Dan Weiss - Sixteen: Drummers Suite

Dan Weiss: drums, tabla; Thomas Morgan: acoustic bass; Matt Mitchell: keyboards, piano, vibraphone; Jacob Sacks: piano; Miles Okazaki: guitars; David Binney: alto saxophone; Miguel Zenon: alto saxophone; Ohad Talmor: tenor saxophone; Jacob Garchik: trombone, tuba; Ben Gerstein: trombone; Stephen Cellucci: percussion; Katie Andrews: harp; Anna Webber: flutes; Judith Berkson: vocals; Lana Is: vocals; Jen Shyu: vocals.

Dan Weiss, a prominent element in past projects of Rudresh Mahanthappa, David Binney, and Rez Abbasi, claims more visibility as a bandleader, and “Sixteen: Drummers Suite” is a bold move in that direction. 
The opening track exhibits 56 seconds of his drumming skills, inviting us to the following six tracks, each of them carrying the name of an iconic drummer in the title.
“Elvin”, inspired by Elvin Jones, kicks in with a jumpy bass/drums groove adorned with cyclic piano lines, a few dissonant keyboard effects, vocals, horns, claps, and Okazaki’s guitar, which finishes the song in style. 
Max Roach is remembered in “Max”, a tune that continues delivering similar sounds of those showed by its predecessor. This time, however, the vocal component gets even bigger salience while Weiss and Morgan work on surprising rhythmic variations.
Invoking the unique Tony Williams, “Tony” is undoubtedly my favorite composition. It starts with Morgan’s bass intro and features a kinetic alto sax duel between Binney and Zenon, a shifting keyboard solo by Mitchell, and ends up in the melancholic piano of Jacob Sacks.
The percussive “Philly Joe” reaches epic proportions and culminates with another tense interaction between Mitchell and Sacks while “Ed”, a 15-minute piece that acknowledges Ed Blackwell, follows up the complex-yet-malleable moves of the previous pieces.

Favorite Tracks: 
02 – Elvin ► 04 – Tony ► 05 – Philly Joe

Jeff Denson Quartet - Concentric Circles

Jeff Denson: bass and vocals; Paul Hanson: bassoon; Dan Zemelman: piano; Alan Hall: drums.

“Concentric Circles” marks the return of the American bassist Jeff Denson, who previously had recorded with Lee Konitz and his trio. Here, he convenes a competent quartet to play nine original compositions that rely on a congruous compound of post-bop and progressive jazz. In addition to these, there’s Duke Ellington’s classic ballad “I Got it Bad”, played solo by the bandleader.
The opening tunes, “City Life on Trains” and “Anticipation”, reveal to have some melodic and rhythmic connections, being also strong and vividly active in terms of improvisations, in which the bassoonist Paul Hanson stands out, together with the pianist Dan Zemelman.
In the chamberesque lament “A Thought That Lingers”, Denson comes to the forefront with his great bow work, while in “Wishing Well” he shows his vocal aptitudes. His bass-playing arco can be heard once again in the simmering “Time Waits For No One”, which sounds like a sensual dancing piece flourished with tango insinuations.
“Cycles” returns to the liveliness of the first couple of tunes, just before Ellington’s cited song where Denson shows his portentous bowing technique.

Favorite Tracks:
01 – City Life on Trains ► 03 – A Thought That Lingers ► 05 – Time Waits For No One

Ken Peplowski - Enrapture

Ken Peplowski: clarinet, tenor Saxophone; Ehud Asherie: piano; Martin Wind: bass; Matt Wilson: drums.

Throughout the listening of “Enrapture”, Ken Peplowski demonstrates all his versatility and confidence both on clarinet and tenor saxophone. He opens with the Dixieland colors of “The Flaming Sword”, a Duke Ellington composition, and finishes with “Willow Tree”, a traditional blues composed by Fats Waller. Thus, as you can imagine there’s a lot of mainstream jazz here, with some nice surprises in the middle. 
Peplowski and his quartet stroll along sweet landscapes, showing a clear tendency to mellow tones with ballads directly connected to the movies such as “An Affair to Remember”; a love theme from Hitchcock’s “Vertigo”; “Cheer Up Charlie”, which was performed by Diana Sowie in “Willy Wonka and the Chocolate Factory”; and “I’ll Follow My Secret Heart” composed by the eccentric Noel Coward for his musical “Conversation Piece” and played on sax with a tremulous vibrato. 
It also includes a little piece from Lennon and Yoko called “Oh My Love” and “When October Goes”, a composition started by Johnny Mercer and finished by Barry Manilow who popularized it in the mid-80's. However, it was with Herbie Nichols’ “Enrapture”, where Wilson and Asherie shine individually, and Peter Erskine’s “Twelve”, a great tune replete of calls and responses, that Peplowski and his peers captivated me more due to the more enticing and adventurous nature of these compositions.

Favorite Tracks:
01 – The Flaming Sword ► 06 – Enrapture ► 07 – Twelve

Greg Ward & 10 Tongues - Touch My Beloved's Thought

Greg Ward: alto saxophone; Keefe Jackson: tenor and baritone saxophones; Tim Haldeman: tenor saxophone; Norman Palm: trombone; Christopher Davis: bass trombone; Russ Johnson: trumpet; Ben LaMarGuy: cornet; Dennis Luxion: piano; Jason Roebke: bass; Marcus Evans: drums.

The ten tunes of Greg Ward’s latest record courageously sought inspiration in Charles Mingus’ 1963 masterpiece “The Black Saint and the Sinner Lady”, revealing mature compositional work and striking arrangements. The efficient altoist opens with a notable composition entitled “Daybreak” in which he pulls out a breathtaking improvisation. “Singular Serenade” gives it a final sequence through Luxion’s solo piano. “The Menacing Lean” takes the proportions of a big-band march. An interlude by the reeds anticipates “With All Your Sorrow”, a ballad that avoids stiffness by evolving to a more groovy balance, featuring Palm’s trombone solo. “Grit” and “Round 3” belong to those kinds of enthusiastic shuffles that could be creations of Mingus or Sun Ra. The former composition features Jackson’s penetrating baritone sax while the latter, in a more rocking style, showcases another improvisational rampage, this time by Haldeman on tenor saxophone. Roebke nimbly introduces “Dialogue Of The Black Saint” with the sound of his bass, but it’s Johnson's plunger trumpet solo that takes the lead afterward. "Gather Round, The Revolution Is At Hand", the last and longest tune, exhibits a boisterous collective interaction in order to conclude the evocative album.

Favorite Tracks:
01 – Daybreak ► 09 – Dialogue Of The Black Saint ► 10 – Gather Round, The Revolution Is At Hand

Rempis / Abrams / Ra + Baker - Perihelion

Dave Rempis: alto, tenor, and baritone saxophones; Joshua Abrams: bass, clarinet; Avreeayl Ra: drums, wooden flute; Jim Baker: keyboards, electronics.

Dave Rempis, a former member of the extravagant Vandermark 5, is an inventive saxophonist and relentless explorer who continues to deserve attention in the free jazz circuit. “Perihelion”, a two disc-set, is the sophomore album of his powerhouse trio, which comprises the bassist Joshua Abrams and the drummer Avreeayl Ra. Together, they passionately make these divagations spill a creative freedom that asks to be absorbed with no preconceptions. The disc one is composed of a 43-minute tune called “Enceladus” that blossoms with spiritual ambiances and relaxed paces, which contrast with some ominous surroundings and well-controlled chaos often articulated with polyrhythms and saxophone outbursts. Somewhere in the middle, the tune gains the form of a tribal dance, bringing warm breezes of the Sahara desert into the mind. The disc two has a special guest -keyboardist Jim Baker joins the trio, adding extra color and sounding incredibly well in the 32-minute “Cassini Division”, a quasi-hallucinogenic experience that vibrates with Rempis’ baritone timbre. “Pan and Daphnis” runs for slightly more than eight minutes and insists on more enigmatic tones while displaying electronics and a static electricity. Fluent in ideas, and rich in climaxes and temperaments, “Perihelion” is an unmissable experience.

Favorite Tracks:
01 – Enceladus ► 02 – Cassini Division

Fred Hersch Trio - Sunday Night At the Vanguard

Fred Hersch: piano; John Hébert: double bass; Eric McPherson: drums.

Fred Hersch, a pianist of elaborate momentum, makes of the diversity his best weapon in “Sunday Nigh at the Vanguard”, recorded live in the most celebrated jazz venue in New York, in the company of the explorative bassist John Hébert and the tremendously adaptable Eric McPherson, who occupied the drummer’s chair.
The inspired melodies and harmonic textures of the pianist combine seamlessly with the throbbing grooves generated by the empathic rhythm section, ending up in curious dialogues that are more concordant than contentious.
Shedding a gentle lyricism, the proficient trio dabbles in a variety of styles. “A Cockeyed Optimist” is the typical jazz standard, “Serpentine” let us feel a strong classical influence, “The Optimum Thing” is a bop-colored tune, “Calligram is an avant-gardish delight dedicated to Benoit Delbecq, “Blackwing Palomino” is a post-bop incursion with rhythmic nuances, McCartney’s “For No One” takes the form of a ballad, Kenny Wheeler’s “Everybody’s Song But My Own” is a gripping exuberance, the weepy “The Peacocks” is naturally impactful, and Monk’s mood is completely identifiable in “Wee See”, here enhanced with some radical rhythmic variations.

Favorite Tracks:
04 – Calligram ► 07 – Everybody’s Song But My Own ► 08 – The Peacocks

JD Allen - Americana

JD Allen: saxophone; Gregg August: bass; Rudy Royston: drums.

Owner of a penetrating sound and an impressive technique, the saxophonist JD Allen turns his focus to the roots by picking some wrinkled old blues and giving them the necessary retouches to fit in the actual jazzistic landscape. Another saxophone player, Noah Preminger, has followed this same concept in “Dark Was The Night, Cold Was The Ground”, in which a few Delta blues got fresh rearrangements. 
“Americana” is a respectable follow-up to “Graffiti”, Allen’s previous, and was also recorded with the glaring rhythm section composed of Gregg August on bass and Rudy Royston on drums. Powerful without being aggressive, Allen and his peers embark on irresistible grooves and strong dynamics that cause immediate empathy on the listener. Oscillating between beseeching and hard-hitting, the calls emitted by the leader’s tenor sax find consistent support in the pungent bass plucking and bowing of August, and in the laudable maneuvers of Royston, whose resolute drive and dry timbre feel quite fresh. The collective sounds simultaneously feisty, raw, and erudite.

Favorite Tracks:
01 – Tell the Truth, Shame the Devil ► 02 – Another Man Done Gone ► 03 – Cotton

Chris Cheek - Saturday Songs

Chris Cheek: tenor saxophone; Steve Cardenas: guitar; David Soler: pedal steel; Jaume Llombard: bass; Jorge Rossy: drums, vibes, marimba.

The full-blooded American saxophonist, Chris Cheek, always had an inclination for choosing guitarists instead of pianists to participate in the recordings under his own name. Two examples are Kurt Rosenwinkle and Ben Monder who helped to make of “I Wish I Knew”, “Vine”, and “A Girl Called Joe” memorable works.
For his new album, “Saturday Songs”, the fulfilling sounds of Steve Cardenas wasn’t enough, so he added the second guitar, a pedal steel operated by the Spanish David Soler. The band is completed with the electric bassist Jaume Llombard, and the experienced and longtime collaborator Jorge Rossy on drums. The combination works well and the resultant urban jazz is both snug and sprightly. The inspirations come from several sources: “String Finger” and “Saturday Song” are marked by a playful, Frisell-like ambiance; “Ginger Something”, “Alhambros”, and “Strawberry Jam” gained an energetic rock pulse with strong riffs; “Windmill Hill”’s approach triggers a sound that gets closer to the mood created in “I Wish I Knew”; “Eye Factory” mirrors a ravishing exoticism while Jobim’s “Forever Green” comes wrapped in an uninterrupted tranquility.
To be absorbed by the fans of both traditional and modern jazz.

Favorite Tracks:
01 – String Finger ► 07 – Saturday Song ► 09 – Forever Green

Kenny Barron Trio - Book Of Intuition

Kenny Barron: piano; Kiyoshi Kitagawa: double bass; Johnathan Blake: drums.

I’ve always had a special fondness for the music of Kenny Barron, a dashing composer and creative pianist of huge technical caliber. I grew up listening to some of his gems such as “Scratch” and “Wanton Spirit”, albums that transpire all his charming spells and elastic expressiveness grounded on hard-bop and post-bop styles.
His new record, “Book of Intuition”, was recorded with Kiyoshi Kitagawa on double bass and Johnathan Blake on drums, a furiously responsive rhythm section that much contributed to the musical quality of the songs.
Barron’s compositions are quite impressive - “Magic Dance” shows pure Bossanova delicacy, “Bud Like” bounces with a frenzy Latin pulse, “Cook’s Day” delivers a calm yet expressive groove, and “Lunacy” is a rhythmically splendorous experience. In addition, we also have the magic of solo piano in “Light Blue”, one of the two Monk’s numbers, and the plaintive sounds of Charlie Haden’s “Nightfall”. 
The trio pulls a myriad of emotions throughout the ten tracks of the recording, making it another captivating and essential work in Barron’s extended discography.

Favorite Tracks:
02 – Bud Like ► 06 – Light Blue ► 07 – Lunacy

Bill Charlap Trio - Notes From New York

Bill Charlap: piano; Peter Washington: double bass; Kenny Washington: drums.

Bill Charlap is a traditional pianist whose recordings usually consist of jazz standards and borrowed compositions. In his latest, “Notes From New York”, the story repeats itself and he leads his reputable trio, composed of his longtime associates Peter Washington on double bass and Kenny Washington on drums, on a voyage that tries to bring the past into the present.
To the habitual structural simplicity, Charlap adds his personal melodic touch through a clear language that also reveals agility.
Whether in a hurried or laid-back pace, the rigor of the rhythm section guarantees the solid foundation for the pianist’s nimble moves.
From the selection of standards, I was particularly pleased with the beautifully dragging accent of “Make Me Rainbows”, the looseness of “A Sleepin’ Bee”, and the sentimentality of “Too Late Now”.
Clearly, jazz purists will be content… but probably they won’t be the only ones.

Favorite Tracks:
02 – Make Me Rainbows ► 05 – A Sleepin’ Bee ► 07 – Too Late Now

Phantom Trio - #00

Fabio Almeida: saxophones and electronics; Sergio Tavares: double bass; João Martins: drums.

“#00” is the energetic debut record from the Portuguese Phantom Trio whose music relies heavily on a powerful rhythm section, regardless if the tune is a rapid-fire excursion or a floating ballad.
The pulsations and webs drawn by Tavares and Martins are diversified enough to avoid monotony, guaranteeing a vital space for the freedom of expression of the saxophonist, Fabio Almeida, who fearlessly explores the ground with intelligence and force. 
The latter also shows an artistic aptitude in managing of the electronic effects.
As some of the track titles suggest, spontaneity can be felt throughout this experimental voyage, where we can identify joyous rhythm syncopations, pressurized atmospheres, twisting-yet-melodic contemplations, and even some influence from other cultures, specifically in “Lacrau”.
I found the Phantom Trio surprisingly calibrated and extremely confident, and
“#00” is an album with personality and ready to be savored by the modern free enthusiasts.

Favorite Tracks:
01 – Espontaneo #1 ► 06 – Zimbro ► 08 – Lacrau

Steve Kuhn Trio - At This Time...

Steve Kuhn: piano; Steve Swallow: electric bass; Joey Baron: drums

The adroit and sensitive American pianist Steve Kuhn has been changing his famous trio along the years, maintaining his vision and personality within a wide variety of styles. 
For this recording, he reunited Steve Swallow and Joey Baron, who had done a staggering job in the excellent “Wisteria” from 2012.
With a refined touch, Kuhn and his peers open with “My Shining Hour”, which flourishes with the appropriate boppish approach, excelling later with a touching version of Quincy Jones’ “The Pawnbroker” and in two originals from the pianist, “All the Rest Is the Same”, delivered with a sensual bossanova feeling, and “The Feeling Within”, played solo.
Less literate and more swinging than its predecessor, this record evenly spreads class, sentiment, and an unrestrained passion.

Favorite Tracks:
01 – My Shining Hour ► 03 – The Pawnbroker ► 04 – All the Rest Is the Same

Mario Pavone - Blue Dialect

Mario Pavone: double bass; Matt Mitchell: piano; Tyshawn Sorey: drums.

Mario Pavone, a robust bassist with guts to wing it, returns to the trio format (after the successful Nu Trio and Arc Trio), this time in the company of the pianist Matt Mitchell and the drummer Tyshawn Sorey.
Pavone creates his usual throbbing grooves, often resorting to a shifting, abstract, and yet swinging walking bass, and showing his magnificent sense of tempo. The combustible and frequently disruptive drumming of Sorey follows him everywhere with technique, great style, and a strong purpose of making this trio sound good. And they succeed, also because Mitchell is in the same mood, building silky non-linear textures and exquisite harmonies that are fun to listen to.
Replete of charisma and planned discontinuities, the trio plays eight original compositions by the leader (“Xapo”, “Zines”, “Silver Print”, and “Language” were already recorded on previous albums) and a lucid rendering of “Reflections” by Monk.  
When everyone speaks the same dialect, the communication becomes effortless and fluid. That’s what happens in the homogeneous “Blue Dialect”.

Favorite Tracks:
01 – Suitcase in Savannah ► 02 – Xapo ► 09 – Blue

Tyshawn Sorey - The Inner Spectrum of Variables

Tyshawn Sorey: drums; Cory Smythe: piano; Chris Tordini: bass; Rubin Kodheli: violoncello; Fung Chern Hwei: violin; Kyle Armburst: viola.

The highly in-demand and proficient drummer, Tyshawn Sorey, enriches the sound of his experimental trio, the same that gave us “Alloy” two years ago, with the addition of a resolute trio of strings. 
“The Inner Spectrum of Variables”, a double-disc album that comprises six creative movements and a loose percussive tune, successfully rambles on jazz, classical, avant-garde, and exotic territories, creating several cinematic soundscapes that enthrall and satisfy. Sometimes low-key and minimal, sometimes effusive and intricate, this record gives us a lot to discover. Through his openhanded compositions, Sorey concedes enough space for his peers to express themselves in an erudite way. Smythe, in particular, deserves attention in the way he communicates, proving himself a specialist in the art of creating tension. 
This music breathes at the same time that casts a powerful effect on us.  

Favorite Tracks:
03 (cd1) – Movement III ► 02 (cd2) – Movement IV ► 03 (cd2) – Movement V + VI + Reprise

Renato Diz / Maria Quintanilla - Distance Chemistry

Renato Diz: piano; Maria Quintanilla: vocals.

Recorded in just one take with improvised arrangements, the tunes of “Distance Chemistry” might not be an ideal choice for some intrepid explorers of the contemporary jazz scene, but that doesn’t mean they’re not adventurous in their own style.
Both based in NYC, the emergent and rhythmically bold Portuguese pianist, Renato Diz, and the confident Peruvian singer, Maria Quintanilla, prove to have a beneficial chemistry. In no rare occasions, their musical choices reminded me another duo, Tuck & Patti, in their explorations of diverse styles that not only jazz. Besides a few well-known jazz standards, whose highlight is an uncanny version of “Strange Fruit”, the duo effortlessly incurs into R&B, gospel, and reggae territories with covers of Bill Withers, Jevetta Steele, and Stevie Wonder. However, it was with one of their improvised fantasias entitled “Conversation I” that they impressed me most. The cited piece pulsates with a catchy African feeling and exciting melodic counterpoints.

Favorite Tracks:
01 – Conversation I ► 04 – Strange Fruit ► 07 – Master Blaster

Alan Ferber Nonet - Roots and Transitions

Alan Ferber: trombone; Jon Gordon: alto saxophone; John Ellis: tenor saxophone; Scott Wendholt: trumpet; Shane Endsley: trumpet; Charles Pillow: bass clarinet; Nate Radley: guitar; Bryn Roberts: piano; Matt Clohesy: bass; Mark Ferber: drums.

Alan Ferber, a persuasive trombonist with strong writing skills and modernistic vision, keeps his nonet active since 2005, time when he released the excellent “Scenes From An Exit Row”. The saxophonist John Ellis and the drummer Mark Ferber, Alan’s twin brother, were the ones present in all the recordings of the nonet so far.
The leader sought inspiration on his two-year-old son, Theo, during the first months of his life, and the music conveys a comforting effect, filling our souls with an inebriating musicality that flows with passion and sensitivity.
The surefooted “Roots and Transitions” has a majestic opening with the stately downbeat “Quiet Confidence”, and moves forward providing us other memorable experiences. The edgy “Clocks” features outstanding solos from Jon Gordon and Nate Radley, “Wayfarer” presents a more traditional voice leading and structure, and “Cycles” exhibits a radiating collective improvisation over a motivic idea.

Favorite Tracks:
01 – Quiet Confidence ► 03 – Clocks ► 08 – Cycles

Jazz Albums 2016 - Weekly Listening Jul 4-10

Another 6 fresh Jazz records to enjoy!

INGRID LAUBROCK / TOM RAINEY - BUOYANCY

Ingrid Laubrock: tenor and soprano saxophones; Tom Rainey: drums. 

Two Brooklyn-based innate adventurers and partners, both in music and life, Ingrid Laubrock and Tom Rainey are really impressive in the way they dominate their instruments and express themselves. 
By sounding so tight and natural, “Buoyancy”, let the couple’s perfect communication flow both in its fast and furious vindications or hushed sensitivities. It’s their new excavation of rhythms and sounds.
If you’re familiar with their work, you’re probably imagining that rhythm might take over melody throughout the four pieces presented here. Well, this is partly true, if we take into account that this genre lives mostly from the gradual rhythmic alternations, motivic ideas, and interchanges. Still, sweet melodic murmurs and lulls can be assimilated. 
“Buoyancy” is a special record, not only for its creators, but also for those who look for intensity, agility, and creativity in the expansive world of modern jazz.

Favorite Tracks:
01 – Buoyancy ► 02 – Twenty Lanes ► 03 – The Museum Of Human Achievement

DANIEL FREEDMAN - IMAGINE THAT

Lionel Loueke: guitar, vocals; Jason Lindner: piano, keyboards; Omer Avital: bass, oud; Daniel Freedman: drums; Gilmar Gomes: percussion.

The flexible New York drummer Daniel Freedman convenes a super multicultural band to play in “Imagine That”, a penetrating record that crosses the boundaries of jazz and world fusion. 
The Brazilian Gilmar Gomes, a member of Forro in the Dark, joins Freedman for the first time, in opposition to the Israeli-American bassist Omer Avital, the American pianist Jason Lindner, and the fantastic and influential Benin-born guitarist Lionel Loueke, who are longtime collaborators. 
The leader, who incorporated two compositions of Lindner, one of Loueke, and a remarkable interpretation of Radiohead’s “Codex”, boasts his West African and Middle Eastern influences with four dulcet pieces of his own authorship. Three of them were enveloped in cheerful demeanors and the remaining one was delivered with elegiac undertones.
The sum of the parts makes a solid whole, and the noteworthy “Imagine That” sparks as a universal festivity.

Favorite Tracks:
02 – Baby Aya ► 04 – Codex ► 05 – Mindaho

THE CLAUDIA QUINTET - SUPER PETITE

Chris Speed: tenor saxophone, clarinet; Red Wierenga: accordion, piano; Matt Moran: vibraphone; Drew Gress: acoustic bass; John Hollenbeck: drums.

Minimally composed and meticulously conceived, the music of The Claudia Quintet, led by the drummer/composer/arranger John Hollenbeck, is always difficult to categorize.
I describe it as a sort of cerebral jazz that merges with fragments of modern classic and folk music, and then is delivered in the form of ethereal, unobstructed, and hypnotic dances.
The tunes are more programmed than improvised, only occasionally opening space to Chris Speed’s non-aggressive saxophone/clarinet, which sound soars over the moods created by Moran’s vibes, Wierenga’s accordion, and the rhythm section. “JFK Beagle” and “Philly” are the tracks that better illustrate this exception.
Hollenbeck’s phenomenal percussive timbres match Gress’ subtle bass work in an irreproachable way. A generalized relentless symbiosis is created, emphasizing the whole rather than the individual.

Favorite Tracks:
02 – JFK Beagle ► 04 – Philly ► 10 – Mangold

SERA SERPA / ANDRE MATOS - ALL THE DREAMS

Sara Serpa: vocals, piano, Fender Rhodes; Andre Matos: guitar, electric bass, percussion; Pete Rende: synthesizer; Billy Mintz: drums, percussion.

Dreamy and atmospheric, “All the Dreams” soars higher with every listening. 
Its airy, often sedative effect comes from the compelling melodies sang by Ms. Serpa, who spreads a sweet languor over the well-crafted textures delineated by her husband, the guitarist Andre Matos. The Portuguese duo, besides playing other instruments that aren’t normally associated with them, counted on the subtle-yet-determined synthesizer of Pete Rende and the percussive skills of the veteran Billy Mintz, in order to materialize their compositions.
Tinged with several influences - from pop to jazz to Middle Eastern music - and featuring the poetry of William Blake, Luis Amaro, and Alvaro de Campos, these tunes sound authentic, taking us to the very particular musical universe of Serpa/Matos. 
Get yourself ready to experience minimalism, complexity, and sophistication throughout this eclectic fusion.

Favorite Tracks:
02 – A La Montagne ► 03 – Estado de Graça ► 06 – Água

BRIAN GRODER TRIO - R TRAIN ON THE D LINE

Brian Groder: trumpet, flugelhorn; Michael Bisio: bass; Jay Rosen: drums.

Brian Groder’s “R Train on the D Line” is an excellent follow-up to “Reflexology”, which was recorded with exactly the same partners in 2014.
The leader’s talking trumpet/flugelhorn evinces melodic consistency and a disarming eloquence regardless the pace and mood of the tunes. Groder's phrasing slides freely and whimsically over the non-static rhythmic masses created by the dauntless bassist Michael Bisio, a distinctive skipper in the pizzicato and bowing approaches, and the off-kilter drummer Jay Rosen. 
Attentive listeners will notice transitory swinging sections being intercalated with the more exploratory ones, an option that avoids steady routines by suggesting a different trajectory.
The super balanced trio approaches Groder’s crisp compositions with discipline, maneuvering the sounds and rhythms with perception, purpose, and accuracy. Multiple listenings will bring new discoveries.

Favorite Tracks:
01 – Quanta ► 02 – Retooled Logic ► 05 – Praxis

LEFTERIS KORDIS - MEDITERRANA

Lefteris Kordis: piano; Petros Kamplanis: double bass; Ziv Ravitz: drums; 

Greek pianist Lefteris Kordis takes us on a nice cruise, sailing on accessible waters that are shared by jazz and Eastern Mediterranean folk territories.
We can have a better notion of Korda’s beautiful lyricism in the tunes he plays in trio, with the double bassist Petros Kamplanis and the drummer Ziv Ravitz. Sometimes their sound reminisces Steve Kuhn’s textural compositions.
However, it’s not uncommon to hear exotic scales and allusions to flamenco played on top of the more traditional folk songs. This is achieved with the juxtaposition of some other elements such as a restless ney flute, a melodious harmonica, a moving accordion, a crying clarinet, or the medieval touch of a lute. To join these assorted combinations, Mr. Korda seamlessly jazzified “And I Love Her” by The Beatles, giving it a personal touch.

Favorite Tracks:
01 – In the Land of the Phrygians ► 02 – Yota ► 05 – The Raven and the Fox

Jazz Albums 2016 - Weekly Listening Jun 27-Jul 3

Six new recommended jazz records to enjoy. Listed by order of preference.

IVO PERELMAN - BREAKING POINT

Ivo Perelman: tenor saxophone; Mat Maneri: viola; Joe Morris: bass; Gerald Cleaver: drums.

The prolific Brazilian saxophonist Ivo Perelman, a reference in the free jazz panorama, is always interesting to follow, no matter what project he’s immersed in. 
In April of the current year, he saw five new albums under his name being released on Leo Records. One of them, entitled “Breaking Point”, was recorded in quartet with a creative cohort of leaders. Maneri is hyperactive on viola, Morris is unflagging on bass, and Cleaver shows why he's one of the most in-demand drummers these days. Fiery solos and jittery rhythms often suggest chaos and anarchy, but there are also even-tempered moments that bring out softer ambiances and textures. The flaming disputes between Perelman and Maneri are powerfully absorbing, and “Breaking Point” is an essential choice for any free/avant jazz collector.

Favorite Tracks:
01 – Harsh Moon ► 03 – Catch 22 ► 07 – Breaking Point

RICH HALLEY 5 - THE OUTLIER

Rich Halley: tenor saxophone; Vinny Golia: reeds; Michael Vlatkovich: trombone; Clyde Reed: bass; Carson Halley: drums.

Rich Halley, a saxophonist/composer of extended talent, extends his quartet to five elements by adding the portentous and explorative multi-reedist Vinny Golia.
In “The Outlier”, we can indulge ourselves in Halley’s flying improvisations marked by a half-in-half-out approach and frequently adorned with tasteful rhythmic figures, and also the striking low sounds, carrying both fluency and stamina, that are poured out of Golia’s bass reed instruments. The trombonist Michael Vlatkovich is the least adventurous of the three, but no less important in the final product, while the rhythm section guarantees the sometimes groovy, sometimes tribal paths, on top of which the soloists can establish their passive-aggressive interactions without ever forgetting melodic sense. 
A delight for avant-gardists.

Favorite Tracks:
01 – Recipe for Improvisers ► 03 – Around the Fringes ► 10 – The Nuthatches

MATT WILSON'S BIG HAPPY FAMILY - BEGINNING OF A MEMORY

Andrew D’Angelo: alto saxophone, bass clarinet; Jeff Lederer: saxophones, clarinet; Joel Frahm: saxophones; Terell Stafford: trumpet; Kirk Knuffke: cornet; Gary Versace: piano, organ, accordion; Larry Goldings: piano; Matt Balitsaris: guitar; Martin Wind: bass; Paul Sikivie: bass; Yosuke Inoue: bass; Chris Lightcap: bass; Matt Wilson: drums.

“Beginning of a Memory” is the first CD by the imaginative drummer Matt Wilson since he lost his wife Felicia, also a musician, to leukemia. It’s a challenging project that comprises 17 songs recorded without written arrangements or rehearsals.
Traditionally, Wilson’s bands are always composed of excellent musicians, and the Big Happy Family project is no different. In addition to brand new compositions, this album also comprises a few old ones, which were subjected to different treatments and orchestrations without lowering a bit of the original energy and humor. The 1998 album “Going Once, Going Twice” was the most revisited, with four tunes, followed by “The Scenic Route” with two. We missed you, Mr. Wilson!

Favorite Tracks:
08 – Getting Friendly ► 09 – Andrew’s Ditty ► 16 – Schoolboy Thug

NOAH PREMINGER - DARK WAS THE NIGHT, COLD WAS THE GROUND

Noah Preminger: saxophone; Jason Palmer: trumpet; Kim Cass: bass; Ian Froman: drums.

Noah Preminger assembles nine classic Mississippi Delta blues to be part of his new album. 
Oscillating between languorous moans and effervescent dissertations, the tunes are colorfully revitalized and delivered with an actual sound and approach. Preminger’s catchy improvisations reveal an expeditious language and haunting tones as he rambles positively along different registers.
Whether pushing forward or laying back, the rhythm section evinces an enviable coordination while Palmer is more an ally than a stooge in his confident interventions and counterpoints. After all, old blues can still be thrilling.

Favorite Tracks:
02 – Hard Times Killin’ Floor Blues ► 04 – I Am The Heavenly Way ► 06 – Spoonful Blues

PETER BERNSTEIN - LET LOOSE

Peter Bernstein: guitar; Gerald Clayton: piano; Doug Weiss: bass; Bill Stewart: drums.

“Let Loose” is another solid effort by the guitarist Peter Bernstein, whose sound is immediately recognizable. Owner of a clear hard-bop expressiveness, Bernstein insists on the competent rhythm section he knows so well, primarily composed of Weiss and Stewart, while the multi-faceted pianist Gerald Clayton, who recently recorded with Charles Lloyd, makes his first appearance in a project led by the guitarist. Regardless the tempo adopted or the approach (straight-ahead or bluesy), the material sounds genuine and mature. The surprises are a passionate and popular bolero by the Cuban Osvaldo Ferrer and a striking cover of Woody Shaw’s “Sweet Love of Mine”, which features breathtaking improvisations by the leader and Clayton.

Favorite Tracks:
01 – Let Loose ► 03 – Hidden Pockets ► 07 – Sweet Love of Mine

JOHN BLEVINS - MATTERHORN

John Blevins: trumpet; Drew Williams: tenor saxophone; Brad Mulholland: alto saxophone, flute, clarinet; Nick Grinder: trombone; Marta Sanchez: Fender Rhodes; Jeff McLaughlin: guitar; Marty Kenney: bass; Nathan Ellman-Bell: drums; John Doing: congas.

“Mattherhorn” is a promising debut by the trumpeter John Blevins.In the company of his tight band, which benefits from well-delineated compositions, he confidently bonds to an attractive crossover jazz that lives up to current conceptions and sound specificities.
Amidst the mostly jazzistic excursions, we can easily spot glimpses of Latin and oriental music, as well as progressive rock instincts. The blend encompasses stylish unisons and freewheeling exchanges.

Favorite Tracks:
01 – Identity Theft ► 02 – Unaware ► 06 – See

+ 12 Recommended Albums - Retrospective 2015 Part III

The third and last part of my recommended Jazz records from 2015. Don't miss them!

VIJAY IYER TRIO - BREAK STUFF

Vijay Iyer: piano; Stephan Crump: double bass; Marcus Gilmore: drums 

As one of the most accomplished progressive pianists, Vijay Iyer still exceeded expectations, surprising everyone with the grandiose sound of his latest album ‘Break Stuff’, recorded in trio with the bassist Stephan Crump and the drummer Marcus Gilmore. The taut compositions, revealing the pianist’s advanced language, are pelted with unexpected mood changes and brave crescendos. One can find a variety of styles here: abstract/exploratory musical pieces, syncopated waltzes, movements in the vicinity of hard-bop and classical music, and even shades of reggae in ‘Taking Flight’. This is an unmissable work!

Favorite Tracks:
03 – Diptych
06 – Taking Flight
11 – Geese

ANTONIO SANCHEZ & MIGRATION - THE MERIDIEN SUITE

Seamus Blake: tenor saxophone; Adam Rogers: guitar; John Escreet: piano; Thana Alexa: vocals; Matt Brewer: bass; Antonio Sanchez: drums, keyboards.

Antonio Sanchez is a skilled drummer and composer whose name traveled the world after he has won a Grammy award for Birdman’s movie soundtrack. The wide-ranging vision of Sanchez is patented in ‘The Meridien Suite’, which provides us positive energies caused by the fervent grooves and impetuous improvisations of his Migration band. The musicians had the opportunity to fully express themselves individually and also demonstrate a salutary understanding in regard to the collective.

Favorite Tracks:
01 – Grids and Patterns
04 – Magnetic Currents
05 – Pathways of the Mind

JUHANI AALTONEN & IRO HAARLA - KIRKASTUS

Juhani Aaltonen: tenor saxophone, flutes; Iro Haarla: piano, harp, chen, percussion.

If you’ve never heard the music of this pair of Finnish musicians, do yourself a favor and get “Kirkastus”, a beautifully mounted set of psalms and prayers whose inspired tonal palettes urge us to search for light while enjoying heart-warming expansions, a poetic minimalism, and a reflective musicality. In the past, both individuals were associated with the late drummer, composer, and avant-garde bandleader, Edward Vesala.

Favorite Tracks:
01 – Evening Prayer
04 – Kirkastus
10 – Lead Me to the Rock

MARIA SCHNEIDER ORCHESTRA - THE THOMPSON FIELDS

Maria Schneider: conductor/composer; Donny McCaslin, Steve Wilson, Rich Perry, Dave Pietro and Scott Robinson: reeds; Tony Kadleck, Greg Gisbert, Augie Haas and Mike Rodriguez: trumpet/flugelhorn; Keith O'Quinn, Ryan Keberle, Marshall Gilkes, George Flynn: trombone; Gary Versace: accordion; Lage Lund: guitar; Frank Kimbrough: piano; Jay Anderson: bass; Clarence Penn: drums. 

The big band leader and composer, Maria Schneider, keeps on working to impress us every time she releases a new album. Unsurprisingly, her orchestra counts on some of the most inspired musicians of the current jazz scene, and ‘The Thompson Fields’ is another triumph. Schneider’s emotionally charged pieces range from descriptions of the open landscape of her home in southwest Minnesota to happy recalls of the first time she heard a samba school rehearse in Rio. Take your time to stroll through these magnificent fields.

Favorite Tracks:
02 – The Monarch And The Milkweed
03 – Arbiters of Evolution
04 – The Thompson Fields

CHRIS DINGMAN - THE SUBLIMINAL AND THE SUBLIME

Chris Dingman: vibraphone; Loren Stillman: alto saxophone; Fabian Almazan: piano; Ryan Ferreira: guitar; Linda Oh: bass; Justin Brown: drums.

Teaming up with a group of talented musicians, the vibraphonist Chris Dingman digs into the subliminal with a sublime attitude and confidence. The five parts that comprise this record try to capture the profound wonders of nature. I don’t know if that purpose was achieved, but I can tell that the sumptuous movements flow lucidly, often in the form of contemplative meditations.
Pleasurably layered and enriched by atmospheric interludes, ‘The Subliminal and the Sublime’ surpasses Dingman's debut album ‘Waking Dreams’.

Favorite Tracks:
02 – Voices of the Ancient
03 – Plea
05 – All Flows Forth

JD ALLEN - GRAFFITI

JD Allen: saxophone; Gregg August: bass; Rudy Royston: drums.

Whether playing ebullient fast tempos or tender ballads, JD Allen always guarantees those lavish energy transferences that make us think he should get much more attention than what he actually gets. The title ‘Graffiti’ fits perfectly here since ornamentation and multicolor are associated with the stirring music played by the energetic trio.
The musical ideas sound urban and ambitious, and ‘Graffiti’ sparks with intentional melodies and celebratory rhythms.

Favorite Tracks:
01 – Naked
02 – Jawn Henry
05 – G-Dspeed, B. Morris

CHARLIE HUNTER TRIO - LET THE BELLS RING

Charlie Hunter: 7-string guitar; Curtis Fowlkes: trombone; Bobby Previte: drums

Charlie Hunter’s palpable guitar notes find brilliant ways to flow when in the company of Bobby Previte’s jovial drums and Curtis Fowlkes’ expressive trombone. 
“Let the Bells Ring” has the ability to be effortlessly absorbed due to its adroit blend of present-day jazz and conventional folk/blues styles, often presented with crafted riffs and spins. Evoking the past with the present in mind, Hunter’s compositions are a source of both amusement and relish.

Favorite Tracks:
03 – Pho-Kus On-Ho-Ho-Kus
05 – Hillbilly Heroine Chic
09 – Vernel

MARK GUILIANA - FAMILY FIRST

Jason Rigby: saxophone; Shai Maestro: piano; Chris Morrissey: bass; Mark Guiliana: drums.

Besides being a tremendous drummer, Mark Guiliana proves to be a great composer. His acoustic jazz quartet deserves praise for ‘Family First’, a rewarding album that is fertile in good ideas. 
The tunes succeed one another with different flavors and tempos, showcasing the ability of its executants. I was particularly impressed with the airy ballads, ‘2014’ and ‘Family First’, where Maestro, Morrissey, and Guiliana set the classy harmonic tones to receive Rigby’s melodious saxophone. There’s also a passionate cover of Bob Marley’s ‘Johnny Was’.

Favorite Tracks:
03 – 2014
04 – Long Branch
09 – Family First

DAVE LIEBMAN EXPANSIONS - THE PUZZLE

Dave Liebman: soprano saxophone; Matt Vashlishan: alto saxophone, clarinet, flute; Bobby Avey: piano, keyboard; Tony Marino: bass; Alex Ritz: drums.

The gifted soprano saxophonist, Dave Liebman, at the age of 69, is in great shape and expresses himself in a clear and profound way. His group, Expansions, includes both veteran and younger musicians, who also contributed with compositions of their own. Together with Liebman, they are masters in the art of deconstructing the obvious and create musical puzzles of great intensity. 
This is an adventurous, sultry, and straightforward ride that takes us to the delicious crossroads of post-bop and avant-garde jazz.

Favorite Tracks:
02 – For J.A.
04 – Good Bait
06 – The Puzzle

MIKE REED'S PEOPLE, PLACES & THINGS - A NEW KIND OF DANCE

Greg Ward: alto saxophone; Tim Haldeman: tenor saxophone; Marquis Hill: trumpet; Matthew Shipp: piano; Jason Roebke: bass; Mike Reed: drums.

The 10th album of the drummer Mike Reed, a representative of the Chicago modern jazz scene, features three enthusiastic reedists and an explosive rhythm section that highly benefits with the unparalleled atonal chords of the pianist Matthew Shipp. 
Bridging the gap between heritage and modernity, “A New Kind of Dance” can be seen as a trippy celebration filled with broken swing songs, cheerful dispositions, disrupted cross-rhythms, and exultant melodies that superimpose one another. One can really dance to this record.

Favorite Tracks:
01 – A New Kind of Dance
05 – Reesie’s Waltz
09 – Fear Not of Man

STEVE TURRE - SPIRITMAN

Steve Turre: trombone; Bruce Williams: alto/soprano sax; Xavier Davis: piano; Gerald Cannon: bass; Willie Jones: drums; Chembo Corniel: congas.

In “Spiritman”, the influential trombonist, Steve Turre, opts to play standards and originals, the latter in the form of inspiring spiritual blues. Even with one foot in the jazz tradition, Turre manages to inject the required refreshing vibes into the bouncing funky creations, swinging standards, soothing ballads, and Latin explorations. 
Joy and relaxation are two keywords to define this album.

Favorite Tracks:
01 – Bu
04 – Trayvon’s Blues
05 – It’s Too Late Now

JOE FIEDLER TRIO - I'M IN

Joe Fiedler: trombone; Rob Jost: bass; Michael Sarin: drums.

Joe Fiedler is an understated trombonist whose album “I’m In” is as gutsy as it is playful. Here, he plunges headfirst in the crazy grooves created by the bassist Rob Jost and the drummer Michael Sarin, showing he’s equally comfortable in a variety of styles, including hard-bop, funk, Latin jazz, and modern free. 
The symbiotic rapport of the trio is transferred to the tunes, which are delivered with attitude, keenness, and exuberance.

Favorite Tracks:
01 – Grip
02 – Erstwhile
07 – Completely ‘Peccable

Jazz Albums - Weekly Listening Jun 20-26

Last week's six records. All recommended.

JACK DEJOHNETTE/RAVI COLTRANE/MATTHEW GARRISON - IN MOVEMENT

Jack DeJohnette: drums, piano; Ravi Coltrane: saxophones; Matthew Garrison: electric bass.

A perplexing odyssey into a spiritual splendor is the best gift from In Movement, a tour de force engagement of inner meditations and beneficial energy fluxes. The veteran drummer Jack DeJohnette, 73, doesn’t stop to surprise and marvel us with the musicality of his compositions and excellence of his drumming. Here, he couldn’t have had better company since the saxophonist Ravi Coltrane and the electric bassist Matthew Garrison were exemplary in their work. The selection of tunes, containing the dazzling "Alabama" by John Coltrane and a beautiful ad lib version of “Blue in Green” by Miles Davis, are part of a stunning mix of peaceful composures, frenzy exaltations, and thrilling jazz-funk pieces. 
Undoubtedly, this is my favorite record of 2016 so far.

Favorite Tracks:
01 – Alabama ► 02 – In Movement ► 07 – Rashied

REZ ABBASI & JUNCTION - BEHIND THE VIBRATION

Rez Abbasi: guitar; Mark Shim: tenor saxophone; Ben Stivers: keyboards; Kenny Grohowski: drums.

Throughout the years, the gifted Pakistan-born American guitarist, Rez Abbasi, has developed impressive compositional skills and impeccable techniques he put into practice in this beautiful album. 
His electrifying sound and entrancing improvisations gain even more power and meaning in Behind the Vibration, one of the year’s must-listen and his best album to date. This happens thanks to the tangible progressive fusion he practices with the complicity of his fresh new quartet, Junction. There’s a mordant vitality that comes from Shim’s eloquent and anxious phrasings, reminiscing Steve Lehman’s attacks, and the impactful rhythmic variations imposed by Stevens and Grohowski.

Favorite Tracks:
02 – Groundswell ► 04 – Uncommon Sense ► 08 – Matter Falls

CARLA BLEY - ANDANDO EL TIEMPO

Carla Bley: piano; Steve Swallow: bass; Andy Sheppard: saxophones.

Following Trios, dated from 2013, Andando el Tiempo shows us pianist Carla Bley teaming up again with the bassist Steve Swallow and the saxophonist Andy Sheppard. The music, meditative and delicate, is an amalgamation of selective jazz with traces of yearning tango and classical.
Throughout these five transparent reflections, Bley often incurs into a gentle romanticism in her approach, which is enriched by Swallow’s tuneful high-pitched interventions and Sheppard’s ruminative divagations.

Favorite Tracks: 02 – Potación de Guaya ► 04 – Saints Alive! ► 05 – Naked Bridges / Diving Brides

JANE IRA BLOOM - EARLY AMERICANS

Jane Ira Bloom: soprano saxophone; Mark Helias: bass; Bobby Previte: drums.

When we think of soprano saxophonists in the avant-jazz panorama, the name of Jane Ira Bloom pops up immediately, together with her fellow iconic musicians Dave Liebman and Steve Lacy, the latter already deceased. 
“Early Americans” catapults Bloom’s vertiginous melodic streams into the highly coordinated structures created by Helias and Previte, a reputable rhythm section. As versatile executants, the trio offers us a variety of moods, tempos, and approaches. Still, they speak identical idioms and share the same desire of making the tunes sound unique. Working diligently to shape the collective, they don’t refrain from flying high whenever it’s time to exhibit individual capabilities.

Favorite Tracks:
01 – Song Patrol ► 02 – Dangerous Times ► 12 – Big Bill

DAVID GILMORE - ENERGIES OF CHANGE

David Gilmore: guitar; Marcus Strickland: saxophones, bass clarinet; Luis Perdomo: piano; Ben Williams: bass; Antonio Sanchez: drums.

There are many aspects to praise in David Gilmore’s Energies of Change, a fruitful rendering that transpires motivation and competence at the same time that allows pure energy to flow. 
The excellent musicians, all of them respected leaders in their own right, experience the right balance and assemble Gilmore’s compositions with sufficient ingredients to broad our palate. Sparkling conversational exchanges occurring within dynamic passages are recurrent throughout the songs, which work as recipients for an intertwining of post-bop and fusion.

Favorite Tracks:
01 – Energies of Change ► 02 – Raja Guna ► 07 – Awakenings

JAIMEO BROWN TRANSCENDENCE - WORK SONGS

Jaimeo Brown: drums; Chris Sholar: guitar; Jaleel Shaw: alto saxophone; JD Allen: tenor: saxophone; Big Yuki: keyboards; James Francies: keyboards; Marcia Miget: flute. 

Understated drummer/percussionist Jaimeo Brown, pairing with the guitarist/ producer Chris Sholar, dabbles in the roots, giving it the proper contemporary touch to fit in today’s trendy currents. His conceptual work songs are established over samples that carry traditional blues, African-American slave protests, and oriental lamentations. 
Brown’s trippy hip-hop beats and Sholar’s dirty guitar invite us to a rainbow of harmonious musical layers that include tasteful electronic elements, intentional vocal reproductions, atmospheric keyboard sounds, and resplendent saxophone melodies drawn by Jaleel Shaw and JD Allen.

Favorite Tracks:
04 – Safflower ► 07 – 2113 ► 12 – The Valley