A Drum Less Trio - Allison, Cardenas and Nash Explores Boundaries with "Triological"

 

Allison, Cardenas & Nash- Triological-SunnysideSSC-1811

The trio of Allison, Cardenas and Nash, as they are known, released their latest album titled Triological on Sunnyside Records this past April. If you have had the privilege of hearing these guys work before, either as sidemen, members of respected big bands/orchestras or as leaders of their own ensembles, then you are already aware of the copious talent these three musicians have.

For those who are unaware, Ben Allison is a vibrant bass player/composer/educator. He is also one of founders and creative director of the formative alliance, the Jazz Composer’s Collective in NYC, that from 1992-2005 promoted the creation and performance of creative, forward-looking jazz. His work first came to my attention with his group Man Size Safe’s album Little Things Run the World from 2008. The superb guitarist Steve Cardenas was also a member of that group, and I got to see that group perform in Brooklyn back in that year. I subsequently saw Allison and group with the performance artist Joey Arias at Carnegie Hall. I have reviewed several of his fine releases.

Cardenas was a member of the drummer Paul Motion’s Electric Be Bop Band and was with bassist Charlie Haden’s Liberation Music Orchestra for ten years.  I was also able to see Cardenas perform as a member of pianist Jon Cowherd’s talented Mercy Project when they performed in Portland, OR in Feb of 2023. I have enjoyed his work on his  Blue Has a Range and enjoyed his work with bassist John Patitucci and the drummer Adam Nussbaum..

Ted Nash has been a multi-woodwind member of Wynton Marsalis’s Jazz at Lincoln Center Jazz Orchestra from 1998 through 2024!  I have heard him play in that orchestra on several occasions. He is the son of Dick Nash and the nephew of Ted Nash; both were first call Hollywood studio musicians who worked predominantly with the composer/arranger Henry Mancini.  Ted’s Presidential Suite:Eight Variations on Freedom, a big band suite released in 2016, won a Grammy in 2017.

Ted Nash, Ben Allison and Steve Cardenas (photo credit unknown)

This gifted trio’s first recording was Quiet Revolution, from 2018, explored the music of guitarist Jim Hall and reedist Jimmy Guiffre. Guiffre’s inventive drum less trio concept became the impetus for this trio’s future explorations, expanding the concept that a reed, guitar and bass could generate their own internal rhythmic drive through thoughtful interplay. 

In 2019 they released Somewhere Else which featured the music of West Side Story and the work of composer Leonard Bernstein. The trio released Healing Power-The Music of Carla Bley in 2020, and in 2024 they released Tell the Birds I Said Hello, a celebration of the rhymically displaced and harmonically rich music of pianist Herbie Nichols. It was only inevitable that this dynamic threesome, a trio so adept at interpretating other people’s compositions, would eventually release an album that featured their own original compositions. Thus, the genesis of the latest release, Triological.

Ten compositions, four by Allison and three each by Cardenas and Nash, make up this all-original offering. The inspiration for composing can often be found in previously composed, influentially residual, impressions that emerge from seeds of other people’s work. The music has elements of chamber jazz on this offering. The three reach a quiet, sensitivity that reaches for musical boundaries and can only be reached by musically empathetic artists willing to explore tonal and rhythmic boundaries. This album does all that and more.

Allison’s opening composure, “See Forever,” is an easy, mellow, sauntering piece that the bassist speaks of as being the product of a stream of consciousness approach. He finds this song the perfect vehicle for his vintage 1967 Hofner electric bass. Nash’s tenor is sonorous and Cardenas’ guitar is light and airy as the three weave around separately and  at times in sync with each other. Allison admits that there is a late fifties “easy listening” feel to this one, and he credits being somewhat influenced by the seminal work of conductor/composer Henry Mancini. Emulation of a great composer is hardly a weakness, and we will see this approach being somewhat thematic throughout the album.

Guitarist Cardenas’ “Puddle Jumper” is a flowing, bubbling piece that originally developed from the opening melodic lines that the guitarist was playing with and recorded on a voice memo, only to be left for development at a later date. There is a quiescent to this beautiful, melodically repeating line that emanates to the listener. It’s like a tonic to whatever may be ailing or disturbing you; just under four minutes of tranquility.

Ted Nash’s “Burnt Toast & Avocado” opens with a sensitive acoustic bass entre before Nash’s tubular clarinet takes a sinewy solo that lulls you like a snake charmer. Cardenas follows with his own exploratory, uncluttered solo that rings with sensitivity, before Allison’s throbbing bass lines resonate with sustain and authority.

Allison’s lively “Fellas with Umbrellas” is a composition that has two sources of inspiration. Initially Allison wrote the melody  over the chord changes of bassist Steve Swallow’s composition “Ladies in Mercedes.” An opening staccato bass line frames Nash’s gorgeous descending lines on his tonally rich tenor. Allison’s acoustic bass solo dances with aplomb; a sustained resonance that is subtly comped by Cardenas’s feather strumming. When the guitarist takes his turn, Allison’s strong rhythmic pace allows Cardenas to fearlessly explore the harmonic possibilities of the melody. Surprisingly, Allison mentions that the composition also had another great composer, Michel LeGrand, in mind. LeGrand’s cinematic soundtrack from The Umbrellas of Cherbourg clearly was in Allison’s mind when he titled this one. It turns out, Allison, in talking to Swallow about this composition, admitted that he too was influenced by LeGrand. The world of music can clearly be a small, small world, but one that is constantly renewing itself with new artists and new ideas of interpretation.

The album continues with the film-noirish “Milton,” an Allison composition previously released on his Moments Inside from 2021. Nash’s tenor is a marvel of luscious tonal delight. Allison again utilizes his Hofner electric bass, as Cardenas offers a solo accentuated by his use of a tremolo effect. The contrast between the metronomic bass lines, the trembling guitar lines, and the legato tenor lines make this sonically a treat.

“By Heart” is a Cardenas almost Americana style ballad that opens with the guitarist’s slow, sensitive opening lines that are repeated in sync by the three musicians. Cardenas’ guitar solo is short and poignant before Nash’s tenor adds to the pensive mode. Allison’s bass just hums with sustain and includes some higher register lines before the music returns to the opening lines to the coda.

Nash’s “For Bill” is one of my favorite compositions of the album. Nash used Bill Evans’ “Time Remembered” as his inspiration. The music opens with bass and guitar before the tenor enters with the melody line. There is patient, unhurried approach that clearly honors Evans’ own approach to music. Nash’s tenor tantalizingly navigates the sinewy lines with unshowy confidence and with rich harmonic ideas that don’t wander too far from the melody.  Cardenas’ accompaniment is intuitive and splendid. When he solos, it’s always airy, unobtrusive; always meaningful. Allison’s bass rings with a rhythmic presence that few can match. He always offering surprisingly inventive lines that accentuate the instruments vibrant possibilities.

“Back Home” is a return to the roots of the guitarist’s influence back in Kansas City, Missouri and his early time with pianist Jay McShann. With a loping bass line and tandem playing by Cardenas on electric guitar and Nash on tenor saxophone, the music swells with back home comfort. Nash is so welcomingly melodic, and Cardenas’ guitar sometimes has a comping feeling that recalls the sound of a delicately hammered vibraphone. 

Nash’s “Ida’s Spoon” is supposedly reimagined from Victor Young’s classic “Stella by Starlight”.  The music has the flow and momentum of a cryptic Lenny Tristano song where the lead instruments guitar and tenor weave themselves into a tapestry of sounds with no apparent direction. Nash claims saxophonist Warne Marsh’s as an inspiration on this one. Cardenas’ guitar work is at its most abstract here, and Allison’s bass is as free-flowing as we have heard.

The finale is Allison’s “Peace Out There” and reprises the sound of Nash’s warm, woody-toned clarinet. Allison claims that this was originally a work that had Jimmy Guiffre in mind, but as it developed, he feels it was more inspired by Carla Bley and her abstract “Mornings Out There.” There is parts with quickly played staccato lines followed by a more pastoral section where Allison’s electric bass and Cardenas’s guitar lines are played in unison, as Nash’s clarinet probes the atmosphere of the music. Quite beautiful, ambient and peaceful.                                  

The Guitar Heros Exhibit of Legendary Italian Luthiers at the Metroploitan Museum of Art

Guitar Heroes: legendary Craftsmen from Italy to New York  

at the Met February 9th through July 4, 2011

JOHN MONTELEONE AT WORK

This past Saturday, I ventured into New York City to see an exhibit dedicated to master craftsmen who elevated their craft to true art. The Metroplotian Museum of Art on Fifth and 82nd is an iconic building.  With its grandiose entrance, its stately stairs and  its monumental granite facade, the Met  lends instant respectability to anyone who is so fortunate as to have there work exhibited there.

D'ANGELICO

The museum, under the astute direction of associate curator Jayson Kerr Dobney, has created a fabulous exhibit assembling some exquisite examples of the work of several Italian-American luthiers (makers of stringed instruments).  Titled Guitar Heroes, the exhibit traces the history of some artisan craftsmen who, beginning with the wave immigration from Southern Italy in the late 1800's, brought the art of violin and mandolin making  into this country, . Eventually, as tastes changed, they adapted their skills to the construction of arch-top guitars mostly in Manhattan's Little Italy. As a one time guitar player and  a descendant of Italian immigrants; one a cabinet maker and another a skilled stone mason, I have a special affinity for this exhibit and for the justly deserved recognition it bestows on these master craftsmen

Originally hailing from towns whose names are virtually synonymous with instrument making like, Cremora, Venice, Naples and Padua, these artisans had their trade sustained by the early craze for mandolins in the New World. By the 1920's the luthiers found themselves facing a shrinking demand for mandolins. Many turned to violin and eventually arch-top guitar construction to support their shops. One of those who was able to make the transition successfully was the New York City based luthier John D'Angelico. From his shop on Kenmare Street  in lower Manhattan, D'Angelico started to produce his own arch-top guitars based on the the popular Gibson L-5 (made by the Gibson Guitar Co in Kalamazoo Michigan).  The arch-top guitar featured violin-like construction with F holes in the top, a slightly convex top and back and a floating bridge. The design was popular as a rhythm guitar because it projected chords so well and was used in the popular big bands of the time. D'Angelico's attention to detail  was his signature. Hand crafting each guitar, often times customizing details to his customers specifications, he innovated on his guitar making process. He incorporated an Art Deco design into his guitars, producing not only a fine playing but a beautiful looking instrument.

D'Angelico's apprentice was the young James D'Aquisto, who after studying with his mentor,  himself became a master luthier, carrying on the tradition and expanding it in his own artistic way. His signature pieces are hallmarked by his insistence on using only natural and sometimes exotic materials on his guitars, along with his own innovative designs. One of the highlights of the exhibit  is a continuously running  film from 1985 by Fredrick Cohen titled  "The New Yorker Special: Handcrafting a Guitar."   It documents luthier Jimmy D'Aquisto hard at work in his shop, demonstrating the many steps it takes to build one of his fine guitars.

SIDE HOLES ON THE MONTELEONE

Present day master luthier John Monteleone is the last of the three guitar heroes featured at this exhibit. His detailed work incorporating  innovative designs and concepts are on ample display. His beautifully conceived and finely executed masterpieces have all become highly coveted collector pieces and take the art of the luthier to new heights. One of his innovations was the introduction of adjustable side openings in the body of the guitar, allowing the guitarist to hear the sound his is projecting to his audience.

A SIDE BY SIDE COMPARISON OF THE THREE MASTERS D'ANGELICO, D'AQUISTO & MONTELEONE

For any part-time guitarist or accomplished professional  musician this show is a joy. For those who simply love beautiful things, made beautifully this show has its own special appeal.


Steve Miller and Friends Present: Concert at the Grace Rainey Auditorium
featuring the guitars of Jimmy D'Aquisto

Later that evening the museum held a  special concert presentation of some master guitarists playing some of the legendary D'Aquisto guitars, as seen at the exhibit. Held in the beautiful Grace Rainey Auditorium, the full house of patrons was entertained by the buoyant octogenarian Bucky Pizzarelli. Accompanied by the fine guitarist Ed Laub, the  duo played a series of  standards with Bucky using his own D'Aquisto guitar seven string guitar. Bucky is known as the consummate jazz rhythm guitar player,. He is a master of the seven string arch-top guitar and he showed why as he emblazoned his mark on tunes like "Tangerine", Claude Thornhill's "Snowfall" and Django Reinhardt's "Nuages". Over his sixty year career, he has shared the stage with everyone from Goodman to Grappelli





The next performer, one of my favorite guitarists and the performer I was most anxious to see, was the unassuming but superb Jim Hall. Hall is now eighty years old and his appearance was a stark contrast to that of the elder but sprightlier Pizzarelli. The stooped Hall came on stage with the aid of a cane,and was accompanied by the fine bassist Steve LaSpina. Hall's masterful work has graced the albums of giants like Hampton Hawes, Sonny Rollins, Bill Evans and Paul Desmond to name just a few. His subtlety and harmonic language has set the standard for many guitarist who have been influenced by his amazing body of work. Modern day masters like Bill Frisell and Pat Metheny cite him as a major influence. Despite his frail appearance his playing is undiminished, the essence of unassuming excellence.

Mr. Hall spoke in a quiet voice without the aid of the microphone and his guitar was poorly miked, so unfortunately there was some distinct fall off in the quality of sound during his performance. Jim was playing a D'Aquisto guitar that was made for him by the famous luthier. Mr. Hall  admitted that he has not played it much since  it became such a rare collector's item after the master craftsman's death. What we could hear was classic Jim Hall on his unusual take of the standard "All the Things You Are", his tasteful subtlety on the beautiful bossa"Beija Flor" and a 16 bar blues tune he called "Careful". Mr. LaSpina, who complimented the guitarist perfectly, was featured on  "Beija Flor". Check out the Jim Hall trio with Mr. LaSpina on bass and Joey Baron on drums on this video I found and I'll let the playing speak for itself.



The third performer of the night was the masterful Howard Alden.  Alden plays a seven string guitar and is extremely accomplished. His ability to play alternating bass lines and lead lines almost concurrently reminded me of the technique developed by the great Joe Pass. Alden wowed the crowd with his versions of "My Shining Hour", Duke Ellington's "The Single Petal of a Rose", Billy Strayhorn's  
"Lotus Blossom" , "Lap Piano" from the guitar virtuoso George Van Eps and  Django Reinhardt's  "Tears". For those who have not seen Mr. Alden before he is an impressive artist.

The finale of the event was guitarist Steve Miller and his band, playing his own custom made solid bodied James D'Aqiuisto guitar with Howard Alden sitting in. Mr. Miller related his own special story about his one time friend Mr. D'Aquisto and spoke of his own personal guitar collection of over 400 guitars.
He played a repertoire that was slightly jazz based. He covered a T. Bone Walker tune "Tell Me What's The Reason You Keep On". He offered a clever amalgam of Ma Rainey's "See See Rider Blues" sung to the music of Miles Davis's "All Blues" and  sang an evocative version of "Nature Boy", where Mr. Miller  demonstrated that  he could still can hold a tune with the best of them.  On the cool bossa "Lazy Afternoon" his voice took on a Michael Franks kind of removed cool sound to it. He ended the evening with his signature song the uplifting "Fly Like an Eagle".




The Met should be applauded for presenting such a well conceived and beautifully executed evening of music and a fabulous exhibit of  craftsmanship that aspires to and achieves high art.. The exhibit runs from February 9 - July 4, 2011. My advise, don't miss it.