Dave Douglas - Gifts

April 9, 2024

Label: Greenleaf Records, 2024

Personnel - Dave Douglas: trumpet; James Brandon Lewis: tenor saxophone; Rafiq Bhatia: guitar; Ian Chang: drums.

Renowned trumpeter and composer Dave Douglas has been a stalwart presence in the modern jazz scene for several decades. For this date, comprising new original material and four Billy Strayhorn classics, he’s joined by open-minded associates such as saxophonist James Brandon Lewis (on half the tracks), guitarist Rafiq Bhatia (making his fourth appearance in Douglas’ projects), and drummer Ian Chang. The latter two, members of the experimental/post-rock trio Son Lux, anchor the the nimble soloing of the two-horn frontline, showcasing their strong rapport. Together, they create a strangely beautiful symmetry with Gifts, a celebration of the blessings of life and music.

The title track traverses an atmospheric landscape, accented by metallic percussion and ethereal, powdery electronics. The trumpet combines prodigiously with the guitar in a theme that leads to a slow modal procession enriched with expressive idiosyncrasies. Lewis and Douglas blow up a storm in their free-flowing improvisations. While the saxophonist delivers a soulful performance, the trumpeter explores a rich post-bop dialect over Bhatia’s sumptuous chordal work. Later on, the guitarist adds a drone-sustained backdrop for himself, dropping a magical noir-inspired improvisation.

Also among Douglas’ standout compositions is “Seven Years Ago”, a previously unrecorded piece from 2017, providing a compelling narrative with a plodding rhythm on the verge of expansion, conciliatory unison lines, and improvisatory fluency. “Small Bar” is another tensely dynamic ear-catcher, a trio effort that prominently features Bhatia. He sets the tone with harmonics, breezy delay effects, and a modernistic world music flavor that seamlessly transitions into distorted walls of sound reminiscent of prog-rock. Here, he even tosses bass lines, creating a walking pavement for Douglas’ philosophical musings.

If “Kind of Teal” evinces strong blues and rock n’ roll connotations, eventually opening windows to soft-rock-meets-jazz views, then Strayhorn’s “Take the A Train”, with a curiously altered main melody, takes the rock power further with originality, joy, and awesome interplay. Also penned by Strayhorn, “Rain Check” emits a positive vibe, “Blood Count” shifts from intelligent balladry to moderately ominous fusion with Bhatia soloing over Chang’s agitated drumming, and “Day Dream” offers bustling trumpet-over-drums moments.

Gifts offers a diverse array of moods and textures across its tracks to keep you alert and engaged throughout. This formidable trio, occasionally expanding to a quartet, is undoubtedly deserving your attention.

Favorite Tracks:
01 - Gifts ► 07 - Seven Years Ago ► 08 - Small Bar

Dave Douglas - Songs of Ascent: Book 1 - Degrees

November 16, 2022

Label: Greenleaf Music, 2022

Personnel - Dave Douglas: trumpet; Jon Irabagon: reeds; Matt Mitchell: piano; Linda May Han Oh: bass; Rudy Royston: drums.

American trumpeter and composer Dave Douglas usually operates in a refined avant-garde setting, which, being accessible, often lets his peculiar tone and impressive range come to the fore. The excellent co-conspirators in this quintet started to work together in 2011, leaving such a strong impression with albums such as Be Still (2012), Time Travel (2013), and Brazen Heart (2015). The new pair of albums - Songs of Ascent Book 1: Degrees (the object of this review) and Book 2: Steps - are inspired by biblical Psalms and their content was composed in the process of making Douglas' previous outing, Secular Psalms (2022).

“Never Let Me Go” is an original but sounds like a free-ish interpretation of Jay Livingston’s jazz standard of the same name because its poignant main melody is perceptibly outlined as motifs during masterly dissertations by Douglas and pianist Matt Mitchell. Sandwiched between them, the formidable saxophonist Jon Irabagon speaks with as much eloquence as energy.

“Deceitful Tongues” is pronounced with intervallic expertise and impeccable accentuation. After the focused horn stretches and before the final thematic melody, there’s amazing interplay between the rhythm team. The compositions are perfectly balanced and the playing unhesitant and strong. This is put on display on the incredibly dynamic tracks “A Fowler’s Snare”, a bop dish made with avant-garde spices, pure synchronicity, and juxtaposed horn lines in exaltation; and the playful “Lift Up My Eyes”, which revels in brightly-hued ascendant movements and polyphonic exertions that occasionally collide. Bassist Linda May Han Oh and drummer Rudy Royston take succinct individual initiatives on the latter tune.

More sensitive and reassuring, “Peace Within Your Walls” is less angular and less harmonically demanding. Douglas and Irabagon are two different voices that spark off each other in pleasant conversation. The album comes to an end in explorative post-bop mood with “Mouths Full of Joy”.

Having matured into a rounded musician of poetic mien and richness of timbre, Douglas transmits an infectious magnetism in his Songs of Ascent.

Favorite Tracks:
02 - Deceitful Tongues ► 04 - Peace Within Your Walls ► 06 - A Fowler’s Snare

Dave Douglas - Secular Psalms

March 31, 2022

Label: Greenleaf Music, 2022

Personnel - Dave Douglas: trumpet, voice; Berlinde Deman: serpent, tuba, voice; Marta Warelis: piano, pump organ; Frederik Leroux: guitars, lute, electronics; Tomeka Reid: cello; Lander Gyselinck: drums, electronics.

Trumpeter, composer and bandleader Dave Douglas belongs to a group of state-of-the-art thinkers whose music, whether largely progressive or completely immersed in tradition, is unfailingly effective. Besides his widely acclaimed post-bop excursions, further conceptual albums have been put together with quirky instrumentation, and Secular Psalms is another wonderful addition. Featuring an appropriate supporting cast, this new opus was inspired by art of the 15th Century, namely, Jan van Eyck’s Ghent Altarpiece and some secular hymns by Franco-Flemish composer Guillaume Du Fay.

The opening piece, “Arrival”, plunges into a contemplative dark-hued mysticism that, at the same time that invites us to search, prepares our ears for what comes next. Playing at the center, the trumpeter is briefly joined by Belgian guitarist Frederik Leroux, who infuses non-aggressive distortion during the interesting groove that follows. “Mercy” cooks up with a deft combination of erudition and nerve that exemplifies Douglas’ abilities to shake mainstream values. The texts on this one, earnestly sung by the tubist Berlinde Deman, are by Marvin Gaye, the Latin Mass, Psalm 59, and the bandleader. For its part, “We Believe” is a darkly lyrical effort with lute, organ and muted trumpet.

The opening trio of songs is stupendous but other standouts eventually surface. Among them is “Instrumental Angels”, whose asymmetric postmodernism is not devoid of glittery harmony. There's also the shadowy waltz “Hermits and Pilgrims”, which starts off with the beautifully intriguing cello sounds of Tomeka Reid in company with pump organ by Marta Warelis. The latter is featured here as a soloist, as well as Douglas, who builds lines with a tasteful feeling.

With slow waves of sadcore and goth rock, “Ah Moon” appealed more to me than “If I’m in Church More Often Now”; both include texts by the medieval Italian poet Christine De Pizan. The album concludes with “Edge of Night”, where Douglas’ optimistic text surfaces from an overall uncanny ambience.

Sculpted with total commitment and artistic imagination, this richly layered offering is far from your traditional jazz record, but deserves to be singled out for the musical characteristics achieved.

Favorite Tracks:
01 - Arrival ► 02 - Mercy ► 05 - Instrumental Angels

Joe Lovano & Dave Douglas' Sound Prints - Other Worlds

April 29, 2021

Label: Greenleaf Music, 2021

Personnel - Joe Lovano: tenor saxophone; Dave Douglas: trumpet; Lawrence Fields: piano; Linda May Han Oh: bass; Joey Baron: drums

Sound Prints, the all-star quintet spearheaded by the titanic tenor saxophonist Joe Lovano and the formidable trumpeter Dave Douglas, releases its third full-length album, this time featuring only original compositions by the leaders but still inspired by the musical temperament and style of the legendary saxophonist Wayne Shorter. However, exploring such an impactful legacy takes the two composers to new places in the company of a multi-generational trio of rhythmic backers and accomplished soloists, namely pianist Lawrence Fields, bassist Linda May Han Oh and veteran drummer Joey Baron.

“Space Exploration”, the first part of Lovano’s Other Worlds Suite, first spins with spiritual consciousness and then allures our sonic palate with crisp unisons that leave room for Baron’s stable drum fills. The bass initiates a swinging route that serves the excellence of Lovano’s vertiginous ins and outs, just before Oh starts off a line of thought herself. Her impressive bass work is put on halt immediately after, when Douglas rides high on top of an adept accompaniment provided by piano and drums. Concluding the series of improvisations, Lawrence dovetails whirling figures and works on classical-inspired movements that incessantly land in the right places.

The ensemble often passes the idea of free-form exploration but never really loses the sense of structure. That’s evident in pieces touching the borders of post-bop and avant-garde, like Douglas’ “Life On Earth”, a tour-de-force that incorporates dashes of funk, bendable horn stretches, and a modal property that easily recalls the Miles Davis Quintet from the 1960’s. Moreover, the name Miles in the title of Lovano’s “Sky Miles” might not have been by chance; it’s a mighty jab into ingenious post-bop that also falls into the Shorter/Davis’ bag.

“The Flight”, the third movement of Lovano’s above-named suite (nonsequential on the album’s track list), teems with playful lyricism and smoldering horn exchanges that form a kaleidoscopic sheet of sound. It all plays out under a springy, waltzing articulation.

Douglas’ fascination for the ancient past and its major figures is bespoke in two of his pieces: “Antiquity to Outer Space”, whose modern creative traits are shaded with wafts of chamber music, and “Pythagoras”, a polyrhythmic stunner in which we find the musicians pushing and prodding each other in an effort to go beyond themselves.

Baron’s brushed textures and sizzling cymbals propel “Manitou” with the help of a coruscating bass churn. This is a ballad in six that produces plenty of melody via the elegant dance between muted trumpet and tenor saxophone.

There’s a relaxed assurance to the entire set that stems from the experience of the collective. The musicianship involved here is outstanding, resulting in a work of great impact that deserves enthusiastic commendation.

Favorite Tracks:
01 - Space Exploration ► 03 - Life On Earth ► 06 - The Flight

Dave Douglas - Dizzy Atmosphere

August 18, 2020

Label: Greenleaf Music, 2020

Personnel - Dave Douglas: trumpet; Dave Adewumi: trumpet; Fabian Almazan: piano; Matthew Stevens: guitar; Carmen Rothwell: bass; Joey Baron: drums.

The admiration that Dave Douglas nurtures for his fellow trumpeter Dizzy Gillespie results in a tribute album that does much more than just reproducing his tunes or relying on his recognized musical idiosyncrasies. There’s a brilliant work here in terms of arrangement and the fantastic band he puts together does an excellent job, not only tackling a pair of Dizzy’s great compositions but also shaping up seven Douglas originals.

The title “Con Almazan” is a pun that clearly alludes to Dizzy’s “Con Alma” at the same time that acknowledges the talents of pianist Fabian Almazan. The latter’s typically strong work - both as accompanist and soloist - elevates a piece that, seamlessly switching between quadruple and triple meters, also features an effect-drenched improvisation from broad-minded guitarist Matthew Stevens, and an enthusiastic two-trumpet conversation where Dave Adewumi stands shoulder to shoulder with Douglas.

Before the aforementioned track, we have the uplifting “Mondrian” opening the album as another double tribute. Besides quoting Dizzy’s “Bebop” in the head, Douglas, who blows with cliché-free determination, gets inspiration from Piet Mondrian’s painting Broadway Boogie Woogie. Brace yourself for dazzling unison melodies supplemented with contrapuntal guitar harmonics, advanced chordal work, and dexterous improvisations from piano, trumpet and bass.

Promptly brushed by the formidable drummer Joey Baron, “Cadillac” enters in a cyclic routine imbued with folk melodies and jubilant horn-driven call-and-response. Everything sounds in the right place, yet Stevens audaciously attempts to warp the aesthetics with a delightfully offbeat incursion.

The unperturbed, polished surfaces of “See Me Now” and “Pacific” counterbalance the woozy antics of Dizzy’s Latin fantasies, “Manteca” and “Pickin’ the Cabbage”. The former is an Afro-Cuban-tinged piece that includes another exciting duel of trumpets, while the latter, vividly performed, sports a Latinized, funk-inflected jazz sumptuously conducted by the bass of Carmen Rothwell, who swings with nerve. The dynamic confluence of feelings on both these tunes may catch you off-guard.

Douglas didn’t intend to record this project when he first put it together in 2018 (with a completely different set of musicians) for a performance at Jazz at Lincoln Center. I’m glad he did because this resplendent work absorbs Dizzy’s rich musical legacy to open up contemporary fresh paths.

Favorite Tracks:
01 - Mondrian ► 05 - Manteca ► 06 - Pickin’ the Cabbage

Dave Douglas - Engage

December 16, 2019

Label: Greenleaf Music, 2019

Personnel - Dave Douglas: trumpet; Anna Webber: tenor saxophone, flutes; Jeff Parker: guitar; Tomeka Reid: cello; Nick Dunston: bass; Kate Gentile: drums.

On Engage, the long-established trumpeter, composer, and bandleader Dave Douglas boasts tight-knit arrangements of 12 self-penned compositions shaped with the help of his cross-generational musical cohorts: Anna Webber on flutes and tenor sax, Tortoise’s Jeff Parker on guitar, Tomeka Reid on cello, Nick Dunston on bass, and Kate Gentile on drums. This first Engage act - defined as Optimism. Action. Community - envisions to make the necessary changes to preserve the environment, equality, sciences, and humanities. Hence, metabolizing any possible frustration into hope, Douglas developed all pieces from major triads as a reminder to himself to stay positive.

The album opens and closes in a graceful 4/4 pop/rock-ish song format with “Showing Up” and “Heart Science”, respectively. Displaying catchy melody, the former tune has Parker leading off with the first improvisation, followed by a collective effort.

Electrifying noise and guitar distortion mix with the skittish push-pull energy on “Faith Alliance”, a compact rock exercise propelled by choppy and aggressive drumming. The radical transition to the subsequent piece, the gospelized “Free Libraries”, creates a positive effect as the group eases the tension with casual smoothness. This tune is professed in seven.

On five selected tracks, trumpeters Dave Adewumi and Riley Mulherkar join the core group as special guests, playing side by side on two of them, namely, “Where Do We Go From Here”, whose nimble jazz moves comply with the transfixing groove in six, and “Living Earth”, where they embrace the general swinging elation, contributing melodic density to the theme statement. Reid's pertinent cello reactions to the soloists’ ideas are noticeable on this latter piece.

A trumpet duel between Douglas and Adewuni may also be enjoyed on “One Sun, a Million Rays”, which evolves into an avant-garde marching funk after initial bass pedal suspensions, flickering guitar lamination, and high-pitched flute whistling.

Packing a slow-building charge, “In It Together” injects some ambiguity with the bass flute and a mesh of percussion opening the way for cello rambles and a short scenic muted trumpet solo. The mood here has nothing to do with pieces such as “How Are The Children?”, a soaring anthem featuring a jabbing tenor solo, and “Everywhere But Here”, which gracefully unfurls with an additive 8+6 meter signature.

With a newfound sense of aesthetic as part of his compositional focus, Douglas invites all listeners to “engage”. Let’s do it folks!

Favorite Tracks:
01 - Showing Up ► 05 - Where Do We Go From Here ► 08 - Faith Alliance

Dave Douglas / Uri Caine / Andrew Cyrille - Devotion

May 16, 2019

Label: Greenleaf Music, 2019

Personnel – Dave Douglas: trumpet; Uri Caine: piano; Andrew Cyrille: drums.

Trumpeter Dave Douglas teams up once again with pianist Uri Caine, a member of his prestigious quintet in the 1900s, for a sequel to their 2014 album Present Joys. For Devotion, the musicians adopt the same methodology of its predecessor, adapting 19th-century sacred choral pieces from the Sacred Harp songbook, but on this occasion, in the company of a special third element who colors exquisitely behind the drumset: Andrew Cyrille.

Nine of the ten tunes on this recording are the product of Douglas’ crisp compositional vein. The exception is the title track, penned by Alexander Johnson. The album sunrises with “Curly”, a witty piano-drums duet dedicated to one of the Three Stooges, the comedian Jerome Horwitz. Manifesting a carefree posture, Cyrille is the perfect accompanist for Caine’s mercurial stride piano and fine block chords.

“D’andrea” is initially dipped in enigmatic voicings, contrasting with Douglas’ bright phrases. The harmonic dark clouds dissipate after the trumpeter speaks his own idiom, a well-lighted association of hard-bop and avant-jazz. This tune is a tribute to Italian pianist Franco D’Andrea as well as “Francis of Anthony”, an impeccably brushed waltz with muted trumpet.

Both “Miljosang” and “False Allegiances” are devoted to and cull inspiration from Carla Bley’, and the pianist’s influence is well patented in their form, structure, and melodic/harmonic coherence. The former piece is a fetching and uncompromising 4/4 environmental tune arranged with harmonic straightforwardness, while the latter is a beautiful blues-tango with expressive muted trumpet and elegant mallet drumming. Caine delineates seductive bass lines with his left hand while, with the other, pronounces the melody in unison with the trumpeter. To me, this track is the absolute emotional apogee of the recording.

The sensitive comping, rhythmic effulgence, and splendid voice-leading continue on “Pacific”, a haunting ballad delivered with sharp focus. This piece was devoted to Aine Nakamura and the Mannes/New School composition class of Fall 2017 and its title derived from the tune system (C-F-C) of an Asian instrument.

Pianist Mary Lou Williams and trumpet master Dizzy Gillespie are also paid tribute on “Rose and Thorn”, a confluence of modal jazz and stride piano, and “We Pray”, a candid and sensitive ballad, respectively.

Douglas architects this music with empathy and trust, and the trio bestows a spontaneous charm that leaves a lasting impression. Versatility and intuition are among their strong points, therefore, this music never fails or gets boring.

Favorite Tracks:
05 - False Allegiances ► 07 - Pacific ► 09 - We Pray

Dave Douglas - Dark Territory

August 29, 2016

Dave Douglas: trumpet; Shigeto: electronics; Jonathan Maron: bass; Mark Guiliana: drums.

For his new album entitled “Dark Territory”, the versatile trumpeter Dave Douglas reunites the same quartet that conceived the successful “High Risk”, one of the highlights of last year’s jazz releases. Together, they plunge into an inventive electronic music populated by deft ideas that rely on atmospherically jazzy melodies over dusky textures.
“Celine” is a great opening, incorporating downtempo grooves underneath an assertive melodic speech. Actually, I felt this particular tune wanders more on light rather than dark territories.
A consistent hip-hop beat breaks out from “All The Pretty Horsepower”, where Shigeto’s effects draw darker atmospheres increased by the bandleader’s melodic lines. This menacing undertone is repeated in the intro of “Let's Get One Thing Straight”, which gains an attractive beat enriched by the funky bass drives of Maron and the usage of voice samples.
After the astuteness presented in “Mission Acropolis”, “Ridge Hill” conveys a busy urban feeling through a twitchy pulse. Douglas excels throughout an outstanding solo delivered with intense feeling and adorned with unimpeachable effects.
“Neural”, marked by a highly syncopated rhythm, is quite surprising as its anatomic variations keep on flowing with rigorous dexterity. Douglas spreads the immensity of his warm sound all over, showing his incredible technique without resorting to any type of fireworks.
Even not reaching the levels of satisfaction of “High Risk”, “Dark Territories” is encircled by this disarming consistency that very much cultivates the fresh experimental current that Douglas resolved to grasp.

Favorite Tracks:
01 – Celine ► 05 – Ridge Hill ► 06 – Neural