Jerome Sabbagh - Vintage

Label: Sunnyside Records, 2023

Personnel - Jerome Sabbagh: tenor saxophone; Kenny Barron: piano; Joe Martin: bass; Johnathan Blake: drums.

Favoring straight-ahead jazz flavors and plain structures over complex modernistic approaches, the new outing by French-born, New York-based saxophonist Jerome Sabbagh, Vintage, is a tribute to tradition and jazz heroes. One of them, the veteran pianist Kenny Barron, is in this quartet, assuring a lusty rhythm section with younger yet accomplished foundation connoisseurs such as bassist Joe Martin and drummer Johnathan Blake. The saxophonist was struck by Barron’s playing as a teenager in a Paris concert by saxophonist Stan Getz. This marks his first work as a leader with piano as harmonic accompaniment, after years working with guitarists Ben Monder and Greg Tuohey.

The hooky title cut is a Sabbagh hard-bop-fueled piece motivated by nostalgia, slightly latinized at the end, and marked by hot improvisations from saxophone and piano. The two men at the center deliver two elegant ballads in duo - Billy Strayhorn’s “A Flower is a Lonesome Thing” and Monk’s “Ask Me Now”, the latter of which closes the album on a nice relaxed note. There’s more Monk before that, with a playful, groovy rendition of “We See”, whose theme is expressed in unison with Barron. The pianist shows artistry in the stride piano comping that follows.

Tadd Dameron’s classic “On a Misty Night” advances with a cool, breezy flow and a no-holds-barred bop posture. Sabbagh seems channeling Getz and Rollins; Barron is harmonically explicit; Martin’s bass lines assure a fluent stream; and Blake’s zealous brush technique vouches for timekeeping. 

The saxist's considerable compositional acumen can be heard in “Slay the Giant” and “Elson’s Energy”. The former number embraces a composure that recalls Yusef Lateef, while the latter, written with a childhood friend in mind, arises as a post-bop knockout with a Brazilian rhythmic feel.

This studio date satisfies without dazzling, showing youthful vigor within the classic jazz style but not exactly experimenting new pathways. It certainly would have benefited from more original material, and yet, the repertoire here was logically chosen and gracefully expressed.

Favorite Tracks:
04 - Elson’s Energy ► 05 - Slay the Giant ► 06 - We See

Jochen Rueckert - With Best Intentions

Label: Colonel Beats Records, 2023

Personnel - Mark Turner: tenor saxophone; Nils Wogram: trombone; Joris Roelofs: bass clarinet; Doug Weiss: bass; Jochen Rueckert: drums.

Based in New York since 1997, German drummer/composer Jochen Rueckert assembles an exciting chord-less quintet featuring a three-piece frontline composed of American tenorist Mark Turner, German trombonist Nils Wogram, and French-born, Amsterdam-based clarinetist Joris Roelofs. In opposition to the former two, who have been frequent collaborators, the latter is a new addition. Bassist Doug Weiss rounds out the group, sharing a stark instinct with the bandleader for both in-the-pocket and unbounded playing.

With Best Intentions is the sixth entry in Rueckert’s catalog, showing off his aptitude to swing in several tradition-leaning contexts. Here, the references include John Coltrane, Herbie Hancock, Bud Powell, and Jackie McLean, yet this album only represents part of the spectrum of who he is as a musician. The drummer has been exploring electronic (under the moniker Wolff Parkinson White) and rock music (past covers included songs by Deftones and The Breeders).

“The Dress” bursts out of the gate with a bluesy feel and powerful solos from bass clarinet and tenor; “Rainbow Road” swings like the old-times but denotes contemporary principles in the head; and both the hard-swinging “Pherotstorium” and the riff-based “Mark of the Beast” boast this not-too-obvious post-bop lining borrowed from Jackie McLean/Grachan Moncur and Sam Rivers/Julian Priester associations. 

Embracing tight rhythms and firmly woven textures, the quintet delivers “Unmitigated” with waltzing steps and an impeccably connected horn section, “Muetze Glatze” with playful avant-garde behavior and provocative tones, and “Catholic Mahogany” with odd-meter and solos by Roelofs and Weiss. The title track, professed by muted trombone and bass clarinet, provide both improvisation and strong harmonic context through melody.

Rueckert’s group is capable of multi-coloring and contrasting shade, employing jazz tradition and contemporary languages in the best way. His new outing is sharply homogeneous in tone and quality.

Favorite Tracks:
01 - The Dress ► 05 - Muetze Glatze ► 07 - Pherotstorium

Josh Lawrence - And That Too

Label: Posi-Tone Records, 2023

Personnel - Josh Lawrence: trumpet; Willie Morris III: tenor saxophone; Art Hirahara: piano; Boris Kozlov: bass; Jason Tiemann: drums (#1,2,6); Rudy Royston: drums (#3,4,5,7,8).

Trumpeter and composer Josh Lawrence has been giving us many reasons to smile with albums like Color Theory (Posi-Tone, 2017) and Contrast (Posi-Tone, 2018). Last year, he released Call Time with a quintet featuring the up-and-coming saxophonist Willie Morris and the rhythm section of pianist Art Hirahara, bassist Boris Kozlov and drummer Jason Tiemann. His fifth album, And That Too, features this same quintet with drummer Rudy Royston replacing Tiemann on five of the eight cuts.

With tradition at the very center, each tune is infused with smart playing and expressive qualities. The opening cut, “Grit”, is one of those burning post-bop explosions that builds tremendously, steamed with expert improvisations. This Freddie Hubbard-esque piece was penned by Morris, who completely steals the show with a clever, tonally fluid and narratively engaging solo that stuns from start to finish. He is preceded by Lawrence, whose clear language can be as fast as an arrow travels, and followed by Hirahara, an adept of versatility and firm touch. Morris brings a second composition into the song lineup - the hard-swinging, short-themed “Hole in the Wall” begins with tenor over bass and drums, and is later harmonically contextualized by sparse piano moves turned rhythmic counterstatements.

With Kozlov and Royston in the pocket, “Cosmological Constant” offers hard-bop cheerfulness shaken by doubling tempos for a different feel. Alternatively, “North Winds” is a mid-tempo piece with insightful drum fills by Royston during the improvisations, whereas “Black Keys” is a blues played with decorum and range. 

The compelling strength of Lawrence’s soaring lines can be amply appreciated on his soulful ballad “Left Hanging”, and his compositional capabilities confirmed on “Cantus Firmus”, a groovy number in five, all at once redolent of Woody Shaw and Lee Morgan. Its rhythmic acuity invites the trumpeter and Morris to take improvisational turns before Royston substantiates his drum chops during the final section.

Lawrence and his supple quintet still find the time to plunge into the exquisite chord progression of Wayne Shorter’s “Nefertiti” and tackle it with delicate and thoughtful sensibility. This is an undeniably virtuosic recording that, bringing back the taste of classic jazz, finds Lawrence at the apex of his career.

Favorite Tracks:
01 - Grit ► 04 - North Winds ► 08 - Cantus Firmus

Cécile McLorin Salvant - Mélusine

Label: Nonesuch Records, 2023

Personnel - Cecile McLorin Salvant: vocals, synth (#7,9,13); Sullivan Fortner: piano (#3,5,6,11,12); syhths (#6,10), kalimba (#12), vocals (#12), celeste (#14); Aaron Diehl: piano (#1,2); Paul Sikivie: bass (#1,2); Kyle Poole: drums (#1,2); Lawrence Leathers: drums (#2); Godwin Louis: alto saxophone (#3,5), vocals (#12); Luques Curtis: bass (#3,5,12,14); Weedie Braimah, percussion (3,4,5,12,14); Obed Calvaire: drums (#3,5,12); Daniel Swenberg: nylon string guitar (#8).

Lauded singer Cecile McLorin Salvant combines elements of French mythology, Haitian voudou, and apocrypha in this European folkloric tale called Mélusine. She sings in French on most of the tracks, but you can also hear Haitian kréyol, Occitan, and English.

Composed of five originals and nine songs whose origins range from the 12th century to the mid 1980’s, the album challenges norms but also plays off safely within conventions. The French chanson takes both hauntingly sad and dramatic proportions in the opener, Léo Ferré’s “Est-ce ainsi que les hommes vivent?”, as well as on Veronique Sanson’s 1985 pop hit “Le Temps Est Assassin”. 

A dominant Afro-Latin tinge permeates “Doudou” and “Wedo”. Both came from the pen of Salvant who, on the latter piece, offers an upbeat African chant over a modernistic synth tapestry that she plays herself. In Charles Trenet’s easy-listening “La Route Enchantée” we bump into a cabaret-driven enchantment that thrives under the rhythmic propulsion of pianist Aaron Diehl, bassist Paul Sikivie, and a pair of drummers: Kyle Poole and Lawrence Leathers. 

The title track is partly sung in English, finding its sagacious balance with the help of Daniel Swenberg’s acoustic guitar, whereas Michael Lambert’s “D'un feu secret”, a 17th-century courtly song, has its lyricism stirred by Sullivan Fortner's odd synth accompaniment.

We all know what Salvant is capable of. Her magnificently appealing voice is paired with an unblemished technique and often novel ideas. However, I must confess that, even if the results are consolidated, it’s been hard for me to return to this recording. Stylistically, it puts me a bit off, and is far from the greatness of Ghost Song (Nonesuch, 2022), a modern vocal jazz masterpiece.

Favorite Tracks:
02 - La Route Enchantée ► 05 - Doudou ► 08 - Melusine 

Ben Somers - Plant it Firmly in the Sand

Label: Hammer Records, 2023

Personnel - Ben Somers: tenor saxophone; Rob Updegraff: guitar; Mirko Scarcia: double bass; Tim Giles: drums.

Creating sonic diversity through a multi-genre approach, London-based saxophonist Ben Somers brings his compositions to the fore on his new outing, Plant it Firmly in the Sand. This is an opportunity to listen to him at the front of a jazz quartet consisting of Rob Updegraff on guitar, Mirko Scarcia on double bass, and Tim Giles on drums.

The record opens with “Into the Void”, a dedication to the unique saxophonist Pharaoh Sanders, where the dark, meaty saxophone is found in fellowship with the scintillation of the drums, exquisite guitar harmonies, and dancing bass lines. While embracing post-bop and avant-garde jazz perspectives, the quartet attains a fine balance between the sweet and the vigorous.

This is not the only dedication on the album; “For Greg”, which is etched with a particular swinging pulse, is dedicated to the bassist Greg Cohen, a member of John Zorn’s Masada who also worked with Tom Waits and David Byrne. Because Somers also plays bass (yet not on this recording), this is not surprising. Scarcia displays his woody tone on this occasion, as well as on “Steel Rail Counterpoint”, a number forged with triple time feel, pronounced folk melody, and a flourishing discussion between guitar and sax.

The inspiration for “Take Your Banner” was the late pianist/singer Dr. John and the music of New Orleans. Boasting a cheerful temperament, the piece welcomes guitar-sax unisons, comfortable marching snare, unrestive bass underpinning, and adventurous solos from Updegraff and the bandleader. “Just Like the Rest” was written while Somers was on tour with Seal. It came to life after a weird dream where the singer told him he was only playing for money. Nonetheless, the result - with staccato phrasing a-la Donny McCaslin floating around the rhythm - is positively warm.

The quartet delves into pure tradition on two cuts: “Low Hanging Fruit” and “Good Boy”. The latter was inspired by David Grisman’s fusion of jazz and bluegrass, but also channels sax luminaries such as Charlie Parker and Sonny Stitt in the language. Even played with a rock-solid sense of tempo, they don’t feel as fresh as the remaining material. With that said, Plant it Firmly in the Sand is a likable album that illustrates the musical talents of the four artists involved.

Favorite Tracks:
01 - Into the Void ► 02 - Take Your Banner ► 08 - Just Like the Rest

Tom Harrell - Oak Tree

Label: High Note Records, 2022

Personnel - Tom Harrell: trumpet, flugelhorn; Luis Perdomo: piano; Ugonna Okegwo: bass; Adam Cruz: drums.

The incredibly talented trumpeter and composer Tom Harrell releases Oak Tree, another hard-to-resist album, such is the variety and sophistication of the music presented. In a career that spans 50 years (with appearances alongside Phil Woods, Jim Hall, Bob Brookmeyer, Joe Lovano, and Horace Silver), the trumpeter has been championing the jazz tradition and developing a clear, precise and fluid language that puts him in a league of his own.

Teamed with Venezuelan-born pianist Luis Perdomo (in their first studio collaboration) and regular collaborators, German-Nigerian bassist Ugonna Okegwo and American drummer Adam Cruz, Harrell explores 11 new originals that exemplify his signature aesthetic, often based on modal centers, smart rhythm changes, diverse musical influences, and fantastic melodies.

The opener “Evoorg” (reads ‘groove’ backwards) starts the proceedings with enormous hard-bop and post-bop appeal and notable support of the rhythm team, whose members keep playing closer to the vest. Harrell dishes out a graceful, uplifting solo, being followed by Perdomo, who is given more latitude to expand beyond the lilting accompaniment. In the same vein, “Archaeopteryx” pays a fun tribute to both dinosaurs and Charlie Parker, featuring a fine conversation between Okegwa and Cruz while trading fours.

As it happened in the latter tune, Harrell overdubs his horns on the exciting and agile “Zatoichi”, a tribute to the enigmatic fictional character of the same name, a blind Japanese blademaster who is the hero of many films and TV series. Cruz’s proficiency comes with ease here, whether employing occasional snare drum rolls or engaging in tom-tom terminology.

If “Tribute” brings to mind “Samba de Uma Nota Só” by the master Brazilian composer Tom Jobim, then “Sun Up” conjures up the reggae of Bob Marley. “Shadows” also breathes some bossa feel, and even includes some waltzing bars at the end. Both “Fivin’” and the title cut favor pristine playing. The former develops with Perdomo emanating an amiable, soulful funkiness on Fender Rhodes; the latter features the group languorously peeking through a cadenced harmonization.

On this recording, Harrell and his associates emphasize the genre-bending versatility that is their common strength. The result is extremely pleasing to the ear. 

Favorite Tracks:
01 - Evoorg ► 02 - Fivin’ ► 05 - Zatoichi

Steve Davis - Bluesthetic

Label: Smoke Sessions Records, 2022

Personnel - Steve Davis: trombone; Peter Bernstein: guitar; Steve nelson: vibraphone; Jeoffrey Keezer: piano; Christian McBride: bass; Willie Jones III: drums.

American trombonist and composer Steve Davis is usually seen at the helm of proficient sextets whose blue-chip players confer a relevant dimension to his compositions. His fourth consecutive outing on the Smoke Sessions imprint is called Bluesthetic, an honest title that alludes to the harmonic progressions and foundational structures of the straight-ahead journeys he proposes. For this record, he decided to be the sole horn player, extending the harmonic possibilities by teaming up with monster jazz guitarist Peter Bernstein and vibraphonist Steve Nelson (both were in his 1998 album Vibe Up!), as well as the pianist Jeffrey Keezer. The bottom of the net is secured by the stupendous Christian McBride on bass and the efficient Willie Jones III on drums.

The opening number, “Encouragement”, is a churning Art Blakey-esque hard-bop piece with enough magnetism to draw you in. The players thrive by being on the same page, wisely opting for shorter solos here, which include everyone except the drummer. At places, however, especially during the second half, things get a little long in the tooth, improvisation-wise. Yet, the first portion brings a nimble strain of hard-bop-influenced and post-bop tunes that revives that immense joy we find in the jazz tradition.

“Silver at Sundown” is a tribute to pianist Horace Silver, being laid down with that jaunty feel and bohemian air that also characterizes Lee Morgan’s Sidewinder and Herbie Hancock’s Empyrean Isles. The soloists take their turns: Bernstein and Davis demonstrating clarity in the ideas; Nelson being highly articulated while navigating the chords he defines so well; and Keezer making things go inventively rhythmic. These four soloists also stretch on “Maybe So”, where McBride and Jones III join them by claiming their soloing spots. The drummer’s brushing technique is particularly attractive on the smooth jazz waltz “Faraway Dream”, which conjures up the modal atmospheres of Bobby Hutcherson, and the Ellingtonian ballad “Indigo to Azure”.

Both “Bedford Stroll”, inspired by the town and street where Davis currently lives in, and “They Wore 44”, whose blistering intensity was motivated by sports, boast a typical sound and drive that recalls J.J. Johnson and Paul Chambers. The former piece, marked by a synchronous snare strut on the B section, is another vehicle for the melodicists, whereas the latter’s main attraction is the unpredictable wallops thrown in by Keezer across different registers of the keyboard. The album ends with “Star for Chick”, a tribute to the late virtuosic pianist Chick Corea with whom Davis had been recording since 1998 in his post-bop-meets-fusion sextet Origin, and later in his Spanish Heart Band.

Favorite Tracks: 
01 - Encouragement ► 02 - Silver at Sundown ► 05 - Faraway Dream

Gerry Gibbs - Songs From My Father

Label: Whaling City Sound, 2021

Personnel - Gerry Gibbs: drums; Kenny Barron: piano; Buster Williams: bass; Geoffrey Keezer: piano; Christian McBride: bass; Larry Goldings: organ; Patrice Rushen: piano; Kyeshie Gibbs: percussion.

gerry-gibbs-songs-from-my-father.jpg

The American drummer and bandleader Gerry Gibbs honors his 96-year-old father, the bebop vibraphonist Terry Gibbs, on Songs From My Father, a double-disc record of swinging jazz with no horns involved. The program consists of the latter’s catchier tunes plus one piece by the late pianist Chick Corea, whose appearance here marks his final recording.

Corea pays a wonderful tribute to Gibbs with “Tango for Terry”, which, mixing 4/4 and 3/4 tempos, has that unmistakable Corea imprint in it. But the pianist is also honored here with “Hey Chick”, which is nothing else than Gibbs’ “Hey Jim” retitled and performed by everyone on the record with the exception of Corea himself. This piece has the particularity of featuring the original audio from 1961, which joined Terry with the pianist Pat Moran, bassist Max Bennett and drummer Mike Romero.

Disc one opens with “Kick Those Feet”, a 1964 gem that bursts with joie de vivre in the hands of pianist Kenny Barron, whose inventive language is always spot-on, bassist Buster Williams, whose deep underpinning quality remains impressive, and Gerry, who is consistently competent throughout.

The exuberant straight ahead jazz continues with “Obstacle Course”, a sunny ray of brilliant bop infused with snare rolls and featuring Corea and the bassist Ron Carter. This same trio explores Latin grooves on “Sweet Young Song of Love”, and more rhythms can be enjoyed on “The Fat Man”, which, instead, features pianist Geoffrey Keezer, who does a stride piano demonstration at the end, and bassist Christian McBride, who bows creatively before trading fours with the drummer. This same trio also delivers the uptempo “Nutty Notes” and the pleasingly exultant “Gibberish”, both picking up steam in their uppermost swing.

The trio of Gibbs with the organist Larry Goldings and pianist Patrice Rushen is featured on “Smoke ‘em Up”, a lustrous jazz funk, and “Townhouse 3”, which boasts a rip-roaring bossa groove. Playing his own arrangement, Corea comes to the fore once more on “Waltz for My Children”.

Enthusiasts of the straight ahead jazz have here a great opportunity to hear a few jazz giants of gutsy fluency stretching together. They keep the bebop alive in a transparent disc with no place for obscurities or complex meters.

Grade B+

Grade B+

Favorite Tracks:
01 (disc one) - Kick Those Feet ► 09 (disc one) - Hey Chick ► 10 (disc two) - Tango For Terry