Angelica Sanchez Nonet - Nighttime Creatures

October 23, 2023

Label: Pyroclastic Records, 2023

Personnel - Angelica Sanchez: piano; Michael Attias: alto sax; Ben Goldberg: contra-alto bass clarinet; Chris Speed: tenor sax, clarinet; Thomas Heberer: quarter-tone trumpet; Kenny Warren: cornet; Omar Tamez: guitar; John Hébert: bass; Sam Ospovat: drums.

Fascinated by the darkness of the woods, the creatures that inhabit it, and the occasional moonshine from which it borrows some light, pianist and composer Angelica Sanchez presents new compositions that took her six years to write and arrange. Here, she forges ahead in the acoustic nonet setting with a consistency and quality that is visible throughout. Nighttime Creatures is a testament to her strong musical relationship with the musicians that follow her and her art of composing for a large ensemble, all the while leaving space for individual improvisation. Who wouldn’t do that with a band that incorporates top improvisers such as altoist Michael Attias, tenorist Chris Speed, and clarinetist Ben Goldberg?

The title track opens the recording with a strategic balance between highly articulated counterpoint and synchronization. The relaxed narrative is filled with stargazing melodies, mysterious atmospheric suggestions, and firm harmonic sequences that galvanize Goldberg for a delicious contra-alto bass clarinet solo. He’s followed by Attias, whose agile language invites trumpeter Thomas Heberer for an impromptu chat.

“Cloud House” begins with Speed’s tenor lines and later incorporates unimposing piano remarks and the confident bass notes of John Hébert as support. The atmosphere is entrenched with both metaphor and lucidity, and the music becomes sultry at different junctures, just to be steamed up by a tone-defiant solo by Goldberg before ending in radiant orchestral lusciousness. “Land Here” brings in more angularity, passing through a crescendo before landing safely, while “Astral Light of Alarid”, written for Sanchez’s late father, waltzes and explores other rhythms with feeling, sometimes with Latin traces. The pianist delivers a fine statement infused with glaring motifs on this one.

Showcasing the influence of and admiration for pianist Carla Bley, “C.B. The Time Traveler” is set in motion with a lazy flow that gives it a melancholy tone. This rhythmically interesting effort mutates along the way, offering a fluid, slightly funkified groove, concurrent improvs by Goldberg and guitarist Omar Tamez, and accelerations for a bustling finale packed with melodic intersections. Also influenced by Bley’s concept of chronotransduction, is “Wrong Door For Rocket Fuel”, whose tones reminded me of those of the Pink Panther theme but with cross-cutting phrases layering melodic movements like lapping waves.

Admirably and sumptuously arranged, Duke Ellington’s “Lady of the Lavender Mist” contains wonderful movements and solos that can captivate most straight-ahead jazz listeners. The record concludes with “Run”, a rampant association of exuberant sounds that brought to mind Mingus’ swinging fun pieces, all with just enough avant-garde jazz push to make them special.

Making us hypnotized and alert at the same time, this album is a great place to start if you’re not familiar with Sanchez’s music as it represents a big, beautiful picture of what she can do.

Favorite Tracks:
01 - Nighttime Creatures ► 02 - C.B. The Time Traveler ► 11 - Run

Alan Ferber Nonet - Up High, Down Low

July 17, 2023

Label: Sunnyside Records, 2023

Personnel - Alan Ferber: trombone; Chris Cheek: baritone saxophone; John Ellis: tenor saxophone; Jon Gordon: alto saxophone; Charles Pillow: alto saxophone, clarinet, flute, bass clarinet; Scott Wendholt: trumpet, flugelhorn; Nir Felder: guitar; David Cook: piano; Matt Clohesy: acoustic and electric bass; Mark Ferber: drums, percussion; Daniel Diaz: percussion (#1).

Trombonist and composer Alan Ferber returns with his highly respected nonet for a new album, the ensemble’s fifth, which is formulated with magnificent melody and majestic harmonic tapestries. The ensemble’s lineup has been changing over the years - Alan’s twin brother, drummer Mark Ferber, is the only one that remains since their 2005 debut album - but the main novel on Up High, Down Low is the versatile saxophonist Chris Cheek, here on baritone, who sits in for bass clarinetist Doug Yates. Boasting an attractive modern sound and fluid language, guitarist Nir Felder replaced Nate Radley with effective results, while pianist David Cook subbed for Bryn Roberts.

A perceptible piano motif gets things started on the title track, which opens the album with a lush orchestration containing horn counterpoint and strong textural guitar. The bandleader’s composing expertise allows all these instruments to create beautiful contrasts, and that comes to the fore on “Ambling”, an Ellingtonian piece that, similar to the standard “The More I See You”, will hit the spot for a general audience.

Five of the seven compositions on the album are Ferber’s, and his “Brimstone Boogaloo” is certainly a notable one. With stark ambition and drive, the piece has a Lee Morgan-esque, feel-good vibe enhanced by Matt Clohesely's torrid bass groove, exotic piano chordal work, and delightful melody. Multi-reedist Charles Pillow on flute and trumpeter Scott Wendholt have the word.

Felder and Cheek prove they are major assets in the latter’s “Ice Fall”, the album’s wonderful closer. The enchantment of this album gains even more charm with fine renditions of Joni Mitchell’s “Cherokee Louise”, where trombone and trumpet share the theme’s melody, and Norah Jones’ jazz-pop “Day Breaks”, which, reinforcing the wah-wah sounds of the original, is inflated by a bouncy tenor solo, courtesy of the sought-after reedman John Ellis.

Alan Ferber keeps casting his spell as a composer and arranger, and this renewed ensemble dances to his musical offerings with professionalism. It’s great to have musically rich moments like these at hand.

Favorite Tracks:
01 - Up High, Down Low ► 02 - Brimstone Boogaloo ► 09 - Ice Fall

Lee Konitz Nonet - Old Songs New

November 18, 2019

Label: Sunnyside Records, 2019

Personnel - Lee Konitz: alto saxophone; Ohad Talmor: arranger, conductor, tenor saxophone; Caroline Davis: flutes; Christof Knoche: clarinet; Denis Lee: bass clarinet; Judith Insell: viola; Mariel Roberts: cello; Dimos Goudaroulis: cello; Christopher Tordini: bass; George Schuller: drums.

The unmatchable 90-year-old alto saxophonist Lee Konitz, a living legend whose full and lush sound never ceased to create impact, revisits the nonet format on Old Songs New, his latest release on the Sunnyside imprint. The album’s arrangements have the distinguished signature of a former pupil and frequent collaborator, tenor saxophonist Ohad Talmor, who also conducts and contributes reed lines on “I Cover the Waterfront”, a serene classic that shows Konitz’s respect for the melodic persuasion of Frank Sinatra. The influence of this singer in the saxophonist’s playing is also noticeable during the balladic enchantment of “In The Wee Small Hours of the Morning”.

In addition to a dynamic trio of strings (two cellos and a violin), the session relies on credible musicians such as Caroline Davis, whose flute sinuosities are vital on “Foolin’ Myself”, a piece that grooves high with the vivacity of swing and a melodicism that magnifies the spirit of the old times. The pattern combinations from bass clarinetist Denis Lee, a devoted ally, and clarinetist Christof Knoche are also traceable here.

Accessible and refreshing is Gordon Jenkins’ “Goodbye”, which opens the recording with bemused candor - some chamber horn inclinations, skilled brushed drumming, and confident walking bass. The veteran bandleader wears the unique colors that made his sound and language landmarks in jazz, and the tune’s ending is akin to a soft landing.

Fluid strains of modern bebop travel “Kary’s Trance” with emotion and dexterity. Konitz wrote this piece for his daughter and its first recording occurred in 1956 on the album Inside Hi-Fi. Thus, in opposition to the remaining tunes, this piece was recorded many times before. However, in its newest version, the song is dressed with fresh, colorful garments, maintaining the 4/4 and 3/4 time signatures and containing interesting passages where the brightness of the alto sax is set against the darker toned hues generated by the strings.

Other interpretations of standards such as “This Is Always” and “You Go To My Head” have this appealingly loose grip that differs from the narratives presented in the 50’s. Both pieces magnify the melody on top of a vibrant collective chemistry.

The session ends with another original, “Trio Blues”, whose title says everything (a blues form approached in the classic sax/bass/drums configuration) except that this is an extemporaneous exercise. Bassist Chris Tordini and drummer George Schuller excel in their actions.

Continuing to benefit from an embouchure of his own, Konitz stands as one of the most admired jazz influencers of our times. His facility in developing melody with unexpected stabbing notes has a refreshingly positive effect. As a result, traditional jazz enthusiasts and post-bop loyalists should be on cloud nine.

Favorite Tracks:
01 - Goodbye ► 02 - Foolin’ Myself ► 04 - Kary’s Trance