Arranger/Composer/Drummer John Hollenbeck's Imaginative "Song's You Like A Lot"

 

John Hollenbeck's Songs You Like A Lot 

The prolific composer/arranger/drummer John Hollenbeck released his adventurous Songs You Like A Lot back in August of this year. This album is the third in a trilogy that includes his Songs That I Like A Lot released in 2013 and Songs ThatWe Like A Lot from 2016. 

The project initially had Hollenbeck taking some of his favorite songs from the popular music of his youth and re-imagining them. The second album followed with songs that were assembled from favorites by his collaborators and this final album selected compositions culled from an online vote by listeners. 

In each case, Hollenbeck orchestrates the chosen songs using themes, varying rhythmic dynamics, and tonal texture, all possible using a creatively arranged big band. He employs the talented, Germany-based, Frankfurt Radio Big Band and a core group of collaborators. These include the sensitive and flexible vocalists Kate McGarry and Theo Bleckmann, who he used on all three albums, along with the intuitive pianist/organist Gary Versace, who was on two of the albums, and the pianist Uri  Caine who was used on the second album.

I first attended a performance of Hollenbeck’s Claudia Quintet in New Haven’s Firehouse 12 back in 2013 when he was touring the music of his wonderful original music album September which I reviewed (here) for the Huffington Post. I was so impressed with the creativity and passion of this composer/drummer that I kept him on my radar, listening when possible and later reviewing The Quintet’s 2016 release Super Petite-(here) , a suite of Hollenbeck originals drawn from daily life experiences.

John Hollenbeck ( photo by Mercedes Jelinek)

The big band format requires another set of skills. Hollenbeck, who acknowledges Bob Brookmeyer as one of his most important influences, has certainly taken his mentor's arranging acumen and expanded his teachings into his own expressive methodology. 

Hollenbeck queries “Why arrange popular Songs? Is it still a ‘pop’ song if it wasn’t popular?” His ear has a radar-like acuity. He can key in on some of the most subtle nuances in this music. These subtleties are woven into the compositions that are almost subliminal to most, certainly not in the forefront. Hollenbeck uses his imaginative rethinking of these compositions to magnifying the nuances, which he uses to instigate discovery, evoke surprise, and awaken delight in the receptive listener. The old familiarity of the enjoyed song is still preserved but recharged and illuminated by the musician's creative process.

On the previous albums, the music featured composers as diverse as Jimmy Webb to Pete Seeger, Cyndi Lauper to Imogene Heap, and Burt Bacharach to Ornette Coleman.  On Songs You Like A Lot, Hollenbeck was more restricted by the material. having to choose the compositions from a plethora of listener selections, some of which he admitted to not necessarily liking himself.

“Down by the River to Pray” is a moving folk hymn, made famous by Pete Seeger, that was especially meaningful to vocalist Kate McGarrywho opens the plaintive song with her transcendent lead vocal accompanied by Theo Bleckmann’s apt harmony. Glawschnig’s bass lines also add a notable musical reverence. Hollenbeck’s arrangement gets energized by Versace’s drone-like piano that mesmerizes you to the religiously resurrecting coda.

The music of Joni Mitchell has always been a wellspring of inspiration for artists and here Hollenbeck’s re-imagination of “Blue” from the 1971 album of the same name is revelatory. The arranger uses Versace’s creative organ adventures and the floating sound of Oliver Leicht’s clarinet in a dancing duo that repurposes and uplifts the piano solo in Mitchell’s original intro. Bleckmann’s haunting voice is heard singing these introspective lyrics. The song remains familiar, and the orchestration expands on the sentiment without overpowering it. The twinkling piano, soaring clarinet lines, and Beckmann’s vocals are all perfectly meshed. reinforcing just how personally exposing Mitchell’s music could be.

On James Taylor’s classic rock/folk “Fire and Rain,” Glawischnig opens with a plucky bass solo intro as the band’s horns modulate in unison. Hollenbeck always likes to modify expectations. Here he cleverly changes the gender that will sing this song and uses Kate McGarry’s crystalline female voice to full effect on the memorable lyrics. The arranger matches McGarry's higher-pitched tone dynamically with the deeper sound of trombonist Christian Jaksjo and the vocal/instrument pairing works brilliantly.

Invention is used by the arranger on the Bee Gees “How Deep is the Love,” which has a nice tenor saxophone solo by Steffen Weber and some inspired choirlike vocals by McGarry and Bleckmann.

Newly and Briscoe’s wonderful Willie Wonka theme song “Pure Imagination” finds Gary Versace’s lurid musical ideas laying out the theme on the piano. He uses a slightly dissonant intro as the band swells like bilious clouds in the background. The theme is transformed into a quest for a world of envisioned possibilities, with Bleckmann’s voice captures the mood, as the band creates the aural background. Hollenbeck’s arranging is cinematic and elegant. Versace’s playing is magically mystical, ethereal and Bleckmann’s voice transcendent.

Peter Gabriel’s “Don’t Give Up” opens with a clarion trumpet lead-in by Alex Schlosser. Hollenbeck employs his progressive jazz/rock influences and drives the music with a pulsing band and the driving drums of Jean-Paul Hochstadter. Hollenbeck explores the song’s possibilities with an array of musical devices that include rhythmic variations, tonal diversity, and texturing. The arranger ends the song with a cadenced, drone-like repetition of the refrain “Don’t Give Up.”

Hollenbeck includes one original “Kindness,” a hymn-like composition that features McGarry’s expressive voice and the lyrics of the poet Naomi Shihab Nye. “Before you know what kindness is, you must lose things…”

The closing composition “Knows Only God” is a take on Brian Wilson’s song “God Only Knows” from the Beach Boys Pet Sounds album from 1966. Paul McCartney has said that ““God Only Knows” is one of the few songs that reduces me to tears… It's really just a love song, but it is brilliantly done.” 

Theo Bleckmann opens Hollenbeck’s take on this composition using a repeated, rhythmic vocal pattern of Wilson’s opening lyrics. This is Hollenbeck’s chant-like interpretation of Wilson’s proclamation of love and frustrations. McGarry leads the second verse and she and Bleckmann join in sympathetic harmony. These two have are just so sympathetically connected by song. The arrangement directs the band to build-up the proclamation, and I daresay, emphasize the ambivalence of love. Hollenbeck has certainly obscured the sweetness of Wilson’s original sentiment, he has another vision. In the place of sweet love, the musician has injected a dynamism to the music that is more representative of the uncertainty, the ebb and flow of love.

John’s Song’s You Like A Lot has been recently nominated for a Grammy in the category of Best Large Jazz Ensemble which will be held in Jan 2021. It is a thoroughly enjoyable and an often-brilliant album.  We wish him the best!

Multi-Reed Artist Ted Nash and his Quintet at Dizzy's Club Coca Cola

Ted Nash Qunitet live at Dizzy's Coca Cola  Plastic Sax Records

Often musicians come from musical families and so is the case with the saxophonist/composer/arranger Ted Nash. Both his father and uncle were accomplished jazz and west coast studio musicians. Father Richard “Dick” Nash’s work can be heard on albums by discriminating arranger/composers like Lalo Schifrin, John Williams and Pete Rugulo. Perhaps his most important association was as Henry Mancini’s favorite trombonist, playing with the maestro for over forty years from 1959 through 2000.  Ted’s uncle and namesake, Theodore Malcolm “Ted” Nash, was also a studio musician who played with Les Brown and was also favored sideman in Mancini’s band. Here is a recording the brothers did together.

With this pedigree, it is no wonder that our now modern-day Ted, a seasoned fifty-eight year old professional musician, should follow in these imposing footsteps. Not only has Nash made his own mark as a first call multi-reed artist - for the last nineteen years he has been a key member of Wynton Marsalis' Jazz at Lincoln Center Orchestra- He has established himself as a top rate composer and arranger. In 2010 Nash's Portraits in Seven Shades, a creative work of seven movements, each depicting the modern painters Chagall, Dali, Matisse, Monet, Picasso, Pollock and Van Gogh, was nominated for a Grammy. In 2017 his ambitious Presidential Suite: Eight Variations on Freedom won two Grammy awards, one for Best Large Jazz Ensemble Album and one for "Spoken At Midnight" for Best Instrumental Composition. 

Nash is the consummate musical explorer, he has never let his love for big band music get in the way of his playing creative improvised music in a myriad of settings. He has been an integral part of projects like his work with bassist Ben Allison on The Herbie Nichols Project or the trio with Allison and guitarist Steve Cardenas that celebrates the music of Jim Hall and Jimmy Giuffre on Quiet Revolution.  Not to be pigeonholed as a pure traditionalist he made his own free jazz explorations of the music of Ornette Coleman on his Quartet album The Creep.

With such an unquenchable thirst for ever expanding his musical horizons its nice to hear Nash play “live” on his latest album Ted Nash Quintet live at Dizzy’s Club Coca-Cola. The line up is superb with trailblazers like Warren Wolf on vibes, Gary Versace on piano, Matt Wilson on drums and the glue that holds it all together the veteran bassist Rufus Reid.

Nash and company offers up seven delightful compositions two of which, the opener “Organized Crime” and the next to last song “Sisters” are Nash originals. The remaining fare is a thoughtful assembly of songs by Chick Corea, Herbie Nichols, Thelonious Monk, Johnny Mandel and Henry Mancini.

The pace quickens right from the opening lines of Nash’s “Organized Crime.” Reid’s bulbous bass notes accentuating the rhythm under Wilson’s polyphony of bombs and crashes. Wolf offers a distinctive solo before Nash plays a searing, Coleman-esque alto solo.  Wilson’s playful antics are fill the air with electricity. The energy is palpable.

The band moves on to Corea’s masterpiece “Windows,” this time with Nash on flute reminiscent of the work on this by the great Hubert Laws. Wolf’s vibes and Versace’s piano lend an airy feel to this as Reid’s steady hand is probing with authority. Nash has wonderful intonation on the instrument. Versace, a pianist who deserves greater recognition, dances with superb sensitivity along with Reid in a gorgeous display of intuitive grace that is a highlight of the album.

Herbie Nichols, a cult figure on the piano known for his unique style, composed the next tune “Spinning Song.” Nash on alto and Wolf on vibes play the main theme in step. As the song changes to a slow swing Wolf again shows why he is a master of invention. The song has interesting breaks which the group navigates with effortless polish. Nash’s alto tone is rich and luscious as he trades notes with a lone Reid holding the line. Nash finds a delicate balance between a classic and modern tone. His playing brings you to the precipice at times but you never feel like you re in danger of falling off. 

What would a set list be without at least one Monk tune. The one Nash chooses is “Epistrophy,” brilliantly lead off by Wilson and Reid and played in unison by Versace, Wolf and Nash on alto. Monk would be shaking his leg in approval. Nash wails on his alto expressing a deep affection for the changes here and showing how well he has absorbed the tradition. Wolf loosens up the tune with his own excursion, a fountainhead of ideas, while Reid relentlessly lays down the powerful bass line. Versace’s piano solo is a marvelously twisted piece of invention as Wilson lands bombs and crashes behind him. This one is just a delight.

Nash takes to the microphone to explain how the next piece, Johnny Mandel’s beautiful ballad “Emily” is a dedication to his transgender daughter once Emily now Elias. This is a special moment for Nash, a man publicly acknowledging his unconditional love for his child. Played gorgeously by Gary Versace in duo with Nash’s transcendent clarinet, this one is special. Nash and Versace make beautiful music together and from Nash’s reaction that is caught on mic, Versace surprises him at times with his spontaneous and nuanced inventiveness. 
I recently praised a duo album by Fred Hersch and Anat Cohen using the same isntrumentation where I thought the two showed remarkable afinity for each other. Nash and Versace reach that same unfathomable simpatico here and it is just a treat to behold. You can tell by the complete and utter silence that the two command the room. The audience is spell bound. Bravo gentlemen!

Another Nash original, "Sisters," finds the saxophonist returning to his alto with relish and gusto on this quick paced swinger. Reid's bass line is in double time and flawless. Nash, Wolf and Versace all take turns burning down the house with their fleet, adreniline-paced inventions. 

The Nash-Mancini connection is inescapable and so it was appropriate to end the set with Mancini's playful "Baby Elephant's Walk." Nash plays the piccolo, an instrument rarely heard in jazz. Like the legendary Pied Piper, Nash leads the group on this rousing blues with joyful abandon, ending the show and the album on the perfect high note.

Live albums can at times be spoty or unisnpired, but Ted Nash Quintet live at Dizzy's Coca Cola is one of those rare recordings that has captiured a special moment in time, a moment when all things were working at the highest level and the only regret is that you weren't there to witness this for yourself.

The Many Facets of Bassist Martin Wind on his latest: " Light Blue"

Martin Wind Light Blue  Laika Records

Martin Wind is a classically trained bassist with impeccable tone and a polished arco technique. Consequently he has become an  in-demand sideman and sought after musical collaborator. His credits include his duo work with  guitar great Philip Catherine and current collaborations with fellow German and long time friend, guitarist Ulf Meyer. He is a member of the trios of vocalists Dena DeRosa and Anne Hampton Callaway; a member of the trios of pianists Bill Cunliffe, Ted Rosenthal, and Bill Mays  and a member of drummer Matt Wilson’s Arts and  Crafts Group. Wind has been a first-call session musician whose work can be heard on several films and if that wasn't enough he is educator on the faculty of both NYU and Hofstra Universities.

With all that work as a sideman, educator and collaborator, its hard to imagine him finding the time to both compose and lead his own group, but that’s exactly what this industrious bassist has done. His last album was an ambitious undertaking that re-imagined the work of Bill Evans. Titled Bring Out the Stars, the album featured Wind’s own quartet in concert with the Orchestra Filarmonica Marchigiana and was a joyous feast of sound.

On Wind’s latest release LightBlue, the bassist is joined by a stellar cast musicians including the clarinetist Anat Cohen, the multi-reed artist Scott Robinson, the trumpeter Ingrid Jensen,  the pianists Bill Cunliffe and Gary Versace, the vocalist Maucha Adnet and the drummers Matt Wilson and Duduka Fonseca. 

LightBlue is a revealing look into the versatility of this accomplished bassist and in the compositional inventiveness department it is anything but light. We are treated to ten original Wind compositions that show just how far he has come since his days of  studying composition and performance with such luminaries as Mike Richmond, Jim McNeely, Kenny Werner and Mike Holober.

The record is divided into two groups, the first half of the album, the more adventurous and daring of the two, utilizes keyboard artist Gary Versace, trumpeter Ingrid Jensen, Scott Robinson on tenor, alto, taragota (A Hungarian instrument similar to a soprano saxophone but made of wood)  and bass saxophones, and drummer Matt Wilson, with clarinetist Cohen playing on just one cut. The second half of the album features Wind's more  Brazilian influenced, lyrical side. This lineup included clarinetist Cohen, Robinson on tenor, alto, bass saxophone and clarinet, pianist Bill Cunliffe, drummer Duduka Fonseca and the vocalist Maucha Adnet. Each side has its own distinct merits. 

The range of diversity in these compositions is quite impressive. Whether it be the opening bars of “While I’m Still Here,” with Versace’s wonderful cinematic sounding organ, or the raucous but jubilant “Power Chords,” with Wind’s rumbling bowing and Robinson’s bellowing bass saxophone solo creating a driving, almost metal-inspired sound, there is something here for almost anyone.

On his composition  “Rose,” the delightfully evocative taragota work of Scott Robinson is otherworldly and when played together with Jensen’s clarion trumpet, the group attains an admirable symbiosis.  Wind’s booming bass keeps the metronomic time whilevVersace dances intuitively between piano and organ. The music just cries out to be listened to, absorbed and enjoyed.

“Ten Minute Song” is a jaunty swinger that features the versatile Robinson’s wonderful bass saxophone work over Wilson’s shuffling brush strokes and Wind’s walking bass lines. A jabbing piano solo by Versace leads to a wispy Jensen trumpet solo and a reply by Cohen’s buoyant clarinet. Wilson offers his own playful solo before the group returns to a unified conclusion.

The often cold and dreary month “February” is represented here by a brooding ballad. Trumpeter Ingrid Jensen makes the most of the mood with a moving solo. Wind’s pizzicato intonation is remarkably precise and projects beautifully on his emotional solo. Versace’s tinkling piano musings  at the coda adds to the perfect ending.

Side two transitions into a more lyrical theme with the folk-inspired, “Genius and A Saint." Here the music features some of the best woodwind interplay I’ve heard in ages. The ubiquitous Cohen is a marvel on her instrument, but Robinson is an underappreciated master of the clarinet and he finds his harmonic groove in a graceful exchange with Cohen that can only be described as pure magic.

Brazilian vocalist Maucha Adnet lends her bossa authenticity to sing Wind’s breezy “Seven Steps to Rio.” Robinson creates a marvelous Getz-ian tenor sound clearly in the spirit of the master’s work with Jobim before putting his own spin on his solo. Cohen’s clarinet rises to new heights as Fonseca’s animated drums add some percussive accents to this catchy tune.

“A Sad Story” finds Wind’s emotive arco-playing merging with Cohens’s soulful clarinet opening this aching lament. Adnet’s voice is charged with the sorrow and regret that the lyrics portray.

“De Norte A Sul” (From North to South) finds Wind and Fonseca laying down a samba inspired beat and features darting solos by Cohen, a soulful vocal by Adnet and an inspired solo by pianist Bill Cunliffe.

Wind rediscovered this closing melody, “Longing,” while researching material for this album. Cohen’s signature woody sound floats over the changes in graceful communion with the backing rhythm. Wind’s bass is again featured on a pizzicato solo that is accompanied by Fonseca’s ever so light touch on his cymbal and by Cunliffe’s thoughtful chording. Adnet’s vocal stylings are splendid.

The Matt Wilson’s Arts and Crafts Quartet at Dizzy’s Club Coca Cola March 3, 2012

On a cool, crystal clear Saturday evening in New York, the eclectic drummer Matt Wilson and his quartet were scheduled to play three sets, part of a multi-night series celebrating the release of his latest cd An Attitude for Gratitude. Having previewed the album, I was anxious to see this talented group perform this mostly ebullient music live. The Arts and Crafts quartet, as it is so named, consists of the polished master trumpeter Terrell Stafford, the fine contra bassist Martin Wind and the multi-keyboard player Gary Versace, a triple threat on piano, Hammond B3 organ and accordion. It is the
energetic and joyful Wilson, with his infectious smile, his call out encouragement and his toy box of percussive magic that makes it so special.

On this evening I got to sit in for the last few numbers of the first set and all of the second set. Dizzy’s is a world-class venue that seats about 150 patrons at both tables and on stools that line both the perimeter as well as the bar. With a generous stage that backs up to a glass wall featuring the sparkling Manhattan skyline as its background, Dizzy’s is clearly one of the most spectacular settings to see world-class jazz.
Toward the end of the first set the quartet was playing a rousing version of the Nat Adderly song “Little Boy With the Sad Eyes.” With the rhythm section of Wind and Wilson leading the charge on drums and bass, Versace pulsed out the melody line on the B3, and Terrell Stafford showed why he is such a powerful force on the trumpet. After the group whipped the audience into a frenzy, Wilson took to the microphone to explain the special significance of the next song that would close the first set. “There’s No You” was dedicated to the group’s founding bassist, the late Dennis Irwin, who passed away in 2008 from cancer. The stage was left to Stafford to play the moving ballad acappella as he does on the album. The veteran is capable of creating great pathos with his horn and here he had the audience mesmerized as his soulful rendition reminded us about how moving a solo trumpet can be in the right hands.

The second set started out with a playful Monk tune
“We See” and featured a Stafford solo that eked out notes in the high register with extraordinary ease. Versace, this time on piano, is a talented player who has a penchant for using space brilliantly, playing sparingly between the beat.

Anytime you look at Wilson all can see is an endearing, child-like countenance that is infectiously joyous, all the while keeping impeccable time and offering a myriad of percussive ideas. His enthusiasm is expressed in both his playing and in his constant encouragement that he offers to his fellow musicians on stage. It is no wonder that the album has a generally feel good vibe that is indicative of musicians enjoying both the music that they are playing and their fellow musicians.

The normally cheerful “Happy Days Are Hear Again” was played in moody, melancholy almost dirge-like way. Stafford took to the more warm-toned flugelhorn for this one, as Versace delicately accompanied behind the expressive horn. When the pianist did solo, he would lay back for two or three measures at a time before adding notes sparingly, letting Wilson and Wind carry the slow empty beat for emphasis.

Wilson started the next tune, his composition “Bubbles,” with his own version of a clinic on using brushes, impressively creating a circular rhythmic pattern over his traps. Versace switched to accordion and he and Stafford played in unison the almost circus-like sounds. When Stafford soloed, he interspersed bits of “Let’s Fall In Love” to his cascading solo, as Wilson played bombastically behind him. When it was Versace’s turn to solo on accordion he and Wilson created a fascinatingly playful duet of calliope-like sounds combined with Wilson’s creative use of his sticks. A soulful solo by Wind on his contra bass featured skillful tremolo effects. At end of the piece Wilson stood and recited words inspired from a Carl Sandburg poem. “Two bubbles found they had rainbows on their curves, and they flickered out saying ‘you know cats it was worth being a bubble just to have held that rainbow for thirty seconds'.”

The evening took a surprising turn when the singer Kurt Elling showed up for the second set. The band played a song that Wilson and Elling had previously recorded sometime ago, culled from the drummer Tony William’s repertoire “There Comes a Time.” It was a special treat as Mr. Stafford seem to be urged onto to new heights with the addition of Mr. Elling’s sonorous baritone. Versace’s rotating Leslie speaker bellowed out modulating organ chords. Wilson flailed on his drums, Wind kept pace on bass and Mr. Elling stretched the seeming limits of his vocal range. He controlled his voice with amazing precision. Parrying back and forth with the likes of Mr. Stafford’s trumpet was no easy feat but Mr. Elling proved he was more than up for the task. It was easily the unexpected highlight of the evening

After that gymnastic workout, the group gave Mr. Elling a bit of a break allowing him to sing the ballad “Embraceable You.” It was a real treat to hear the man’s wonderful baritone interpret the classic and it once again inspired Mr. Stafford to play one of his most stirring solos of the evening, a New Orleans’ tinged mini masterpiece. As can only happen in New York, the audience had just witnessed one of those rare moments in jazz where the stars align.

The set concluded with the Jaco Pastorius burner from the Heavy Weather album, “Teen Town,” which is also on the latest album. Bassist Martin Wind had to play the formidable bass line on his contra bass, which he did flawlessly. Versace’s organ started off the melody line and then Stafford’s trumpet mimicked the same line in unison. When Versace got a chance to let loose on the B3 it was a joy to behold, he can make that monster swell and swoon. Stafford took it to another level and Wilson pounded his traps relentlessly, shouting encouragement and smiling broadly throughout.

The audience left knowing they had been privileged to one of those rare great nights of music.

Abercrombie, Nussbaum & Versace Tear it Up at the Cole Auditorium

October 25, 2009



Autumn days in Connecticut are usually filled with the brilliant colors that embody a New England fall. Last Sunday, for those in attendance, the place for brilliant musical colors was the Cole auditorium at the Greenwich Library. Musical director David Waring, armed with a generous gift from patron Clementine Peterson, concluded his tasteful jazz series with a very special performance; a homecoming of sorts. Guitarist John Abercrombie and keyboardist Gary Versace, both Greenwich High graduates and drummer Adam Nussbaum, originally from Norwalk, brought their own special high-energy jazz to the comfortable confines of the Cole Auditorium.

As the musicians made their way to the stage it was obvious they were among friends and appreciative followers. The group seemed to be loosely led by Mr. Abercrombie, whose career spans nearly four decades of musical adventurism. Mr. Abercrombie was an original member of the groundbreaking jazz-rock super group Dreams, which included Michael and Randy Brecker, keyboardist Don Grolnick and the powerhouse drummer of Mahavishnu fame, Billy Cobham. Abercrombie’s breakout hit was the seminal fusion album Timeless
from 1975 which he did with keyboard wizard Jan Hammer and drummer extraordinaire Jack De Johnette. Since then he has continued to explore his own impressionistic style of music in many varied formats.


Mr. Nussbaum’s biography includes stints with the iconic tenorman Sonny Rollins and the saxophonists Dave Liebman and Michael Brecker . He was an important part of the John Scofield Trio, a progressive group with the guitarist John Scofield and the bassist Steve Swallow.


Mr. Versace is the youngster in this powerful triumvirate. Mr. Versace is a keyboard player who has made an indelible mark predominantly as an accompanist on organ and accordion. His has been named up and coming artist on the organ for the last three years in the Downbeat readers poll. I was particularly impressed with his work on the recent Loren Stillman album
“ Winter Fruits”.

The trio started the set with the standard “How Deep is the Ocean” which was played at a sauntering tempo, with Mr. Nussbaum starting out ever so lightly on brushes. Mr. Abercrombie plays his solid body guitar through series of electronic devices including a modulating volume pedal that he deftly uses to increase or sustain his thumb-strummed notes. Mr. Versace (pronounced Ver Says) was playing a Nord electronic organ which he had connected to a vintage Leslie speaker. Mr. Nussbaum’s drum kit included 3 toms, 1 bass drum, a snare, a hi-hat and 3 cymbals. As the trio played through the familiar changes of the song , increasing tempo and intensity, it was predominantly Mr. Abercrombie and Mr. Versace trading musical ideas as Mr. Nussbaum prodded them in suggestive directions.

On Mr. Abercrombie’s “Anniversary Waltz”, Mr. Nussbaum uses an assortment of rim and stick work to subtly build the rhythm over Mr. Abercrombie’s spacey guitar explorations. There was a demonstrable joy visible between the musicians as they interacted on this song. Mr. Versace played a particularly penetrating solo on organ as Mr. Abercrombie looked on approvingly. When Mr. Abercrombie soloed he built upon a series of repeating note patterns that drove the music into a funky, rock/blues direction.
Mr. Nussbaum pushed the song into a driving coda. Mr. Nussbaum’s strong left hand is particularly impressive.

On “Sad Song” from Mr. Abercrombies’s recent album “Wait Till You See Her” the audience was treated to the sensitive, impressionistic side of this artist. Mr. Versace and Mr. Abercrombie were particularly sympathetic in their communication of the melancholy spirit of this music. Mr. Nussbaum, who can be a tremendously muscular drummer, showed he is also capable of nuance with his deft use of padded mallets and shimmering cymbals work.

The trio performed several other pieces including “Retractable Cell” and a medley that featured Adam Nussbaum’s ‘We Three” and Ornette Coleman’s “Round Trip”. Mr. Versace weaved his solos with cascades of notes that darted deftly between Mr. Abercrombie’s atmospheric guitar. The young organist was pushed along by the ever-changing time signatures instigated by the playful Mr. Nussbaum, but more than held his own and had fun doing so.

The highlight of the performance was Mr. Abercrombie’s “Ralph’s Piano Waltz” from the guitarists watershed release “Timeless”. The driving nature of the song was the perfect vehicle for Nussbaum’s brand of power driven drumming. Mr. Versace ‘s electronic keyboard took on a rock fusion sensibility with a flurry of notes that showed influences reminiscent of my days of listening to Keith Emerson or Rick Wakeman. Mr.. Abercrombie was particularly animated as he took on a distinctively blues tinged solo that demonstrated that he could still shred with the best of them. Together the trio breathed life into Abercrombie’s composition to the delight of the audience many of who were apparently musicians.

In talking to Mr.Versace after the performance it was clear that Mr. Abercrombie has influenced a whole generation of younger musicians as a leader, a teacher and a composer. They see his impressionistic art as one worthy of emulation and continued expansion.

Loren Stillmans' "Winter Fruits" :Dry Ice in an Alto

Loren Stillman is a London born alto saxophonist who is now residing in Brooklyn, NY.
In 2002 he was a semi-finalist in the Theolonius Monk Saxophone Competition. He has played with a myriad of master jazz musicians including Charlie Haden, Paul Motian, John Abercrombie and has studied with Lee Konitz and Dave Liebman.

Loren Stillman’s new release “Winter Fruits” is a compilation of eight songs that together demonstrate a modernist approach to improvisational music, where melody and chord changes are for the most part abandoned. In lieu of such traditional forms, the music uses a combination of orchestrated and free journeys into the creation of a musical atmosphere where the artist interaction create a flowing, unpredictable conversation with the listener more or less along for the ride. For this effort Stillman brings together the skills of organ master Gary Versace, guitarist Nate Radley and drummer/composer Ted Poor, collectively known as Bad Touch.

In promotional material sent by his publicist, I was struck by a comment attributed to the guitarist John Abercrombie. Supposedly Abercrombie compared the young Stillman, his band mate in the group Jackalope, to a young Lee Konitz on steroids. Certainly Stillman’s chilled delivery, lack of vibrato and deliberative cadence are derivative of Konitz’s cool sound. Abercrombie is another obvious influential force in this music. The album is reminiscent of some of the ethereal collaborations that Abercrombie has done with the British multi-instrumentalist John Surman.

The entire album flows in an enjoyable manner that seems organically connected with the voices of Stillman, Radley, Poor and Versace darting in and out in a precise but relaxed manner. The album is best listened to as a suite in one sitting. Stillman’s use of long, deliberate, laid-back lines of improvisation are quite effective. His tone is pure and never abrasive. He rarely uses screeches or harsh accents., although there is sometimes a hint of breathiness in his delivery. When he does emphasis a passage it is usually with a overflowing continuity of thought which pours from his alto like the dense white clouds of condensation that pour from melting dry ice.

The precision of the group is most impressive on “Muted Dreams” with its delicate and exquisitely executed passages of luminescent sound. Stillman’s extended runs are particularly impressive in their tonal beauty and flawless fluidity. “Skin” is another fine composition where the group easily navigates complex, synchronous lines in a fusion-like manner but with a more refined approach that concentrates on tone in addition to speed.

“With You” is one of the more melodic pieces on the album with Radley and Versace showing some nice interplay. Poor predominantly uses cymbals with some accents on toms and snares. When Versace delves into his solo there is no discernable time except for a pulsing, throb-like cadence. Throughout it all Poor somehow manages to create the illusion of the barest of rhythms. Radley’s re-entry after Versace’s solo is beautifully seamless. Stillman returns with some of his most lyrical playing.

The Abercrombie influence is especially apparent on the airy Radley guitar lines of “Man of Mystery”. Versace’s versatile command of his arsenal of sounds is complimentary throughout. He modulates his volume and like a chameleon changes tonal colors at precise moments to add emphasis.

“Winter Fruits” is perhaps the most choppy, darting composition on the album It ends with a repeating bass line by Versace that is the backdrop for some truly free improvisational ramblings by Radley, Stillman and Versace while Poor pounds and crashes relentlessly behind.

“Puffy” is a slow, reflective piece that allows Stillman to show the most lyrical and sensitive side to his playing. Radley intertwines floating guitar riffs between Stillman’s thoughts as Versace church-like organ creates an air of somber seriousness.

“Winter Fruits” represents an evolutionary step in the refinement of a very promising young alto saxophonist who plays his horn with the confidence of a seasoned bartender delivering the perfect chilled martini.

Artist: Loren Stillman

CD: Winter Fruits (PIT 3042)

Musicians: Loren Stillman (alto saxophone); Gary Versace (organ); Nate Ridley (guitar);
Ted Poor (drums).

Recorded: Recorded July 4th & 5th Bennett Studios, New Jersey


Track listing: Muted Dreams; Skin; Man of Mystery; With You; Like A Magic Kiss; A Song to Be Played; Winter Fruits; Puffy. Highlighted tracks are favorites.

All compositions by Loren Stillman except Muted Dream & Winter Fruit by Ted Poor.