Frank Carlberg Large Ensemble - Elegy for Thelonious

March 5, 2024

Label: Sunnyside Records, 2024

Personnel - Frank Carlberg: conduction, composition; David Adewumi: trumpet; Sam Hoyt: trumpet; John Carlson: trumpet; Kirk Knuffke: cornet; Brian Drye: trombone; Chris Washburne: trombone; Tyler Bonilla: trombone; Max Seigel: bass trombone; Nathan Reising: alto sax; Jeremy Udden: alto sax, lyricon; Adam Kolker: tenor sax, flute; Hery Paz: tenor sax, clarinet; Andrew Hadro: baritone sax, bass clarinet, flute; Leo Genovese: piano, keyboards; Kim Cass: bass; Micheal Sarin: drums; Christine Correa: voice (#1,3,4); Priya Carlberg: voice (#2,3,4).

Striking a lush, harmonious balance between each tune, Frank Carlberg's new orchestral venture pays homage to Monk's legacy while showcasing his own creative stamp. The album features seven original compositions, skillfully layered by a talented group of musicians and improvisers.

“Spooky Rift We Pat” opens the album with mystery and a dark smudgy tone, featuring vocalist Christine Correa. Subsequently, it transitions into a dynamic get-up-and-go that combines the standard “Tea For Two” and Monk’s “Skippy”, juxtaposed in its sung and instrumental forms, respectively. With the horn players delivering luxuriantly composed lines, the central stage is reserved for soloists, namely tenor saxophonist Adam Kolker and trumpeter David Adewumi.

Operating within a riff-heavy frame, “Out of Steam” is based on “Locomotion”, and despite its title, never slows down in its intervallic defiance and intensive layered exploration, featuring Frank's daughter, Priya Carlberg, on vocals. Less exuberant, “Elegy For Thelonious” is a beautiful composition where Correa recites a poem by Yusef Komunyakaa and infuses "Abide with Me" with a rock posture. Trombonist Bryan Drye, cornetist Kirk Knuffke, and Lyricon player Jeremy Udden deliver captivating solos on this track.

Favoring an aesthetic informed by experimental streaks, the invertebrate “Scallop’s Scallop” is an avant-jazz foray that serves Knuffke’s improvisational facility and ingenuity. In a similar fashion, the contrapuntal “Wrinkle on Trinkle” features a catchy alto solo by Udden, bending and twisting to the point of abstraction while a dissimulated funky rhythm defines the groundwork. The album closes with “Brake Tune” (an allusion to “Break’s Sake”) is introduced by Hery Paz's severe tenor discourse, but ends up in a playful mode, enclosing deft rhythm manipulation, a noticeable synth venture by Leo Genovese, and unabashed counterpoint.

Overall, the album highlights Carlberg’s orchestration capabilities and the quality of his compositions. The positive result is a consequence of the masterful execution by the talented players on this recording.

Favorite Tracks:
04 - Elegy For Thelonious ► 05 - Scallop’s Scallop ► 06 - Wrinkle on Trinkle

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

Miho Hazama - m_unit: Beyond Orbits

October 2, 2023

Label: Edition Records, 2023

Personnel - Miho Hazama: composition (except #6), conduction; Steve Wilson: alto and soprano sax, flute; Jeremy Powell: tenor sax, clarinet (#1, 3-5); Jason Rigby: tenor sax, clarinet (#2, 6-8); Andrew Gutauskas: baritone sax, bass clarinet; Jonathan Powell: trumpet, flugelhorn; Adam Unsworth: French horn; Tomoko Akaboshi: violin; Ben Russell: violin; Atsuki Yoshida: viola; Meaghan Burke: cello; James Shipp: vibraphone; Billy Test: piano; Sam Anning: bass (except #3); Jake Goldbas: drums.
Guests - Christian McBride: bass (#3); Immanuel Wilkins: alto sax (#8).

The immensely talented Tokyo-born composer and conductor, Miho Hazama, has been carving out a niche among big band enthusiasts with her remarkable project, m_unit. Following the wide acclaim received in 2018 with Dancer in Nowhere, she now presents a follow-up titled Beyond Orbits. The fresh compositions in this album propel musical narratives forward by weaving spellbinding layers of sound. In addition to the motivation related to the ensemble’s 10th anniversary, the inspiration for this album came from exoplanets (planets beyond our solar system).

This new spectacular offering begins with “Abeam”, an immensely rich cut where the entire band plays around constantly shifting meters with dazzling precision. The listener can savor a blend of progressive and classic flavors with Latin and swing jazz affiliations. Each of the chosen soloists - pianist Billy Test, who puts his impeccable language at the service of the music; trumpeter Jonathan Powell, who hits earth and sky with articulated designs; and drummer Jake Goldbas, who extemporizes over a Latin-infused vamp - contribute their unique brilliance.

“A Monk in Ascending and Descending” is a ballad that, in the initial stage, puts trombone and strings in the spotlight. The 5/4 time changes, and saxophonist Jason Rigby blows with intensity over a waltzing cadence. Leavened with the beat bounce of the drummer, the piece gains a hip-hop feel, further enhanced by the nimble, cool mallet work of vibraphonist James Shipp.

The orchestral audacity continues with the three-movement Exoplanet Suite. The first part, Elliptical Orbit, guests the masterful bassist Christian McBride, whose extraordinary odd-metered groove and swinging vibrancy contribute to the epic swagger. The second part, Three Sunlights, takes on a balladic fantasy infused with mystery and magic. And the part three, Planet Nine, driven by a stirring drumbeat, seamlessly integrates post-bop, fusion, and soul jazz elements.

Concluding the journey is “From Life Comes Beauty”, a temperate, graciously configured piece elevated by the soloing adroitness of guest altoist Immanuel Wilkins. But before this, “Can’t Hide Love”, a R&B hit penned by Skip Scarborough and popularized by Carmen McRae and Earth, Wind & Fire, brings out a contagious Brazilian rhythm and a robust baritone solo by Andrew Gutauskas.
Beyond Orbits is nothing short of startling in its dynamics, and confirms Hazama as an adept composer and arranger.

Favorite Tracks:
01 - Abeam ► 03 - Exoplanet Suite: I. Elliptical Orbit ► 05 - Exoplanet Suite: III. Planet Nine

Andrew D'Angelo & DNA Orchestra

September 1, 2020

Label: Self released, 2020

Personnel - Andrew D’Angelo: alto saxophone, bass clarinet, voice; Bill McHenry: tenor saxophone; Jeremy Udden: alto saxophone; Josh Sinton: baritone saxophone; Ryan Snow: trombone; Bryan Drye: trombone; Josh Roseman: trombone; Kirk Knuffke: cornet; John Carlson: trumpet; Jacob Wick: trumpet; Sasha Brown: guitar; Trevor Dunn: bass; Dan Weiss: drums + Nicole Federici: viola; Eric Biondo: beat box.

Alto saxophonist and bass clarinetist Andrew D’Angelo, reckoned as a force of nature for several reasons, finally releases this colorful, much-anticipated album mounted with his colossal 15-piece DNA Orchestra. All nine tunes in this program were previously recorded in different formats, but here they get new outfits and a special energy. His battle for life - he was diagnosed with a malignant brain tumor in 2008 - was won with the help of music, a crucial agent in his healing process. In addition to DNA project, D’angelo leads his own trio (feat. Trevor Dunn and Jim Black) and co-leads the quartet Human Feel (with Black, Chris Speed and Kurt Rosenwinkel).

The madly swinging “Free Willy”, the grand opening track dedicated to the drummer Matt Wilson and firstly heard on his album Humidity (Palmetto, 2003), is among the remodeled pieces. The orchestral arrangement is designed with splendorous ins and outs, and the featured soloists are Knuffke, who chips in with his habitual killing playing as soon as the music starts; trombonist Bryan Drye, who enjoys the rasping comping of guitarist Sasha Brown while improvising; and altoist Jeremy Udden, who expands his post-bop vocabulary with some warped sounds.

Both carrying curious titles and overcoming the 12 minutes, “Egna Ot Waog” and “Meg Nem Sa” are two of my favorite pieces. The former, written for bassist Ben Street, has a cautious start with buzzing horns, but quickly expands horizons with the precious assistance of Dunn’s cool, driving bass lines. Even if Brown causes some stir with his offbeat guitarism, the most incredible solo here belongs to tenorist Bill McHenry, whose neatly wrought blows end up in a rough-edged friction. “Meg Nem Sa”, in opposition, successfully blends prog-rock and avant-garde jazz and a lot more things, relying on constant rhythmic shifts that call for Weiss’ responsive and dynamic drumming. D’Angelo, who flies with a rocket-power propulsion, expanded this piece (which lasts less than three minutes on Tyft’s 2006 version) after the two brain surgeries he was subjected to. It was transformed in an intense musical journey.

McHenry composed “Norman” for D’Angelo (it’s his middle name) when he was sick in hospital. It’s a touching gospelized peace in the tradition of the late tenor player David S.Ware, here taken to heaven by the giddy, oblique trajectories of the bandleader.

Other highlights are “Big Butt”, a fun tour with fierce counterpoint and a hip-hop vibe (reinforced by beatbox artist Eric Biondo); and the infuriated “Marching Fvckers”, where baritonist Josh Sinton shines through.

Motivational, emotive and revolutionary, this work is replete with perpendiculars, tangents and intersections, embodying the force of character of a staggering, eclectic player/arranger who displays here a comprehensive range of his musical qualities.

** Read Andrew D’Angelo interview for JazzTrail **

Favorite Tracks:
02 - Egna Et Waog ► 08 - Norman ► 09 - Meg Nem Sa