that started.</p><p class="MsoNormal"><span style="background-color: white; color: #1d9bf0; font-family: TwitterChirp, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif; font-size: 20px; white-space: pre-wrap;">https://youtu.be/MkExU0GS6y8</span></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Now how did you know Scott?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Just …. he was around ah...I don’t remember how we
met…he was two years older than I was, but we were sort “of an age” and he was
working also with Bill Evans at the time.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: I wanted to talk a little about that. You are at a sort
of a nexus of events here. Scott is playing with you and he is playing with
Bill. Bill being one of my favorite pianists.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: As he is mine also.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: I had heard Bill…. I never met him until, I guess I met
him before Lenox. He did a concert at <st1:place w:st="on"><st1:placename w:st="on">Brandeis</st1:placename> <st1:placetype w:st="on">University</st1:placetype></st1:place>
with George Russell’s band when I was at Harvard. That is the first time I
heard Bill play and I said to myself …Jesus, this guy is doing what I am doing
but only he has gotten it together, he is much more developed than I am. It
sort of threw me. But I loved what he was doing. Except that I now had to take a little detour
and try my own way, but I was still in college. Scott was working with Bill.
When I first got to New York I called all the guys I met at Lenox, and I called
Bill. Bill was one of the guys I called. He took me in sort of like a little
brother, and so we got along great. Scotty and Paul Motian were working in his
band, but Bill wasn’t working all the time.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">So when Stan called Scotty, Scott was doing both.<o:p></o:p></p>
<p class="MsoNormal">RAM: Scott was supposedly only playing the bass for about
six years and yet is still considered one of the premier innovators on the
instrument.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I don’t remember the number of years he had been playing
bass, but I know it wasn’t that long. He played something like before I can’t
remember what.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM : I read somewhere that you and Scott were thinking
about forming your own trio at this time before his untimely death?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yes. We did a little demo record together with Pete
LaRoca and I had the master put out on CD and <st1:place w:st="on">Japan</st1:place> put it out. It’s about thirty
minutes, but just to hear Scott on it is worth the price. It never happened.
Scotty loved Bill but he also felt somewhat constrained. With me I guess he
felt that he was with someone with a similar attitude I don’t know. So, he was
looking to leave Bill but at the same time it was work and he was with Stan so
he had a pretty good situation going unfortunately, the accident.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: I had once seen Bill at the <b>Bottom Line</b> with I believe it was Eddie Gomez toward the end of his
career and I witnessed how he could almost float over the keyboard.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Bill knew about the sound, the piano sound we were
talking about. Once of the things that I admired about him, was that he had
extraordinary technique, but you never heard that technique the way you would
with Oscar Peterson, for example. Bill could play, he could play but he chose
to ….</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Less is more.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Less, exactly and to me it was a great lesson, and he
got a sound on the instrument that was quite extraordinary!</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: I found some of your most memorable compositions, at
least for me, like <b><i>Trance</i> </b>and <b><i>Oceans in the Sky</i></b> are very
rhythmically oriented. I find that they way the seem to have a driving rhythm.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-isxOW_lBXzliRjM7MDXwUj_BdvCwmzZrUOvdO8iI6od43ufxtBh-lNO_sipwSbrIA07kYiIuRBU9O4DIKv5CadUFssEvMzpCXDe9GRF8TILkAyVsD1fJ3QxMxr5SEHwM_z3tmEec6OnXnVvDP5jvVBqXEuAloX_KUJF12rdZXG-TkyZOYIeg20L8/s501/Steve%20Kuhn%20OCean%20in%20the%20Sky%20w%20Misoslav%20Vitous%20and%20Aldo%20ROmano.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-isxOW_lBXzliRjM7MDXwUj_BdvCwmzZrUOvdO8iI6od43ufxtBh-lNO_sipwSbrIA07kYiIuRBU9O4DIKv5CadUFssEvMzpCXDe9GRF8TILkAyVsD1fJ3QxMxr5SEHwM_z3tmEec6OnXnVvDP5jvVBqXEuAloX_KUJF12rdZXG-TkyZOYIeg20L8/s320/Steve%20Kuhn%20OCean%20in%20the%20Sky%20w%20Misoslav%20Vitous%20and%20Aldo%20ROmano.jpg" width="319" /></a></div><br /><p></p>
<p class="MsoNormal">SK: Well, its sort of an ostinato. <b><i>Trance</i></b> and then <b><i>Oceans
in the Sky</i></b> they are both 6/8 <o:p></o:p></p>
<p class="MsoNormal">(Steve plays a few bars of each on his Baldwin).<o:p></o:p></p>
<p class="MsoNormal">RAM: I watched you at a recent concert and you use a
technique of playing over the entire keyboard which I don’t see as much with
other jazz players and you use tremolo effectively to build suspense in your
songs.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: The piano is an orchestra, so why not use it.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Getting back to Scott. What would you say made Scott
LaFaro so special?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Well, he had incredible harmonic knowledge and had
incredible ears so he knew exactly where you were going and then he could take
you from there. If you were up to it you could have a real conversation. His
hearing, his harmonic knowledge and his facility on the instrument….. nobody
that preceded him played like him, more like a guitar, but he also could walk.
He knew what the function of a bass was. He could play the bottom. A lot of
people didn’t realize that he could do it all.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Was his consideration as such an innovator on the
instrument mainly the technique of using the bass more like a guitar?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yes, to some
extent, absolutely. But he really had everything going. He could do whatever
was called for.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: You were at the Newport Jazz Festival in 1961 with him.
That was quite a bill with Miles Davis and you with him and Stan Getz. Was this
the last live performance with him.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yes. After the gig he had taken a week off in upstate <st1:place w:st="on">New York</st1:place>, where he was
from, to help his mother move and help her pack. He tended to drive fast. I
remember when we were out in <st1:state w:st="on">California</st1:state>
and when we were with Stan and he would drive those winding roads like hell and I said please! Unfortunately this
time ….after working at packing all day he was probably tired and probably
driving too fast and he smashed into a tree. It was such an impact that the
tree came into the car started a fire and the car was burned…. the only way he
was identified was by his St. Christopher’s medal. The next morning after this
had happened, Stan gets a call, we were upstate working somewhere, Henry Grimes
was the bassist and Roy Haynes was the drummer ….Stan gets a call from his
agent that they had heard over the wire that jazz bassist Scott LaFaro had been
killed in an automobile accident. Stan couldn’t believe it so he calls and
wakes me up to check and sure enough that is what happened. I guess a few days
later we drove up to where the funeral was. That was the week he should have
been working with us.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: How long were you with Stan Getz?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK: Two years altogether. It was a year first with Scotty
and Pete LaRoca then with Roy Haynes. There was a six-to-eight-month period where
there was a hiatus, then another group after Scotty was killed with, Roy
Haynes and John Nebbs the bassist from Boston. That was the trio until the band
broke up. A year after that Stan started the hot bossa nova …. So, he had Al
Harewood as the drummer and Tommy Williams was the bassist and then he would
have different guitarists to get that sound…… which I wasn’t that crazy about.
Piano and guitar which, unless you really work stuff out or layout, while the guitar
is soloing…. the tendency is to get in each other’s way. So that lasted about
another year and that was the end of that.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You started to play with Art Farmer a very lyrical
player, especially on flugelhorn. What was the sense of lyricism that you got
from this experience.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: He influenced me most definitely. The thing I took away
from this experience, besides loving Art and respecting him greatly, was the rhythm section which was bassist Steve Swallow and Pete LaRoca. This was
the first trio that I had had, the first trio that I recorded as a leader. This was a chance to play together as a
rhythm section so that was a special time for me. It was a chance to play with
those guys and Swallow was playing stand up bass at the time.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Looking through your discography I noticed that you
have recorded Steve Swallow’s compositions more than any other composer besides
yourself.</p><p class="MsoNormal">SK: He is a wonderful writer, and we have a very close
personal relationship. He is the brother that I never had. I think he is a great talent as a writer and a
player The way he composes just strikes a chord…so to speak.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: He is obviously a prolific composer, and it seems a
little coincidental that it is at this time you start composing and recording
your own work. Was Steve the influence on you starting writing? The first piece
that I saw on your discography that you wrote was <b><i>Today I am a Man</i></b> in 1966.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Swallow is the
one that got me started writing originals because I had a repertoire of
standards that I did the way I did them and at some point, I had recorded all
the repertoire. He sat me down and said to me…you got to write, you got to
write some music…. he challenged me. At the time I was living in <st1:country-region w:st="on">Sweden</st1:country-region> and I went back to <st1:place w:st="on">Stockholm</st1:place> and I started to write. <b><i>Today
I am a Man</i></b> is a melody based on confirmation.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">(Steve plays a few bars of the song) but it was predetermined
chord changes. Then I did something that based on <b><i>So What</i></b>…. there were a couple of things where I used
something that had been already written, but then having used up everything I realized
Swallow was right. It hit me hard that night, I remember telling him about it,
especially since I had so much respect for him. I went back and I composed, in
a very short period of time, I composed thirteen songs. I have recorded them
all since then, some more than once.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: The <b>Three Waves</b>
album was recorded with this trio and that was like a personal metamorphosis
shortly thereafter? </p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: That was before the <st1:place w:st="on">Paris</st1:place> meeting with Swallow. <b><i>Today
I am a Man</i></b> was one of them. <b><i>Memory</i> </b>was a dedication to Scott
LaFaro, which was a straight original<i>…</i>….</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Your years in <st1:country-region w:st="on">Sweden</st1:country-region>
and <st1:place w:st="on">Europe</st1:place> are a bit of a mystery. Can you
fill us in as to what you were doing and why you choose to leave <st1:place w:st="on">New York</st1:place>?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I fell in love with a Swedish actress.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Was that Ulla, the namesake of one of your originals?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK: No Ulla was a somebody that passed away prematurely
while I was living there. She was a friend of a woman I was living with named
Monica Zetterlund...a very well-known actress and singer, she did a number of
films and recordings. As a matter of fact, other than with Tony Bennett, The
only other singer Bill Evans recorded with was Monica in 1966 I believe. They
did some concerts and did a recording which is now around. I think they
released it in <st1:place w:st="on">Japan</st1:place>.
I met her here at Steve Swallow’s house, he had known her from touring with Art
Farmer while touring in Stockholm, prior to my joining the band. She was
staying with Swallow and his wife in <st1:place w:st="on">New
York</st1:place>, and Swallow had a party and shortly after that
night we just started a relationship. I wound up going to live in <st1:place w:st="on">Sweden</st1:place>
in May of 1967 and stayed there for four years. I flew into the States but
essentially I was based in <st1:place w:st="on">Stockholm</st1:place>
at the time.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvIYuMITgx7sdYevbdRHucGoLErQPaFDSYndAnt-8Gigc44bKU3oI0mTfULIwNyM3BaIp0EPxFB9ShaR3VSOaDt1yBxbRvmYzm-6UGbZn1r8dX_7X7IrrW4yjqdG0h1DgBIsE2vPKynJFqq2o_QUuZhW1UwHfQSeVIsaY0fOmoMBTdudJnePdzuusq/s474/Monica%20Zetterland.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="474" data-original-width="474" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvIYuMITgx7sdYevbdRHucGoLErQPaFDSYndAnt-8Gigc44bKU3oI0mTfULIwNyM3BaIp0EPxFB9ShaR3VSOaDt1yBxbRvmYzm-6UGbZn1r8dX_7X7IrrW4yjqdG0h1DgBIsE2vPKynJFqq2o_QUuZhW1UwHfQSeVIsaY0fOmoMBTdudJnePdzuusq/s320/Monica%20Zetterland.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal">RAM: You did a lot of concerts in <st1:place w:st="on">Germany</st1:place> at the time?<o:p></o:p></p>
<p class="MsoNormal">SK: I had formed a trio with Palle Danielsson on bass and
Jon Christensen on drums and we toured all over <st1:place w:st="on">Europe</st1:place>
and we accompanied Monica as well. So, it was a combination of both. So that is
the reason …. plus, I had never been there and I had heard it was a much more
fertile territory in terms of working and stuff like that. A combination of
being there with her and working with a trio as I did, so that is the four
years there 1967 and 1971.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Is there any pianist that you feel you borrowed most
from? I know you have mentioned Art Tatum as a great influence on you any others.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: A lot of pianists. Starting off with Tatum who I think
its been is said … “God”. Really had it
all. Solo piano, harmonically, rhythmically, technique but not for the sake of
technique, different from Oscar Peterson. You have to dig at times to
understand why.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">But from Tatum then Errol Garner was a strong influence, Bud
Powell, Wynton Kelly, Horace Silver ….and Bill I would say, he was probably the
last to really influence me.<o:p></o:p></p>
<p class="MsoNormal">RAM: What about Monk?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: More so his music than his playing. I was never a big
fan of his playing …at the time……., now I have much more appreciation for his
playing cause technically he was very unorthodox, he didn’t have a great technique,
but he had enough of a technique to do what he wanted to do. His compositions
were extraordinary!</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Why do you think musicians are so enamored with his
songs and his compositions.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: They’re
different, they’re challenging, they’re unorthodox, the bar lines present a
unique challenge and they are uniquely Monk. When you hear a Monk tune you know
it’s Monk. For me as a composer, he is
unbelievable.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Are there any modern-day musicians that you regret not
getting a chance to work with?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK: Modern day, do you mean younger than I am? Not really
that is with all due respect to them. I am sorry I didn’t get a chance to work
with Miles. I had a chance to, I was with Stan Getz at the time and Miles was
looking to form a group with Ron Carter. Ron called me and asked me if I was
interested in joining this group. I was working with Stan at the time and at
that time Miles was very erratic in terms of his dependability. His band would
be in Chicago, and he just wouldn’t show up….and stuff like that. In those days
economics was a big thing and I was working with Stan, and I was doing pretty
well so I said no. I regret it because I missed out on it and would have loved
to. I never worked with Sonny Rollins…. that might be nice, I don’t know now in
this day and age, but otherwise, not really! </p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: Many musicians have had difficulties with the specter
of drug and alcohol abuse. Over the years your early collaborator Serge Chaloff
was known to have had addiction problems. Obviously, Charlie Parker…. Bill
Evans had his troubles. Did you feel this was an ominous shadow lurking over
the industry and did it affect you personally?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yes in the beginning when I came to New York most of the
people I was hanging around with people were involved and so I got peripherally
involved myself, without getting into details. There was also a part of me that
was afraid. Somehow, I was able to stay out of the mainstream and that’s the
best thing, but in the early days when I was here, career wise, I was looking
to things, looking to get the career going and what not and it was very
frustrating, it was very difficult and it would have been very easy for myself
to get involved in that situation. But I dabbled I never got heavily into that
situation, thank goodness.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: That’s interesting. I read in an interview with Sheila
Jordan, one of your few vocalist collaborators, that for her there were many
times that she had felt she was not being accepted or being understood with her
music and it was during these times of doubt and desperation that lead to the
use of drugs or alcohol for herself as well as other artists. Do you agree?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK: It’s a lonely feeling. You can be depressed. She has had
some issues too, but now …. her schedule is unbelievable, she is seventy-nine
in November, she travels all over, I don’t know how she does it……she does a lot
of workshops with singers, does concerts.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: She was one of
the first vocalists to use the solo bass and voice format and she speaks of an
out-of-body experience that she has experienced on several occasions when she
apparently communicates so perfectly with the bass player that it takes her to
another world. Do you experience anything like this when you play with some of
the phenomenal bass players that you have had the privilege of playing with?</p><p class="MsoNormal">SK: I can relate to this. There is a whole different
psychodynamic between Sheila and I, but I still get what she is talking about.
She is absolutely right to feel the way she does, because I know she does. When
everything is working right, all thinking in the same way, the music almost
plays itself. It’s really very special.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: I was always
impressed with all the fantastic bass players that you have played with over
the years, a virtual who’s who. A few that are missing Ray Brown, Richard Davis, Charlie Mingus any regrets not having played with them?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I think I played with Richard once, I think. Mingus and
Ray Brown were really before me.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Any favorite bass players now?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Well, the bass player I have been playing with over the
last couple of years, David Finck is a very talented player, but I have also
been working Eddie Gomes, George Mraz, Ron Carter and Buster Williams……I have
been lucky to work with some many gifted musicians.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You mentioned Sonny Rollins earlier. You played his <b><i>Airegin</i></b><i> </i>at a recent concert. You were so into
it while your playing………, he is obviously an inspiration ……wouldn’t a Steve
Kuhn and Sonny Rollins concert be a wonderful event.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I don’t know. I am sure Sonny wouldn’t think of it. If I
wanted to pursue it perhaps…. I have the utmost respect for him, he is one of
my heroes.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: On your recent <b>Live
at Birdland</b> album with Ron Carter and Al Foster did you guys’ practice
before you recorded it live?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MYWHB8vXSwCVkpa6oHixlA58sqgNxqoko0SRYi4hzUNNq8OCJu3nXWVtripD4nCdlggnQUWfb7PYpMp3fYXzdAhJvMps_vPYWYQ5E06zKlRfH4IVWRw-xQqp4jJGnzrx-BmiNc_kVTVa4rn2l4NPTGZspoYBIyBEisfytzUZIT6ZI71TVVhhMUuy/s355/th_id=OIP.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="355" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3MYWHB8vXSwCVkpa6oHixlA58sqgNxqoko0SRYi4hzUNNq8OCJu3nXWVtripD4nCdlggnQUWfb7PYpMp3fYXzdAhJvMps_vPYWYQ5E06zKlRfH4IVWRw-xQqp4jJGnzrx-BmiNc_kVTVa4rn2l4NPTGZspoYBIyBEisfytzUZIT6ZI71TVVhhMUuy/s320/th_id=OIP.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal">SK: Not on this last one. With these guys we the trio runs
by itself. It’s really a pleasure, they are both incredibly talented and
wonderful players so its very easy. <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: I read somewhere that Bill Evans never liked to
practice before a gig. He liked the spontaneity. Is that the way you like to do
it?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yeah, I never
practice before a gig.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Who do you consider to be your piano contemporaries?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Well in terms of
age I guess Keith, Chick, Herbie, McCoy, Paul Bley we’re all around the same
age.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> R</o:p>AM: Who would you like to see perform live just out of
curiosity or interest to see what they are doing?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I don’t have a burning desire to see anyone, I mean I am
not saying that because I am above it or anything like that…I don’t know,
that’s just where I am at now. I have enough problems doing my own thing and
figuring out what to do at this stage. When I was younger, I use to hang around
all the time, going out every night, at sessions or hearing people at the
clubs. I just sort of ran the gamut.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: So, you don’t seek musical inspiration from other
players at this point?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: People I meet, relationships I have. Music that I listen
to, I listen to classical music. I don’t know. I don’t consciously think about
it. I just now take the time to synthesize these experiences and put my stamp
on it if I can.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: I am interested in the differences that you find when
playing with say Ron Carter and Al Foster who are contemporaries of yours and
have shared the same musical history in comparison to when you play with
younger players like David Finck and Billy Drummond who don’t have that
history?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: But they do. They don’t have that history, but they
listened to and know the history, that’s very important. Some of the younger
players think that the music started with late Coltrane. They don’t know, for
example, how Coltrane was influenced by the rhythm and blues and had an
incredible knowledge of standard tunes. He went way back to Louis Armstrong,
these guys …. know the history of the music and use it as a common ground. Then
as a generation, that say spans a period twenty years younger, they bring to me
stuff that I wouldn’t necessarily be that aware of, because I am twenty years older,
and I have other things focused on my mind. So, it’s a learning experience for
me to play with them as well as for them to play with me. As long as they know
the history of, the music, because if they don’t it shows in their
playing……where it all came from, it’s important.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: You mentioned one time in an interview that in the
mid-sixties there was some reverse integration that you witnessed when black
artists only wanted to play with other black artists……</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK: It was the time. In the mid-sixties I was in <st1:place w:st="on">Sweden</st1:place>
at the time and people were coming over from the States. Before, where there was
always an embrace when we would see each other, then all of a sudden there was
now a little bit of standoffishness. I noticed and it disturbed me because to
me I had always played in mixed bands, and they would hire me because they
thought I could play and that was the end of it. In the mid-sixties with the
revolution, Martin Luther King and black awareness, I mean I understood it,
but I figured in this part of the world, music, jazz music we were exempt from all
that. We all used to get along, and I noticed a dramatic change in the mid-sixties
and to this day its still there to a certain extent, not for me particularly,
but I feel bad for young white musicians for example, who really can play and
don’t get a chance to play in mixed bands that much. I have heard a number of
black leaders say I am not going to hire any white musicians even though they may be better than their
black counterparts. I have heard this, and it is sad. Hopefully, that will pass,
but I think it’s gotten a little bit easier as time goes on. It’s unfortunate
in jazz music. I understand the situation but ….</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: It was like before you were almost immune to it in
jazz.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Yeah, but I understand the situation with all the stuff
that the black community has gone through and continues to go through, but in
the music it would be nice if everybody just tried to get along. Deal with the
music and that’s the challenge.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM : You once said that you thought the music was not
progressing and that it may have run its course. Do you still believe that?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I hear, the little that I hear from other players is
revisionist history. They are playing the bebop or post-bebop and playing the
hell out of it and doing it extremely well. This had led me to think that several
years ago. …. that the music may have, as we know it, run its course and that is the way it is.
Something else may come along but the jazz as we knew it from early 1900’s for
a century. In my view, I haven’t heard anything that has made me change my mind,
and there is nothing wrong with what is going on, it’s very healthy. A lot of
young musicians are revisiting the music of forty, fifty, and sixty years ago and
doing it their way. but in terms of innovation like Coltrane or Bird or Miles
or Ornette, for example, I haven’t heard anything beyond them truly innovative.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: What do you think of the fusion era? Musicians and their attempts to try something
different through techniques and virtuosity?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: It's electronics, it's away from the acoustic instruments
which I have a very big prejudice in favor of….</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: You played electric keyboard during your career.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I did, but to me it was like a toy, a diversion. You
could just do so much with that. I am
still trying to play this thing (pointing to his Baldwin piano) and it’s a
lifetime, every time I sit down it’s as if I have never been here before it’s a
constantly challenging and I never found that with an electric keyboard or
synthesizers or anything like that, but the advances in terms of electronics
that have been made is astounding.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: But just to say it’s a result of electronics…. I for
one think fusion was more than that.
Some say it was a dead-end path.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: As long as there is an electronic genius out there, but
in terms of the content of the music they were just taking the acoustic music
and playing it on electronic instruments, synthesizing it…. I mean from what I
heard…. I haven’t heard anything truly innovative come out of fusion music. By
definition being what it is, it limits itself by being called fusion.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: I know you have been vocal about the use of technique
for technique’s sake, and you are sort of a proponent of less is more. Ballads have always been a format that has
been utilized over the years to emote feelings even from great technicians like
Parker, Coltrane and Miles and yourself…. yet to paraphrase Miles; he was asked
later in his career why he didn’t play ballads much any more and he said
something like…. <i>I like them too much</i>.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">How do you, as a musician, who has a predisposition to
emotional playing, keep yourself fresh from falling into the trap that Miles
was apparently so afraid of?<o:p></o:p></p>
<p class="MsoNormal">SK: I love playing
them. I’m not going to deny myself playing them. I specifically, each set, do a
ballad and I love ballads. They say things that are just very close to my heart
for me. They are very important it’s a part of the literature, it’s a part of
the repertoire and they should be played.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Do you think Miles had a point about them being
limiting?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: I don’t know, maybe he had his tongue up his cheek…(laughter)
but Miles was Miles. I just think it is a great vehicle for expression and
there is an art to it. As I have gotten older, I’ve got more appreciative of
how to play them, the challenge that is involved. When I did this recording
with string orchestra, <b>Promises Kept</b>,
it was pretty sparse playing, no florid technique or stuff like that. Swallow,
I remember sending him a first copy before it was released, and he said …. <i>you know it sounds like it is stuff that you
have written out even though I know you were improvising</i> …..which he meant
as a compliment. Carlos Franzetti did a wonderful job. I with met him a number
of times, I said I just wanted this to come from the heart. He really got it….</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Do you have a personal favorite composition that you
have written.</p><p class="MsoNormal">SK: No. I love the
string album and I love the <b>Live at Birdland</b>.
For a live recording which is very challenging, because not only are you
recording, but you have to be aware of the audience unlike in a studio where
you can start and stop and start and stop. Of course, the advantage of a live
recording is that you can feed off the energy of the crowd, but at the same
time you can’t keep starting and stopping.
You do the best you can, I have done several live recordings in the past,
but this one worked out quite well. The string album, <b>Promises Kept</b>, I am really very proud of.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Do you have any sage advice for young aspiring
musicians or singers?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: If it is in your
heart of hearts, go for it, ‘because you’ll know down the line if it’s meant to
be. There are so many discouraging things that can happen along the way, it’s a
tough, tough road. I would not recommend it to anybody unless it’s something
that they lived and breathed. If it doesn’t work out, it doesn’t work out. Give
it a shot!</p><p class="MsoNormal">RAM: Is a musician’s life a personally difficult one, hard on family and
relationships?<o:p></o:p></p>
<p class="MsoNormal">SK: Absolutely. I made a conscious decision years ago. I
didn’t get married or have children…I mean I did get married once, but no
children. …Because just economically I… would have to do something else in
order to support the music. Sheila Jordan did that. She worked in an office for
I don’t know how long and then she decided to take the leap, the risk and it’s
worked out for her. I have done nothing but music all my life, I never had another
job …. but in order to do that I sacrificed having children which I regret to
some extent, but it was a conscious choice I made for economic reasons. I had
opportunities early on to go out to <st1:place w:st="on">California</st1:place>
to get into the studio scene out there. Some friends of mine had the beautiful
homes with the swimming pools and were married, it was tempting, also the
teaching in school’s full time. I just wanted to play, so I made that choice so
economically I paid the price and still do. (He raises his arms and sweeps them
open offering the expanse of his modest living room) This is my castle right
here, I am grateful to have it, but it not about the money.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: Do you have anything that you want to be remembered
for?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Just that the music that I leave comes from the heart.
It’s honest, it’s pure, there is no bullshit, I never compromised, I probably
should have, I probably could have done things differently, but I always
believed in being honest and sincere and never sold out, so to speak, or never
chose a path that I didn’t feel comfortable doing. Not to say that I didn’t do
a lot of different things in my life…. sounds like I am talking from my grave.
(laughter) But I just …there was a sincerity and honesty in what I did, not to compromise
just to follow the path that I wanted to do. It wasn’t easy and it’s not easy and
it’s continuously challenging.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: <b>Promises Kept</b> and <b>Live at Birdland</b> are you two latest releases?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: No there is one that came out in Japan called <b>Play Standards</b> on the Venus label, it
just came out, and that is the result of a poll from <i>Swing</i> <i>Journal</i> in Japan
which is like the <i>Downbeat</i> or <i>Jazz</i> <i>Times</i>
in Japan. They polled their readers I guess which songs they would like for me
to play. They chose maybe fifteen songs and from those I chose seven of them to
play on this recording and that was the genesis of this album.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqbHtFjMUkpw86_DbSimLh0XpJ96761ugha6VCKonGMMgAMMjxIUBUbVwcIgq8Y9LTToMtj3jY_wxu4eE2DbPEiMfwAp0ix2L555iVCLoE0HWMBWflN8qqtqzgXBkOnBmneFg2UUJVkft1SLGFa-zmmP7zogYTJNcK3hmDv8B8-AuOU504WbiWLMkV/s474/th_id=OIP%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="470" data-original-width="474" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqbHtFjMUkpw86_DbSimLh0XpJ96761ugha6VCKonGMMgAMMjxIUBUbVwcIgq8Y9LTToMtj3jY_wxu4eE2DbPEiMfwAp0ix2L555iVCLoE0HWMBWflN8qqtqzgXBkOnBmneFg2UUJVkft1SLGFa-zmmP7zogYTJNcK3hmDv8B8-AuOU504WbiWLMkV/s320/th_id=OIP%20(1).jpg" width="320" /></a></div><br /><p class="MsoNormal">SK: I am doing
another one for them. It is a follow-up of an album, of one that I did on a
classical theme a few years back, which was called <b>Pavane for a Dead Princess</b>, and they want another classical-themed album,
so we are doing that one in August.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh6y3jp5CbUL31ibF1CDiEtla4WMcNGkzkSTnmqPtdptTCjv59o1p3deZzEgWPkg8h9YwDgA3MdfjcAe_3xhKuZRGqUc6beDO_oUdq9jLvGidsqFaGI49L9ZQusbi-EgVrVmG097LRj9FX5K-cGo94awVq5JVexvHAHgiTUrlD2nAoJkyrz_QcbdXK/s355/613EJK+51IL._SX355_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="351" data-original-width="355" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh6y3jp5CbUL31ibF1CDiEtla4WMcNGkzkSTnmqPtdptTCjv59o1p3deZzEgWPkg8h9YwDgA3MdfjcAe_3xhKuZRGqUc6beDO_oUdq9jLvGidsqFaGI49L9ZQusbi-EgVrVmG097LRj9FX5K-cGo94awVq5JVexvHAHgiTUrlD2nAoJkyrz_QcbdXK/s320/613EJK+51IL._SX355_.jpg" width="320" /></a></div><br /><p></p>
<p class="MsoNormal">RAM: You have some upcoming gigs in <st1:place w:st="on">New York</st1:place>?<o:p></o:p></p>
<p class="MsoNormal"><b> </b>SK<b>: </b>Yes, I will
be at the <b>Jazz Standard</b> with George
Mraz and Billy Drummond on the 18<sup>th</sup> and 19<sup>th</sup> of July.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCZfcihImLKQup3MzIKpmjMv1vuNGLmiISx6E-qk-cAQxsSRx8Y3004iHNXI7R8tAY1tLFD_oE6g9b3HrPvr4KLBlOm5uB7nxusAUycx8TuJQ2ri7hSQx292tzXy_K-ycxvyPibHkPYnkdCAl5o6ljB2q_7jRKhCsnoqOSUkI-SDDe-8YS4gebyBrj/s474/th_id=OIP%20(2).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="401" data-original-width="474" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCZfcihImLKQup3MzIKpmjMv1vuNGLmiISx6E-qk-cAQxsSRx8Y3004iHNXI7R8tAY1tLFD_oE6g9b3HrPvr4KLBlOm5uB7nxusAUycx8TuJQ2ri7hSQx292tzXy_K-ycxvyPibHkPYnkdCAl5o6ljB2q_7jRKhCsnoqOSUkI-SDDe-8YS4gebyBrj/s320/th_id=OIP%20(2).jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Steve Kuhn, Billy Drummond & George Mraz (photo credit unknown)</td></tr></tbody></table><o:p><br /></o:p><div>RAM: And another date at the <b>Iridium </b>later? <p class="MsoNormal">SK: That is one night on the 28<sup>th</sup> of September
with Eddie Gomez. They are doing a week of piano tribute to Bud Powell….and I
am one of the featured pianists. Then I
am doing an eightieth Coltrane birthday celebration at <b>Birdland </b>with Joe Lovano, I have done that for the last four or
five years and we’ll do it again on the 18<sup>th</sup> of September at <b>Birdland</b>.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYV5NY9onmdsrMUePqjohmiLtfrxlN-0mhsiSMQAUw6t-XRTSpyxvscdDqQ5aRlYg4jnUGr6MOh2DpUIOk0GUlorhut9J9dydgDP981bfzzMUFjNi-J86VpmcxhVsPVtVtkmG18-w4vfadjF6p3pbSw2M8M1K7zuGA9OkAMEqWZRUa3C3gDys0K2nk/s355/th_id=OIP%20(3).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="355" data-original-width="355" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYV5NY9onmdsrMUePqjohmiLtfrxlN-0mhsiSMQAUw6t-XRTSpyxvscdDqQ5aRlYg4jnUGr6MOh2DpUIOk0GUlorhut9J9dydgDP981bfzzMUFjNi-J86VpmcxhVsPVtVtkmG18-w4vfadjF6p3pbSw2M8M1K7zuGA9OkAMEqWZRUa3C3gDys0K2nk/s320/th_id=OIP%20(3).jpg" width="320" /></a></div><br /><p class="MsoNormal">RAM: Do you have a favorite club in <st1:state w:st="on">New York</st1:state>. You probably
shouldn’t answer that.</p><p class="MsoNormal">
<br />
SK: My favorite club always has been the <b>Vanguard</b>,
cause of the sound and the history I think there is something in the walls, its
magical I always loved to play there.<o:p></o:p></p>
<p class="MsoNormal">RAM: Remember some of the old clubs like <b>Slugs</b> or <b>Fat Tuesday’s</b>?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Oh Yeah. Well, I did a live recording at <b>Fat Tuesday’s</b>. Slugs when I worked with
Charles Lloyd that is where I worked with Tony Williams and Ron Carter. But I
think <b>Birdland</b> is a great club, it
has great sight lines and I love the staff.</p><p class="MsoNormal">RAM: As Sheila Jordan said …its really all about the music. <o:p></o:p></p>
<p class="MsoNormal">SK: That’s right. I think I am playing some of my best piano
right now.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">RAM: And its sounds it. Well, that’s it Steve. Any song you
would like to end with here?</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">SK: Not really, unless you have a favorite</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>RAM: Could you play <b><i>Trance</i></b> which was the album that
turned me on to your music in the seventies.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">After a moment I get Steve to play an impromptu rendition of
his song <b><i>Trance</i></b> which he does masterfully.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p><span face="TwitterChirp, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: white; color: #1d9bf0; font-size: 20px; white-space: pre-wrap;"><span data-offset-key="3itti-1-0">https://youtu.be/qNn0uu0kxMo</span></span><span data-offset-key="3itti-2-0" face="TwitterChirp, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Helvetica, Arial, sans-serif" style="background-color: white; color: #0f1419; font-size: 20px; white-space: pre-wrap;"><span data-text="true"> </span></span></p>
<p class="MsoNormal">RAM: Thanks very much
Steve.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>SK: My pleasure, Ralph. My pleasure.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><br />
If you have a chance to see this artist at the <b>Jazz Standard</b>, <b>the Iridium</b>
or at <b>Birdland</b> in the coming weeks
be sure not to miss him. He is an underappreciated jazz legend and is surely at
the top of his ever-inspiring form.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">©Ralph A. Miriello 2007<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p></div>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-7803081031414790072023-02-04T11:37:00.000-08:002023-02-04T11:37:25.638-08:00Jon Cowherd's Mercy Project Comes to Portland's 1905 Jazz Club<p><span style="font-family: verdana;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0_ggfYqPv10X2XPXzdSZsFWad3PLPUYoSURpFumIztpOBxwFRGon-LkyyQPHA0spQQQ2J2j7UmhT2_IkgLjyaYysXBWvhyWw6H_eHy--tRwc9s-L9ttnYy_lZTU2aurgHXOEL5PaTvo9ZUhcBTZJEcGOJi1oULwO4IodV5uyWE5QYoL_RD_D_GM1e/s4032/IMG_1136.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0_ggfYqPv10X2XPXzdSZsFWad3PLPUYoSURpFumIztpOBxwFRGon-LkyyQPHA0spQQQ2J2j7UmhT2_IkgLjyaYysXBWvhyWw6H_eHy--tRwc9s-L9ttnYy_lZTU2aurgHXOEL5PaTvo9ZUhcBTZJEcGOJi1oULwO4IodV5uyWE5QYoL_RD_D_GM1e/w480-h640/IMG_1136.JPG" width="480" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: large;">Jon Cowherd</span></b></td></tr></tbody></table><p><span style="font-family: verdana;"><span style="font-size: x-large;">The pianist Jon Cowherd and his <i>Mercy Project </i>brought his formidable touring quintet to the stage of Portland's <i><b>1905 Jazz Club</b></i> <i>and Restuarant</i> last weekend in support of his latest release <i><b><a href="https://www.joncowherd.com/music">Pride and Joy</a>.</b></i> Those who attended one of the six sold-out shows presented that weekend witnessed a masterful evening of creative music by some of the most exciting and accomplished musicians in improvisational music today. With Jon Cowherd on piano, the group included incendiary saxophonist Chris Potter, superb guitarist Steve Cardenas and the potent rhythm section of John Patitucci on bass and Brian Blade on drums. </span></span></p><p><span style="font-family: verdana; font-size: x-large;"><span><span>Cowherd's</span></span><span> </span><i><b><a href="https://www.joncowherd.com/music">Pride and Joy</a></b></i><span><span> is</span><span> one of my top picks for jazz releases in 2022. He also released</span></span><span> his outstanding debut <b style="font-style: italic;"><a href="https://www.joncowherd.com/music">Mercy</a> </b>in 2012 with Bill Frisell, Patitucci, and Blade. He is a sensitive, intuitive pianist as well as a creative and skillful composer.<b style="font-style: italic;"> </b></span></span></p><p><span style="font-family: verdana; font-size: x-large;">Since 1997, Cowherd and co-founder drummer Brain Blade formed the group <i>Brian Blade & the Fellowship</i> and have produced five highly acclaimed recordings. In addition to being an in-demand sideman, Cowherd has offered his pianistic and arranging skills to vocalist artists like Cassandra Wilson, Lizz Wright, Alexis Cole, Mark Murphy, and Jon Mitchell. </span></p><p><span style="font-size: x-large;"><span><span style="font-family: verdana;">When you look at the musicians Cowherd has assembled for this tour, you see the depth and breadth of these talents through their past associations. Patitucci and Blade have worked with icons like Wayne Shorter, Herbie Hancock, and Chick Corea. Potter has collaborated with Dave Holland, Pat Metheny, and Steely Dan and Steve Cardenas' resume includes work with Paul Motian, Steve Swallow, Charlie Haden, and Adam Nussbaum. This is a present-day supergroup by most standards and </span><span style="font-family: verdana;">a testimony to just how respected Cowherd is thought of by </span></span><span style="font-family: verdana;">his peers. It is well deserved.</span></span></p><p><span style="font-size: x-large;"><span style="font-family: verdana;"><br /></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4zTLNWDpqkSv4G0Ssukhvoc31aI5P26MYUo3JRl_RtMnOhvWNR1ZdXii_4MIKpDjK47hLAOzmobZGTEZJG5GmYpS7jJJSKmp7x5oQAs4wgGxBXYyjJtKcqF2ftMWef_5hv28ryQxYPvFK5VXq3qyIAWf3cxrRfvN2qmwdoqsPGZ-4J-8fVUP_eFV/s4032/IMG_1115.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3024" data-original-width="4032" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4zTLNWDpqkSv4G0Ssukhvoc31aI5P26MYUo3JRl_RtMnOhvWNR1ZdXii_4MIKpDjK47hLAOzmobZGTEZJG5GmYpS7jJJSKmp7x5oQAs4wgGxBXYyjJtKcqF2ftMWef_5hv28ryQxYPvFK5VXq3qyIAWf3cxrRfvN2qmwdoqsPGZ-4J-8fVUP_eFV/w640-h381/IMG_1115.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><b><span style="font-size: large;">Jon Cowherd, Chris Potter, John Patitucci, Brian Blade & Steve Cardenas at the 1905 Jazz Club</span></b><p></p><p><span style="font-family: verdana; font-size: x-large;">I attended the first show of the first night at <i><b>1905</b>, </i>so it was conceivable that there might be some opening night adjustments for the group to go through before they were fully warmed up and up to speed, but to believe so would be folly. These guys mesh together like the gears in a fine Swiss watch. Every note, every beat, and every cue seamlessly integrated between the five members. It was as if they all were connected by an invisible force that surged through their collective nervous systems. It was a treat. These guys were having fun playing together. It was great mojo and the music just ripped! </span></p><p><span style="font-family: verdana; font-size: x-large;">Cowherd, who wrote all of the music on this tour, was often seen laying out while his bandmates went on a solo. Just taking it all in. He was a composer realizing his music's intent being realized in the hands of his talented compadres.</span></p><p><span style="font-family: verdana; font-size: x-large;">Cowherd started off the set with his composition "Colorado Experiment" from <i style="font-weight: bold;"><a href="https://www.joncowherd.com/music">Pride & Joy</a>. </i>The song, a reference to his recent relocation to Colorado, opens with Jon introducing a jaunty melody line on piano. After a few establishing measures, the group restates the melody line synchronously- piano, bass, guitar, sax, and drums-five disparate voices, musical colors meshing in clock-like unison.</span></p><p><span style="font-family: verdana; font-size: x-large;">Potter takes the first solo and plays with impressive verve. He has a powerful and fluid saxophone voice that draws from a seemingly endless well of creative ideas.</span></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMrdAGGurGkMU04rvM_wFjwYzddu6xCDihMEYsqJXvIGhs_62XXIfFB2g9piM_Iy8EjU_bFibVo9T1b26giPrPnc1pzjiwQSlrESItPGunFipqgBrmNVELCDmjbizy5DfxWOGLVQbI9N26ukTRupoxcwCBd8VEIbGzOsQJVpkGXsjA9AcKBmLczQZ8/s4032/IMG_1138.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMrdAGGurGkMU04rvM_wFjwYzddu6xCDihMEYsqJXvIGhs_62XXIfFB2g9piM_Iy8EjU_bFibVo9T1b26giPrPnc1pzjiwQSlrESItPGunFipqgBrmNVELCDmjbizy5DfxWOGLVQbI9N26ukTRupoxcwCBd8VEIbGzOsQJVpkGXsjA9AcKBmLczQZ8/w300-h400/IMG_1138.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="font-size: large;">Chris Potter</span></b></td></tr></tbody></table><span style="font-family: verdana; font-size: x-large;">Patitucci follows with his fleet, fascicle pizzicato on his upright that exuberantly carries the pace to a new level. He sometimes adds some unexpected snippets from other melodic ideas into the mix and they fit beautifully.</span><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzGaS7OfmQe_EUljVZ_1Ebnzxaiav26vFkz1b5QlNQMFrbm7V1jgpkF31RUvi_QmaciNMHohLZQLztStrYOajnev_foZVjgkWdVVQIjv5H_lDs_orYImLDYNFIipenjfNnjX8noBuKsZxF3KUtDx1S-2EezVbnW1xqdn27g21KZ9cpawu9bFbgGMx-/s2981/Patitucci,%20Blade%20&%20Cardenas.JPG" style="margin-left: auto; margin-right: auto;"><span style="font-family: verdana; font-size: large;"><img border="0" data-original-height="1450" data-original-width="2981" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzGaS7OfmQe_EUljVZ_1Ebnzxaiav26vFkz1b5QlNQMFrbm7V1jgpkF31RUvi_QmaciNMHohLZQLztStrYOajnev_foZVjgkWdVVQIjv5H_lDs_orYImLDYNFIipenjfNnjX8noBuKsZxF3KUtDx1S-2EezVbnW1xqdn27g21KZ9cpawu9bFbgGMx-/w640-h312/Patitucci,%20Blade%20&%20Cardenas.JPG" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: verdana; font-size: large;">John Patitucci, Brina Blade and Steve Cardenas at <br />1905 Jazz Club</span></b></td></tr></tbody></table><span style="font-family: verdana; font-size: x-large;">Cardenas is up next, with a mellow, semi-hollow-bodied sound that floats above the pulsing rhythm like an aerial free-spirit loosened into the ozone to explore. Cowherd is the next soloist and he adds distinct block-handed chords and fleet single-note attacks that spell out this driven song, all supported by the rhythmic propulsion of Patitucci and Blades. The group ends the song, re-entering with their in-sync lines of repeated melody, as Blades creates a percussive whirlwind, a bilious cloud of interest and rhythmic magic that hovers beautifully to the finish. </span><p></p><p><span style="font-family: verdana; font-size: x-large;">The group continued with Cowherd's "Baltica" and "The Columns" both from his album <i><b><a href="https://www.joncowherd.com/music">Mercy</a>.</b></i> </span></p><p><span style="font-family: verdana; font-size: x-large;">Patitucci changed to his six-string electric bass and Potter changed to soprano saxophone for the beautiful "Scorpo" from <b style="font-style: italic;"><a href="https://www.joncowherd.com/music">Pride and Joy</a>, </b>a song dedicated to Jon's daughter.</span></p><p><span style="font-family: verdana; font-size: x-large;">The music was appropriately light, the melody memorable and sensitive. Cardenas's guitar lines were effervescent and buoyant, demonstrating this guitarist's masterful sensitivity and fleet, inventive ideas. His playing is to me a cross between Jim Hall and John Abercrombie, but all his own.</span></p><p><span style="font-family: verdana; font-size: x-large;">Potter's soprano was silky, interweaving through lines like an unleashed spirit. Patitucci, on his six-string electric bass, added a new dimension to bass playing. An extended range with an expertly played pizzicato in the higher register makes Patitucci's electric bass another lead instrument here and the crowd responded to his virtuosity. He plays with just exuberance that it becomes infectious.</span></p><p><span style="font-family: verdana; font-size: x-large;">Brian Blade is another delight. He plays drums with sensitivity and aplomb. His drums and cymbals are like delicate expressive children in his hands. They are cajoled into creating the most fluid of percussive expressions I have heard. He is never bombastic but carries the pulse with a joyful sense of buoyancy and intent. </span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p><span style="font-family: verdana; font-size: x-large;">The set ended with Jon's funky"Braun's Bronco" from the album <b><i><a href="https://www.joncowherd.com/music">Gateway</a>.</i></b> </span></p><p><span style="font-family: verdana; font-size: x-large;">You couldn't ask for a more satisfying performance from Cowherd and his cohorts we witnessed that evening. The audience was enthralled by the music and in awe of how just good these masters played together.</span></p><p><span style="font-family: verdana; font-size: x-large;">Jon Cowherd's Mercy Project Quintet will be playing this weekend in NYC at the Village Vanguard until Feb 5th. For those interested, make sure you get to see these guys before they finish.</span></p>
<iframe frameborder="0" height="270" src="https://youtube.com/embed/KxQlT0aGQuU" width="480"></iframe>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-65405335681099071692022-12-08T17:22:00.003-08:002022-12-09T13:23:31.614-08:00NOTES ON JAZZ BEST OF JAZZ 2022<p style="text-align: center;"><span style="font-family: verdana;"><b> BEST OF JAZZ 2022</b></span></p><p><span style="font-family: verdana;">The year 2022 has had its share of challenges for me, not the least of which was a decision to relocate from the Atlanta, GA area to the Pacific Northwest outside of Portland, OR in Washington state. That all-consuming decision gave me little time to pursue my passionate avocation- listening to and reviewing new and newly reissued or recently unearthed old jazz recordings that deserved note, acknowledgment, and in many instances praise. To try and establish a worthy list to create the traditional year-end recap of the best was, needless to say, a sprint in these last weeks. </span></p><p><span style="font-family: verdana;">There is so much diversity that can easily fall into the ever-expanding category of jazz music. In addition, the overwhelming volume of material being so successfully produced, recorded, and released by a myriad of talented musicians makes it even more difficult to give them all the recognition they deserve. Let's face it, if you love good music, ratings are nothing but one person's guideline to possible avenues of interest and enjoyment. As for labels and categories, the lines have been blurred for quite some time. Purists who love specific categories will never be satisfied if an artist doesn't play music that fits specific rules of qualification. To me, the variety and creativity are what makes jazz so inclusive and so beautiful. Vive la differ<span face=""SF Pro Text", "SF Pro Icons", system-ui, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Arial, Ubuntu, Cantarell, Oxygen-Sans, "Fira Sans", "Droid Sans", "Helvetica Neue", Helvetica, sans-serif, "Apple Color Emoji", "Segoe UI Emoji", "Segoe UI Symbol"" style="background-color: white;">é</span>nce! There seems to never have been more great music to choose from as was produced this year and the possibilities seem endless.</span></p><p><span style="font-family: verdana;">With no further delay, here is my admittedly limited list of the best of jazz for the year 2022, in no particular order of excellence or preference. I hope you will enjoy listening to these selections and are moved enough to get to know these artists better and support their musical efforts by purchasing their incredible work. Happy Holidays to all! </span></p><p style="text-align: center;"><span style="font-family: verdana;"><b> <span style="font-size: large;">Best of Jazz 2022</span></b></span></p><p><span style="font-family: verdana;"><span style="font-size: medium;"><b><span>Geoff Keezer and Friends:</span></b><b> </b><span><i><b>Playdate</b>:</i></span><i> </i></span><span style="font-size: medium;">MarKeez Records</span></span></p><p><iframe frameborder="0" height="260" src="https://youtube.com/embed/J6yxK-1IQZM" width="380"></iframe></p><p><b><span style="font-size: medium;">Grant Geisman: <i>Blooz</i>:</span><span style="font-size: medium;"> Mesa/Blueman Records </span></b></p><p><b><span><i>w/Randy Brecker, Robben Ford, Tom Scott, Joe Bonamassa, Russell Ferrante, John Jorgensen, Jimmy Cox, Emilio Palame, David Garfield, Trey Henry, Kevin Axt, Ray Brinker, Bernie Dresel, Ricardo Pasillas, Kevin Winard.</i></span></b></p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/1zjYNBPoLmk" width="480"></iframe></p><p><b><span style="font-size: medium;">Peter Erskine Trio</span><span><span style="font-size: medium;"><span>:</span><i> <span>Live in Italy:</span> </i></span><span style="font-size: medium;">Fuzzy Music</span></span></b></p><p><b><i><span style="font-size: medium;">w Peter Erskine, Alan Pasqua & Darek Oles</span></i></b></p><p><iframe frameborder="0" height="360" src="https://youtube.com/embed/RR7tbstWedE" width="480"></iframe></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p><b><span style="font-size: medium;"><span>The Tyshawn Sorey Trio +1 w Greg Osby: </span><span><i><span>The Off-Off-Broadway Guide to Synergism</span></i><span>: </span></span></span></b></p><p><b><span><span style="font-size: medium;">Pi Records </span></span></b><b><span style="font-size: medium;"><i>w/ Tyshawn Sorey, Greg Osby, Aaron Diehl & Russell Hall</i></span></b></p><p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=53913228/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://tyshawn-sorey.bandcamp.com/album/the-off-off-broadway-guide-to-synergism">The Off-Off Broadway Guide to Synergism by Tyshawn Sorey</a></iframe><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipstmLk70DCwEv856_gysg9blx4gdDy0g6QmAH0heIAsyq22FaYrrICV79Tm3Tq7RMsqLGUWy_-2OOPPylYW9g4Tb0gII6mtGxC4kg4YOv_AQO1g1fFaX_XNXmCQnVnueNSyrv554f6bDbd7WmkOxTyeBXcdN9R8skGv9D4YrksIxUfBo_AYZsk1wK/s700/a1337837780_16.jpg" style="clear: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipstmLk70DCwEv856_gysg9blx4gdDy0g6QmAH0heIAsyq22FaYrrICV79Tm3Tq7RMsqLGUWy_-2OOPPylYW9g4Tb0gII6mtGxC4kg4YOv_AQO1g1fFaX_XNXmCQnVnueNSyrv554f6bDbd7WmkOxTyeBXcdN9R8skGv9D4YrksIxUfBo_AYZsk1wK/w199-h200/a1337837780_16.jpg" width="199" /></a></p><p><b><span style="font-size: medium;"><br /></span></b></p><p><span style="font-size: medium;"><b>Dave Stryker: <i>As We Are</i></b>:</span> <b>Strikezone Records </b></p><p><b><i>w Julian Shore, John Patitucci, Brian Blade, Sara Caswell, Monica K. Davis, Bennie van Gutzeit & Marika Hughes</i></b><span style="font-size: large;"><i>:</i> </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidD1puSezZov-JKzcmyJATb1Cq4f2Uv4HSU-gRrC8YvT1VUIAjQEHdh7JDPTWpB6b5CyjZeFuRkYFKg6cuVjbYwquW_rvCNJFRiEAE3YnHFHdg5r7jOYIqhtecNGC8f720pRuiZlBAG-BAvG2c3oXLDHVVTcd6g8Ar9C0HU7Lfv5DbatRgJKNVUxva/s700/a3949195916_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidD1puSezZov-JKzcmyJATb1Cq4f2Uv4HSU-gRrC8YvT1VUIAjQEHdh7JDPTWpB6b5CyjZeFuRkYFKg6cuVjbYwquW_rvCNJFRiEAE3YnHFHdg5r7jOYIqhtecNGC8f720pRuiZlBAG-BAvG2c3oXLDHVVTcd6g8Ar9C0HU7Lfv5DbatRgJKNVUxva/w200-h200/a3949195916_16.jpg" width="200" /></a></div><br /><b><br /></b><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="215" src="https://www.youtube.com/embed/Qb9mZqLDR44" title="YouTube video player" width="360"></iframe><br /></div><b><br /></b><p></p>
<div><b><span style="font-size: medium;">Claudia Acuna: </span><i><span style="font-size: medium;">DUO :</span> Rope</i></b><b><i>adope Records</i></b></div><div><b><i>w/ Kenny Barron, Christian McBride, Carolina Calvache, Fred Hersch, Russell Malone & Arturo O'Farrill</i></b></div><div><b><i><br /></i></b></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRACRUZDfAu7mOkti00zRPsf-FzRtVSSVy0-Jc6LbsE8G8lOSCVNU9UpUjLjCxZoWNxUUXBALpyo0FFN_qxUfVZIPfgGkpTwEnHMefiGdumd8MLrhJD0xcIhFSPIPn4WexapuQBgkUs1nibhnJgJv6tls1YvpOi48ZeaMRYlQTspqbJnfuuhtnqBd2/s700/a0884171715_16.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRACRUZDfAu7mOkti00zRPsf-FzRtVSSVy0-Jc6LbsE8G8lOSCVNU9UpUjLjCxZoWNxUUXBALpyo0FFN_qxUfVZIPfgGkpTwEnHMefiGdumd8MLrhJD0xcIhFSPIPn4WexapuQBgkUs1nibhnJgJv6tls1YvpOi48ZeaMRYlQTspqbJnfuuhtnqBd2/w200-h200/a0884171715_16.jpg" width="200" /></a></div><br /><i><br /></i></b></div><div><b><i><br /></i></b></div><div><b><i><br /></i></b></div><div><i><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3773425004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1977990140/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://claudiaacuna.bandcamp.com/album/duo">DUO by Claudia Acuña</a></iframe></i></div><div><span style="font-size: large;"><b><br /></b></span></div><div><span style="font-size: large;"><b> </b></span></div><div><span style="font-size: medium;"><b>Boris Kozlov:<i> First Things First </i>:</b> </span><span style="font-size: medium;"><i><b>Positone Records</b></i></span></div><div><span style="font-size: medium;"><i><b>w Art Hirahara, Donny McCaslin, Benn Gillece, Rudy Royston</b></i></span></div><div><span style="font-size: medium;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTz0hRiYmY8oukTq5van7HsEKMPUdzWfk1SCIlDld8kFWC-BcB2frxWp4xgTOyZnLtSf6swJ9JkNbmEg3Gd6qXmAzagAOg4MXi7U6akl7LAU4kolFmAuFAIRCssR08lZCTcpF_YQoVHWpFOot7rFtnP5MIZQFpPxlVn5L8KSIrCXnjHP9Amskn4_JY/s700/a0857414016_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTz0hRiYmY8oukTq5van7HsEKMPUdzWfk1SCIlDld8kFWC-BcB2frxWp4xgTOyZnLtSf6swJ9JkNbmEg3Gd6qXmAzagAOg4MXi7U6akl7LAU4kolFmAuFAIRCssR08lZCTcpF_YQoVHWpFOot7rFtnP5MIZQFpPxlVn5L8KSIrCXnjHP9Amskn4_JY/w200-h200/a0857414016_16.jpg" width="200" /></a></div><br /><b><br /></b></i></span></div><br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1444662014/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=722555143/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://boriskozlov.bandcamp.com/album/first-things-first">First Things First by Boris Kozlov</a></iframe><div><br /></div><div><span><span style="font-size: medium;"><b>Jeff Coffin:</b> <i><b>Between Dreaming & Joy:</b></i></span> </span><b>Ear Up Records</b></div><div><b><i>w/ Vincente Archer, Tony Hall, Michael League, Stefan Lessard, Felix Pastorius, Alana Rocklin, Jonathan Wires & Chris Wood.</i></b></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX-lEV0XOCqaCoK6PRM9UrCI2JsnaAK9ptNOndtBKRZkvyn4fVoLFUbO7K-xQaoV_melF0qWXFt7DOXPdWEglQaJaoBxo_BZA4-Mqtwn1A-8hIvuGFnNnpB7fZVuFYoX_u96HQuvsc6omO1PiNuubKICelBR79JLy9FBWrt8pj60JHcmAa1bPIYsGp/s700/a0171458323_16.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX-lEV0XOCqaCoK6PRM9UrCI2JsnaAK9ptNOndtBKRZkvyn4fVoLFUbO7K-xQaoV_melF0qWXFt7DOXPdWEglQaJaoBxo_BZA4-Mqtwn1A-8hIvuGFnNnpB7fZVuFYoX_u96HQuvsc6omO1PiNuubKICelBR79JLy9FBWrt8pj60JHcmAa1bPIYsGp/w200-h200/a0171458323_16.jpg" width="200" /></a></div><br /><i><br /></i></b></div> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1321210539/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2926425540/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://earuprecords.bandcamp.com/album/between-dreaming-and-joy">Between Dreaming and Joy by Jeff Coffin</a></iframe><div><br /></div><div><span><b><span style="font-size: medium;">Steven Feifke & Bijon Watson</span> <i><span style="font-size: medium;">present Generation Gap Jazz Orchestra</span></i><span style="font-size: large;">:</span></b><span style="font-size: large;"> Cellular 20 Records</span></span></div><div><span style="font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3-lUVDwxlum9VMrUS2q1HYs7bwqZt60Kk-fSau2H2bu2v5OLCcY2_vHo1K07bmLyAinrV3ue-0rMJonmJRF1vWpm3GcE33GEFJGIsO8eCWVwZAjZUt96MzaDp7NhHttF-aySUnzG7dRhh5rcrsHjTfZHzpmgPtC6CSP0G3K_019p8hGC78jY4fkI/s1500/Generation%20Gap%20Jazz%20Orchestra%20Cover.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3-lUVDwxlum9VMrUS2q1HYs7bwqZt60Kk-fSau2H2bu2v5OLCcY2_vHo1K07bmLyAinrV3ue-0rMJonmJRF1vWpm3GcE33GEFJGIsO8eCWVwZAjZUt96MzaDp7NhHttF-aySUnzG7dRhh5rcrsHjTfZHzpmgPtC6CSP0G3K_019p8hGC78jY4fkI/w200-h200/Generation%20Gap%20Jazz%20Orchestra%20Cover.jpeg" width="200" /></a></div><br /><span style="font-size: large;"><br /></span></div> <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3178634156/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2393689120/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://generationgapjazzorchestra.bandcamp.com/album/steve-feifke-bijon-watson-present-generation-gap-jazz-orchestra">Steve Feifke & Bijon Watson Present Generation Gap Jazz Orchestra by Generation Gap Jazz Orchestra</a></iframe><div><br /></div><div><span style="font-size: medium;"><b>Reverso: <i>Harmonic Alchemy</i>:</b></span> OutNote Records</div><div><b><span style="font-size: medium;">Ryan Keberle, Frank Woeste, Vicent Courtois </span></b></div><div><b><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC6Xry7ybfTeG3i8NXj1UkJdnMtjJa-7VIO8a9EVYm7c27c-90gMn98wWQiVX9rK6-zlU_4WS4ardNApNd9O5Ds2PYynhaXCOiSilZvFbxXPkdVEWOlkTXY8snPMTZJoo2Gq_ve7Pyf_DjwgiJ3VjrFztaVKcTHxep7DtwxbSD9oA52zfiw_OEzWUH/s544/unnamed.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="544" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC6Xry7ybfTeG3i8NXj1UkJdnMtjJa-7VIO8a9EVYm7c27c-90gMn98wWQiVX9rK6-zlU_4WS4ardNApNd9O5Ds2PYynhaXCOiSilZvFbxXPkdVEWOlkTXY8snPMTZJoo2Gq_ve7Pyf_DjwgiJ3VjrFztaVKcTHxep7DtwxbSD9oA52zfiw_OEzWUH/w200-h200/unnamed.jpg" width="200" /></a></div><br /><span style="font-size: medium;"><br /></span></b></div><div><br /></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/-CiCB_uaYb0" width="480"></iframe></div><div><br /></div><div><b><span style="font-size: medium;">Gonzalo Rubalcaba & Trio D'ete: Turning Point:</span><span style="font-size: large;"> </span>5 Passion Records</b></div><div><b>w/ Matthew Brewer and Eric Harland</b></div><div><b><br /></b></div><div><iframe frameborder="0" height="260" src="https://youtube.com/embed/sn5hn0udSNI" width="380"></iframe></div><div><br /></div><div><br /></div><div><b><span><span style="font-size: medium;">Mary Halvorsen : <i>Amaryllis/Belladonna:</i></span> </span>NoneSuch Records</b></div><div><b>w/ Patrice Brennan, Nick Dunston, Jacob Garchik, Adam O'farrill, Thomas Fujiwara, The Mivos String Quartet </b></div><div><b><br /></b></div>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3770906755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3085323981/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://maryhalvorson.bandcamp.com/album/amaryllis">Amaryllis by Mary Halvorson</a></iframe><div><br /></div><div><b><span><span style="font-size: medium;">Flora Purim: <i>If You Will:</i></span> </span>Strut Records</b></div><div><b>w/ Airto Moreira, Diana Purim, Claudia Villela, Krishna Booker, Jose Neto, Celso Alberti</b></div><div><b><br /></b></div>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3209185243/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://florapurim.bandcamp.com/album/if-you-will">If You Will by Flora Purim</a></iframe><div><br /></div><div><b><span style="font-size: medium;">Yellowjackets: <i>Parallel Motion</i>: </span></b>Mack Ave Records </div><div><i><span style="font-size: medium;">w/ Bob Mintzer, Russell Ferrante, Will Kennedy, Dane Alderson </span></i></div><div><iframe frameborder="0" height="250" src="https://youtube.com/embed/OVNyLd8I8gA" width="380"></iframe></div><div><br />
</div><div><b><span style="font-size: medium;">Dave Liebman: <i>Trust and Honesty</i>:</span></b> Newvelle Records</div><div>w Dave Liebman, John Hebert, Ben Monder</div><div><br /></div><div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2516575017/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://daveliebman.bandcamp.com/album/trust-and-honesty">Trust and Honesty by Dave Liebman</a></iframe>
</div><div><b><span style="font-size: large;"><br /></span></b></div><div><b><span style="font-size: medium;">Martin Wind: New York Bass Quartet; </span><i><span style="font-size: medium;">AIR:</span><span style="font-size: large;"> </span>Laika Records</i></b></div><div><b><i>Martin Wind, Gregg August, Jordon Frazier, Sam Suggs, Matt Wilson, Lenny White, Gary Versace</i></b></div><div><b><i><br /></i></b></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=584970509/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1434603921/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://laikarecords1.bandcamp.com/album/air">AIR by Martin Wind's NEW YORK BASS QUARTET</a></iframe>
<div><b style="font-size: x-large;"><br /></b></div><div><span style="font-size: medium;"><b>Giacomo Gates: <i>You:</i></b><i> </i></span><b>Savant Records</b></div><div><span style="font-size: large;">w Tim Ray, John Lockwood, James Latini </span></div><div><iframe frameborder="0" height="260" src="https://youtube.com/embed/S5o_F6mk-oQ" width="380"></iframe></div><div><br /></div><div><span style="font-size: large;"><b><br /></b></span></div><div><span style="font-size: medium;"><b>Pete Malinverni </b>: </span><i><b><span style="font-size: medium;">On the Town</span><span style="font-size: large;">: </span><span style="font-size: medium;">Pete Malinverni Plays Leonard Bernstein</span></b></i></div><div><b><span><i style="font-size: large;">w Pete Malinverni, Ugonna Okegwo, Jeff Hamilton: </i>Planet Arts Records</span></b></div><div><iframe frameborder="0" height="270" src="https://youtube.com/embed/SM3bReHwrTg" width="380"></iframe></div><div><br /></div><div><span style="font-size: medium;"><b>Sara Gazarek: <i>Vanity:</i> </b></span></div><div>w/ <b style="text-align: center;"><span style="font-family: Cambria; font-size: x-small;"><span style="font-family: Cambria, serif; font-size: 11pt;"> Sara Gazarek, Miro Sprague, Alex Boneham, Christian Euman, Michael Stever, Alan Ferber, Lenard Simpson, Daniel Torem, Adam Schroeder, Brad Allen Williams <iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3611401930/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2097829154/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://saragazarek.bandcamp.com/album/vanity">Vanity by Sara Gazarek</a></iframe></span></span></b></div><div><b style="text-align: center;"><span style="font-family: Cambria; font-size: x-small;"><span style="font-family: Cambria, serif; font-size: 11pt;"><br /></span></span></b></div><div><b style="text-align: center;"><span style="font-family: Cambria;"><span style="font-family: Cambria, serif; font-size: medium;">Michael Blake: <i>Combobulate:</i></span><span style="font-family: Cambria, serif; font-size: 11pt;"> Newvelle Records</span></span></b></div><div><b style="text-align: center;"><span style="font-family: Cambria;"><span style="font-family: Cambria, serif; font-size: 11pt;">w/Michael Blake, Steve Berstein, Clark Grayton, Bob Stewart, Marcus Rojas, Alan Menard</span></span></b></div><div><b style="text-align: center;"><span style="font-family: Cambria;"><span style="font-family: Cambria, serif; font-size: 11pt;"><br /></span></span></b></div>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3734417926/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2999727862/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://newvellerecords.bandcamp.com/album/combobulate">Combobulate by Michael Blake</a></iframe><div><br /></div><div><b><span><span style="font-size: medium;">Oz Noy, Ugonna Ukegwo, Ray Marchica :</span><i><span style="font-size: medium;">Riverside:</span> </i></span></b>Outside in Music Records</div><div><br /></div><div><iframe frameborder="0" height="250" src="https://youtube.com/embed/IdSS0FcOLAQ" width="380"></iframe></div><div><br /></div><div><span style="font-size: large;"><b>Pasquale Grasso: <i>Be-Bop!</i></b><i>:</i> </span>Sony Masterworks Records</div><div> <i>w/Pasquale Grasso, Ari Rolland, Keith Balla</i></div><div><i><br /></i></div><div><iframe frameborder="0" height="260" src="https://youtube.com/embed/P_OegKbO0wQ" width="380"></iframe></div><div><br /></div><div><span style="font-size: medium;"><b>Steve Cardenas, Ben Allison, Ted Nash: <i>Healing Power:</i></b></span><i><b><span style="font-size: medium;"> </span><span style="font-size: medium;">The Music of Carla Bley:</span></b><span style="font-size: medium;"> </span></i><b>Sunnyside Records </b></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZtiNwZg7nF2pgHntSK7jmnAboVrrjPxDS2YdHLWrUfDrDjw_5wN4F6oDce9DDSWfIBXcA7eBwv5Cqw-fh7YYubhEyKqtUvYmt4z0ZkP-4UdF9kDWq_NZiai4cyHkFLfB4ql0D94gZKV00AELzMhhIMxtkdUn7PdkOgB1ccWVdLzCjeaFDMuZTfpVL/s700/a2054476719_16.jpg" style="clear: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZtiNwZg7nF2pgHntSK7jmnAboVrrjPxDS2YdHLWrUfDrDjw_5wN4F6oDce9DDSWfIBXcA7eBwv5Cqw-fh7YYubhEyKqtUvYmt4z0ZkP-4UdF9kDWq_NZiai4cyHkFLfB4ql0D94gZKV00AELzMhhIMxtkdUn7PdkOgB1ccWVdLzCjeaFDMuZTfpVL/w200-h200/a2054476719_16.jpg" width="200" /></a></div><div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1079342014/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3953472234/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://stevecardenas.bandcamp.com/album/healing-power-the-music-of-carla-bley">Healing Power : The Music of Carla Bley by Steve Cardenas / Ben Allison / Ted Nash</a></iframe><b><br /></b></div><div><b><br /></b></div><div><b><br /></b></div><div><b><span style="font-size: large;">The Eubanks Evans Experience:</span><i style="font-size: x-large;"> EEE </i>Imani Records</b></div><div><b>w/ Kevin Eubanks and Orin Evans</b></div><div><b><br /></b></div>
<br /><div class="separator" style="clear: both; text-align: right;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS4-8EVsh6MSMQkqtO-iqTgw9D5Oop4JHyXxUZD2kyKr-rL4UGEnkUC4jD5SYLoBhHjNHLxfc9GomTXKEf8bLxmtpxxFVrCWBTaQXGEjktQoIX8Bh8rl-WKhvHyaRSKxXayQPO52PVF8zTkYiq5sxbUAOCD8SdaH3cpfl5GUuZ6GVVeDYWaObWh_Gz/s700/a0420768189_16%20(1).jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="700" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS4-8EVsh6MSMQkqtO-iqTgw9D5Oop4JHyXxUZD2kyKr-rL4UGEnkUC4jD5SYLoBhHjNHLxfc9GomTXKEf8bLxmtpxxFVrCWBTaQXGEjktQoIX8Bh8rl-WKhvHyaRSKxXayQPO52PVF8zTkYiq5sxbUAOCD8SdaH3cpfl5GUuZ6GVVeDYWaObWh_Gz/w200-h200/a0420768189_16%20(1).jpg" width="200" /></a></div><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2111910814/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://eubanksevansexperience.bandcamp.com/album/eee">EEE by Eubanks-Evans Experience</a></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: large;"><b>Miguel Zenon: <i>Music de Las Americas:</i> </b></span></div><div class="separator" style="clear: both; text-align: left;">w/ Miguel Zenon, Luis Perdomo, Hans Glawischnig, Henry Cole & Paoli Meijas, Daniel Diaz, Victor Emmanuelli, Los Plenerous De La Cresta</div><div class="separator" style="clear: both; text-align: left;"><iframe frameborder="0" height="250" src="https://youtube.com/embed/i6JMckSQyqs" width="380"></iframe></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><b><span style="font-size: large;">Michael Dease: <i>Best Next Thing</i>:</span></b> <b>PosiTone Records</b></div><div class="separator" style="clear: both; text-align: left;">w/Michael Dease, Rudresh Mahanthappa, Alex Sipiagin, Rene Rosnes, Boris Kozlov, Rudy Royston.</div><div class="separator" style="clear: both; text-align: left;"><b><br /></b></div>
<b><span style="font-size: x-large;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=988780269/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2556593230/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://michaeldease.bandcamp.com/album/best-next-thing">Best Next Thing by Michael Dease</a></iframe></span></b><div><br /></div><div><span style="font-size: large;"><b>Cecile McLorin Savant: <i>Ghost Song</i>:</b> </span><b>Nonesuch Records</b></div><div>w Cecile McLorin Savant, Sullivan Fortner, Aaron Diehl, Alexa Tarantino, Keita Ogawa,Marvin Sewell, James Chirillo, Paul Sikivie, Burniss Travis, Daniel Swenberg, Kyle Poole</div><div><br /></div>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2890145462/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://cecilemclorinsalvant.bandcamp.com/album/ghost-song">Ghost Song by Cecile McLorin Salvant</a></iframe><div><br /></div><div><span style="font-size: large;"><b>JD Allen: <i>Americana Vol 2:</i> </b></span><b>Savant Records</b></div><div>w/JD Allen, Gregg August, Nasheet Waites, Charlie Hunter</div><div><br /></div><div><iframe frameborder="0" height="360" src="https://youtube.com/embed/GOGubmSRdXM" width="480"></iframe></div><div><br /></div><div><br /></div><div><span><b><span style="font-size: large;">The Jon Cowherd Trio:<i> Pride And Joy:</i></span><span style="font-size: medium;"> LeCroq Records</span></b></span></div><div><b>w Jon Cowherd, John Patitucci, Brian Blades, Chirs Potter, Alex Acuna</b></div><div><br /></div>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2246939975/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://lecoqrecords.bandcamp.com/album/the-jon-cowherd-trio-pride-joy">The Jon Cowherd Trio "Pride & Joy" by Jon Cowherd, John Patitucci, Brian Blade</a></iframe><div><br /></div><div><b><span style="font-size: large;">Michael Wollny Trio : Ghosts:</span></b> <b>ACT Records</b></div><div><b>Michael Wollny, Tim Lefebvre, Eric Schaefer</b></div><div><b><br /></b></div>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1698344078/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="https://michaelwollny.bandcamp.com/album/ghosts">Ghosts by Michael Wollny</a></iframe>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-40675513411223740752022-10-13T16:55:00.001-07:002022-10-13T16:55:42.651-07:00The Ari Hoenig Trio w Gilad Hekselman and Matt Penman : Bringing Some High Wattage to Portland<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHEtmvRzVR95en3DE-xJs1SxMY4yBvK9nl3jbPW4G-MkgSilrg86nF1REOBhEaWiEAVPy302PyRZfyAZKyeiuO23xt60iGB5HkZxpc5hhQ734K7yoiOHHq9jqlstOW4sNamjrHeRFdRCwiFbVe2D5eDzeGeU-yO3UT8Ie0rAVVcrlwuRA_Wq7uknfU/s640/IMG_0458.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHEtmvRzVR95en3DE-xJs1SxMY4yBvK9nl3jbPW4G-MkgSilrg86nF1REOBhEaWiEAVPy302PyRZfyAZKyeiuO23xt60iGB5HkZxpc5hhQ734K7yoiOHHq9jqlstOW4sNamjrHeRFdRCwiFbVe2D5eDzeGeU-yO3UT8Ie0rAVVcrlwuRA_Wq7uknfU/w400-h300/IMG_0458.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Ari Hoenig Trio: Gilad Hekselman, Matt Penman & Ari Hoenig </td></tr></tbody></table><br /><p><span style="font-family: verdana;">Monday, October 10, 2022, was my first exposure to Portland’s
live jazz music scene since moving here from the Atlanta area. The venue was a
friendly, intimate, well-appointed supper club called </span><i style="font-family: verdana;"><b><a href="https://the1905.org/#when">1905</a></b></i><span style="font-family: verdana;">. The
brainchild of the owner Aaron Barnes, a former high school band teacher turned
restaurateur/bartender, </span><i style="font-family: verdana;"><b><a href="https://the1905.org/#when">1905</a></b></i><span style="font-family: verdana;"> is tucked in the Mississippi section of Portland
and may well be, as Downbeat magazine once proclaimed, <i><b>“one of the world’s top
jazz venues.”</b></i></span><span style="font-family: verdana;"><i><b> </b></i> </span><span style="font-family: verdana;">All I can attest to is
that it is certainly an important place to listen to and support fine jazz in Portland.
</span><i style="font-family: verdana;"><b><a href="https://the1905.org/#when">1905</a></b></i><span style="font-family: verdana;"> opened its doors in 2015 as a pizzeria/Italian restaurant/bar that
eventually catered to live jazz music performances. The venue seats close to
fifty attendees within the building and as the weather permits, there is an added generous covered outdoor seating section that is open to the bandstand.</span><span style="font-family: verdana;"> </span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLmqxls-yAsmWUBdmQZIM6rHFpDa8wsNUsjPSY_BbcHtPYeG7-fVy1bKB9YUxKtIdrp7JcEKxwCnDkBfuZyudH92AMs55LlmNbs6GO8arnjTFyny7l28jwpgFiIlcxO-QAZ6YAXDWpfmW3ID1KifeUQtbnvlvmwCoVcLBRuBiM3OYADCmKdr7q6qo6/s640/IMG_0477.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLmqxls-yAsmWUBdmQZIM6rHFpDa8wsNUsjPSY_BbcHtPYeG7-fVy1bKB9YUxKtIdrp7JcEKxwCnDkBfuZyudH92AMs55LlmNbs6GO8arnjTFyny7l28jwpgFiIlcxO-QAZ6YAXDWpfmW3ID1KifeUQtbnvlvmwCoVcLBRuBiM3OYADCmKdr7q6qo6/s320/IMG_0477.jpg" width="240" /></a></div><span style="font-family: verdana;"><p class="MsoNormal">My visit to <i><a href="https://the1905.org/#when"><b>1905</b></a></i> was sparked by the chance to see
the top-notch, NY-based band <b>The Ari Hoenig Trio</b>. We attended the early
first set which kicked off at a little after six pm. The trio was an impressive
group, an international flavored potpourri, led by the forty-eight-year-old,
Philadelphia-born, polyrhythmic drumming whirlwind Ari Hoenig, the fleet-fingered Israeli-born guitarist Gilad Hekselman and progressive New Zealand-born bassist Matt Penman. These master musicians have been at the forefront of
a new generation of talented improvisers that honor the tradition of jazz while
blazing new trails of interpretation within the broad scope that encompasses
this genre. </p></span><p></p><p class="MsoNormal"><span style="font-family: verdana;">It was an electric performance from the start. The group took
little time to warm up as they started with “Boplicity” from Hoenig’s 2018
album </span><b style="font-family: verdana;"><i><a href="https://arihoenig.bandcamp.com/merch/ny-standard-limited-edition-compact-disc">NY Standard</a>. </i></b><span style="font-family: verdana;">The composition was written by Cleo Henry and
Gil Evans for Miles Davis's 1957 classic </span><b style="font-family: verdana;"><i>Birth of Cool</i></b><span style="font-family: verdana;">. From the slow
simmer of the thoughtful cool jazz original, the trio stirred the music into a boiling
cauldron of energy led by the drummer’s exuberant brush playing, reminiscent of Jeff Hamilton’s brush mastery. There is a joy in Hoenig’s playing that makes
you just get swept up by his infectious enthusiasm and creative trap work. Hekselman’s
facile guitar lines were successively quicker and more serpentine path from the
theme. Penman’s warm upright anchored the bottom beautifully. This group was
ready to thrill.</span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl4ZC7tE7k3t12mNOe9lXZWFprAbrHxsugsrf35Skh_FR9jkh423Aw5VeydI7302em-pC-dZv_wbkgHZMy3_3Y9X2U-9KZR0zLj1D3qk2-1miO-_bYKBCSu0UFxNMihkhXtWLVOzeP4_zteRqeASPvomFrKoGOeLY7J7JbBw3U_MlQM-iGQG6OJY6u/s640/IMG_0473.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl4ZC7tE7k3t12mNOe9lXZWFprAbrHxsugsrf35Skh_FR9jkh423Aw5VeydI7302em-pC-dZv_wbkgHZMy3_3Y9X2U-9KZR0zLj1D3qk2-1miO-_bYKBCSu0UFxNMihkhXtWLVOzeP4_zteRqeASPvomFrKoGOeLY7J7JbBw3U_MlQM-iGQG6OJY6u/w400-h300/IMG_0473.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ari Hoenig </td></tr></tbody></table><p></p><p class="MsoNormal"><span style="font-family: verdana;">The set followed with Hoenig’s beautiful composition “Anymore”
which was on his album </span><b style="font-family: verdana;"><i><a href="https://www.freshsoundrecords.com/ari-hoenig-albums/46955-conner-s-days-digifile.html">Connor’s Days</a>.</i></b><span style="font-family: verdana;"> Hoenig has been known to
sing and play piano on this but here he simply led the group with a polyrhythmic
beat that was mind-blowing. Hekselman explored the harmonic possibilities of
the song to great effect and Penman offered a probing bass solo. This is creative
music at its best.</span></p><p class="MsoNormal"><span style="font-family: verdana;">After some ardent applause from the attentive audience, the trio
embarked on the classic Ray Noble tune “Cherokee,” an Indian love song. The
song’s structure was used as the basis of the more incendiary version “Ko-Ko”
by saxophone master Charlie Parker. The energized approach made the song into a
virtual demonstration of virtuosity and speed. Here the trio took the song and
made it a showcase of Hekselman’s guitar prowess. Gilad is a beautiful player who
creates mercurial lines at impressive speed and without any degradation of clean
precision. Deceivingly, his improvisational skill seems to make it look almost
effortless. Hoenig and Penman provided the guitarist with unrelenting
propulsion and polyrhythmic time shifts to make it all work like a precision
timepiece. The song produced a predictably arousing response from the audience.</span></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><span style="font-family: verdana;">Ari finally took up the microphone to introduce the group to
the audience who responded with grateful applause. He introduced the next
selection of the set, a dedication to the pianist/composer Billy Childs, titled
“Child’s Prey” which is on Ari’s latest release <b><i><a href="https://www.freshsoundrecords.com/ari-hoenig-albums/55320-golden-treasures-digipack.html">Golden Treasures</a></i></b>.
I am a big fan of Child’s work, so it is always of interest to listen to a song
that is written with another artist in mind. The composition has an undulating opening that
was originally recorded with pianist Gadi Lehavi on <b><i><a href="https://www.freshsoundrecords.com/ari-hoenig-albums/55320-golden-treasures-digipack.html">Golden Treasures</a></i></b>
following the slithery course that Hoenig creates and is reminiscent of some of
Child’s own work. On this night Hekselman’s guitar was the defining instrument
that laid down the path and he did so with phenomenal aplomb. Penman took his
turn with a potent solo that showed just how facile he is on the upright. The
song features a sustained ostinato section where the music is repeated, creating
a background drone where Hoenig’s drums produce an agitated whirlpool of percussive
sound effects. His arms and legs are like swirling dervishes of momentum and rhythmic
invention. A tireless fusillade of percussive
variation. The performance was just outstanding.<o:p></o:p></span></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXdXi2s3a-dCuPWTZEL6JaFAYxUf_malwlq0uawBcK7pqozKNNW3VIp66Kfyqo7RxbWlqY-E3Qvo6mNu1cw1V25VlyPCd4NTMLvQ4U3yAMCYPkp70duoJZXbGFVvCYV-uZZd2VVHhCTb5a_YOOU_xyQKVV1S7kA1R0912EJDeWtpWpiWZ9jZr5z3rv/s640/IMG_0450.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="640" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXdXi2s3a-dCuPWTZEL6JaFAYxUf_malwlq0uawBcK7pqozKNNW3VIp66Kfyqo7RxbWlqY-E3Qvo6mNu1cw1V25VlyPCd4NTMLvQ4U3yAMCYPkp70duoJZXbGFVvCYV-uZZd2VVHhCTb5a_YOOU_xyQKVV1S7kA1R0912EJDeWtpWpiWZ9jZr5z3rv/s320/IMG_0450.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Gilad Hekselman</td></tr></tbody></table><p></p><p class="MsoNormal"><span style="font-family: verdana;">The group returned with “Guernsey St Gooseneck,” a rhythmic groove
of a composition by Hoenig. The song has Penman and Hoenig maintaining the
groove which becomes amazingly catchy. Looking around the place, I saw most of
the audience, including me, bouncing their heads to this infectiously repeating
groove. With the beat established it left Hekselman with the task of creating some
counterpoint and diversity. The guitarist established loops on his guitar that maintained
different ascending lines upon which he added variations and improvisational
harmonies. </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhmhnE3Jw77YSTl0rbvdVRTqkrAWZ18odI15vtzZlz4DvHljt1IDi7FFM6WAGiHS1NOJHx3itYVQvSMToUMOWCxIDKBW1grDR8_D8I_Bgb-HkMcjiG3p_PcINxPUYi5_l9DzR799xrc9RjU22FcuzQgv0mwR_61XapMxD72XI0e8adjCNyM4wPQ2gK/s640/IMG_0461.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhmhnE3Jw77YSTl0rbvdVRTqkrAWZ18odI15vtzZlz4DvHljt1IDi7FFM6WAGiHS1NOJHx3itYVQvSMToUMOWCxIDKBW1grDR8_D8I_Bgb-HkMcjiG3p_PcINxPUYi5_l9DzR799xrc9RjU22FcuzQgv0mwR_61XapMxD72XI0e8adjCNyM4wPQ2gK/s320/IMG_0461.jpg" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Matt Penman</td></tr></tbody></table><span style="font-family: verdana;"><br />Never one to leave a beat at a simple 4/4, Hoenig and Penman would occasionally
change the rhythm up. I’m not one who can always identify the proper time being
used but the group did so without losing the audience or each other. A crowd pleaser.<o:p></o:p></span><p></p>
<p class="MsoNormal"><span style="font-family: verdana;">The closing composition of the set was brief and another
Hoenig ballad, “For Tracy,” a song he wrote for his wife from his <b><i><a href="https://www.freshsoundrecords.com/ari-hoenig-albums/46955-conner-s-days-digifile.html">Connor’sDays</a> </i></b>album<b><i>. </i></b>This sensitive composition featured Hekselman’s
gorgeous guitar voicings and showed that this trio was indeed capable of
emotive music on demand. <o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo0q1ogrYvm-hV4CBAKJIP_LaOyLybo62Kc9YcJ5rf5CvjSSHhVdNN_fi8ySaBGvGkBFSnRY_kGfJRcQdnVP2oTEp4qFXsiXq2HLpeZD1wMrhZlii90KOoi8qNyQx3AfI3DteazfK9-v0d6TbT-Mv0UKINKI9YxHu2QWHFzkQujElRRHnQaWfB_8ev/s640/IMG_0472.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="288" data-original-width="640" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo0q1ogrYvm-hV4CBAKJIP_LaOyLybo62Kc9YcJ5rf5CvjSSHhVdNN_fi8ySaBGvGkBFSnRY_kGfJRcQdnVP2oTEp4qFXsiXq2HLpeZD1wMrhZlii90KOoi8qNyQx3AfI3DteazfK9-v0d6TbT-Mv0UKINKI9YxHu2QWHFzkQujElRRHnQaWfB_8ev/w640-h288/IMG_0472.jpg" width="640" /></a></div><span style="font-family: verdana;"><p class="MsoNormal"><span style="font-family: verdana;"><br /></span></p>I had previously seen bassist Matt Penman’s work with Joshua
Redman, Aaron Parks, and Eric Harland in </span><b style="font-family: verdana;">James Farm. </b><span style="font-family: verdana;">He is also a member
of the influential </span><b style="font-family: verdana;">SF Jazz Collective</b><span style="font-family: verdana;"> with Miguel Zenon and David
Sanchez and is in pianist Aaron Goldberg’s trio. I first heard Gilad Hekselman’s
guitar work on his 2018 album </span><b style="font-family: verdana;"><i><a href="https://www.giladhekselman.com/purchase-ask-for-chaos">Ask For Chaos</a></i></b><span style="font-family: verdana;">. Besides this trio with Hoenig, he
has his own quartet with saxophonist Mark Turner, Joe Martin, and Marcus
Gilmore. The real discovery for me was drummer Ari Hoenig. I had heard of him
and knew he was an accomplished drummer/composer, who had played with pianist
luminaries like Jean Michel-Pilc, Tigran Hamasayan, and Kenny Werner, but I had
never really heard him play and his performance at </span><b style="font-family: verdana;"><i>1905</i></b><span style="font-family: verdana;"> exceeded
all my expectations. He is a vibrant, personable musician who, when I spoke to
him, told me some of his influences include drummers Ralph Peterson and Brian Blade
among others. </span><p></p><p class="MsoNormal"><span style="font-family: verdana;">Ari Hoenig is an
impressive musician, and the trio is certainly a band that you should make an effort to see if possible. The trio is on tour and will return to Smalls in NYC on Oct 17<sup>th</sup>
before they move to the European leg of this tour starting in England, playing
in Ireland, Scotland, Sweden, and Paris, France
before returning to Smalls on Nov 21<sup>st</sup>. </span><o:p></o:p></p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0tag:blogger.com,1999:blog-5286745340613267785.post-14634468227049090712022-08-22T18:28:00.001-07:002022-08-22T18:28:46.251-07:00EEE Eubanks-Evans Experience Two Like Minds Create Together<div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwbJ1gkWFV7DR3PP4_BDyQtZ4cYK-Xv9Z9q3Dp_B2P0YBV40ldeLky43nu87FOB5p_vC3R3XVmR3TMsy-95EOHQJ-aWa6PI8omSgx6FLdK5RUdaoxqAlRCNgDDG3lZiFu0GB4ToXB9nBi8TZVD9AdUZqUqICy9nLNQpDWSmPSCGap7TrA58_74AcEN/s700/a0420768189_16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwbJ1gkWFV7DR3PP4_BDyQtZ4cYK-Xv9Z9q3Dp_B2P0YBV40ldeLky43nu87FOB5p_vC3R3XVmR3TMsy-95EOHQJ-aWa6PI8omSgx6FLdK5RUdaoxqAlRCNgDDG3lZiFu0GB4ToXB9nBi8TZVD9AdUZqUqICy9nLNQpDWSmPSCGap7TrA58_74AcEN/s320/a0420768189_16.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><b><a href="https://eubanksevansexperience.bandcamp.com/">Eubanks Evans Experiment</a></b></i>: Imani Records</td></tr></tbody></table></div><span style="font-family: verdana;"><div><span style="font-family: verdana;"><br /></span></div>Two Philadelphia musicians, separated by an almost generation of age, have nonetheless found themselves linked by a foundation in music that emerges, in part, from their shared Philly experience. </span><p><span style="font-family: verdana;">Guitar wizard Kevin Eubanks is a member of a jazz family that includes his two brothers, younger Duane a trumpeter, and elder brother Robin an established trombonist. Eubanks attended Berklee and has worked with drummer Art Blakey, saxophonist Sam Rivers, and bassist Dave Holland. The guitarist made his presence known more widely to the public when he became the musical director of the band of the <i>Tonight Late Show</i> and the subsequent <i>Jay Leno Show</i><b> </b>from 1995-2010. </span></p><p class="MsoNormal"><span style="font-family: verdana;"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: verdana;">Orrin Evans attended Rutgers, worked with drummer Ralph Peterson, saxophonist Bobby Watson, soprano saxophonist Sam Newsome, and studied with master pianist Kenny Barron. He has made his mark with his work with the quartet TarBaby, his Grammy-nominated Captain Black Big Band, and increasing his exposure to a wider audience by replacing leaving pianist Ethan Iverson for a time with The Bad Plus.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: verdana;">These two created a dynamic duo for this album and titled it the <i><b><a href="https://eubanksevansexperience.bandcamp.com/">Eubanks Evans Experience</a></b></i>. The synergy here becomes apparent from the opening cut “Novice Bounce,” a Eubanks composition from his debut album <i>Guitarist</i> from 1983. This groove starts with some delicate guitar work and some precisely accompanied piano work that demonstrates just how in-tune these two can be. Like two joyously dancing fairies in an enchanted forest, there is a magical air to this one. The group morphs it into a more soulful endeavor with Evans' syncopated piano. Eubanks guitar increases the funk quotient without ever losing the sensitivity. His slithery guitar work shows a commanding articulation and an inherent flare that are impressive.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: verdana;">One of the most beautiful interpretations from the duo takes a soul/funk, some may say smooth jazz, hit from trumpeter Tom Browne from 1980 titled “Dreams of Loving You.” Eubanks and Evans reimagine this as a dreamy haunting ballad. Evans introduces this with a sensitive statement of the catchy and moving melody. Eubanks is the star here with his deft modulating guitar sound that emerges from Evans’ entry with an almost eerie Theremin-like sounding line that eeks with longing and pathos. This one is just beautiful.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: verdana;">The two break it up with a blues/funk-drenched collaboration “I Don’t Know” that raises the temperature of the proceedings up a couple of notches. Eubanks guitar is slippery and gut-busting and Evans’ piano takes on the feel of a barrel-house honk-tonk. The two get into it and play off each other’s ideas telepathically in a way that flows spontaneously.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: verdana;">“As They Ran Out of Biscuits” is a free-style collaboration that seems to be built by establishing a groove and then taking the improvisations to where they may go. This is probably the least structured and most adventurous of the set. This will not be everyone’s cup of tea but there is a real joy to absorb the active fluid collaboration going on here.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: verdana;">Orrin Evans composed the next ballad “Dawn Marie” for his wife. Eubanks opens the song with his own creative lead before the two enter this fetching melody. Evans plays beautifully here. There is obviously a deep connection with the loving sentiment that Evans intends to convey with this composition, and his touch and feel speak volumes. Eubanks is a master of using his electronics on his guitar to enhance his instrument’s effect. Here, his control is spookily modulated, perfectly aligning his sound to the mood intended.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: verdana;">The last two cuts of this album “Variations on the Battle” and Variations on Adoration” were both apparently recorded live at Chris’s Jazz Café in their hometown of Philadelphia. The two use two songs Evans’ “Half the Bottle” from his album <b><i>#knowishalfthebattle</i></b> of 2016 and Eubanks's “Adoration” from his album <b><i>Zen Food </i></b>from 2010 as the armatures upon which to improvise and expand. In the longer “Variations on the Battle” Eubanks exhibits a fusionist approach. His lines bloom in front of you as he gestates his ideas in an organic process that compliments over Evans' fertile backdrop. These two are brain-linked when playing so there is no hesitation, no awkward transitions they simply follow each other intuitively.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: verdana;">The shorter “Variations on Adoration” has a more melodic identity and Eubanks gently finger picks the entry as Evans creates lush pianistic lines. There is an exploratory feel to this composition as the two find a pulsating path to follow here, one that has a heartbeat of its own.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-family: verdana;"><b><i><a href="https://eubanksevansexperience.bandcamp.com/">Eubanks Evans Experience</a></i></b> is just that an experience; one that requires attention, one that requires awareness of nuance, and the ability to appreciate the true creative excellence of these two marvelous musicians. I will be looking forward t</span><span style="font-family: verdana;">o more from these two.</span></p><p class="MsoNormal"><span style="font-family: verdana;"> </span><iframe frameborder="0" height="270" src="https://youtube.com/embed/lJR_a8Ydtmw" width="480"></iframe></p>Ralph A. Miriellohttp://www.blogger.com/profile/07739422423091706043noreply@blogger.com0