Dan Cray - Outside In

January 19, 2017

Dan Cray: piano; Dayna Stephens: tenor saxophone; Clark Sommers: bass; Mark Ferber: drums.

Outside In is the title of the sixth album by the pianist/composer Dan Cray, his second recorded in quartet.
Regarding the lineup, and in comparison to Cray's previous work, Meridies, the saxophonist Noah Preminger was replaced by Dayna Stephens, while the drummer Mark Ferber and his longtime bassist Clark Sommers keep laying down the foundation.
Favoring a laid-back posture and a liberating spiritual freedom, the recording comprises seven frictionless tunes, which have the power of grabbing us emotionally.

More than just deliver a gentle spirituality, “Small Sir” works as a natural medium for the pianist’s modal expansions and beautiful creativity. By the end, after sincerely felt improvisations by Cray and Sommers, Stephens lets his voice out for the final turnaround, peppered by Ferber’s stalwart drumming.
“Where Springs” is an innocuous ballad that boasts a wonderful understanding between the bandleader and Stephens. They whether complement each other’s phrases or fill the available spaces with logic and wisdom.

Billy Strayhorn’s classic, “A Flower Is a Lovesome Thing”, is an exceptional piece crafted with an exotic grace and escorted by a sophisticated bass pulse and cultivated drumming. Besides the latter, the album presents two more renditions: Bud Powell’s “Oblivion”, which starts as a rhythmically broken dance and then swings sturdily for Cray’s heartening solo, and the soft and tender “Where Are You”, a 1937 jazz standard composed by Jimmy McHugh.
Also captivating is “OdP (Bird of Paradise)”, a serene waltz whose melody, drawn by Stephen’s attractive language, is more plaintive than dreamy. In contrast, the title track accelerates slightly by adding some more pulse. It maintains a passionate feel, though.

Serenading the moon and the Earth, Cray frames velvety layouts resorting to reflective moods and a huge sense of unity with the members of his quartet.
The romanticism will be even greater if you listen to Outside In while drinking a good glass of red wine in the company of your loved one.

Favorite Tracks:
01 – Small Sir ► 03 – A Flower Is a Lonesome Thing ► 05 – OdP (Bird of Paradise)

Steven Kirby - Illuminations

January 18, 2017

Steven Kirby: guitars; Bill Vint: saxophone, flute; Aubrey Johnson: vocals; John Funkhouser: piano, keyboards; Mark Shilansky: piano; Steve Hunt: keyboards; Greg Loughman: acoustic bass; Ed Lucie: electric bass; Mike Connors: drums, percussion.

Steven Kirby, a guitarist of exemplary technical quality and thorough compositional skills, is not obsessed with taking the center stage in Illuminations, his third album as a leader. He rather works hard for the consistency of the whole, a goal accomplished with distinction.
Not so prolific as we wanted to (his previous recording was North Light, dated from 2003), Kirby had the chance to record with Chris Potter, Scott Colley, Bruce Barth, Matt Wilson, Harvie S and George Schuller. Since 2006, he has been dedicated to teaching at several locations, including the Berklee College of Music, where he is an associate professor.

“Parabola”, the opening track, is a mirror of what I’ve just stated. Considerably complex melodies, validly reinforced by Aubrey Johnson’s warm voice, are arranged over attractive harmonic progressions. They take us in the direction of mesmerizing improvisations delivered by the adroit saxophonist Bill Vint, the bandleader himself, who boasts a finely reverbed sound, and the pianist John Funkhouser.
The widely known “I Hear a Rhapsody” doesn’t abstain from swinging cadences, but gains a fresh vigor through breathtaking improvisations.
A tenuous sunray is emitted during the first minute of the title track, right before shifting into a contagious Brazilian rhythm intensely mounted by guitar, bass and drums. Johnson’s voice works as another valuable instrument while Pat Metheny’s influence can be detected in Kirby’s airy sound and soloing approach.

“Beautiful Rain”, set in the form of a broody lament, can make you shed some tears through the lyrical, soft sounds drawn by Kirby, who beautifully plays the acoustic guitar. He’s well complemented by Loughman’s melodiousness and Connor’s effective brushwork. Also enriched by acoustic guitar sonorities are “A Luz das Estrelas” (meaning: the light of the stars), a modern classical piece played solo, and “Returning”, where we can hear a hint of Flamenco attached to the guitarist’s phrasing.
“Lake of Stars”, a 7/4-meter journey, pulsates with a comforting melodic-harmonic cohesiveness, anchoring in a sort of collective liberation by the end. It differs in tempo and mood from “May the 4ths Be With You”, a swinging 6/8 maneuver bolstered by an enchanting bop-based melody and eloquent solos by Vint and Kirby. The latter resorts to an ingrained distortion to vent his improvisational creativity.

Illuminations is Kirby’s best work so far and lives up to the hype.
There are diversified chops and interesting approaches throughout the recording to make us tuned from start to finish while continuing to experience the light it has to offer.

Favorite Tracks:
01 – Parabola ► 04 – Beautiful Rain ► 07 – May the 4ths Be With You

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

Ingrid Laubrock - Serpentines

January 11, 2017

Ingrid Laubrock: saxophones, glockenspiel; Peter Evans: trumpet; Dan Peck: tuba; Craig Taborn: piano; Miya Masaoka: koto; Sam Pluta: electronics; Tyshawn Sorey: drums.

German-born Brooklyn-based saxophonist, Ingrid Laubrock, an active hipster within the modern creative jazz scene, who knows how to prod and when to loosen up, doesn’t stop to amaze me with her projects. Following a great duo record with the inventive drummer Tom Rainey, she presents five brand new compositions in the company of a debutant group. In Serpentines, she explores diverse sonorous landscapes and never sounds the same twice, giving her peers – trumpeter Peter Evans, pianist Craig Taborn, drummer Tyshawn Sorey, koto player Miya Masaoka, tuba player Dan Peck and electronics wizard Sam Pluta – the opportunity to intervene with fantasy, cohesiveness, and reverie.

The opening tune, “Pothole Analytics”, was split in two parts, working as an invitation for a variety of textures and calculated structures that will come next. The first part is sparse in movements, organic in its musical intercessions, and uniform in intensity. It moves in a sort of limbo, promising to explode any time with a provocative tangibility. The second part brings us the scintillating effervescence we always expected on the first one. The vivid interactions, suffused with irony and the polyphony generated by Laubrock, Evans and Peck, can be described as a controlled cacophony where no one stands out but the collective. Constantly searching for balance and carefully eschewing altercation, Masaoka and Taborn sketch agitated figures while Sorey confidently takes the rudder in his hands, propelling the starship into the vastness of space.
Their spectrum gets darker in the obscure “Chip in Brain”, a quasi-cinematic experience of startling textures. Surreptitiously, the tune evolves into a dreamy aura with the contribution of Pluta’s effects, Evans’s long notes, and Masaoka’s gentle touches.

“Squirrels”, a modern hymn, blossoms with tortuous lines of soprano sax and trumpet. Lurking in the corner, Peck’s tuba is attached as a guideline while Taborn balances everything with his monster creativity and freedom, well accompanied by Sorey’s fleet drumming. To better define the sections, unisons are injected as interludes, and the tune culminates with a diptych of Masaoka’s strumming and Pluta’s noise, before assuming the form of a prodigious march.
Chimerical and explorative, the title track bursts with rhythm, becoming cautiously atmospheric as the textures weaved by Taborn, Sorey, and Pluta invite Peck’s low vibes. The bandleader resumes the melodic contours with the help of Masaoka’s exotic sounds.

Accurately composed and wrapped in fantastic chemistry, Serpentines reaffirms Laubrock as an indispensable figure in the contemporary jazz. New York is her home, but this music has no borders, showing solid, serpentine roads paved with freedom and discipline, expansions and contractions, composure and convulsion.

Favorite Tracks:
02 – Pothole Analytics Pt. 2 ► 04 – Squirrels ► 05 – Serpentines

Miguel Zenon - Tipico

January 9, 2017

Miguel Zenon: saxophone; Luis Perdomo: piano; Hans Glawischnig: bass; Henry Cole: drums.

Puerto Rican saxophonist Miguel Zenon, 39, is a multiple Grammy Award nominee, a meritorious recipient of Guggenheim and MacArthur Fellowships, a graduate of the Berklee College and Manhattan School of Music, and a member of the prestigious SFJazz Collective. Throughout his notable career, he has teamed up with Antonio Sanchez, Danilo Perez, Charlie Haden, Fred Hersch, and Steve Coleman, among others.

Zenon sticks to an illuminated pathway with his fresh album entitled Tipico, which comprises eight original pieces inspired by the musical language he has developed with the members of his longtime quartet over 15 years. His experienced musketeers are Venezuelan pianist Luis Perdomo, German bassist Hans Glawischnig, and Puerto Rican drummer Henry Cole who replaced Antonio Sanchez in 2008 when he joined the Pat Metheny Group.

Bursting with a vivid energy, “Academia” makes us rejoice with the melodic and rhythmic sophistication of Zenon’s dissertations, and the clarity and objectivity of Perdomo’s intimate approach. The tune disembogues into a sort of fast-paced Eastern dance.
“Cantor”, dedicated to his friend, collaborator and master composer/arranger, Guillermo Klein, subtlety plays with tempos, breaking them in a clever way toward a final harmonic sequence that suits Zenon’s take offs. The saxophonist, boosted by the fertile passages of the last cited tune, also excels in “Ciclo”, a soaring, cyclic movement fancifully grounded in the groove created by Glawischnig and Cole, and elevated by memorable solos from Perdomo and himself.

The title track plays a very unique role in the album, injecting warm rhythms and folkloric melodies from Latin American and Caribbean countries.
The saxophonist dedicates “Sangre de mi Sangre” to his daughter Elena. It features a warmly expressive bass solo and advances at a moderated 6/8 tempo.
The remaining three songs, “Corteza”, “Entre Las Raices”, and “Las Ramas” were dedicated to Glawischnig, Perdomo, and Cole, respectively, and built on musical ideas they had played before.
Elegantly put, “Corteza” flows through a blend of balladic and rockish pulses. The avant-gardish “Entre Las Raices” is a kinetic and passionately driven piece that unveils a more explorative side of the quartet. The highly crafted rhythm in “Las Ramas” seems to move back and forward, becoming a challenge for the responsive drummer.

The musical quality of Zenon has no weak points or artificial schemes, and the well-established unity he shares with his bandmates is great to observe. His genius is left loose in Tipico, a deeply genuine and exhilarating body of work that reinforces his status as a groundbreaking saxophonist and inexorable cat in the actual jazz scene.

Favorite Tracks:
01 – Academia ► 03 – Ciclo ► 07 – Entre Las Raices

Will Bernard - Out & About

January 3, 2017

Will Bernard: guitar; John Ellis: saxophone; Brian Charette: organ; Ben Allison: bass; Allison Miller: drums.

The new material designed by the Brooklyn-based jazz guitarist Will Bernard, a Grammy-award nominated (with Party Hats in 2007), was built up with the esteemed contribution of reliable musicians.
The stylistic openness evinced by Bernard along his career allowed him to work in such a different projects with names like Tom Waits, Jai Uttal, Dr. Lonnie Smith, Charlie Hunter, and Peter Apfelbaum.
Both these experiences, together with his very own personal touch and vision, brought positive effects to his ninth album, Out & About, a solid effort that precisely reveals his broad range of expression.

Nothing better to start than a wha-wha guitar, saturated with soul and funk elements, laid out on a cheerful bass-drums groove. This is what happens in “Happy Belated”, the first track of the album that features fulgurant improvisations by Bernard and Ellis. This pair of ramblers is in evidence again in “Next Guest”, an avant-garde settlement whose head relies on a strong motivic figure.
Rich in tempo variations, “Habenera” changes the mood completely, becoming harmonically oriented by Charette’s organ and perceptively accentuated by the adroit rhythm section.

Typical jazz idioms return in “Redwoods”, an up-tempo, elated tune where all the performers have the opportunity to expand their personal creativity, as well as in “Homeward Bound”, a tune infused with a cool rock atmosphere, and “Homebody”, a sneaky creation of pacific contours.
“Suggested Reading”, a volatile and vagrant ramble ideally conceived for Bernard’s uncompromising explorations, also showcases Ben Allison’s soloing expertise, while “Full Sweep” suggests a Latin feel swept by Ellis’ spontaneity. The album finishes with the elegant title track, holder of a tango-ish sparkle and beautiful melody, but only after “Pan Seared”, a sensitive ballad adorned with Miller’s concise brushwork.

Uncomplicated, agreeable, and passionate, are three adjectives that, applied simultaneously, better define Out & About.

Favorite Tracks:
03 – Next Guest ► 04 – Habenera ► 11 – Out & About

Jakob Bro - Streams

January 2, 2017

Jakob Bro: guitar; Thomas Morgan: double bass; Joey Baron: drums.

Jakob Bro is a Danish jazz guitarist with a highly identifiable sound and deep intimacy inherent to his poetic approach and pallid textures. Streams, his second album on ECM, is a more-than-competent follow-up to Gefion, released one year ago on the same label.
In this transcendent body of work, Bro kept the outstanding bassist Thomas Morgan on his side, giving the drummer’s chair to Joey Baron, who replaced Jon Christensen.

“Opal” starts with a comprehensive circumspection. The trio embarks on a touching quietude that envelops us profoundly, instigating us to fly, open our hearts and souls, and gaze the infinite light beams that can traverse the scattered clouds up in the sky.
“Heroines” assumes a song format, shinning with Bro’s blissful melodies, Morgan’s dedicated bass notes, and Baron’s frequent gentile ruffs. It conveys a glowing harmony that I refuse to let go, even when the following track arrives.

The relentlessly atmospheric “PM Dream”, dedicated to Paul Motian, expands horizons after developing delicate layers of guitar-synth that fall on top of bass free moves and pertinent percussion. Baron almost feels geometric in its strokes, eagerly trying to give the last retouches on a flawless canvas.
Cerebrally designed, “Full Moon Europa”, precedes the surprisingly groovy “Shell Pink”, which gracefully flows amidst the floating sounds created by Bro’s guitar fingerings. The rhythm section boasts an enviable tightness, fundamental to attain this level of quality.
The indelible classical undertones of “Heroines” echoes again, this time in an enchanting solo version.

Jakob Bro relies heavily on his peers to create an elegant album, free of individual exhibitionism, which is an assured itinerary for his compositional concepts. The collective does miracles as it distinctively shapes idle, hypnotizing, nocturnal, and intellectual streams of pacific nature.

Favorite Tracks:
01 – Opal ► 02 – Heroines ► 05 – Shell Pink

Mary Halvorson Octet - Away with You

December 20, 2016

Mary Halvorson: guitar; Ingrid Laubrock: tenor saxophone; Jon Irabagon: alto saxophone; Jonathan Finlayson: trumpet; Jacob Garchik: trombone; Susan Alcorn: pedal steel guitar; John Hébert: bass; Ches Smith: drums.

Originally from Brookline, Massachusetts, and based in Brooklyn, New York, Mary Halvorson, a skillful guitarist, unpredictable improviser, gifted composer, and unavoidable figure of the avant-garde jazz current, has been very active in New York since 2002. Highly in-demand in the last couple of years, Halvorson has participated in several recordings as a sidewoman in addition to the release of her first solo album, Meltframe, and a few audacious duo and trio projects she co-leads. Her style usually features twisted-yet-beautiful harmonies and an out-of-the-box improvisational vision that encompasses complex patterns, audacious phrases, and dazzling atonal and polytonal approaches.

To give the most appropriate course to her tempting new album, Away With You, the unconventional 36-year-old guitarist brought together an extraordinary octet. The resultant body of work confers her, once and for all, the statute of large-ensemble leader.
Evincing a more melodic and cerebral approach than her previous works, the recording starts with “Spirit Splitter (No. 54)”, a distortedly symphonic volcano that spills rapturous counterpoints and steamy exchanges. Saxophonist Jon Irabagon puts his best foot forward, showing why he’s considered an outstanding improviser. Halvorson brands her quirky, tense chords right after a reverberant collective improvisation packed with horn sounds.
Her probing guitar dominates “Away With You (No. 55)”, a frolicking avant-pop piece that also counts on trumpeter Jonathan Finlayson’s unpretentious speeches and Ches Smith’s freethinking yet methodical drumming.

“The Absolute Outmost (No. 52)” features Susan Alcorn playing her pedal guitar steel in a meditative way. Halvorson, opting for unusual sounds, and John Hébért, who bows the bass accordingly, join her until the fourth minute, time when the reeds erupt and a flamboyant rhythm is installed. Ingrid Laubrock excels with a portentous solo that encompasses melodious lines, hints of bop phrasing, and explosive temper.
Other notable tunes are “Fog Bank (No. 56)”, a suspenseful piece sculpted by guitar, bowed bass, and trombone; “Safety Orange (No. 59)”, an exquisite guitar-horn irreverence played at 3/4 tempo; and the conclusive “Inky Ribbons (No. 53)”, an unattached melodic song embellished by beautiful guitar interactions and featuring the reedists by turns.

Away With You is Halvorson’s most enlightened and maturest work so far. The gallant sonic tapestry weaved through the fabulous arrangements enhances the collective rather the individual. Still, sectional free forms and ravishing improvisations remind us that Halvorson’s uncanny knack for playing out of standardized zones remains intact. For our contentment!

Favorite Tracks:
01 – Spirit Splitter ► 03 – The Absolute Outmost ► 08 – Inky Ribbons

Steve Turre - Colors for the Masters

December 13, 2016

Steve Turre: trombone, shells; Kenny Barron: piano; Ron Carter: bass; Jimmy Cobb: drums + Javon Jackson: tenor sax; Cyro Baptista: percussion.

Steve Turre is probably the most influential trombonist in business within the bop and post bop styles.
For this colorful venture, entitled Colors For The Masters, he got the backing of a truly masterful rhythm section composed of the limitless pianist Kenny Barron, the colossal bassist Ron Carter, and the still-powerhouse drummer Jimmy Cobb. Guest appearances by saxophonist Javon Jackson and percussionist Cyro Baptista facilitate the addition of extra color throughout a body of work that clings to bop, blues, ballads, jazz standards, and Latin/Brazilian grooves.

Turre wrote “Taylor Made” assuming influences from Ray Charles and Art Blakey, two giants in their very own styles, with whom he toured in the 70’s. Obeying to a traditional structure and moving in the direction of the blues, the tune displays a pleasurable swinging groove in addition to joyful improvisations.
With “Quietude”, which translates to quietness, the mood shifts to what the title suggests, and we find solace in Turre’s beautiful melodies, the gentle chords of Barron, the subtleness of Carter’s low notes, and Cobb’s relaxing brushwork.
“JoCo Blues” is another boppish original from Turre written for John Coltrane.

The band embarks on several renditions of classic jazz tunes such as the brisk “Coffee Pot” by J.J. Johnson, an influence and inspiration to the trombonist, Monk’s “Reflections”, which gained the shape of a lullaby, Wayne Shorter’s terrific waltz “United", and the soothing jazz standard “When Sunny Gets Blue”, here enriched through improvisations that found the perfect balance between melody and rhythm. There's also Jobim’s “Corcovado” in which Turre resorts to the conch shells to generate distinct sounds over the Latin vibrancies and Brazilian rhythms.
In the cheerful “Mellow D for RC”, a tribute to Ron Carter, bandleader and honoree traded fours after the soloists have their way. The title track is initially set with a modal approach that shifts into a hasty swing with Latin touches.

Turre has all the reasons to be proud of his new album. The same way he honors the jazz masters, he’s certainly also honored for having their support to create great music. In truth, he’s a master himself, who continues to color with freshness the traditional jazz forms.

Favorite Tracks:
01 – Taylor Made ► 02 – Quietude ► 07 – Colors For the Masters

Francisco Mela - Fe

December 13, 2016

Leo Genovese: piano; Gerald Cannon: bass; Francisco Mela: drums. Guest - John Scofield: guitar.

Francisco Mela, an invigorating Cuban-born drummer, percussionist, and composer, releases a powerful new album entitled Fe (faith), which works as a tribute to his late parents and a way of gratefulness toward the masters who believed in his capacities. He recorded it with his Crash Trio, which includes the Argentine pianist Leo Genovese and the American bassist Gerald Cannon. The master guitarist John Scofield appears on two tracks as a very special guest.

“Ancestros”, a breathtaking tune initiated in rubato and delivered at a complex tempo, makes us alert and features the inventively dazzling touches of Genovese, deeply immersed in the robust web created by the elastic rhythm section that paddles toward a grandiose finale. Here, one can have a glimpse of Chick Corea’s initial phase.
“Mr. Alden” is a frolicking and unstoppable swinging piece that shows how Genovese can sound dashingly percussive, resorting to the use of several octaves to punch us in the face. The gentle beginning of “Don McCoy”, a richly textured tune that salutes McCoy Tyner, interrupts this animation. It precedes the title track, which marks the first intervention of Mr. Scofield, whose jubilant tones and vibes change the mood presented until then. The guitarist returns, later on, to unchain another sizzling improvisation in “Just Now”, a bop-influenced exercise that also features brilliant musical expressions by Genovese and Cannon.

“Romeo and Juliette” is a ballad that conveys the same dramatic sentiment as the Shakespeare’s novel characters that served it as inspiration.
Mela’s songcraft can be appreciated in the flowing “Reflections” is peppered by the percussive abilities of the bandleader, while “Lovano’s Mood” honors the legendary saxophonist Joe Lovano with resoluteness.
Stepping on avant-garde territory, “Curcuros” brings Mela’s restless drumming below a repetitive piano idea. The climactic tones are increased when Cannon starts to bow his upright bass. The album comes to a conclusion with “Open Dance”, a thriving piece adorned with Brubeck-ish melodies and bouncing improvisations.

Each track warrants its place on this edgy album, arising different emotions in accordance with the mood embraced. High quality is assured, and Mela’s faith is also our faith that he can be definitely validated as one of the most valuable drummers of the contemporary jazz.

Favorite Tracks:
01 – Ancestros ► 07 – Curcuros ► 09 – Just Now

Marcello Pellitteri - Aquarius Woman

December 9, 2016

Orazio Maugeri: alto saxophone; Salvatore Bonafede: piano; Gabrio Bevilacqua: acoustic bass; Marcello Pellitteri: drums; + guests.

Marcello Pellitteri, a sensitive drummer and experienced educator, convenes an Italian quartet composed of Orazio Maugeri on alto saxophone, Salvatore Bonafede on piano, and Gabrio Bevilacqua on acoustic bass, to homage his daughter Veronica, who passed away in 2014, at the age of 23.
Each member contributes with original compositions to Aquarius Woman an emotional record that also includes a couple of covers and poems.

A few guests join the quartet along the way, and the first doing it is the experienced tenor man George Garzone, who blew fiercely in “Chasin’ The Zone”, a straightforward post-bop tune declared with impressionistic expressiveness.
Things get lighter and smoother in “Longin”, a moderated swing song that obeys to traditional contours, as well as in the title track, where we can hear Veronica’s voice reading a poem by an Indonesian poet named Murtiningru. Also, “Remind to Live” strolls unhurriedly through peaceful pathways.
Bonafede’s “Villeneuve”, starting with a melodious sax and sparse piano chords, showcases the bandleader’s drumming skills, here culminating into a sympathetic solo. The band confidently returns to the main theme where we can hear the interpositions of Maugeri and Bonafede, filling the available spaces.

Veronica’s favorite tunes were also featured on the recording. A passionate bass prelude anticipates Alicia Keys’s “If I Ain’t Got You”, sung by Nedelka Prescod, while Stevie Wonder’s “Ribbon in the Sky” had Lauren Kinhan in charge of intonating the lyrics.
The resonant and mutable “Twenty Three” is 23 bars long with 23 notes in the melody, a peculiarity in Pellitteri’s compositional effort to homage his beloved daughter. Here, a stirring funky groove invites to explore a bit further, suggestion that Maugeri and Bonafede embraced with conviction and seriousness. They did it again in “Saxando” whose sunny disposition contrasts with a certain nostalgic melancholy evinced in “Colors On Your Face”, a pop tune spurred by unaltered drumbeats.

Pellitteri unveiled solid skills as a composer and arranger, turning Aquarius Woman into a sincere and emotive body of work that transpires hope and virtue.
I believe this was an urgent step for him as part of a natural healing process.

Favorite Tracks:
01 – Chasin’ The Zone ► 05 – Villeneuve ► 08 – Twenty Three

Tim Daisy's Celebration Sextet - The Halfway There Suite

December 6, 2016

Dave Rempis: tenor saxophone; Steve Swell: trombone; James Falzone: clarinet; Russ Johnson: trumpet; Fred Lonberg-Holm: cello; Tim Daisy: drums.

Chicago-based drummer and composer, Tim Daisy, is known for his dedication to the avant-garde jazz, a style of which he keeps contributing prolifically whether through solo performances or musical associations that most of the times fall in duets and trios.
To counteract this tendency, Daisy convenes an astonishing sextet - Dave Rempis on tenor saxophone, James Falzone on clarinet, Russ Johnson on trumpet, Steve Swell on trombone, and Fred Lonberg-Holm on cello - to record The Halfway There Suite, his new auspicious album.

There’s a lot to like in this short session, which was performed and recorded live on the occasion of Daisy’s 40th birthday celebration. The drummer had these five excellent musicians in mind when he composed this four-part suite. Through the strong empathy, precise coordination, and grand elation detected here, it’s easy to conclude that besides talented explorers they are friends above all.

Daisy’s opening is a four-minute chamber jazz piece that finds its balance mostly through the simultaneous actions of the reedists. It features improvisations by Johnson on a first instance, and then Swell, who finishes in style.
The atmosphere becomes fervent during “Pt. 2”, a spontaneous automation grounded in a fantastic groove laid down by Lonberg-Holm and solidified by Daisy’s lusty drumming. In terms of improvisation, Falzone enchanted me as if I were a serpent. In opposition, Rempis gave wings to creativity by engendering a caustic speech imbued of tension. The tune is wrapped up with a collective improvisational section whose controlled cacophony made me jump. At this point, dancing is a valid option!

The longest and more abstract piece is “Pt. 3” where Lonberg-Holm cooks an eerie atmosphere. You’ll have the opportunity to admire not only the conversational reciprocity between Falzone and Swell, but also Daisy’s thunder rumblings and arrhythmias.
The exciting six-piece ensemble closes its performance with “Pt. 4”, an intoxicating waltz driven by sometimes-explosive, sometimes-danceable rhythms, and punctuated by contrasting blowouts and conductible melodic ideas.

If free and avant-jazz genres are your cup of tea, in the end, you’re going to ask for more.

Favorite Tracks:
02 – Pt. 2 ► 03 – Pt. 3 ► 04 – Pt. 4

Donny McCaslin - Beyond Now

December 5, 2016

Donny McCaslin: tenor saxophone; Jason Lindner: keyboards; Tim Lefebvre: electric bass; Mark Guiliana: drums; David Binney: synth; Nate Wood: guitar; Jeff Taylor: vocals.

Widely acclaimed saxophonist Donny McCaslin returns with a personalized project of his authorship after participating in David Bowie’s Blackstar.
McCaslin reunites his Fast Future quartet, whose members - Jason Lindner on keyboards, Tim Lefebvre on electric bass, and Mark Guiliana on drums - were also crucial in the English pop star's lattermost album, and adds a few influential guest musicians to play on selected songs.
The nine tracks of Beyond Now intelligently combine a variety of variables that catapult McCaslin to the vanguard of the modern jazz.

The opening tune, “Shake Loose” pulses with hypnotic rhythmic chops and feels simultaneously urban and futuristic. With strong influences of pop-rock, jazz, and electronic music, the quartet proliferates a penetrating tension that remains elevated until its release through expansive harmonic progressions and the attractive melody of the chorus.
A comparable approach is used in the melodious and patiently-driven “Bright Abyss”, another fantastic original that quickly connects to our senses through a sober, alert, and provocative instrumentation. The emotional grandeur brought into its final section, which is magnified by voices, has become McCaslin’s signature over the years.

Having worked with David Bowie must have been a great honor for these musicians. Grateful for the opportunity, they've agreed in the recording of two of his songs: “A Small Plot of Land”, featuring Jeff Taylor on vocals and Nate Wood on guitar, is a depressive chant whose inaugural regular beats gain a stronger perspective as Guiliana introduces richer drumming maneuvers; and “Warszawa”, which is strongly anchored in Lindner’s obscure interventions, becoming a suitable prop for McCaslin’s infatuations.
The quartet dabbles in ambient-electronic allures through the addition of Deadmau5’s “Coelacanth 1”, in which the quartet attempts to describe the beauty but also the dangers of a distant planet, and Mutemath’s “Remain”, a soulful blend of electronic, pop, and gospel that left me in a state of inebriant ecstasy.
“Glory” only reinforces the bandleader’s dexterity as a composer and improviser, at the same time that features Lindner in a beautiful solo piano instance. The intensification of the closing harmonic cycles brought in more of the saxophonist’s swirling explorations.

McCaslin’s sound and ideas remain fresh and original, and Beyond Now stands a few steps ahead of the present time. As a pioneer of this type of fusion, he solidifies the present by keeping an eye in the future. After all, he’s a jazz giant, a reputation founded on his own merit.

Favorite Tracks:
05 – Bright Abyss ► 08 – Glory ► 09 – Remain

Terell Stafford - Forgive and Forget

December 2, 2016

Terell Stafford: trumpet; Tim Warfield: tenor saxophone; Kevin Hays: piano; Greg Williams: bass; Rodney Green: drums.

With Forgive and Forget, the experienced trumpeter and educator, Terell Stafford, proves it’s possible to pick the best of what hard-bop can offer and efficiently adapt it to our days, embracing a salutary commitment between past and present.
His new recording comprises nine colorful tunes written, produced and arranged by Herb Harris, who trusted the material to Stafford and his persuasive quintet composed of Tim Warfield on tenor saxophone, Kevin Hays on piano, Greg Williams on bass, and Rodney Green on drums.

As a starting point, we have “No, No, No (That Ain’t The Way It Go)”, a fascinating waltz that flourishes with modal inflections. Despite having been written during a rehearsal of Duke Ellington’s music, this tune fits somewhere between Joe Henderson’s The Kicker and the post-bop wallops of McCoy Tyner.
“A Two-Per To Fill” rests in the bop tradition, obeying to a pretty known structure and bringing a vivid swinging groove to the game. It features expressive solos from Warfield, Stafford, and Hays.

The title track, a ballad with rich harmonic passages, feels a bit long, but that factor made me appreciate even more the rhythmic nuances of “The Owl Express”, another energetic and fluid ride along the streets of hard-bop. Warfield’s explosive solo was particularly catchy, forcing his bandmates, Stafford and Hays, to draw compelling improvisational responses.
In “Please Rest My Soul”, one can find a peaceful graciousness in Stafford’s vocabulary in addition to the passionate lyricism in Hays’s delicate expressions.
A second take of “No, No, No” and a lower speed variant of “The Owl Express” were also included.

The members of this simpatico quintet, once in the possession of Harris’ compositions, intrepidly accomplished the mission to make them sound good. Attentive listeners will notice their enjoyment in playing together and their dedication to a genre they move effortlessly and passionately. There's something palpable here, waiting to send us back to the glory days of jazz.

Favorite Tracks:
01 – No, No, No (That Ain’t The Way It Go) ► 04 – The Owl Express ► 06 – Please Rest My Sou

Aziza - Aziza (Holland / Potter / Loueke / Harland)

December 1, 2016

Dave Holland: bass; Chris Potter: tenor and soprano saxophones; Lionel Loueke: guitar; Eric Harland: drums.

Aziza is the name of a brand new jazz supergroup of snappy influence that includes the bassist Dave Holland, the guitarist Lionel Loueke, the saxophonist Chris Potter, and the drummer Eric Harland.
Their self-entitled debut album is a remarkable artistic pearl that exhales both collective creativity and crisp individual improvisations.

It opens with the groundbreaking funk of “Aziza Dance”, a semi-robotic jubilation that features Potter and Loueke in sharp unisons and affirmative solos on top of the groove laid down by the grandiose rhythm section. The inventive guitarist, and author of this piece, whose quirky approach never lets me down, stands out by improvising with aplomb and originality while using a mesmerizing guitar effect.
The predominance of African and exotic rhythms are observable throughout the record. “Summer 15” is emulsified by Potter’s soprano during the initial melody and then tenor for the final theme; “Finding the Light” is peppered by the saxophonist’s in/out concept and Harland’s intelligent rhythm patterns; in “Sleepless Night”, Loueke shows his enormous influence and versatility, singing and opting for guitar distortion to exchange compelling phrases with Potter.

Even if the title suggests a walking bass, don’t expect to find it in “Walkin’ the Walk”, which thrives with an effervescent groove that obeys to a complex meter. Holland, simultaneously leader and team player, clarifies why he is the most desirable bassist on Earth. Potter and Harland channel their energy to provide unflagging verve.
In “Aquila”, the quartet changes the tempo, passing from a 6/8 to a 4/4 in the final section. Most of its flavor comes from Loueke’s aromatic comping.
An alternative approach was used in the rhythmically acrobatic, “Blue Sufi”, which grabs influence from rock music while occasionally scatters eastern innuendos translated by Potter’s steadfast phrasing.

Using the jazz language as an intermediary, Aziza celebrates different cultures through a consummate liaison. The brilliance of these top musicians translates into a rewarding, nimble album. Indubitably, this is one of the year's best.

Favorite Tracks:
01 – Aziza Dance ► 03 – Walkin’ the Walk ► 08 – Sleepless Night

Leandro Cabral Trio - Alfa

November 29, 2016

Leandro Cabral: piano; Sidiel Vieira: bass; Vitor Cabral: drums and percussion.

Leandro Cabral, an emergent Brazilian pianist and composer of exemplary perception, has in Alfa, his sophomore album, a beautiful statement of impeccable musicality and incredible interaction with his trio mates, bassist Sidiel Vieira and drummer Vitor Cabral.
Infused with gleeful intonations, the longtime friends embark on a musical journey packed with unique sounds and granular details where the richness of the Brazilian music meets the quieter side of jazz. To give you a rough idea of what you can find here, imagine Jobim’s bossanova harmonization blended with the pacifism of Marcin Wasilewski’s improvisation.

Unusual Brazilian rhythms such as the vassi and ijexá, both original from Bahia, populate many of Cabral’s compositions. The opening tune, “O Amor Que Se Deu” is one of them, crafted with sensitivity and delivered with eloquence, but it was through “Rute e Sua Grandeza” that they hit my soul. It’s a ravishing, meditative, and soulful piece suffused with warm compassion and overflowing energy.
Another impactful number is the percussive title track, a relaxing prayer reminiscent of Manu Katché’s music, which I imagine proclaiming peace for everyone and thanking the Creator for the life and the music. It features a fantastic bass solo.

Standing as a romantic emanation and featuring guests Vanessa Moreno on vocals and Cássio Ferreira on soprano, “A Dança” is less danceable than “O Grande Azul”, a freeing Brazilian-influenced rapture.
Jobim’s “Outra Vez” starts with Leandro’s intimate piano intro, and is renovated through fresh, docile sounds as it finds shelter in a well-tangled turnaround by the end. The spiciest rhythms come from Johnny Alf’s Brazilian classic “Rapaz de Bem” while “Inutil Paisagem” naturally suggests sadness and beauty in equal amounts, fitting in the same package as Leandro’s “Valsa do Amanhã” and “Marcela”.

Alfa is a highly recommended recording. Profoundly enthralling in its introspective harmony, which is incessantly enhanced by the trio’s fabulous chemistry.

Favorite Tracks:
04 – Rute e Sua Grandeza ► 06 – O Grande Azul ► 08 – Alfa

Brandi Disterheft - Blue Canvas

November 29, 2016

Brandi Disterheft: bass, cello, vocals; Harold Mabern: piano; Joe Farnsworth: drums.

Canadian contrabassist, singer and composer, Brandi Disterheft, a true representative of the contemporary swinging jazz, releases her fourth album on Justin Time Records. As a valuable element of a younger generation, Ms. Disterheft had no problem in joining forces with two of the most streetwise musicians dwelling in the traditional jazz. I’m talking about the pianist Harold Mabern and the drummer Joe Farnsworth, her accomplices in Blue Canvas, a joyful work that abounds with seductive rhythms, colorful sounds and fiery improvisations.

“Dis Here”, Bobby Timmons’s 6/8 soul-jazz classic, worked miracles in my ears with its engrossing vibes, allowing the three musicians to show their improvisational skills.
The trio steps on a similar ground when playing other stylish bop tunes. In Mabern’s “Beehave”, the nature of the theme itself allows Farnsworth to express himself thoroughly behind the drum set before a frantic swing brings the house down.
The irresistible melodies of the hard-bopper trumpeter Clifford Brown are well replicated in a couple of tunes he wrote, “Daahoud” and “George’s Dilemma”. The former, so expressively caressing, diverges from the latter, which is vigorously propelled by a dazzling Latin pulse, perfect for Farnsworth’s exteriorization.

Ms. Disterheft assumes the responsibility of uttering the head’s melodic line both in Todd Dameron’s “Our Delight”, which boasts extroverted bass and piano solos, and Ann Ronell’s bluesy ballad “Willow Weep for Me”. She does it with smoothness.
However, this record doesn’t live exclusively from bop renditions. The three originals from Ms. Disterheft also weigh in the final balance. The gently Latinized “Cripping Thrill” is an impulsive, sensuous endeavor that ends up swinging strongly, yet my senses became much more alert with the title track, an up-tempo vocalized enticer that evokes Dizzy’s “Salt Peanuts” memorable line.

The clever selection of tunes gained more preponderance with the sturdy rapport of the trio, so essential to starting a new euphoria and bringing some freshness into the perennial swinging jazz.

Favorite Tracks:
01 – Dis Here ► 06 – Blue Canvas ► 07 – George’s Dilemma

Joshua Redman & Brad Mehldau - Nearness

November 23, 2016

Joshua Redman: saxophone; Brad Mehldau: piano.

Only wonderful things could happen when the saxophonist Joshua Redman and the pianist Brad Mehldau, two longtime friends and creative minds of equal caliber, joined forces and let it out what their musical souls contain.
Recorded live during their European tour, Nearness touches an absolute emotional richness and its six duets - three originals and three covers - are to be cherished as real treasures.

This memorable celebration starts with Parker’s “Ornithology”, here transformed into a stylish neo-bop stretch that brings the flavors of the past mixed with a contemporary vision presented in the form of a superior musical wit.
The mood changes with Mehldau’s “Always August”, a beautiful tune that went straight under my skin, aiming to the heart with all its influential assertiveness. Heavenly piano chords carry a vital, soulful pulse from which is impossible to stay indifferent. Redman is an unconditional giver, fulfilling the spaces with clever melodic delineations while Mehldau is better than ever, lighting up a consistent fire that lasts from the first to the last minute.

If still among us, Thelonious Monk would be certainly grateful for the fantastic rendition of his tune “In Walked Bud”, which boasts distinguished variations. Sporadically, the improvisers throw in fragments of the original’s main theme, permitting us to recognize the tune without falling in the obvious. Mehldau’s piano work attains a perfect balance through the inspiring and complementary sounds extracted by his left and right hands. By the end, the duo embarks on trades of eight, and then four bars, letting me more and more speechless with the coherence of their conversations.

The melancholy insinuated in the title “Mehlsancholy Mode” is only true until a certain point. In truth, I felt more alert than ever, in an attempt to absorb every idea suggested and the prompt responses that arrived from the other side.
Following “The Nearness of You”, a renowned jazz standard played with tasteful intimacy, we have Mehldau’s “Old West” whose pop music connotations are totally appropriate to conclude. This tune insists in cyclic harmonic sequences and unobscured melodies, evolving to irresistible solos that sweep the sky, whether as soft breezes or controlled wind gusts.

Mature, freeing and sophisticated, Nearness is a colossal record that will spin for a long time around here. I hope you can also feel this vibrant nearness that Redman and Mehldau are now sharing with the world.

Favorite Tracks:
02 – Always August ► 03 – In Walked Bud ► 06 – Old West

Charlie Haden Liberation Music Orchestra - Time/Life

November 23, 2016

Charlie Haden: acoustic bass; Carla Bley: piano, conduction; Tony Malaby: tenor sax; Chris Cheek: tenor sax; Loren Stillman: alto sax; Michael Rodriguez: trumpet; Seneca Black: trumpet; Curtis Fowlkes: trombone; Vincent Chancey: french horn; Joseph Daley: tuba; Steve Cardenas: guitar; Steve Swallow: electric bass; Matt Wilson: drums.

charlie-haden-liberation-music-orchestra-time-life

Charlie Haden, a phenomenal bassist, composer and inveterate activist, is no longer among us to follow the release of this record, the last one under his name. Time/Life (Song for the Whales and other Beings) comprises five tunes that fall under the direction of Carla Bley, co-founder of Haden’s revolutionary and politically charged Liberation Music Orchestra, first appeared in 1969.
The bassist, who died in 2014, only participates in the opening and closing tunes, Miles Davis’ “Blue in Green” and his own original “Song for the Whales”, respectively, which were recorded in Antwerp, Belgium, in 2011. The remaining tracks, all of them Bley's compositions, came to life in two studio recording sessions in the winter of 2015, with Steve Swallow replacing the colossal Haden in the lineup.

The luminous “Blue In Green” is a touching piece that displays all the grandiosity and splendor of Haden’s sound, whether through his sturdy accompaniment or stylish improvisation. A soulful saxophone solo delivered by Chris Cheek consistently intensifies the colors of a canvas already rich in texture and artistic composition.
Stepping solid ground, “TimeLife” starts up as a pacific march of dreamy intonation. It features a well chewed-up sax improv that, after a few minutes, offers Matt Wilson the lead in order to construct a logic drum solo that gradually summons Bley, Cardenas, and every reedist.

The unmistakable woody sound of Swallow’s electric bass introduces “Silent Spring”, in a nostalgic start that shifts to plaintive in the moment when the dramatically orchestrated laments of the Orchestra arise. Bley, cleverly taking advantage of the horns, doubles the tempo for an energetic trumpet improvisation.
Fowlkes and Cardenas are responsible for taking the initial steps in the weeping “Utviklingssang”, which soars with a calm expressiveness before entering into another march pumped by an untamable snare drum.
Bowing the acoustic bass, Haden peppers his “Song for the Whales” at the same time that calls for an effusive intervention by Tony Malaby, who brings Gato Barbieri’s blistering tonalities into play.

This is an impactful swan song from a visionary bass legend whose perspicacity goes beyond just music. The importance of the whales, all the living creatures, and the beauty of the universe were also there.

Favorite Tracks:
01 – Blue in Green ► 03 – Silent Spring ► 05 – Song for the Whales

ARS Trio - Poetics of Sight

November 21, 2016

Renato Diz: piano; Sergio Tavares: double bass; Jorge Queijo: drums, percussion.

ARS Trio is a darkly twisted experimental Portuguese project composed of Renato Diz on piano, Sergio Tavares on double bass, and Jorge Queijo on drums and percussion.
Despite the plans regarding this project had started in 2009, only recently the band members have reunited in Portugal to record their debut album, Poetics of Sight, strongly influenced by film and released on the W&J Productions, a new record label from New York.
Using imaginative techniques and resorting to unconventional sounds, the trio breaks the barriers of jazz music and steps on cinematic territories, illustrating sceneries that are simultaneously frightening, hypnotic, and curious.

“In The Beginning It Wasn't Just The Word...”, a slow-cooked 20-minute piece enveloped in mystic auras, uncovers the empirical strategy adopted for the album. An imperturbable melodic idea is considered as a point of departure and everything keeps revolving around it. Repetitive piano notes, whose main purpose is to build tension, together with an excellent interactive posture between bass and drums, enrich the concept. The beautiful minimalism resultant from this teamwork may speak louder than the chord progression of a Gershwin’s rhythm changes.
Tunes such as “Oneiric”, “Continuous Exhale”, and “Jumped Lamb” throw in unbent piano melodies and textures, passing a sensation of movement despite the minimal changes they are subjected to.

The first minutes of “The Mechanic of Things” can be quite disturbing due to the ominous sounds retrieved from the next big horror movie. The nature of such noises made me think of a freaky puppet show that gradually evolves into an unflinching danceable ritual where Diz’s attacks get prompt responses from Queijo.
A similar practice of elevated fluency can be enjoyed in the last section of “Unrequited Limbo”, an outlandish piece that drastically becomes brilliantly percussive. Different from all the other pieces, the short “Moorish” feels like an organic conjunction between a distorted Portuguese fado and Middle Eastern throbs.

ARS Trio reveals mastery in shaping sonic contortions that draw mystery and uneasiness. Only open-minded creators are capable of feeling so comfortable within these atmospheres, where everything is strange and yet nothing is out of place.

Favorite Tracks:
01 – In The Beginning It Wasn't Just The Word ► 03 – The Mechanic of Things ► 07 – Moorish