Nduduzo Makhathini - Unomkhubulwane

June 10, 2024

Label: Blue Note Records, 2024

Personnel - Nduduzo Makhathini: piano, voice; Zwelakhe-Duma Bell le Pere: bass; Francisco Mela: drums.

Two years ago, South African pianist and composer Nduduzo Makhathini made a sensation with his masterpiece record In the Spirit of Ntu, which found him at a crossroads between South African folk music, modal jazz, and post-bop. Now, he returns in a trio format with uNomkhubulwane (meaning God’s only daughter and manifestation of God), extending his oeuvre of unique, ambitious African jazz with another homage to his native traditions and ancestors.

With the assistance of American bassist of South African descent Zwelakhe-Duma Bell le Pere and Cuban-born, New York-based drummer Francisco Mela, Makhathini delivers a three-movement suite with intimacy and magic. The first movement, Libations, intends to be a collective Black mourning motivated by ongoing oppression, peaking with “KwaKhangelamankengana”, a dynamic 5/8 groover limned with sharp phrasing and impetuous harmonic drive. This selection, showcasing his crispest piano work on the album, comes after “Omnyama”, a poetic 3/4 Afro-centric invocation featuring spoken word in Nguni (a primordial Indigenous language), and “Uxolo”, a smooth jazz affair with a touch of Ahmad Jamal.

The Water Spirits suite begins with “Izinkonjana”, channeling Abdullah Ibrahim through lighthearted South African folk and gospel sounds, but reaches a climax with “Amanxusa Asemkhathini”, where rhythmic juxtapositions and an enveloping modal jazz infused with tension keep listeners engaged. “Nyoni Le?” exudes mystery with the combination of Makhathini’s deep-sounding piano, Mela’s toms articulation, and le Pere’s arco bass murmuring.

The third suite, Inner Attainment, seeks freedom, hope, and grace, offering the best moments on the album. “Izibingelelo” starts as a beautiful meditation before going modal and ultimately landing on a poised mid-tempo post-bop exercise; “Umlayez’oPhuthumayo” feels loose and avant-garde in essence, embellished with fine melodicism by the end; and “Ithemba”, a light-emitting solo piano effort is stripped down to the placid traits of the pianist’s imagination.

Eschewing any form of bombast expression, abrupt shifting tempos, or mood complexities, Makhathini immerses the listener in expected reveries with a hypnotic touch, conveying freedom, balance, and humanity - elements so much needed in our days.

Favorite Tracks:
05 - Water Spirits: Amanxusa Asemkhathini ► 08 - Inner Attainment: Izibingelelo ► 09 - Inner Attainment: Umlayez’oPhuthumayo ► 11 - Inner Attainment: Ithemba

Bill Frisell - Orchestras

April 15, 2024

Label: Blue Note Records, 2024

Personnel - Bill Frisell: guitar; Thomas Morgan: bass; Rudy Royston: drums + Brussels Philharmonic and Umbria Jazz Orchestra.

The incomparable Bill Frisell, whose remarkable guitar prowess and compositional genius have left an indelible mark on the jazz scene for over four decades, ventures into new territory with Orchestras, a double album that sees him expanding his trio sound with the accompaniment of two European orchestras. This ambitious project features arrangements of some of Frisell's most iconic original compositions, along with a jazz standard, a couple of American folk songs, and a piece by Michael Gibbs, who provides all the arrangements on this captivating release. Frisell’s trio, consisting of the adaptable Thomas Morgan on bass and the tastefully diverse Rudy Royston on drums, imbues each piece with an intimacy that lends emotional potency to the ensemble's performance.

The CD1, featuring the Brussels Philharmonic under the baton of Alexander Hanson, begins with the grandiose cinematic quality of Gibb’s “Nocturne Vulgaire”, later jazzified with bluesy guitar chops set against an airy accompaniment. The standard “Lush Life” by Billy Strayhorn follows, elegantly spreading glamour and romanticism. “Beautiful Dreamer”, an early folk piece by Stephen Foster, waltzes slowly in a richly layered communion impregnated with a deep Southern feel.

Another heart-rending waltz, “Throughout”, is nestled among a collection of Frisell’s old favorites. Tracks like “Rag” traverse from folk revivalism to jazz fanfare with refinement and excitement, while “Electricity”, a country-influenced number pelted with guitar harmonics, loose drumming, and unobtrusive bass lines, becomes slightly reggae-ish as a consequence of the horn section’s counterpoint. In turn, “Richter 858 No. 7”, solidly sustained by a rhythmic foundation based on an eight-note, six-beat cycle bass groove, culminates in a majestic orchestral crescendo with the strings on vivid display.

CD2 further captivated my ears, with the musicians coloring and texturing agreeable sonic landscapes, reaching a genuine universality in their musical commitment as they listen to each other so closely. Moreover, the repertoire contains two of my favorite Frisell tunes, both enhanced by magnificent arrangements and executions. They are “Strange Meeting”, here featuring a disarmingly simple guitar solo, and “Lookout For Hope”, a marvelous jazz-rock hybrid aggrandized by Royston’s fine drum chops by the end. There’s also “Levees”, a stress-free, ternary exercise with bold horn lines, while Frisell’s guitar counterpoints by exuding more sparky than mellow tones.

Armed with Gibbs’ impeccable arrangements, Orchestras showcases Frisell's enduring creativity and marks yet another significant chapter in his illustrious discography.

Favorite Tracks:
01 (CD1) - Nocturne Vulgaire ► 04 (CD1) - Rag ► 01 (CD2) - Lookout For Hope ► 03 (CD2) - Strange Meeting

Melissa Aldana - Echoes of the Inner Prophet

April 1, 2024

Label: Blue Note Records, 2024

Personnel - Melissa Aldana: tenor saxophone; Lage Lund: guitar; Fabian Almazan: piano; Pablo Menares: bass; Kush Abadey: drums.

In her seventh album as a leader and second on Blue Note Records, titled Echoes of the Inner Prophet, Chilean-born, New York-based saxophonist Melissa Aldana presents eight sonic reflections that encapsulate her personal journey. Here, she reunites with the same crew that contributed to the acclaim of 12 Stars (Blue Note, 2022): Norwegian guitarist Lage Lund, bassist Pablo Menares, and drummer Kush Abadey. The sole exception is Sullivan Fortner who passed the piano chair to Fabian Almazan.

The album opens delicately with the title track, a homage to Wayne Shorter, resonating in shades of pastel and reminiscent of Alice Coltrane's spiritual kindness. This leads seamlessly into “Unconscious Whispers”, characterized by airy passages and edgy tonal ranges, with hints of Latin influence, also evident in “The Solitary Seeker”, where a slight Brazilian rhythmic balance is felt. Aldana and Almazan deliver intense performances on these tracks, while Lund shines on “A Story”, exuding sultry elegance with a Metheny-esque crossover jazz appeal.

The guitarist boasts a great sound throughout, whether building colorful texture or melodic single-note phrases, contributing “I Know You Know”, a radiant sunshine sympathetically crafted with sharp expression. Conversely, Menares’ “Ritual” provides haunting balladry with its evocative and atmospheric tones, while Aldana’s “Cone of Silence”, a dedication to recording engineer James Farber, is distilled with emotional poignancy, tempo subtleties, and timbral precision. Before that, “A Purpose” brings jazz in the heart of a gracious post-bop act buoyed by the ambitious sweep of solos from the bandleader, Lund, and Almazan.

Aldana emerges as a more mature saxophonist, presenting a cerebral style that blends subtle idiomatic combinations with personal emotions. Her new album provides an easy listening experience that, going deep, never succumbs to the potential pitfalls of sentimentality.

Favorite Tracks:
02 - Unconscious Whispers ► 04 - The Solitary Seeker ► 07 - Cone of Silence

Charles Lloyd - Trios: Chapel

June 20, 2022

Label: Blue Note Records, 2022

Personnel - Charles Lloyd: tenor saxophone, alto flute; Bill Frisell: guitar: Thomas Morgan: acoustic bass.

The unequal Charles Lloyd, a premier saxophonist with a six-decade career at the highest level, puts out the first of three trio recordings featuring different lineups. Trios: Chapel features five previously recorded tunes - three originals and two covers - marvelously reworked here by a refreshing trio completed with guitarist Bill Frisell (a member of Lloyd’s eclectic quintet The Marvels) and bassist Thomas Morgan, who has been a regular collaborator of the guitarist both in duo and trio settings. The tremendous rapport between these three instrumentalists couldn’t be more transparent and the music is the natural product of their musical talents.

Billy Strayhorn’s “Blood Count” opens the set with Lloyd speaking an alluring language whose empathy extends to Frisell’s serene comp and focused touch. Guitar layers merge with Morgan’s activity on the bass, which, going beyond the mere definition of the chords, provides a tasteful anchor for the saxophone. This piece was originally recorded by Lloyd on the double-CD album Lift Every Voice (ECM, 2002), just like his own “Beyond Darkness”, a flute-driven excursion that soars here with chordal mystery and a curious cross-cultural tinge.

Exuding goodwill and enchantment, “Song My Lady Sings” was retrieved from his 1965 quartet album Of Course, Of Course (Columbia). Working closely, the guitarist and the bassist start the proceedings with a warm, glowing radiance that later welcomes the mighty presence of the bandleader. His sweetest side is on display throughout this waltzing stride, but goes even deeper in the magnetic exploration of Bola de Nieve’s Cuban ballad “Ay Amor”, a tune that was also included in his latest album with The Marvels, Tone Poem (Blue Note, 2021). The simple delineation of the theme is remarkable, with Lloyd making everything more luminous with nimble arpeggios. The rock-solid Morgan lets it flow from the bottom while Frisell excels in his melodic poignancy.

The trio concludes the album with the beautiful “Dorotea’s Studio”, which refers to the working space of Lloyd’s wife/agent/producer Dorothy Darr. The folk expressiveness will treat you with a complete relaxation. I’m very much looking forward to the couple of volumes that will follow - the second featuring pianist Gerald Clayton and guitarist Anthony Wilson, and the third with percussionist Zakir Hussain and guitarist Julian Lage.

Favorite Tracks:
03 - Ay Amor ► 04 - Beyond Darkness ►05 - Dorotea’s Studio

Makaya McCraven - Deciphering the Message

November 16, 2021

Label: Blue Note Records, 2021

Personnel - Makaya McCraven: drums; De’Sean Jones: tenor saxophone, flute; Greg Ward: alto saxophone; Marquis Hill: trumpet; Joel Ross: vibraphone: Jeff Parker: guitar; Matt Gold: guitar; Junius Paul: bass.

There’s a trademark sense of groove and rhythm to French-born drummer/composer/beatmaker Makaya McCraven, who reached a distinguished place in the modern jazz sphere as a result of his own merit.

His debut on the Blue Note Records is no less than stunning, fusing past and present by expertly providing new outfits to sampled jazz classics. It's a beautiful tribute to the golden era of Blue Note (50s and 60s) and the Birdland jazz club - here represented by the voice of his former master of celebrations Pee Wee Marquette. In order to create a patchwork of elegant hard-bop/hip-hop hybridity, he enlists some serious peers who rise to the challenge with aplomb, helping him lacquering lovely jazz tunes with an updated rhythmic sheen.

Introduced by Marquette’s effusive announcement, “A Slice of the Top” opens the record with levitating powers, featuring the original horns of Hank Mobley and Lee Morgan (fetched from Art Blakey’s album A Night at Birdland vol.1) crossing over a gorgeously simpatico drum-and-bass rhythm that goes into your skin.

Kenny Dorham’s “Sunset” adapts the familiar hard-bop luxury to the new groovy era defined by McCraven and his accomplices - vibraphonist Joel Ross, guitarist Jeff Parker and bassist Junius Paul. The standard “When Your Lover Has Gone” is transformed into a bright and breezy concoction of jazz, soul and funk. Horace Silver’s “Ecaroh” comes infused with prismatic, liquid patterns and a vibing happiness (with Ross at his coolest). And “Autumn in New York” suggests the theme without following it completely, relying on the melodies of trumpeter Marquis Hill and saxophonist/flutist De’Sean Jones.

Irrefutable highlights are: Wayne Shorter’s “Mr. Jin”, whose immensity of sound is so liberating that you well might think it’s possible to fly on the wings of its harmonic splendor, and Bobby Hutcherson’s “Tranquility”, presented here as a collage of the harmonic relaxation that stems from the original and the skittish new rhythm pulled off by McCraven.

The variety of textures and moods is on display, and you can easily find the differences between the sly bopper “Coppin’ the Haven”, written by pianist Kenny Drew and taken from saxophonist Dexter Gordon’s 1965 album One Flight Up, and “Frank’s Tune”, which agilely riffs on funk while featuring alternate statements by Parker (operating in a smooth George Benson mode) and Jones on flute. The record comes to an end with the Eddie Gale-penned “Black Rhythm Happening”, a funk-infused piece with celebratory chants and reverb-drenched saxophone coils.

McCraven’s artfulness is to be taken seriously, and Deciphering the Message can be heard as a continuous suite of splendorous narratives and vignettes that bridge two different eras with two fantastic group sounds. It’s a gem with a special eclectic vibe.

Favorite Tracks:
01 - A Slice of the Top ► 03 - When Your Lover Has Gone ► 11 - Mr. Jin

Arturo O'Farrill and the Afro Latin Jazz Ensemble - Dreaming in Lions

September 14, 2021

Label: Blue Note Records, 2021

Personnel - Arturo O’Farrill: piano, composition; Adam O'Farrill: trumpet, flugelhorn; Rafi Malkiel: euphonium, trombone; Alejandro Aviles: flute, saxophones; Travis Reuter: guitar; Vince Cherico: African percussion, drums; Carlos "Carly" Maldonado: maracas, marimba; Victor Pablo Garcia Gaetan: conga, cuica, dumbeq; Bam Bam Rodriguez: bass; Zack O'Farrill: drums.

Pianist, composer and bandleader Arturo O’Farrill became widely known for giving the Latin jazz genre a relevant contemporary dimension, often in command of his Afro Latin Jazz Orchestra. For Dreaming in Lions, his latest record and debut on the iconic Blue Note Records, he shortened the big band into a 10-piece ensemble that performs two suites while trading the traditional Latin luster for something more sophisticated and steeped in modernity.

Combining poignancy, irreverent warmth and explosions of spontaneous color, these orchestrations have their inception with “Del Mar”, the first of five movements that compose the Despedida suite, a reflection on farewells. The piece is impeccably layered with polyrhythmic sumptuousness and spiced up by brass and woodwind ostinatos. There's also a magnetic piano solo delivered with inside-outside dexterity and perfectly positioned accents.

If “Beauty Cocoon” and “La Llorona” (not to be mistaken with the folk Mexican song) feel very Cuban at their core, then “Intruso” and “Ensayo Silencio” plunge into different currents of fusion. The former, funkified by an amazing groove, includes horn counterpoint, block chords deftly intertwined with winning piano runs, and a swinging dixie-inflected blues passage over which Alejandro Aviles shines in a flurry of pithy soprano sounds. In opposition, the latter piece falls into something you can dance to, an inspired marriage of funk, jazz, disco and R&B. Here, we can also enjoy ad-lib volleys between the horn players.

All these eclectic elements return in “Struggles and Strugglets”, the sixth movement of the Dreaming in Lions suite, whose inspiration came from Ernest Hemingway’s short novel The Old Man and the Sea. Other highlights are “Scalular”, an eloquent collage of sunny rhythms that buoys up the euphoric three-time-feel dynamics, “How I Love You”, whose gauzy romanticism wafts like a soft breeze, and the effusive “Blood in the Water”, whose dramatic piano foray gives place to a colorful Latin funk where the rock-fueled guitar of Travis Reuter stands out. The session wraps with a solo piano piece performed by O’Farrill’s wife, the classical pianist Alison Deane.

This is a cohesive and coherent record that points to jazz’s ever evolving fusion of rhythms and sounds tied to a rich cultural history.

Favorite Tracks:
02 - Intruso ► 11 - Struggles and Strugglets ► 13 - Blood in the Water

Charles Lloyd and The Marvels - Tone Poem

March 2, 2021

Label: Blue Note Records, 2021

Personnel - Charles Lloyd: tenor saxophone, flute; Bill Frisell: guitar; Greg Leisz: pedal steel guitar; Rueben Rogers: bass; Eric Harland; drums.

The incredible Charles Lloyd, 82, has in Tone Poem his third work with The Marvels, a piano-less ensemble composed of Bill Frisell on guitar, Greg Leisz on pedal steel guitar, Rueben Rogers on bass and Eric Harland on drums. On this recording, the sui generis sound and approach of the saxophonist are fully intact and in perfect balance with the bluesy and folk intonations of the band that supports him. The program consists of a mouth-watering selection of originals and covers, which pivoting between contemplation and ecstasy, achieve wonderful results.

Lloyd initiates this journey by stamping his personal signature in two notorious compositions by Ornette Coleman - “Peace”, which carries an offbeat avant-country vibe while embracing the spiritual side of things, and “Ramblin’”, a static delight made of hypnotic drumming, chromatic bass moves, and rock’n’roll-ish guitar continuum adorned with bluesy chops, over which cascades of lyrically kinetic tenor lines are thrown in abundance.

The group airs a folk-pop melancholy while driving Leonard Cohen’s “Anthem” with a slow yet assured pace, while on the romantic “Ay Amor”, penned by Cuban singer/pianist Bola de Nieve, Lloyd and Frisell have the power to stun and petrify, such is the beauty of their expressions. The final two-chord vamp in this piece feels like a slow motion of “Tone Poem”, a prominent Lloyd piece where the saxophonist careens off modal avenues with astonishing brilliancy. Although less fervent in comparison with that unforgettable 1985 Town Hall interpretation (in a quartet with Petrucciani, McBee and DeJohnette) for the jazz film One Night with Blue Note, this new exposition of the song oozes groove and denotes subtle nuances in the melody in addition to an introductory sax/percussion ramble.

Having been included on the previous outing - Vanished Gardens (Blue Note, 2018) - as a duet with Frisell, “Monk’s Mood” is revisited here with sculptural layers of guitar and a full rhythm section. Two other previously recorded pieces to appear on the track listing - “Lady Gabor” and “Prayer” - were tackled by the Chico Hamilton Quintet, of which Lloyd was a member in the 1960’s. The former number, ecstatically percussive, surfaces with flute articulation and guitar atmospherics with episodic rock washes; the latter emits a warm glow and features a fine arco bass statement.

A new Lloyd blues, “Dismal Swamp”, works as a dulcet yet stimulating tonic where flute-guitar unisons follow a path through the functional light-funk area defined by the rhythm.

With a consummate ability to touch our hearts and speak to all of us through his majestic music, Charles Lloyd has here his best recording with The Marvels and another timeless work to be cherished.

Favorite Tracks:
02 - Ramblin’ ► 04 - Ay Amor ► 07 - Lady Gabor