Drew Zaremba - Reunion

November 6, 2023

Label: Next Level, 2023

Personnel - Drew Zaremba: saxophone, organ, composition, arrangements; Andrew Janak: saxophones; Jared Cathey: saxophones; Austin Cebulske: saxophones; Allison Young: saxophones; Jake Boldman: trumpet; Gabe Mervine: trumpet; Dawn Kramer: trumpet; Shawn Williams: trumpet; Wayne Bergeron: trumpet; Zach Rich: trombone; Paul Mckee: trombone; Seth Weaver: trombone, vocals; John Matthews: bass trombone; Steve Kovalcheck: electric guitar; Dana Landry: piano; Erik Applegate: upright and electric bass; Jim White: drum set; Brian Claxton: percussion; Marion Powers: vocals.

Drew Zaremba demonstrates his immense musical talent and eclecticism in a jubilant big band project featuring grand arrangements of well-known classical, jazz, and rock pieces, along with original compositions. Zaremba has honed his craft through composition and arrangement work for notable figures like Wycliff Gordon and Eddie Gomez, and by playing alongside his mentor John Clayton, who produced the album. He has also collaborated with Walt Weiskopf and the legendary Billy Harper.

The delightful clash of musical styles is palpable throughout the album, with the spectacular orchestration of "The Entertainer" serving as a prime example. Here, classical elements converge with the jazz vibes of New Orleans, resulting in dynamic rhythmic shifts, groove, and a sense of elasticity. The solos are concise and vibrant, as seen in the rendition of Pink Floyd's "Money", which features intricate meter changes, clever accents, ostinato bass patterns, and fluid percussion. Zaremba's exploration also delves into Latin influences, and Marion Powers' vocals inject a breezy jazz sensibility that elevates the song to a new dimension.

Written for trumpeter Wayne Bergeron, “You Ain’t the Blues” develops in a mellow tone, flowing viscously at a medium-slow tempo. This provides a sharp contrast to "Minute Waltz", a fiery 4/4 bop excursion reminiscent of Buddy Rich, which propels the soloists with infectious energy. Similarly contrasting in nature are the final tracks on the alum, “Together” and “Reunion in Greeley”. “Together”, sung by Marion Powers, is an emotional waltz written for Zaremba’s wife and son, while “Reunion in Greeley” brims with an irresistible verve and bluesy colors, elevated by trombone exchanges, spirited saxophone-trumpet interactions, and talkative drums.

“We Got This” exudes a funky fusion vibe, with adventurous guitar lines rising above the orchestral backdrop, while "Glenmere" is characterized by harmonic allure and a gentle rhythm that flirts with Brazilian bossa nova influences before building up with ostinato patterns and glissandi.

Despite the familiarity of some of the tunes, Zaremba pushes the boundaries of big band jazz through skillful arrangements. It's evident that the musicians accompanying him here are not only committed to group cohesion but also ready to shine when called upon to improvise. The result is a recording brimming with vitality and affirmation.

Favorite Tracks:
01 - The Entertainer ► 03 - Money ► 10 - Reunion in Greeley

Darcy James Argue's Secret Society - Dynamic Maximum Tension

October 15, 2023

Label: Nonesuch Records, 2023

Personnel - Darcy James Argue: composition, conduction; Dave Pietro: alto sax, flutes; Rob Wilkerson: saxophones, clarinet, flute; Sam Sadigursky: tenor saxophone, clarinet; John Ellis: tenor saxophone, clarinets; Carl Maraghi: baritone saxophone; Ingrid jensen: trumpet; Seneca Black: trumpet; Liesl Whitaker: trumpet; Matt Holman: trumpet; Nadje Noordhuis: trumpet; Brandon Lee: trumpet; Mike Fahie: trombone; Ryan Keberle: trombone; Jacob Garchik: trombone; Jennifer Wharton: bass trombone; Sara Caswell: violin, hardanger d'amore; Sebastian Noelle: guitars; Adam Birnbaum: piano; Matt Clohesy: acoustic and electric bass; Jon Wikan: drum set; Cecile McLorin Salvant: vocals.

The qualities of a meticulously planned recording is on display in the fourth outing of lauded Canadian composer and bandleader Darcy James Argue and his 18-piece ensemble Secret Society. Just as colorful as the album’s cover, the music in Dynamic Maximum Tension offers triumphant sonic assertion and textural palettes that, standing on their own, also support improvisation.

For this double-disc effort, Argue set out to create musical portraits of individuals he greatly admires. The high-powered opener, “Dymaxion”, was composed with architect/inventor Buckminster Fuller in mind, and his Dymaxion car. Combining pulsating bass tension, rim clicks, and lateral cymbal hits at the outset, the piece evolves into a 15-beat cycle bass groove that, boosting a rock-inflected texture for a while, also supports the meaty sounds of baritonist Carl Maraghi. The latter stretches out further as the tapestry changes.

Harnessing emotion at every step, “All In” plays with a downtempo beat, intricate time shifts, and lush harmonies, featuring Australian trumpeter Nadje Noordhuis as the sole improviser. This one is a tribute to late trumpeter Laurie Frink. “Ebonite” is driven by a strong motivic intention and builds on top of and around that. The piece shifts, but it’s a vigorous waltzing intensity that buoys up Dave Pietro’s dazzling soprano reflection.

The smokin’ hot “Wingéd Beasts” has a soft start but then strikes with polyrhythm and fine solos from trombonist Ryan Keberle, who blows over agile bass movements and discreet drumming, and Maraghi on baritone, who enjoys the key-shifting lilting measures under his feet. Disc I ends with “Your Enemy is Asleep”, whose balladic ethos occasionally takes on a dark, dirge-like quality. The latter number features spine-shivering statements from bassist Matt Clohesy and trumpeter Ingrid Jensen.

Disc II deepens ties to jazz tradition with numbers such as “Tensile Curves”, a 31-minute response to Duke Ellington’s “Diminuendo and Crescendo in Blue”. This piece seamlessly blends repose and excitement, often opting for metrical modulation. But there’s also “Mae West: Advice”, a tribute to the actress, singer, and sex symbol in the title, which is enhanced by Cecile McLorin Salvant’s lovable voice and Jensen’s totally-connected trumpetism. Another standout, “Ferromagnetic”, is bookended by an atmospheric rock and fusion postures offered by guitar and piano, incorporating asymmetric rhythmic patterns, a defiant bass groove, and a fine improvisation by trumpeter Matt Holman. The topic here is American military contracting.

This album is a celebration of big band magnificence, characterized by sterling layering taste, solid movements, and expertly seamless passages. Argue reappears in excellent form.

Favorite Tracks:
01 (Disc I) - Dymaxion ► 06 (Disc I) - Your Enemies are Asleep ► 02 (Disc II) - Ferromagnetic

Gard Nilssen's Supersonic Orchestra - Family

September 18, 2023

Label: We Jazz Records, 2023

Personnel - André Roligheten: tenor sax, bass saxophone, bass clarinet; Per ”Texas” Johansson: tenor sax, contrabass clarinet, Bb clarinet; Kjetil Møster: tenor sax, baritone saxophone, Bb clarinet; Mette Rasmussen: alto sax; Maciej Obara: alto sax; Signe Emmeluth: alto sax; Eirik Hegdal: sopranino sax, C-melody sax, Bb clarinet; Thomas Johansson: trumpet; Goran Kajfes: trumpet; Erik Johannessen: trombone; Guro Kvåle: trombone; Petter Eldh: double bass; Ole Morten Vågan: double bass; Ingebrigt Håker Flaten: double bass; Håkon Mjåset Johansen: drums; Hans Hulbækmo: drums; Gard Nilssen: drums, composition.

Known for his remarkable tonalities and explosive charts, Norwegian drummer and composer Gard Nilssen is a prominent figure in the creative jazz sphere. The new material, comprised of eight tracks co-written with saxophonist Andre Roligheten (a colleague in his trio Acoustic Unity) and recorded live in the Netherlands in 2022, is excellent. This marks his second outing with the chord-less Supersonic Orchestra, composed of 11 horn players, three bassists and three drummers. Inspired by the Kenny Clarke/Francy Boland Big Band, the work consists of firmly played expressionistic textures topped by dazzling improvisations from a number of top-class creatives.

The program begins with “The Space Dance Experiment”, which, bursting as a fanfare-ish parade, sets an asymmetric groove that is perfect for trumpeter Goran Kafjes’ enthusiastic blows. There’s a change of pace and ambience in the boisterous angular designs of saxophonist Mette Rasmussen, a flame-thrower whose sound takes us to Albert Ayler and Frank Lowe. At some point, her statement meets powerful and motivic orchestral elements that give place to Nilssen’s boiling drum solo, which segues into “Spending Time With Ludde”. Channeling Charles Mingus and Ornette Coleman, the drummer wrote this one for his son with a fine crossing between melodious spiritual folk and swinging avant-jazz in mind. Saxophonists Per ‘Texas’ Johansson and Signe Emmeluth are spotlighted here.

The elated “Boogie Stop Tøffel” will force you to move your feet to the contagious rhythm. Following Roligheten’s discourse, the band finds room for an extended bass prowl by Swedish bassist Petter Eldh. “Supersonic” is where things catch fire with a rambunctiously cacophonous collective explosion followed by massive unisons, a pungent rhythm, a two-way trombone conversation, and a fragmented if sinuous alto solo by Polish saxophonist Maciej Obara.

The ensemble probes surprising paths in “The Healing Force of the Trojan Horse” and “Dolphin Disco”. Whereas the former piece offers a sustained Brazilian samba rhythm and innocuous flute rambles, the latter, more composed, infuses modern classical elements at the outset before veering into amiable disco with a defiant tempo that would make the Bee Gees a little bemused.

Closing out the album, “SP68” feels like a Sun Ra epic space voyage enlivened by Kjetil Møster’s free-wheeling tenor blows over a tapestry of percussion and a bass saxophone groove provided by Roligheten.
With rapid-fire interlocked passages and deliciously unhinged improvisations, Nilssen’s Supersonic Orchestra keeps generating vanguard sounds that travel through the air with aerodynamic agility.

Favorite Tracks:
01 - The Space Dance Experiment ► 02 - Spending Time With Ludde ► 08 - SP68

Fire! Orchestra - Echoes

July 10, 2023

Label: Rune Grammofon, 2023

Personnel includes - Mats Gustafsson: baritone saxophone, flute; Mette Rasmussen: alto sax, flute; Fredrik Ljungkvist; tenor sax; Joe McPhee: tenor sax, vocals; Per ‘Texas' Johansson: oboe, bassoon, contrabass clarinet, bass clarinet, flute; Mats Äleklint: trombone; Susana Santos Silva: trumpet; Goran Kajfes: trumpet; Per Åke Holmlander: tuba; Sten Sandell: piano; Alex Zethson: piano; Reine Fiske: guitar; Johan Berthling: electric and acoustic bass; Andreas Werliin; drums; Thomas Öberg: vocals; Mariam Wallentin: vocals; David Sandström: vocals; Juan Romero: percussion, berimbau; and more.

Constantly evolving, the Fire! Orchestra welcomes you to the hippy cosmos of their progressive symphonic journeys with a new double-disc outing of enormous impact. The band creates staggering momentum with each recording and Echoes is no exception to the rule.

The opening piece, “Echoes: I See Your Eye, Part 1” boasts a laid-back groove with strings surrounding it. There’s a glorious cinematic feel that steps further when Mats Gustafsson - he founded the ensemble in 2012 with bassist Johan Berthling and drummer Andreas Werliin - unleashes a heartfelt saxophone statement loaded with warping laments and rumbling growls. The second part of this piece bookends the album with vocals by Joe McPhee. The American saxophonist brings his flaming horn to “Echoes: Last Eyes in the Dying Hand”, a 14-minute expedition that experiences electro-vibes prior to bursting into a violent detonation of sound. The vocals here are by David Sandstrom from the hardcore punk group Refused, and there’s a vibraphone-driven passage spruced up with polyphonic horn lines. It ends frenetically, with acrid explosiveness.

The haunting vocal work by Mariam Wallentin is featured on “Echoes: to Gather it All. Once”, an alternative pop/rock exercise that brings Nick Cave's Birthday Party to mind. Despite the bittersweetness, the piece is propelled gently with brushes while displaying a consistent riff sidelined by the voice. It also includes a fine trombone solo by Mats Aleklint.

The bracing jolt of “Echoes: a Last Farewell” is carved out with tuba, rattling percussion, and then a cyclical bass groove that evokes space-age freedom. Sun Ra and Art Ensemble of Chicago are references that we can also associate with “Echoes: Cala Boca Menino”. This soulful Brazilian tune with a smooth funky pulse was composed by Dorival Caymmi and arranged by João Donato, with lyrics by Swedish singer Thomas Öberg. The title translates into ‘shut your mouth, boy”.

The piece I just mentioned is not the only Brazilian-inspired flow. The strophic “Echoes: Forest Without Shadows” extracts shamanic energy from its 2/4 frevo drive with prominent percussion work at the base, tight strings, and bustling solos from trumpet and alto sax. There’s also this comfortable capoeira dance, “Nothing Astray. All Falling”, which features Juan Romero on berimbau. Just like this one, there are other shorter pieces that explore several soundscapes with Eastern tinges, sinister drones, chiming bells, tortuous and buzzing horn sounds, strident guitar, and other avant-garde forays.

Fire! Orchestra gets better and better with time; its music is never messy, even when they delve into infectiously unbridled, rapid-fire jaunts.

Favorite Tracks:
01 (CD1) - Echoes: I See Your Eye, Part 1 ► 05 (CD1) - Echoes: Last Eyes in the Dying Hand ► 01 (CD2) - Echoes: A Lost Farewell

William Parker - Universal Tonality

November 17, 2022

Label: Centering Records, 2022

Personnel - Rob Brown: alto saxophone; Daniel Carter: reeds, brass; Cale Brandley: tenor saxophone; Grachan Moncur Ill: trombone; Steve Swell: trombone; Matt Lavelle: trumpet; Jin Hi Kim: komungo; Miya Masaoka: koto; Billy Bang: violin; Jason Kao Hwang: violin; Joe Morris: guitar; Dave Burrell: piano; Leena Conquest: voice; Jerome Cooper: balafon, chiramía, keys, drums; Roger Blank: balafon; William Parker: bass, dilruba, shakuhachi, donso’ngoni; Gerald Cleaver: drums.

Recorded at NYC’s Roulette on December 2002, Universal Tonality is a double-disc spectacle of enchanting sounds delivered by 16 musicians of different ages, cultures and backgrounds. That night, the bandleader - incredible bassist, composer and activist William Parker - provided an illustrated score that allowed plenty of freedom to the interpreters, in an attempt to make them “breathe together”. The words of protest and unity he wrote are declared with passion by vocalist Leena Conquest, and the performance counted with iconic names of the avant-garde jazz scene, some of them no longer among us like the violinist Billy Bang and trombonist Grachan Moncur III.

Putting a lot of commitment and intention in everything he does, Parker starts off this thematic excursion with “Tails of a Peacock”, where a sturdy bass figure announces the inspiring modal jazz to come. And it brings as much impact as spirituality. Playing concurrently for most of the time, the horn players come and go one after another, creating a spirited improvisational feast that is never static. This creative freedom is suspended for the time that Conquest sings “there’s a way to survive; hope is relentless, it will never die.”

Clocking in at more than half an hour, “Cloud Texture” speaks about vital musicians as well as tumults and injustices in the American history. It’s a smooth procession filled with emotional cries. There are quick stops for the decorous bowed strings of Bang and Jason Kao Hwang, horn-driven detail, and a far-flung finale with shakuhachi flute, koto and balafon.

“Leaves Gathering” sweeps like the wind; with lightness, at first, but then densifying in texture as it moves forward. We can easily discern the funky wah guitar of Joe Morris erupting from the instrumental mesh. This is before a cadenced strut is installed, anchored by an odd bass groove that invites the horns into a polyphonic cacophony. “Silver Sunshine” begins percussively with cymbals, gongs and chiramias, before a relentless melodic motif expressed in parallel gets stuck in your head, under a breezy swing. Moncur III is featured on this track. The opus comes to a conclusion with “Open System One”, offering some ecstatic blowing from the saxophonists Daniel Carter, Rob Brown and Cale Brandley.

William Parker’s albums are never frivolous or gratuitous; his message is always meaningful and incisive. Universal Tonality hands over a nicely-balanced aesthetic construct with enough substance for the excellent cast of musicians sink their teeth into.

Favorite Tracks:
01 - Tails of a Peacock ► 03 - Leaves Gathering ► 04 - 06 -

Zurich Jazz Orchestra & Steffen Schorn - To My Beloved Ones

September 12, 2022

Label: Mons Records, 2022

Personnel includes: Steffen Schorn: C-melody saxophone, contraalto clarinet, composition; Thomas Luthi: tenor saxophone; Reto Anneler: alto saxophone; Lucas Heuss: alto clarinet; Adrian Weber: trombone; Raphael Kalt: trumpet; René Mosele: bass trumpet; Theo Kapilidis: guitar; Gregor Muller: piano; Patrick Sommer: acoustic bass, E-bass; Pius Baschnagel: drums, percussion, and more.

To My Beloved Ones, the third installment in the trilogy of the Zurich Jazz Orchestra’s recordings of music by saxophonist and composer Steffen Schorn, has everything in the right place, making the sounds glow with an air of collective consciousness.

The opening cut, “Tango”, deceives due to its title, since it’s more a cross-pollination of different rhythmic flavors than really a tango. It starts with sax and guitar in parallel but it’s the horn that takes the lead, navigating with softness and mystery an impressively tuneful backdrop that feels spongy and sweetly melodic. At the minute 5:20 everything is transformed, and the band enters into Brazilian territory with a contagious rhythm that motivates two brass solos in a row - René Mosele on bass trumpet and Raphael Kalt on trumpet. The final section takes another turn, playing like a carnival parade full of rhythm and color. For a moment, a fleet electric guitar stands out amid the forest of horns.

Inspired by the beautiful Greek island of Crete, “Die Tochter des Tyrannen” has a pronounced folkloric quality to it. Delivered in seven with fluid Eastern dynamics, the piece is a showcase for guitarist Theo Kapilidis, who feels totally at home. Conversely, “For Me Is Just Now Anytime” is an athletic waltz dedicated to Steffen’s wife, the cellist Ulrike Zavelberg. With no signs of warp, the fine collective moments surpass those of improvisation.

Featuring three saxophonists engaged in a conversation where every note seems independent and broad, “Käpt’n Blaubär" was inspired by the book The 13 1/2 Lives of Captain Bluebear by German writer and cartoonist Walter Moers. It takes a quintuple time flow and an occasional bluesy strike to evoke the adventurous and imaginative tones of the story.

The album is completed with the enchanting title track, which, perceived as a figurative painting with graceful notions of form and space, features Steffen Schorn on C-melody saxophone pairing up nicely with pianist Gregor Muller. Tension and release with long exposition and shortcuts alike, give the album an elegant final touch.
With notes colliding and harmonizing, the album pays handsome dividends for those looking for orchestral sumptuousness.

Favorite Tracks:
01 - Tango ► 04 - Käpt’n Blaubär ► 05 - To My Beloved Ones

David Sanford Big Band - A Prayer for Lester Bowie

September 22, 2021

Label: Greenleaf Music, 2021

Personnel - Composition and conduction {David Sanford (#1-4, 6-8), Hugh Ragin (#5)}; Woodwinds {Anna Webber, Geoff Vidal, Marc Phaneuf: tenor sax; Ted Levine, Kelley Hart-Jenkins: alto sax; Brad Hubbard: baritone sax}; Brass {Brad Goode, Tony Kadleck, Tim Leopold, Wayne J. du Maine, Thomas Bergeron: trumpet; Mike Christianson, Jim Messbauer, Ben Herrington, Mike Seltzer, Steven Gehring: trombone; Raymond Stewart: tuba}; Rhythm Section {Dave Fabris: electric guitar; Geoff Burleson: piano; Dave Phillips: electric and acoustic bass; Mark Raynes: drums; Theo Moore: percussion.}

If you like your big band jazz leaning toward the avant-garde, then maybe this new disc from the composer, arranger and bandleader David Sanford will speak to you. At the helm of a super-crisp, dynamic ensemble, Sanford presents six compositions of his own, an ecstatic reading of Dizzy Gillespie’s “Dizzy Atmosphere”, and “A Prayer For Lester Bowie”, the central piece that gave the album its title. The latter was composed, arranged and ‘conducted’ (in the same concept of Butch Morris) by trumpeter Hugh Ragin, a former student of Bowie and an enthusiast of the Art Ensemble of Chicago, who introduces an explorative journey that incorporates random pointillism, full-bodied orchestral scoring, cinematic solemnity and swinging locomotions with euphoric horn expansions.

The album’s opener, “Full Immersion”, is a roving effort made of layers that gradually pile up with logic. First, it’s the congas commanded by Theo Moore that pop up, followed by rattling percussion and Jim Messbauer’s trombone playing; and then we have a funky wah guitar, simmering piano, slapping bass, massive horn unisons, and last but not least, the authoritative solos and exciting interplay by tenor saxophonists Anna Webber and Geoff Vidal. This piece was inspired by a fountain in Rome as well as by the New Orleans funk band Galactic.

“Subtraf” features Dave Fabric's bluesy guitar distortions, and a trombone statement by Mike Christianson; “Woman in Shadows” is an eight-minute ballad inspired by Luke Swank photographs that loosens things up for composure, having altoist Teddy Levine hopping out front for one single speech; “popit” behaves like a thrashing funk-metal song that scalds as it flows with clever counterpoint and rhythmic energy; and “V-Reel”, which gravitates toward funk, has tuba player Raymond Stewart grooving out loud before the improvisations by Levine and Ben Harrington on alto and trombone, respectively.

A sense of freedom erupts from every arrangement, and the diligent musicians are put at the service of a group ideal that relies on motion, texture and free improv to succeed.

Favorite Tracks:
01 - Full Immersion ► 04 - popit ► 05 - Prayer For Lester Bowie

Miho Hazama - Imaginary Visions

September 20, 2021

Label: Edition Records, 2021

Personnel - Miho Hazama: composition, conduction + Danish Radio Big Band (soloists) - Karl-Martin Almqvist: tenor saxophone; Hans Ulrik: tenor saxophone; Peter Fuglsang: alto saxophone; Anders Gaardmand: baritone saxophone; Mads la Cour: trumpet, flugelhorn; Mårten Lundgren: trumpet; Petter Hängsel: trombone; Peter Dahlgren: trombone; Nicolai Schultz: flute; Henrik Gunde piano; Per Gade guitar; Kaspar Vadsholt: double bass; Søren Frost: drums.

A phenomenal presence in the orchestral world of modern jazz, Tokyo-born New York-based Miho Hazama composes and arranges with insight and extremely good taste. Her incredible talent, which got her a Grammy nomination with the chamber ensemble m_unit, is again on display throughout this new album recorded with the acclaimed Danish Radio Big Band, and whose program consists of seven tracks that shift from one colorful mode to the next.

Hazama was invited to join the cited European Big Band as a chief conductor, following the steps of trumpeter Thad Jones, trombonist Bob Brookmeyer and pianist Jim McNeely, and she actually takes the ensemble into a new gleam. The sumptuous arrangement and deft execution of the opener “I Said Cool, You Said…What?”, which is directly related to the invitation, immediately confirms that as it shines with a venturous 13/8 meter signature, a melodic swirl that challenges and charms, and central statements by Nicolai Schultz on flute, Henrik Gunde on piano and guitarist Per Gade, who scorches the scenario with fuzz chops.

Serene but with a feel-good posture, “Your Scenery Story” probes different signature meters, presenting individual manifestations from trumpet and saxophone as well as impeccably layered collective passages.

“Mingle-Mangle Goody Bag” swings lavishly with a Mingus-like vibe, becoming affiliated with the melodic contours à-la Henry Mancini displayed on the thoroughly simpatico “Mimi’s March”. In the latter, we have some gravitational trombone waves and meaty lines fleshed out by Anders Gaardmand's baritone sax, but the beginning seems to join the traits of a small rock group with a jazz big band, while grooving aplomb.

The galvanizing “On That Side” opens with a bass solo before establishing an urgent, vigorous forward motion in 7/8 tempo. Adapting to the musical contexts suggested, the band embarks on captivating explorations of sound and texture as well as improvisations that develop with extemporary freedom. The album concludes by balancing lush orchestration with some balladic pop undercurrents on “Green”.

With an extraordinary amount of clarity and virtuosity, this recording provides both punchy and sensitive moments that will make it stand the test of time.

Favorite Tracks:
01 - I Said Cool, You Said…What? ► 05 - Mimi’s March ► 06 - On That Side

Ingrid Laubrock - Dreamt Twice, Twice Dreamt

November 19, 2020

Label: Intakt Records, 2020

Personnel includes - Ingrid Laubrock: tenor and soprano saxophones; Sam Pluta: electronics; Cory Smythe: piano, quarter-tone keyboard; Robert Landfermann: double bass; Tom Rainey: drums; Adam Matlock: accordion; Josh Modney: violin; Zeena Parkins: electric harp + EOS Chamber Orchestra

Saxophonist Ingrid Laubrock’s latest release, Dreamt Twice, Twice Dreamt, displays her unwavering talent as not only an improviser but as a composer/arranger as well. Recently, she has been focusing more on large scale composition, with her previous outing, Contemporary Chaos Practices (Intakt, 2018) receiving general praise. Yet, this new double-album features two disparate versions of five compositions originally written for small ensemble and later re-worked and expanded for chamber orchestra. The main inspiration for the pieces was Laubrock’s dream diaries.

Disc one features the EOS Chamber Orchestra and a group of talented soloists that bring their improvisational creativity to the fore - electronics/sound artist Sam Pluta, keyboardist Cory Smythe, bassist Robert Landfermann, drummer Tom Rainey, and Laubrock herself on tenor and soprano saxophones. On the other side, disc two features a core trio with Laubrock, Pluta and Smythe plus Zeena Perkins on electric harp, Adam Matlock on accordion, and Josh Modney on violin.

“Dreamt Twice” (orchestra version) feels like a feather when compared with its wild, experimental small-ensemble version, “Twice Dreamt”. The former, benefitting from the strong presences of piano and saxophone, embraces counterpoint, rhythmic abstraction and composed atmospheres with poetic gestures and enigmatic tones alike; it ends pacifically with strings. The latter, on its side, alienates through a glacial melancholy cut by sudden serrated attacks from electric harp.

“Snorkel Cows” offers another wonderful orchestral experience, but starts with a loose jazz tapestry weaved by piano, bass and drums. The sounds of woodwinds and strings come into view for textural consistency and also adorn Smythe’s thrilling solo before a state of suspended uncanniness is established. On this section saxophone melodies are set to a slow swaying.

Note that the two dissimilar treatments applied to each composition make them totally autonomous when not stripped down to its essence. Take the case of “Drillings” (disc one), which, like a ballad, starts by spreading poignancy through a soft yet incisive orchestration receptive of modern classical and avant-garde idioms. Although considering the additional tension that erupts from the second half - you’ll find gracious tenor stunts, a persuasive cinematic appeal and well-integrated electronics - nothing can be compared to the massive, relentless drones that launch the disc-two interpretation. The unexpectedness of a folk dance brought in by Matlock’s accordion, as well as thoughtful sax lines hovering over the piano accompaniment serve to lessen the preliminary sonic commotion.

With respect to “I Never Liked That Guy”, the small-ensemble version triumphs as a result of a haunting atmosphere that keeps pushing us into dark corners with skittering soprano diagonals over prostrate piano shapes and mysterious electronic effects. It all ends in a feast of ostinatos.

This extended opus offers a substantial listening with all its transitions, integrations and innovations. Laubrock’s music can be slow-burning and quietly exploratory in one moment, combustible and antic the next. Here, she manages to keep the freshness and vibrancy for which her music is known.

Favorite Tracks:
01 (disc one) - Dreamt Twice ► 02 (disc one) - Snorkel Cows ► 03 (disc two) - I Never Liked That Guy

Gregg August - Dialogues on Race

October 6, 2020

Label: Iacuessa Records, 2020

Personnel includes - JD Allen: tenor sax; John Ellis: soprano sax; Bruce Williams: alto sax; Ken Thomson: bass clarinet; John Bailey: trumpet, flugelhorn; Rafi Malkiel: trombone, euphonium; Marcus Rojas: tuba; Luis Perdomo: piano; Gregg August: bass, composition; Donald Edwards: drums; Mauricio Herrera: congas, shekere, castanets; Frank Lacy: vocals; Shelley Washington: vocals; Forest VanDyke: vocals; Wayne Smith: narrator, and more.

Raising awareness of the racial problem in America, bassist/composer Gregg August, a fundamental pillar in the acclaimed trio led by saxophonist JD Allen and also a respected member of Arturo O’Farrill's Afro-Latin Jazz Orchestra, releases his fourth album as a leader. Featuring a 12-piece big band, Dialogues on Race Volume One is a mature two-disc jazz opus composed and premiered in 2009, that only now is released on record. Motivated by Black Lives Matter and other civil rights movements, it's a reflection that urges us to combat racism and all the injustices derived from it.

The bassist, being white, was not discouraged by black fellow musicians and friends to present a sonic meditation largely centered on Emmett Till’s cruel assassination by lynching in 1955. The titles “Your Only Child” - inspired by Marilyn Nelson’s poem and presented in three distinct parts, the second of which shaping up as a lonely arco bass dirge - and “Mother Mamie’s Reflections” - where Emmett’s mother’s poignant words resonate atop of the brooding low sounds emitted by bowed bass, tuba and bass clarinet - are powerful musical statements imbued with troubled historical context.

Based on Cornelius Eady’s poem, “Sherbet” proves to be a fabulous starting point. After a forlorn intro with arco bass and saxophone, August and drummer Donald Edwards lay down an infectiously groovy rhythm, later punctuated by the restless activity of Ken Thomson's bass clarinet. Besides helping to provide a lush backing, pianist Luis Perdomo improvises with passion after the bandleader’s discourse prompted with a loose feel. With percussionist Mauricio Herrera very active on shekere, the piece ultimately incorporates an exuberant collective passage with the horn section at the fore.

Narrated by activist and war vet Wayne Smith, “Letter to America” reflects tight unisons and a powerful orchestration in the theme, pushing the bass clarinet and the trombone to the center of the discussion. Trombonist Rafi Malkiel swaps the haunting cries heard on the latter piece with mellower phrases on “Sky”, an exercise in atmosphere mostly commanded by the sensitive melodic drive of saxophonist JD Allen.

“I Rise” initially glistens with the crossing lines thrown in by the horn players, suddenly erupting into a crescendo that leads to a cacophonous uproar immersed in blustering bravado. You’ll find clever and distinctive palette shifts here, with the band fixating on a slow groove in nine prior to dive into another jagged pool of horn clamors, and completing with an uplifting swinging motion to better serve the soloists. It’s like an infectious synthesis of everything from odd-metered post-bop to rebellious avant-garde protests to soulful and swinging environments. Conversely, “Sweet Words on Race” flows with a glamorous Afro-Cuban touch.

Equally dynamic, “The Bird Leaps” encompasses head-to-head dialogues, smooth tempo shifts and compellingly articulated statements from saxophonists John Ellis, Bruce Williams and JD Allen on soprano, alto and tenor, respectively.

August matured into a talented leader and composer; this is a quite colorful work with a lot to absorb and reflect upon.

Favorite Tracks:
01 (disc1) - Sherbet ► 04 (disc1) - I Rise ► 05 (disc2) - The Bird Leaps

Maria Schneider Orchestra - Data Lords

September 17, 2020

Label: Artist Share, 2020

Personnel - Maria Schneider: composition, conduction; Donny McCaslin: tenor saxophone; Steve Wilson: alto saxophone; Dave Pietro: alto saxophone; Rich Perry: tenor saxophone; Scott Robinson: baritone saxophone; Tony Kadleck: trumpet; Greg Gisbert: trumpet; Nadje Noordhuis: trumpet; Mike Rodriguez: trumpet; Keith O'Quinn: trombone; Ryan Keberle: trombone; Marshall Gilkes: trombone; George Flynn: trombone; Gary Versace: accordion; Ben Monder: guitar; Frank Kimbrough: piano; Jay Anderson: bass; Johnathan Blake: drums.

Big band maven Maria Schneider displays all her compositional and arranging qualities on her new outing, Data Lords, a fan-funded double-disc recording that successfully illustrates two dissimilar worlds: the digital and the real. The message is clear and everything coheres with not just compositional rigor but also opportunities for celebrated soloists to shine. The music, masterfully played by some of the foremost musicians on the scene, is orchestrated with a nice edge that is still very accessible to every jazz follower.

Embracing a universe of indefatigable possibilities, the five tracks on the disc one employ obscurity and uncertainty to sonically depict the Digital World. Meditating on the technological devices that constantly fill the gaps left by our daily activities, “A World Lost” relies on magnetic, if vaguely somber, piano chords that helps building a quietly menacing atmosphere. If master guitarist Ben Monder increases the mysterious tones in an unhurried manner, tenor saxophonist Rich Perry shows off beautiful intonations, extracting a bit more light from his narration.

“Don’t Be Evil” aims Google and their services, which include manipulation, control and selling of data, among other illegal things. It starts by walking stealthily like a Bill Frisell march circa Rambler. Monder injects his adventurous rock fantasy over a gloomy sonic template, being followed by trombonist Ryan Keberle, who imaginatively throws in rhythmic figures with authority, and pianist Frank Kimbrough, whose moderate reflections still channel a little strangeness.

While “Sputnik” takes the form of a solemn ceremony that serves as a showcase for Scott Robinson’s baritone influxes, “CQ CQ Is Anybody There?” provides one of the most spine-chilling experiences on the record. There’s definitely something spectral about this piece, whose eerie y stillness and spellbinding moods favor impeccable statements by tenor titan Donny McCaslin and trumpeter Greg Gisbert. The latter's sound, electronically modified, is simply gorgeous. An overpowering metal-inspired guitar comping is challenged here by horn-driven counter-actions.

“Data Lords”, in an attempt to draw attention to Artificial Intelligence and the dark places it can lead us into, closes out disc one with sweeping orchestral intensity and woozy counterpoint.

As expected, disc two is much more amiable in tone, but no less interesting to follow. Of its six pieces, two were inspired by Ted Kooner’s poems (“Braided Together” and “The Sun Awaited For Me”), and one by a Buddhist temple in Japan and its surrounding gardens (“Sanzenin”). On its part, “Look Up” was consciously penned with Marshall Gilkes’ trombone in mind. Nonetheless, my first choice is “Bluebird”, where Steve Wilson’s alto saxophone cuts across a funk-infused rhythmic grid with expressionistic vibrancy.

Schneider invites us to traverse fantastic orchestral paths elaborated with the same determination, passion and effectiveness demonstrated in previous works. The darker hues are a novelty, but they balance the whole, perfectly conveying the message intended. Welcome to an unmissable, dual sonic trip.

Favorite Tracks:
01 (Disc1) - A World Lost ► 03 (Disc1) - CQ CQ Is Anybody There? ► 05 (Disc2) - Bluebird

Big Heart Machine - Live at The Jazz Gallery

May 19, 2020

Label: Toof Records, 2020

Personnel - Brian Krock: conductor; Charlotte Greve: alto saxophone, flute; Caroline Davis: alto saxophone, soprano saxophone, flute; Timo Vollbrecht: tenor saxophone, soprano saxophone, clarinet; Anna Webber: tenor saxophone, alto flute, flute; Jay Rattman: baritone saxophone, bass clarinet; John Lake: trumpet, flugelhorn; Kenny Warren: trumpet, flugelhorn; Chloe Rowlands: trumpet, flugelhorn; Dave Adewumi: trumpet, flugelhorn; Nick Grinder: trombone; Sam Blakeslee: trombone; Isaac Kaplan: trombone; Jen Wharton: bass trombone; Olli Hirvonen: guitar; Arcoiris Sandoval: piano; Marty Kenney: bass; Nathan Ellman-Bell: drum set.

After an acclaimed eponymous debut, the 18-piece Big Heart Machine, led by saxophonist/composer/arranger Brian Krock, returns with a live recording captured at The Jazz Gallery in New York. It was great to see that the ensemble, even without Paul Jones, thrives with the talents of saxophonists Anna Webber and Caroline Davis on its lineup.

“Unblock the Stoppage” opens the session, bringing a sense of orchestral freedom in a way but sounding perhaps a bit more cerebral than other Machine’s efforts. A dialogue between the saxophones of Anna Webber and Timo Volllbrecht is emphasized while, down the road, the immensely adaptable drumming from Nathan Ellman-Bell keeps shifting in texture, density and color. The drummer has the spotlight exclusively turned on him on the percussive section that introduces “Recessive”, whose asymmetric meter doesn’t discourage a fleshed out alto solo from Caroline Davis, with winning orchestral passages bridging segments. Bassist Marty Kenney also makes his point with a discourse over a lugubrious harmonic sequence delivered by pianist Arcoiris Sandoval.

Krock penned the two aforementioned compositions, as well as “Poreidoliac”, an avant-garde fantasy made of contractions and expansions and bold individual statements. Webber's flute stands out, and there are considerably more oblique angles in its puzzle of interlocking configurations than on “Glow On”, a love song written by Krock’s fiancée, the singer/songwriter Molly McAdoo. The light-filled tune immerses the listener in tender, expressive melodies while exuding a quietly ravishing quality. Guitar, trombone and trumpet occupy the center spots.

The group delves into Gyorgi Ligeti’s “Fanfares” with classical insight and contemporary chamber-jazz posture, but also an inner swinging sense. Stimulated by brushed drums and delicately spiraling horns and flutes, the piece is carried out with a constant effervescence without pouring things over too soon.

Orchestrated with modernistic splendor, this big-band music is nicely done.

Favorite tracks:
02 - Recessive ► 04 - Glow On ► 05 - Pareidoliac

Gard Nilssen's Supersonic Orchestra - If You Listen Carefully This Music Is Yours

May 15, 2020

Label: Odin Records, 2020

André Roligheten: saxophones, bass clarinet, percussion; Kjetil Møster: saxophones, percussion; Maciej Obara: alto saxophone, percussion; Per “Texas” Johanson: tenor saxophone, clarinets, percussion; Hanna Paulsberg: tenor saxophone, percussion; Mette Rasmussen: alto saxophone, percussion; Eirik Hegdal: saxophones, clarinet, percussion; Thomas Johanson: trumpet, percussion; Goran Kajfes: trumpet, percussion; Erik Johannesen: trombone, percussion; Petter Eldh: double bass, percussion; Ingebrigt Flaten: double bass, percussion; Ole Morten Vågan: double bass, percussion; Hans Hulbækmo: drums, percussion; Håkon Mjåset Johansen: drums, percussion; Gard Nilssen: drums, percussion.

A record that will definitely conquer the praise of avant-gardists, free jazzers, and modern orchestral surfers is Gard Nilssen’s If You Listen Carefully the Music is Yours. In this sonically lush venture, the ingenious Norwegian drummer leads the 16-piece Supersonic Orchestra with cutting-edge fashion, and the results are incredibly revealing. All six compositions and respective arrangements (distinguished by the presence of three core drummers and three bassists) had the precious contribution of saxophonist Andre Roligheten, Nilssen's co-worker in the Acoustic Unity project.

Dynamism is immediately manifest on the opening piece, “Premium Processing Fee”, in which an impelling rhythmic drive is bolstered by pungent accentuations. The solos - from altoist Maiej Obara and trumpeter Thomas Johansson - take place under a groovier, Sun Ra-esque atmosphere often populated by horn juxtapositions and interjectional fills. This fantastic, resolute, and brilliantly controlled turbulence is appeased on the next track, “Botteknott/Elastic Circle”, a triumphant mashup marked by clear melody and tangible form. While immersed in its symphonic developments, I thought of a progressive western film score suffused with compelling, inflamed discourses and a Latin-inspired groove that precedes the floating lightness of a finale with clarinet and saxophone at the center.

The effortless range of motion and varicolored moods traverse many territories, and “Teppen-Dance” offers a groovy, spiritual, and magnetic modal practice introduced by a more-than-four-minute bass intro suffused with incisive percussive plucks. And Mingus big band recordings came to mind…

With Roligheten in the foreground, “Jack” combines euphoria and imagination to generate a danceable get-up-and-go, while both “The City of Roses” and “Bytta Bort Kua Fykk” emanate beautifully textured timbres by virtue of the drummer’s solo introductory sections. Whereas the former includes horn-driven unisons, a bass solo and a progressive compactness in the orchestration, the latter - a hardcore blast of enthusiastic African percussion - boasts efficient rhythmic transitions, a fine trumpet solo and an unaccompanied trombone expedition propitious to timbral exploration.

The sophistication and freedom provided by Nilssen’s music, make him a key figure in the modern creative sphere of jazz. If you listen carefully… you’ll find it thoroughly worth experiencing.

Favorite Tracks:
01 - Premium Processing Fee ► 02 - Botteknott/Elastic Circle ► 04 - Teppen Dance

Charles Pillow Ensemble - Chamber Jazz

April 23, 2020

Label: Summit Records, 2020

Personnel - Charles Pillow: flute, alto flute, clarinet, alto sax; soprano sax, oboe, english horn; Scott Wendholt: trumpet; Alan Ferber: trombone; Chris Komer: french horn; Marcus Rojas: tuba; Todd Groves: bass clarinet, clarinet, flute; Vic Juris: guitar; Gary Versace: piano, accordion; Jeff Campbell: bass; Jay Anderson: bass; Mark Ferber: drums; Rich Thompson: drums; Rogerio Boccato: percussion + string ensemble - Hiroko Taguchi: violin; Whitney Lagrange: violin Lisa Matricardi: violin; Todd Low: viola; Orlando Wells: viola; Alisa Horn: cello; Allison Seidner: cello.

Even if Charles Pillow’s name doesn’t immediately ring a bell, you have probably heard him playing with central jazz figures as Maria Schneider, Dave Liebman, John Scofield, and more recently Brad Mehldau. Outside the jazz scope, the list of collaborations is equally vast and includes Paul Simon, Bruce Springsteen, Chaka Khan, and Jay-Z, among others.

Following Electric Miles (Summit, 2018), a tribute to the early electric phase of giant trumpeter Miles Davis, the woodwinds player gathers his dedicated large ensemble, concentrating on the orchestral chamber jazz genre. Here, he delivers a repertory with an equal share of originals and covers.

As expected, the classical intonations, enhanced by the presence of strings, are a bit all over the place. The opening piece, “While Pass Manchac” paints scenic landscapes with warm colors, mixing suave classical sonorities with the persuasion of jazz. The improvisers are trumpeter Scott Wendholt and Pillow on alto saxophone.

Classical impressions are even stronger on “Charlotte and Evan”. This composition, dedicated to Pillow’s children, brims with cellos and violins in harmonious communion. Resourceful pianist Gary Versace stands out on this one, and he shows his multifaceted skills by switching to accordion on Hermeto Pascoal’s “Bebe”. He embarks on a decorous conversation with Pillow, who blows the clarinet with lucidity, with the complementary percussion of Rogerio Boccatto and Rich Thompson fully manifesting underneath.

Pillow puts a lot of heart in the arrangements and Monk’s less-familiar composition “Oska T” is explored with bold counterpoint, reaching high peaks during the improvisations from tuba player Marcus Rojas and trombonist Alan Ferber.

Another magic moment occurs when the late guitarist Vic Juris brings his beautiful sound to Billie Holiday/Arthur Herzog Jr.’s plaintive song “Don’t Explain”. A docile flute accompanies him here, as well as on “Pee Wee”, a placatory medium-tempo waltz penned by drummer extraordinaire Tony Williams and immortalized by the Miles Davis quintet.

Equipoising the venerable and the thrilling, “Atchafalaya Fiction” sonically depicts the Atchafalaya basin, the largest wetland and swamp in the US, which is located in Louisiana. Driving us through subtle shadings, the ensemble puts the spotlight on Ferber and he doesn’t pass up the chance to shine with wonderful melodies expressed across several registers.

The competence of Pillow’s big band is indisputable.

Favorite Tracks:
03 - Don’t Explain ► 06 - Oska T ► 08 - Atchafalaya Fiction

Ingrid Laubrock - Contemporary Chaos Practices

December 10, 2018

Label: Intakt Records, 2018

Personnel includes Ingrid Laubrock: saxophone, composer; Eric Wubbels: conductor; Taylor Ho Bynum: conductor; Mary Halvorson: guitar; Nate Wooley: trumpet; Kris Davis: piano; and many more.

Not everything is chaotic in Contemporary Chaos Practices, the new visionary work from immensely talented saxophonist/composer Ingrid Laubrock, an indispensable name whenever creative jazz is the topic. Ms. Laubrock, who is German but Brooklyn-based, ventures into the large ensemble format (42 musicians), conceiving two works for orchestra with two conductors - Eric Wubbels and Taylor Ho Bynum - and first-line soloists such as guitarist Mary Halvorson, pianist Kris Davis, trumpeter Nate Wooley, and herself.

The first work gave the album its title and is divided into three tracks that decrease in time but not in motivation or vitality. The opening piece “Part 1 & Part 2” is affected by a magical gravity that will take you to a different dimension where eerie vibrations are commingled with punchy frisson. After Halvorson’s introduction, the bandleader sounds as expressive as ever on tenor, filling the air with excited exclamations uttered with a solid tonal control and spiced by an effective usage of extended techniques. Each distinct segment is shaped by a careful selection of instruments, which ably move through different stages, leading to moments of whether composed candor or organized orchestral convolution.

We find deep sounds on “Part 3”, which contrast with Davis’ shrill punctuations. This happens before a rushed collective passage breaks out, carrying a wide sense of urgency and urbanity that may be associated with the city of New York.

Lasting approximately three minutes, “Part 4” completes the so-called practices, having vibraphone, strings, and woodwinds bestowing a dreamy intonation apart from the sensation of danger and restlessness that substantiates its cliché-free orchestration.

The nearly 18-minute “Volgelfrei”, meaning outlaw, is an independent composition on the album, a cinematic narration with two distinct sides: one ethereal, here reinforced by the vocal choir, and one earthly, whose matrixes of sound fall somewhere between the clean and the dirty. In this odd framework of splendor and drama, be ready to come across with unheralded rhythmic manifestations, unrelenting circular movements, and glorious crescendos subjected to abrupt fractures. The final section decelerates like a locomotive when is almost reaching its destination.

Continually oozing energy and following an impressive narrative arc, this progressive big band recording is a one-of-a-kind experience.

Favorite Tracks:
01 - Part 1 & Part 2 ► 02 - Part 3 ► 04 - Volgelfrei

Christian McBride Big Band - Bringin It

October 3, 2017

Label/Year: Mack Avenue Records, 2017

Lineup includes – Christian McBride: bass; Ron Blake: tenor sax, flute; Steve Wilson: alto and soprano sax, flute; Todd Bashore: alto sax, flute, piccolo; Carl Maraghi: bari sax, bass clarinet; Dan Pratt: tenor sax, flute; Freddie Hendrix: trumpet; David Lee: trumpet; Frank Greene: trumpet; Nabate Isles: trumpet; Steve Davis: trombone; Michael Dease: trombone; James Burton: trombone; Joe McDonough: trombone; Douglas Purviance: bass trombone; Rodney Jones: guitar; Xavier Davis: piano; Melissa Walker: vocals; Quincy Phillips: drums.

Every record put out by the world-class jazz bassist Christian McBride is well worth checking out. After digging Live at the Village Vanguard with his trio, the bassist returns to the big band format with Bringin’ It, an honorable follow-up to the 2011 Grammy Award winner The Good Feeling.

What does McBride bring us this time? Originals? Jazz standards? Elated post-bop classics? Well, the answer is yes to all of that, and he does it with an impressive cohort of artists and outstanding soloists, many of them retrieved from the first experience, including saxophonists Ron Blake and Steve Wilson, trumpeter Freddie Hendrix, trombonists Steve Davis and Michael Dease, as well as pianist Xavier Davis and vocalist Melissa Walker.

“Gettin’ To It”, the first of three reshaped old originals by the bassist, flows with soulful energy, colored with Rodney Jones’ funk-oriented guitar chops and filled with lots of jabs and hooks thrown in by the improvisers. Hendrix sounds magisterial in his brave trumpet ululations and then Jones applies all his bluesiness to an individual statement, well backed by a trombone/baritone ostinato.

Freddie Hubbard’s “Thermo” is a triumphant, engaging post-bop vehicle for the soloists, who take us to the golden era of jazz without leaving aside the buoyant twists of modernity.

McBride’s remaining compositions, “Youthful Bliss” and “Used ‘Ta Could”, are both colorful but inhabit different worlds. The former, including a bass discourse with bright melody and groove, cultivates a post-bop idolization with occasional delicate ripples of soul and Latin for extra color, while the latter is a celebratory waltz with plenty of Mingus’ moods.

Another punch in the stomach arrives with McCoy Tyner’s “Sahara”, exuberantly set in motion by Quincy Phillips’ mallet drumming together with free-floating woodwinds, and then leaning on a 6/8 groove with vibrant horn unisons atop. Striking improvisations from piano and alto saxophone occur over modal harmonic progressions while Phillips finishes off what he had started, resorting to his classy rhythmic deftness.

Wes Montgomery’s groovy “Full House” starts with packaging all the original guitaristic steam in Jones’ well-measured solo, passing by Carl Maraghi’s magnetic baritone before the epic finale. The vivacity felt here opposes to the more tranquil vibes of the jazz standards “I Thought About You” and “ In the Wee Small Hours of the Morning”.

The vocal warmness of Ms. Melissa Walker is quite something on Djavan’s Brazilian hit “Upside Down” (the original version is called “Flor de Lis”), and also polishes up “Mr. Bojangles”, a tune by the American country artist Jerry Jeff Walker, here brought up with interesting rhythmic details and a leisurely swing.

Suffused with striking arrangements and turning the ensemble's grandiose sense of unity to its advantage, Bringin’ It is a tour-de-force album that substantiates how a modern big band can sound so stalwart and effulgent at the same time.

Favorite Tracks:
02 - Thermo ► 03 - Youthful Bliss ► 05 – Sahara

Alan Ferber Big Band - Jigsaw

September 18, 2017

Label/Year: Sunnyside Records, 2017

Lineup – Alan Ferber, John Fedchock, Jacob Garchik, Jennifer Wharton: trombone; John O'Gallagher, Rob Wilkerson, John Ellis, Jason Rigby, Chris Cheek: saxophones; Tony Kadleck, Scott Wendholt, Alex Norris, Clay Jenkins: trumpet; Anthony Wilson: guitar; David Cook: piano, keyboards; Matt Pavolka: bass; Mark Ferber: drums; Rogerio Boccato: percussion.

Besides being a skillful trombonist, the Grammy award nominee Alan Ferber is a magical arranger and a focused bandleader. These true gifts make him an inevitable figure in the contemporary jazz universe. As a leader, he got notoriety for conducting a vibrant nonet whose album Roots & Transitions was definitely one of the most irresistible I had the chance to tackle last year.
The same sense of fulfillment applies to Jigsaw, his seventh album of originals, recorded with a 17-piece big band that includes some of the most enlivening jazz artists on the scene.

The superior quality that results from this compositional vision-meets-ravishing arrangements is fully felt on the first track, “Impulso”, an absolutely impulsive, gritty scorch established within a sumptuous, contemporary setting. Flowing at a moderate pace with a Latinized cool spirit, the tune finds the band wading into striking interplay before each soloist begins to express what's going on in their minds, starting with the bandleader, then saxophonist John O’Gallagher, and finishing with trumpeter Alex Norris, who finishes the story.

Guitarist Anthony Wilson handles the introductory section of a song he wrote, “She Won’t Look Back”. He employs slightly dissonant chords modeled by acerbic sound effects, a tactic that beautifully fits the languid air surrounding this half-dreamy, half-conscious pop fantasy. Here, the bass of Matt Pavolka is particularly highlighted.

Reveries of freedom arrive with the title track, whose more abstract, free-form overture obtains a bold avant-gardish tonality created by the kinky sounds flowing from David Cook’s keyboards. In addition to the enticing rhythmic contortions, one can indulge in O’Gallagher’s highly expressive saxophone improvisation filled with volcanic episodes, and there’s also time for a spontaneous percussive escapade by Mark Ferber, Alan’s twin brother.

Contradicting this last tune, we have the silkiness of “North Rampart”, a weeping ballad that besides intelligently harmonized and orchestrated, exhibits a catchy melody imprinted on the head. There’s also the Latin-tinged breezes of Paul McCandless’ “Lost in the Hours”, which acquires a pronounced Brazilian feel, considerably intensified through the action of percussionist Rogério Boccato, especially during the improvisations of trombonist John Fedchock and saxophonist Rob Wilkerson.

Muted trombones and trumpets prepare the ground for the soulfully groovy vibe that sustains “Get Sassy”, a brassy piece reminiscent of Mingus’ exultations, where the amazing teamwork eases the glorious blend of traditional and modern elements. A different concoction was achieved for Clay Jenkins’ “Late Bloomer”, artistically devised to contain unpretentious swinging jazz and brawny rock passages.

Jigsaw is a kaleidoscopic, up-to-the-minute jazz album that doesn’t need frivolous pyrotechnics or radical asymmetries or complicated meters to sound marvelous. It rather uses a genuine reciprocity between the highly committed musicians who, under the keen direction of Alan Ferber, provide another lovely and contagious big band record.

Favorite Tracks:
01 - Impulso ► 03 - Jigsaw ► 05 - Get Sassy

Ken Schaphorst Big Band - How to Say Goodbye

January 16, 2017

Ken Schaphorst: composer, trumpet, Fender Rhodes; Donny McCaslin and Chris Cheek: tenor sax; Michael Thomas and Jeremy Udden: alto sax; Michael Landrus: baritone sax, bass clarinet; Ralph Alessi, John Carlson, Dave Ballou, and Tony Kadleck: trumpet; Luis Bonilla, Curtis Hasselbring, Jason Jackson: trombone; Jennifer Wharton: bass trombone; Brad Shepik: guitar; Uri Caine: piano; Jerry Leake: percussion; Jay Anderson: bass; Matt Wilson: drums.

Ken Schaphorst, a composer, trumpeter, and educator with more than a decade of experience leading big bands, counts on a great lineup of musicians and friends, including a few former students from the New England Conservatory in Boston. Schaphorst’s modern big bands are typically packed with trendy and inventive jazz instrumentalists, and for this new album, entitled How To Say Goodbye, he maintains this feature. Donny McCaslin, Ralph Alessi, Chris Cheek, Uri Caine, Jay Anderson, and Matt Wilson are incredible performers that need none introduction.

Shifty and animated, the title track immediately lets us know about Schaphorst’s art of orchestration. The tune was written for the trumpeter John Carlson, who evinces an absolute confidence and takes the lead through thoughtful moves.
“Blues for Herb”, dedicated to trumpeter Herb Pomeroy, borrows the fundamental elements of Duke Ellington, adds a touch of Mingus, and jolts with the striking, articulated verbalization of McCaslin on tenor. The engaging saxophonist shines once more in the first part of “Mbira”, an African celebration of exultant rhythms and joyful disposition. The guitarist Brad Shepik assumes a similar role in the second part of the tune, injecting scented folkish sounds and showing how comfortable he moves within the fusion genre.
While the city of Boston is recalled in “Green City”, a tune that evolves harmoniously with a 3/4 time signature, the music of Astor Piazzola was a strong inspiration for “Amnesia”, which is dedicated to Schaphorst’s late grandmother. The former features Chris Cheek on tenor sax, and the latter is dominated by the alto of Michael Thomas.

“Take Back the Country” is another tribute to one of the bandleader’s mentors, the celebrated trombonist Bob Brookmeyer. His influences are blended with Gerry Mulligan’s way, and this combination is fueled by penetrating improvisations of Luis Bonilla on trombone and Brian Landrus on baritone sax.
Schaphorst also takes the opportunity to display his skills on trumpet in “Global Sweet”, a somewhat spiritual chant enveloped in glamour.
The album couldn’t have had a better ending with “Descent”, an impulsively groovy (impeccable foundation by Jay Anderson and Matt Wilson) and vividly swinging piece that shakes us with its emotional robustness. The tune features the irresistible pianist Uri Caine, who becomes lyrical whenever accompanying and effusive when improvising, and also Ralph Alessi, whose melodic movements and rhythmic contortions are both impressive and opportune.

Schaphorst’s genius compositions come from the heart and the thankfulness toward the talents who have been sharing music with him is translated into honest tributes and magical reciprocation. Unabated, How To Say Goodbye was beautifully conceived, standing as one of the big band favorite albums of 2016.

Favorite Tracks:
02 – Blues for Herb ► 05 – Take Back the Country ► 10 – Descent