Energy and elegance: Billy Childs' "The Wind of Change"

Billy Childs at 1905 in Portland May 4, 2023

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. 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.

BillyChilds with Sean Jones at Portland's 1905 Jazz Club May 4, 2023

I have admired the artist's works over the last several years and his release Rebirth from 2017 was, to my way of thinking, one of the best jazz releases of that year. 

Childs's new releases are always anxiously anticipated, as was his latest The Winds of Change, 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," "Black Angel," 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. 

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 The Winds of Change is emotive, flexible, and possesses a telepathic sensitivity to executing Childs' musical demands and the results are spectacular.

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.

Childs' ballad "I Thought I Know" was played as a trio. The contemplative melody had a swaying feel with Colley offering a moving bass solo and Blade's tight snare accompaniment setting the mood.  "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.

"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.

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."

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. 

The album ends with the title cut "The Winds of Change." In my mind, this is the jewel of the album. 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 The Thomas Crown Affair or perhaps Jerry  Goldmsith's work on the theme to Chinatown that featured Uan Rasey's celebrated trumpet work. Memorable movie music has been permanently tattooed into our cerebellum and rightfully so!

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!

Billy Child' The Winds of Change is clearly one of this year's best albums.

Notes on Jazz Best of Jazz 2017

Billy Childs : Rebirth Mack Avenue Records

The year is almost over and once again it’s time to highlight some of the best jazz that I have heard in 2017. There are undoubtedly many fine albums that I have not had the opportunity to have listened to,  so I am sure some deserving offerings will unfortunately go unrecognized by me and not make it to my  best of 2017 compilation. That being  said, I found a plethora of amazing, creative, diverse and inspiring recordings that I did get the privilege of listening to and my list includes some of what I consider the very best.

There were some notable debut releases by rising stars in this genre. Probably the most impressive vocal debut was that of Jazzmeia Horn on her A Social Call.  The woman just killed it with her superb instrument, amazing control , a rare sense of poise and vocal elasticity that was just a pleasure to be heard. Young Atlanta area drummer Dave Potter  made a surprising debut with his polished and propelled straight-ahead session, You Already Know.  The Hazelrigg Brothers fired a fine opening salvo with their crossover album Songs We Like.  Latin musicians made some terrific music this year with alto saxophonist Miguel Zenon's Tipico, Cuban pianist David Virelles' Gnosis and flutist Nestor Torres Jazz Flute Traditions all leaving us with some memorable music.

So, with no further ado here are my top picks for jazz for 2017 in no particular order. Where possible, there is a sample video or recording for you to listen to. Happy holidays and pleas continue to support live music and live jazz in particular.

Notes on Jazz Best of Jazz 2017:

If my feet were put to the fire to name the album that most impressed me this year it would have to be pianist/arranger/composer Billy Childs superb Rebirth. The album was a fountainhead of creativity played at the highest level.

Billy Childs: Rebirth : Mack Avenue Records

Drummer Nate Smith, whose been a first call musician backing many an artist, showed exactly how talented he is on his wonderful : Kinfolk: Postcards from Everywhere: RopeaDope records

Puerto Rican alto saxophonist Miguel Zenon  had a superlative effort with his : Tipico: Miel Music

Jazzmeia Horn: A Social Call: Prestige. An awesome debut. The lady can sing, period. 

One of my favorite contemporary bass player/composers, the ever inventive Ben Allison and Think Free: Layers of the City: Sonic Camera Records

Overcoming health issues, saxophonist Dayna Stephens: finds inspiration in Gratitude: Contagious Music

The irrepressible drummer Matt Wilson, finds a familial tie to the poet Carl Sandburg and his work on : Honey & Salt: Music Inspired by the Poetry of Carl Sandburg: Palmetto Records

Steve Nelson: Brothers Under the Sun” High Note Records The master vibraphonist pays homage to a mentor and friend, the late Mulgrew Miller. 

Sherman Irby and Momentum: Cerulean Canvas: Black Warrior Records

The mainstay alto saxophonist in the Jazz at Lincoln Center Orchestra comes into his own with this driving straight ahead jewel.

Alan Broadbent and The London Metropolitan Orchestra: Developing Story: Eden River Records/Rough Trade. The master pianist/arranger/composer finally realizes his grand idea that first started back in the nineteen seventies.

Brian McCarthy Nonet: The Better Angels of Our Nature: Truth Revolution Records
A fascinating big band work by a talented young arranger/composer from Vermont, inspired by a speech from Abraham Lincoln.

Ralph Towner: My Foolish Heart: ECM The virtuoso guitarist plays some beautiful music as only he can.

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Brian Charette: Kǘrrent: Dim Mark. The future of organ trio music is here.

Pete Malinverni: Heaven: Sarana  The spiritual side of this pianist is given wings with a terrific supporting cast.

  

The Hazelrigg Brothers: Songs We Like: Self Released These two brothers and an intuitive drummer tackle a more modern repertoire with their own fresh approach.

Mark Winkler: The Company I Keep: Café Pacific Records. West coast vocalist Mark Winkler is simply one of the most hip and interesting singers on the scene today.

Tim Hagans and the NDR Big Band: Faces Under the Influence: Music Inspired by the Films of John Cassavettes: Waiting Moon Records. The fiery trumpeter Tim Hagans writes an evocative score for big band, inspired by the films of director John Cassavettes.

Marilyn Scott: Standard Blue: Prana Entertainment. This enchanting chanteuse can make an old standard  sound like you've never heard it before.

Cuong Vu 4Tet w/ Bill Frisell: Ballet the Music of Michael Gibbs: Rare Noise Records. The Vietnamese trumpeter and the eclectic guitarist celebrate the music of Michael Gibbs.

Dave Potter: You Already Know: Summit Records. This young drummer proves he has the mettle to make it to the top of his game.

 Saffron Ensemble: Will You? : Rock, Paper, Scissors. A true world music album that celebrates the Persian poetry of Rumi featuring the marvelous voice of Katayoun Goudara.

David Virelles: Gnosis: ECM    The Cuban Pianist explores the spirit world of his ancestors and incorporates a variety of percussive elements.

Dave Stryker: Strykin’ Ahead: Strikezone Records. The journeyman guitarist revitalizes the organ trio format with a stellar group of like minded individuals.

Nestor Torres: Jazz Flute Traditions: Alfi Records. A master flutist honors the past greats of the flute with a splendid album that demonstrates his mastery of the tradition.

My pick for best historical re-issue: Two master saxophonists give an inspired performance in honoring one of their chief influences. 

Dave Liebman and Joe Lovano: Compassion: The Music of John Coltrane: Resonance Records

The Artistry of Billy Childs on "Rebirth"

By now it’s evident that the pianist/arranger/composer Billy Childs can compose gorgeous music. Just listen some of his past repertoire."Into the Light " the 2006 Grammy winner for Best Instrumental Composition. “The Path Among the Trees,” a cinematically beautiful composition and the 2011 Grammy Award winner for Best Instrumental Composition. His poignant work with vocalists like Dianne Reeves on the Grammy winning album The Calling: Celebrating Sarah Vaughn from 2000 or more recently with Renee Fleming on another Grammy award winner, re imagining Laura Nyro’s composition “New York Tendaberry” in 2015. 

With his luscious orchestrations, and his inherent ability to find beauty in whatever he composes, some have labelled him as a “Third Stream” artist-a term coined in a 1957 speech by jazz composer/arranger Gunther Schuller to describe the skillful combination of elements of classical music with the improvisational aspects of jazz. But Childs is more than an accomplished symphonic composer. His history includes playing his share of hard-bop piano alongside some of jazz’s great masters. His youthful experiences touring with the great trombonist J.J. Johnson and subsequently as a member of the iconic trumpeter Freddie Hubbard’s band made their indelible mark on his musical soul. 

With the release of his latest recording, aptly titled Rebirth, Childs has renewed his love of the kind of group interplay that was the hallmark of those early Johnson and Hubbard groups. But this music is pure Childs, and it incorporates the orchestral feel of his own musical identity. Of the eight pieces of music on this recording, five are Childs originals. The title song is a Childs collaboration with vocalist Claudia Acuna, who also sings on it, and the remaining two songs are thoughtful rearrangements of Michel Legrand’s “Windmills of Your Mind” and Horace Silver’s seminal “Peace.”

For this recording Childs enlisted a group of musicians who are at the cutting edge of today’s contemporary jazz scene Steve Wilson on alto and soprano saxophones, Hans Glawischnig on acoustic bass and Eric Harland on drums make up the core group. The singers Claudia Acuna and Alicia Olatula, as well as trombonist Ido Meshulam and percussionist Rogerio Boccato are also featured on the album.

The songs, for the most part, dense, very conversational constructions that sing with lyricism and swim in the waters of syncopated rhythmic patterns that encourage magical interplay. The opener “Backwards Bop,” a cooking swinger that just surges with energy, features Glawischnig’s pulsing bass, Childs perceptive piano, some searing alto by Wilson and explosive drum work by Harland. The same roiling intensity, can be heard on the rapid-fire changes of “Dance of Shiva,” Harland often pushing with his relentless fusillade of sounds and Childs’ using stabbing piano lines that fire like the report of an automatic weapon.

Billy Childs photo by Katie Stiefel

“Rebirth” is a soaring piece of music. Child’s and co-writer Acuna have clearly found inspiration in the work that Chick Corea did with vocalist Flora Purim on Light as A Feather. Child’s piano stylings have a lusciousness that are all his own. Acuna- as fluid a voice as there is in jazz today- has an amazing instrument, using her impressive ability to rapidly modulate through complex passages while still eliciting great feeling. The entire group plays with great cohesion and synchronicity, whipping the song into a climactic frenzy. Wilson’s soprano and alto saxophones dance with grace and meaning. The music is topped off by a rousing trombone solo by Ido Meshulam and some crashing cymbals by Harland at the coda.

On the yearning “Stay,” Alicia Olatuja’s haunting voice creates a sense of poignant eagerness. The vocalist modulates the lyrics in some unusual and sometimes unsettling ways as Childs and his trio play with sparse sensitivity.

The piano concerto-like sound of Childs on his moving “Tightrope” is enhanced by a beautifully realized bass solo by Glawischnig.

Childs’ brief pianistic intro on “The Starry Night,” is a scintillating taste of what is to come. When the band enters, Wilson’s airy soprano is out front and flying. Listen closely as each band member brilliantly match the complex lines in precise synchronicity, Glawischnig’s bass, Wilson’s soprano, Harland’s dancing drums, all led down the path constructed by the magic of their leader. Childs strong use of chording and fluid filigreed runs are brilliantly orchestrated and expertly executed. Wilson’s soprano work floats weightlessly above the music like a bilious cloud.

On Michel Legrand’s “Windmills of Your Mind,” Wilson is featured on alto, and although he does an admirable job with Childs’ much more contemporary arrangement, I can’t help but to go back to the great Phil Woods captivating performance of this song with Legrand’s own orchestra on the album “Images” from 1975 as my personal choice.

In these times of turmoil what better anthem to resurrect than Horace Silver’s “Peace.” Childs opens the song with a piano intro that leads to a brief but beautiful alto statement of the melody by Wilson. Childs follows with his own piano solo, adroitly sensitive and emotionally brimming. Wilson returns with a very Desmond-esque sound and the two end this beautiful conversation in sublime unity.