Vibrapohonist Steve Nelson's Homage to Mulgrew Miller: "Brothers Under the Sun"

The vibraphonist Steve Nelson is one of those musicians who has been discreetly plying his craft over the years, most frequently with groups led by the pianist Mulgrew Miller and the bassist Dave Holland. On his latest album Brothers Under the Sun, a title that makes reference to the friendship and astrological affinity Nelson had with the pianist Mulgrew Miller (they were both born under the sign of Leo), Nelson selects a repertoire of songs that are either composed by late pianist or are strongly associated with him. The result is a rewarding collection of music that honor Miller's legacy by perfroming these songs with a joyful reverance, consummate professionalism and an unerring sense of swing.

The rhythm section of Peter Washington and Lewis Nash assure a skilled continuity of spirit for this endeavor, as they, with Nelson played on several recordings with Mr. Miller. The wild card here is the pianist Danny Grissett- who has played previously with this group under the leadership of trumpeter Jeremy Pelt- who does an admirable job of injecting his own creativity into this homage, including his own composition dedicated to Mr. Miller, the closer “Melody for Mulgrew.”

The album leads off with a sauntering “The More I See You” which Nelson plays faithfully in deference to the melody, an approach favored by Mr. Miller when he would play ballads. Nelson’s tone has a warm resonance that comes from the measured and deliberate attack of his mallets. Grissett incorporates some of Miller’s bluesy/gospel feel, while still fluidly traversing across the keys in a modern approach. The group pulses along with Washington’s warm, throbbing bass lines leading the way. Nash, a master swinger, knows how to subtly prod the group, propulsing them forward with just the right mixture of press rolls and cymbal splashes.

The Afro-Latin beat of Miller’s vibrant “Eastern Joy Dance,” allows the group a more fluid platform on which to improvise. Nelson’s mallets glide over the bars in a glissando of notes. Grissett is more angular in his approach here, as Washington and Lewis create the rhythmic rumble.

“Grew’s Tune” is one of Mr. Miller’s most memorable compositions and these guys do it royally. The lock-step, unison playing of Grissett and Nelson is coolly intuitive. Grissett’s solo is a miniature of style, before Washington offers his own impressively effervescent solo.

“Soul-Leo,” -a reference to the astrological sign that binds Miller and Nelson together forever- has its own special swagger. Washington’s bass guiding the tune like a beacon in the night. Nelson and Grissett once again play deftly in unison; both offer invigorated solos as Nash pushes the song along effectively behind Grissett’s repeating left-hand phrases to the coda.

The Rogers and Hart standard “It Never Entered My Mind,” is introduced by Nelson with a gently resonating vibes solo, after which the group picks up at a languished pace. The album continues with the Brazilian influenced Miller composition “Samba D’ Blue,” the bright, uplifting Nelson title composition “Brothers Under the Sun,” and  another  two Miller compositions “For Those Who Do” and the angular, Monkish “New Wheels,” where the group is at its dynamic best. The set ends with pianist Grissett’s persuasive homage, the buoyant and deferential “Melody for Mulgrew.”

Here is a video of Nelson with Miller from 2011:

Trumpeter Jeremy Pelt's # Jive Culture: Hipness meets Maturity

Jeremy Pelt photo by Sally Pritchard

When a new album comes out from an artist that you have listened to and appreciated, it is always a moment of anticipation when you play the first cut and see if it holds up to your expectations. I have been a fan of Jeremy Pelt’s playing for quite some time and when the opening notes of the lead off song “Baswald’s Place,” from Pelt's latest # Jive Cuture, hit my ears I knew I was in for a treat.  Pelt has a beautiful tone and his attack is precise and piquant. The interplay with the superbly swinging Billy Drummond on drums is a lesson in synchronous dynamism and of course the ever present foundation of the swing is laid down to perfection by the inimitable Ron Carter on bass.

Jeremy Pelt's #Jive Culture High Note # HCD7285

It is the opportunity to play with the great bassist Carter that made this date all the more special for Pelt. The mutual respect these two have is on brilliant display on Carter’s “Einbahnstrasse” a down home blues that features a potent solo by Carter and some lyrically responsive trumpet playing by Pelt. The song is the perfect vehicle for the group to simply strut its ability to swing.

On Cole Porter’s “Dream Dancing,” Pelt’s beautifully Chet Baker-like solo floats on Drummond’s steady cymbal-driven beat and Carter’s full bodied, roaming bass lines. Pianist Danny Grissett comps to perfection behind Pelt before taking a gorgeous solo where he elegantly ventures off into his own extrapolation of the melody. It seems that the inclusion of the venerable Carter into the group has elevated the maturity level of all the players on this date, as they each play within the song to great effect.

The Dave Grusin/ Allan Bergman ballad “A Love Like Ours” is perhaps the piece de re.sis.tance of the entire album. This achingly beautiful song features Pelt’s lone voice at his most lyrically emotive, with the band playing behind him in a brilliant display of subtle complimentary playing at its finest. It doesn’t get much better than this.

As if to demarcate a change in approach, Drummond’s solo rolling drums open the second part of this album for almost two minutes before the group gets into the main theme of Pelt’s composition “The Haunting.” Pelt’s trumpet wanders around the core of the melody, often modulating the level of intensity with his horn as the band plays on. Carter is particularly active in his playing, peppering the loose swing provided by Drummond with a variety of accented notes and bends. Grissett plays an equally elusive solo.

The deceptively cadenced “Rhapsody” features a syncopated rhythmic vamp that Drummond and Carter produce in conjunction with the ethereal sounds of Grissett on Fender Rhodes. Pelt uses this throbbing groove to establish a floating, tension-building trumpet solo that escalates the drama in the song. Through a series of increasingly urgent sounds, Pelt creats the illusion of entering into the unknown until the song fades out into oblivion at the coda.

Opening with an unaccompanied solo piano introduction by Grissett that sets the alluring mood of “Akua,” is a slow, sauntering ballad, whose repeating vamp imprints in your brain long after you leave it. The film noir-like theme features Pelt’s poignantly muted trumpet and Grissett’s pensive piano work. Carter’s walking bass meanders with creative two-step in-fills that add to the feel of this sultry song.

The final song of the cd is another Pelt original titled “Desire,” an upbeat, loosely structured romp where the rhythm is turbulently played by Drummond creating a sense of unease. that is punctuated by Carter’s roving bass. Grissett and Pelt are both featured playing on the repeating vamp which is the armature around which they base their improvisational ideas. Grissett ventures off into unpredictable grounds on his solo before returning to the theme. Pelt is equally off to the wilderness with his probing trumpet only occasionally touching on the theme in some remote way before magically resolving back to it before the finale.

With #Jive Culture Jeremy Pelt has achieved that rare plateau where hipness meets maturity in one totally satisfying album.

Basking in the Sweet Sounds of Trumpeter Tom Harrell’s latest "Number Five'"

From the opening notes of Tom Harrell’s latest High Note release Number Five you are catapulted into a break neck duet between the smooth as silk trumpeter and his equally cacophonous drummer Johnathan Blake.  “Dizzy Gillespie’s “ Blues N’ Boogie” roars out of the gates of this fine album with a confident swagger and deliberate bravado. The tight interplay belies precision with just the right amount of extemporaneous spontaneity.

Harrell’s beautiful “Right As Rain” takes a distinctively more gentle approach to win you over.  On this sensitive ballad, the front line of Harrell on trumpet and Wayne Escoffery on tenor play a sleepily descending line, creating the aural effect of cascading water over smoothened river rocks. Escoffery’s tone is warm and compliments Harrell’s equally burnished sound. Blake’s cymbal work is subtly effective.

The title track is Harrell’s “No. 5”,  a straight ahead swinger, is the first tune to feature the full quintet. Harrell’s lead is both harmonically rich and tonally resplendent. Escoffery offers a flowing and fiery tenor solo that is as hot and unstoppable as liquid lava in motion. The song also features nice solos by pianist Danny Grissett, bassist Ugonna Okegwo and a stirring trap solo by Blake.

Perhaps the most beautiful piece on the album is Harrell’s “Journey to the Stars”,  it is a simple repeating piano motif played lovingly by Grissett over which Harrell plays some gorgeous Flugelhorn explorations. The sparse treatment is extremely effective in creating poignancy, carrying you away to the stars of Harrell’s musical mind.. Harrell overdubs a series of muted trumpet accompaniments that project a sense of majesty to the journey. Grissett offers an emotionally stirring solo demonstrating a tender touch.

It becomes obvious that Harrell’s approach to music is all encompassing with many unexpected twists and turns that keep you always on your feet. From the peaceful galactic travel of “Journey to the Stars” we step right into a free piece titled “GT”, the longest piece of the album at almost nine minutes. Escoffery’s tenor solo is the highlight with a blistering torrent of notes pouring from his horn in an uninterrupted flow of consciousness. Some nice spatial playing by Okegwo and Blake finish this barely structured piece.

Harrell is quite cognizant of the palette of colors he has available to him when creating his music. Here on his penetrating ballad “Present” he utilizes the warm tones of his Flugelhorn mixing nicely with Grissett’s distinctively tinkling Fender Rhodes sound and Blake’s wet cymbal work to create his images. The tight implicit interactions of this ensemble are the fruits of many hours of these musicians working closely together, clearly with Harrell’s vision in mind, creating one of the most exciting and inventive ensembles in jazz today. As a friend of Mr. Harrell’s on Facebook I have seen he often posts pictures of his group as it tours the world. The obvious camaraderie that shows so well in his pictures is equally apparent in his music. This group genuinely enjoys playing together.

Daringly, Harrell interspersed this album with multiple instrument line ups. He offers duets between drums and trumpet or piano and trumpet, the trio format as well as the full quintet with the only unifying factor being Harrell’s ubiquitous presence.

On “Star Eyes” Harrell goes it totally solo. With a lead in from "Night in Tunisa" there is no lack of creativity flowing from this man’s horn as he negotiates the changes in his own unique way. His sense of time is exquisite, but it is his supreme sense of lyricism that is most impressive. “Star Eyes” is a standout solo performance of unfettered spontaneity and a lesson in how expressive  unaccompanied trumpet can be.

The album finishes off with “Preludium” a study in how to change a six bar practice arrangement from Vincent Persichetti’s book on “Harmony, Creative Aspects and Practice’ into a thoughtful exploratory piece of music.

Harrell’s haunting trumpet sound on “The Question” opens this probing piece of music. Grissett again marvels with his deft use of the Fender Rhodes, someone who is growing exponentially. Escoffery’s tone is exceptionally warm and full. 

“Melody in B Flat” is a hard swinging ensemble piece that once again features the entire quintet.  Johnathan Blake’s pulsing trap work drives this train, with Escoffery again playing some inspired tenor.

The album closes out almost introspectively with Harrell’s solo, sotto voce version of Tadd Dameron’s  “ A Bluetime”. Enough said.

Make no mistake, despite some fine individual performances on the album, it is the leader Tom Harrell’s vision that makes NumberFive such a top notch offering. The precise ensemble playing, his fine compositions, deft arrangements and his own imaginative playing, along with his ability to preserve spontaneity makes this one a must have for any serious jazz lover.

Here is a videos of the Tom Harrell Qunitet and their wonderful music.