BIG BANDS BRING GREAT AMERICAN MUSIC TO THE SPOTLIGHT & MORE
February 14, 2016
Cd reviews by jazz journalist/Dee Dee McNeil
THE GREAT AMERICAN MUSIC ENSEMBLE – “All In The Game”
Jazzed Media Records
Doug Richards, director/arranger/producer; Weldon Hill, piano/electric Piano; Victor Dvoskin,bass; Howard Curtis,drums/percussion; Marty Nau,lead alto saxophone/soprano saxophone/clarinet; Jim Nesbit, alto, soprano, baritone saxophones/basset horn/bass clarinet/bassoon/contra bassoon/Assistant Producer; Skip Gailes, tenor,soprano,alto saxophones/flute/bass clarinet; John Winn, tenor, soprano,alto saxophones/clarinet/bass clarinet; Rob Holmes, baritone, alto saxophones/flute/bass clarinet; Roy Muth,lead trumpet/ flugelhorn; Bob Ransom, trumpet/Flugelhorn; John D’earth, trumpet/flugelhorn; Rob DeDominick, trumpet/flugelhorn; Jim McFalls, lead trombone; Dean Englert, trombone, euphonium; Lee Gause, bass trombone. Special Guests: Rene Marie, vocalist; Jon Faddis, trumpeter; Joe Kennedy, Jr., violinist.
Doug Richards has assembled a stellar line-up of musicians to interpret his creative arrangements. From the very first composition, “In The Mood”, I am enthralled by the unusual horn harmonics and energy of this ensemble. As a small girl, I used to love to hear Lena Horne sing their number two selection. Special guest, Rene Marie, adds her sexy, smoky vocals to this song and thoughtfully includes the introductory verse. “Can’t Help Lovin’ That Man of Mine” never sounded so good. I especially enjoyed the Rob Holmes baritone saxophone solo. Adding this instrument in contrast to Ms. Marie’s soprano vocal gymnastics was a stroke of genius.
There are many opportunities for these musicians to shine while executing Richards’ dazzling arrangements. Jon Faddis adds his creative virtuoso on trumpet to Hoagy Carmichael’s “Stardust,” performed here as a moderate tempo Bossa Nova. This ‘Standard’ soon morphs into a double bass swing tune with Faddis pushing the boundaries of his trumpet into bird songs that mimic what a flautist might play. “Wow,” is all this journalist can say. As usual, Faddis is phenomenal.
The arrangements on this recording are spectacular. At first, the late Joe Kennedy, Jr. plucks his violin, like a southern steel guitar player, introducing us to “When It’s Sleepy Time Down South.” Nice touch when the horn section moans and harmonizes in the background, amply supporting his unusual interpretation. Once Kennedy begins to bow that violin, the beauty flows warm and thick like honey. Howard Curtis drives the ensemble with expert precision and tasty licks on drums and percussion. All in all, there are several wonderful surprises on this project that will both delight and inspire the listener.
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VALERY PONOMAREV JAZZ BIG BAND – “Our Father Who Art Blakey”
Valery Ponomarev, trumpet/composer/arranger/conductor; Todd Bashore, lead reed player; Chris Hemingway, alto saxophone; Steven Carrington, tenor saxophonist; Peter Brainin, lead tenor saxophone; Andrew Gould, tenor sax; Anthony Nelson, baritone sax; Josh Evans, trumpet; Chris Rogers, trumpet; Waldron Ricks, trumpet; Stafford Hunter, lead trombone; Alvin Walker, trombone; David White, trombone; Jack Jeffers, trombone; Corey Wallace, trombone; Danny Hall, trombone; Mamiko Watanabe, piano; Rusian Khain, bass; Victor Jones, drums; Special guest: Benny Golson (on Moanin’ and Blues March)
Valery Ponomarev arrived in NYC from his Russian homeland with his trumpet clutched to his chest along with his dreams. Ponomarev’s story is documented in an autobiography called “On the Flip Side of Sound.” It later became an award winning documentary by Edward Topol titled, “Trumpeter From Russia.” In New York, Ponomarev met one of his idols, Art Blakey, who became his mentor and ‘jazz father’. This painstaking work of creativity pays tribute to Blakey’s drum mastery and influence. The incredibly talented trumpeter/arranger/ conductor has transformed Blakey’s work into big band charts. He explained why in his linear notes:
“If you listen closely, (Blakey’s music) is a big band already. Art Blakey’s concept, Art Blakey’s way of playing, his whole approach to music comes from big bands. … Art Blakey played with Duke Ellington, he played with Earl ‘Fatha’ Hines, he was the drummer in Billy Eckstine’s big band. The original Messengers of 1949 was a big band. That’s where his learning came from. He was not a small group player yet. In Russia, the first record I got was Art Blakey and the Jazz Messengers, with Lee Morgan, playing Moanin. That was it! … If you ask me what to send to outer space as an example of jazz music, I would send that record and that would be it.”
This recording is a conscious decision to celebrate songs that Art Blakey recorded over the years. The second cut is “Moanin”, after the one minute “Ovature.” According to the linear notes, this Bobby Timmons composition was originally a funky little phrase the pianist played on gigs to call the rest of the Messengers back to the bandstand after their break. Ponomarev’s special guest on this album, ‘Benny Golson’, was the one who encouraged Timmons to develop the riff into a complete composition. Thus was born, “Moanin”.
Ponomarev makes sure, throughout his project, that he celebrates some of the original solos by the great musicians who created them. If you listen closely, you will hear him salute trumpeter Lee Morgan and pianist Timmoms too, weaving in familiar ‘licks’ and ‘phrases’ in his arrangements that came from that original 1958 recording of “Moanin.”
“In the arrangements I write, very often I quote complete solos because that solo in itself becomes a piece of music, like a written tune, except it was not written. It was improvised. So it’s music and it should be preserved.”
Here is an arranger/conductor who likes to hear the horns move as rapidly as a Charlie Parker riff, in harmony and perfectly on point. I love that concept. You can hear it quite clearly on “Jordu” composed by Duke Jordan. This tune quickly became one of my favorite cuts on this straight-ahead jazz band project. Clifford Brown is associated with this tune and Ponomarev praises the iconic trumpeter with being one of his heroes. He also explains that in 1954 Brown was a member of Blakey’s 1954 “A Night at Birdland” edition of the Messengers. At the top of the tune, the intricate horn lines that follow the head are actually transcribed and harmonized from Brownie’s splendid solo. Chris Rogers is outstanding on trumpet.
Benny Golson appears on “Moanin’” and also on the seventh cut, “Blues March”, that Golson composed. He was inspired by Blakey’s remark to him that he had never recorded a march. So Golson set out to write a New Orleans flavored march for his friend and band-mate, rooted in blues and gospel. This composition is the results. It was recorded “Live” at the “Zinc Bar” in NYC. You can hear the excitement and appreciation from the attentive audience as they enthusiastically applaud throughout.
This CD is a winner, featuring a number of fine jazz musicians like Josh Evans on trumpet, Mamiko Watanabe on piano (who stretches out on the “Blues March” and is the only female in this band). Steven Carrington is a force to be reckoned with on Freddie Hubbard’s tune, “Crisis” and Anthony Nelson on baritone saxophone thrilled me with his solo on “Gina’s Cooking”.
Special kudos to the gifted drummer Victor Jones, who holds this project in place like a steel bolt in the Hudson River Bridge. I believe that Art Blakey must be smiling down from heaven with pride and pleasure.
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PEDRO GIRAUDO BIG BAND – “Cuentos”
Pedro Giraudo, acoustic & electric basses/composer/arranger; Jess Jurkovic, piano; Claudio Ragazzi, guest guitarist; Franco Pinna, drums; Paulo Stagnaro, percussion; Ryan Keberle, Mike Fahie, Mark Miller, Nate Mayland, trombones; Jonathan Powell, Miki Hirose, Mat Jodrell, Josh Deutsch, trumpets & flugelhorns; Carl Maraghi, baritone saxophone/bass clarinet; Luke Batson, tenor, saxophone/flute clarinet; John Ellis, tenor saxophone/flute/clarinet; Alejandro Aviles, alto/soprano saxophones/flute; Todd Bashore, alto & soprano saxophones/flute.
This recording celebrates the composer/arranger skills of Pedro Giraudo. The title “Cuentos” is Spanish for “Tales” or stories. Each composition unveils an individual chapter of the composer’s imagination and experience, while also blending the rhythms and culture of Venezuela, Argentina, with the freedom of American jazz. Giraudo is no newcomer to recording. After fourteen years of composing and releasing albums for septets and 12-piece jazz orchestras, he has tackled composing and arranging for a big band with great joy and eagerness.
This arranger seems to prefer a clean slate, where soloists begin to sketch their sound-stories without much help from the big band at first. Giraudo brings the harmonics in tentatively behind the solos on the “Angela Suite.” Within the five parts of this suite, he sometimes lets the instrumentation fly free, as if a tornado has ripped through the band and all the instruments start going crazy in one crashing, crescendo of free-form-phrasing. Giraudo’s a dramatic composer/ arranger that enjoys surprising his listeners in a more classical tradition. The eighth cut on this recording, “Push Gift” is a good example of this.
I miss the melodic element that made people around the world embrace compositions like Ellington’s “Satin Doll”. After listening to this album twice, I still could not hum or remember one song melody. As a composer, you hope that people will remember your songs and sing them again and again. It would be challenging to do so in this case. However, I found the composition “Nube”, the final cut on this CD, intoxicating. What a haunting and beautiful description of ‘clouds’. Carl Maraghl’s baritone saxophone is sensuous and impressive as a soloist on this tune. But once again, although I enjoyed the arrangement, the melody escaped me after several bars. Here is a concert of cultures and harmonics that is interesting, engaging and incredibly dramatic. If the composer/arranger was seeking to produce an emotionally sensitive, visceral project, he has succeeded.
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THE STRYKER/SLAGLE BAND EXPANDED – “Routes”
Dave Stryker, guitar; Steve Slagle, alto & soprano saxophones/flute; John Clark, French horn; Billy Drewes, tenor saxophone/bass clarinet; Clark Gayton, trombone/tuba; Bill O’Connell, piano/Fender Rhodes; Gerald Cannon, bass; McClenty Hunter, drums.
The Steve Slagle composition, “City of Angels” opens this CD with a memorable melody line and great harmonics by the horn section. It was written in tribute to Los Angeles where Slagle grew up. Slagle and Stryker have composed every song on this CD, with the exception of one Mingus tune entitled, “Self-Portrait in Three Colors.” It’s a beautiful ballad that Slagle has embellished with lovely arrangements for their four horn expansion. This project, like the many others they have recorded over the decades, is full of expressive energy.
Perhaps, even more importantly, on this recording these two close friends and musical partners have written music that explores their geographical paths through life and the intrinsic, personal routes that music has mapped out for them. Stryker’s title tune, “Routes” gives him a platform to stretch-out on his guitar and he’s never sounded better. Slagle always brings the blues into his playing when he picks up his horn. Bill O’Connell, on piano, adds a new dimension and depth to the song and the group. “Ft. Green Scene” is a nice combination of funk and straight-ahead jazz, celebrating Slagle’s neighborhood in Brooklyn where he resided for eight years. In fact, this is where the initial collaborations with Stryker began. “Great Plains” recalls Stryker’s Midwestern roots. He grew up in Omaha, Nebraska. It’s a laid-back tempo, once again letting Slagle’s lovely horn arrangements support the melody with the same passion that Stryker pulls from the strings of his guitar. The last cut is “Lickety Split Lounge.” That was a bar in Harlem where Stryker went to audition for Jack McDuff’s band when he first moved to New York. As fate would have it, this is where he first met Steve Slagle who was already a part of McDuff’s ensemble. The rest is history.
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MATT KANE & THE KANSAS CITY GENERATIONS SEXTET – “Acknowledgement”
Matt Kane, drums; Ben Leifer, bass; Andrew Oullette, piano; Michael Shultz, alto saxophone; Steve Lambert, tenor saxophone; Hermon Mehari, trumpet.
On this compact disc, a suite of horns sings compositions by Bobby Watson, Ahmad Alaadeen and Pat Metheny, while the drums march and push them ahead like the hands of an impatient grandfather. Even before I looked at the CD credits, I knew the drummer was the star of this production. Matt Kane is a Kansas City transplant who spent several years in New York City and has recently returned home to his Midwestern roots in search of young musicians to light the fire under his creativity. Kane had the premise and desire to celebrate Kansas City icons. The percussive master quickly found just who he needed at the UMKC Conservatory of Music, his alma mater.
He explained, “The musicians in the band come from small towns around the Midwest. The choices (to celebrate) Ahmad Alaadeen and Bobby Watson were very obvious because they had been direct mentors to myself and the others in the band.”
Alaadeen was born in Kansas City on July 24, 1934 and remains a respected and legendary jazz saxophonist and revered mentor, even after his passing in 2010. Watson is another jazz saxophonist, composer, arranger and educator, who was born nearby in Lawrence, KS, grew up in Bonner Springs and became a historic member of Art Blakey’s Jazz Messengers. After playing with a plethora of jazz icons, Watson accepted the position of Director of Jazz Studies at Missouri-Kansas City Conservatory of Music. Pat Metheny was born August 12, 1954 in Lee’s Summit, Mo, a suburb just southeast of Kansas City. He is a respected guitarist, arranger, recording artist and composer.
Kane wanted to record a project that had substance and meaning, not just another project of jazz standards. Consequently, he picked these three important musicians and composers who shared roots with himself and his bandmates. The result is a well-produced package of great compositions, properly arranged and creatively played in a very straight-ahead way. Although I enjoyed every composition on this compact disc, my favorite cuts are “Timeline (For Elvin)” by Metheny, “Jewel” composed by Watson, “And the Beauty of It All” by Alaadeen is beautiful and gives Andrew Oullette a melodic space to showcase his piano skills. “The Burning Sand” also by Alaadeen is exciting and Avant Garde, allowing all the members of this sextet to cut loose and stretch out.
“So, this album is a spotlight on what’s happening in KC now, our first CD viewing that through the lens of Metheny, Alaadeen and Watson,” Matt Kane shares his perspective.
Matt Kane’s percussive majesty crowns him king of this empirical sextet. As linear notes explain, “Acknowledgement” is recorded to epitomize the amazing talents of three Kansas City musical icons, as played by a group of their talented peers. Mission accomplished.
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THELONIUS MONK CONTINUES TO INFLUENCE MUSIC OF THE 21ST CENTURY and OTHER TRANSCENDENT WORKS
CD reviews by jazz journalist, Dee Dee McNeil
February 1, 2016
Read all about the “Hidden Voices” inside the Aruan Ortiz trio project; the Arturo Farrill Sextet, Jamieo Brown’s Work Song CD and Bruce Torff’s recent release.
ARUAN ORTIZ TRIO – “Hidden Voices”
Intakt CD 258/2016
Aruan Ortiz, piano/composition; Eric Revis, bass; Gerald Cleaver, drums.
Aruan Ortiz has composed and arranged a number of songs on this compact disc. In linear notes, he explains that he’s bringing his Cuban roots to this project, creatively mixed with Brooklyn, NY influences and a tenacious classical background. Brooklyn is where he currently resides, but as a world traveler he has lived from Spain to Massachusetts; attending Berklee School of Music in Boston.
“Fractal Sketches” is nine minutes of improvisation featuring Avant Garde jazz expression. Ortiz feels this musical work reflects memories of his Santiago de Cuba neighborhood, where folks could walk down streets peppered with groups playing popular music, dance companies entertaining on street corners, or musicians rehearsing, jamming and singing; even choirs performing randomly. His neighborhood streets were full of Tumba Francesa being played by Cuban-Haitian folkloric groups. This music still pumps through his artistic heart.
There are also iconic American Jazz influences on this recording. Ortiz shows love for Ornette Coleman by recording a medley of his compositions, “Open & Close/The Sphinx” as cut number two.
“I was still in Cuba when I discovered Ornette with Pat Metheny’s Song X which is like an incredible cathedral of music. When I was living in Spain, I heard ‘Free Jazz’ and it changed my life. … I like the idea of strong melody with no attachment to any tonal center, but following a very clear system,” Ortiz stated in linear notes.
He also shows respect for Thelonius Monk’s talents, ie: “Skippy” performed in a sort of deconstructed way.
“He (Monk) was a great composer with a sincere appreciation for the music as an art form, who pushed the boundaries of jazz harmony, and his rhythmic understanding was very solid. Technically he knew exactly what he was doing, with an incredible precision and very accurate concept and with the blues always present,” Ortiz states.
If you love the sound and revolutionary spirit expressed by ‘Free Jazz’, this CD will satisfy your soul. It’s like drinking a hot cup of Cuban expresso on a cold New York morning. It’s rich with flavor and it will fire you up!
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ARTURO O’FARRILL SEXTET – “Boss Level”
Arturo O’Farrill, piano; Shawn Conley, bass; Zack O’Farrill, drums; Travis Reuter, guitar; Adam O’Farrill, trumpet; Livio Almeida, tenor saxophone.
The first thing I heard on this CD had me rushing to the CD Jacket. Who was that on the bass playing so prominently on “Miss Stephanie” and capturing my attention like a siren?
Bassist Shawn Conley displays artistic proficiency and talent on his instrument and enhances this production. The “Miss Stephanie” composition was written to celebrate Stephanie Simon of New York One Cable News network. They mention her support of jazz artists in the CD linear notes.
Arturo expresses himself on piano with shades of Monk dancing through his fingers. It’s especially prominent on tunes like “True That”. Reuter shares a fuzzy guitar solo, espousing Avant Garde qualities and musical freedom in the realm of 1960 Hendrix.
I was wondering, after reading the musician’s credits, if this was a family based group since there were so many O’Farrills listed. Then I read Arturo’s linear notes and he explained it this way.
“I have worked with my sons, Zack and Adam O’Farrill, many times, however, I don’t think of this as a family band. These are just great young musicians that are thrilling to play with. They are fearless. They need no safety net. They jump through meters and fly amongst changes with impunity.”
It would appear, from the credits, that the O’Farrill clan are publishers and songwriters as well as musicians. Arturo composed “Miss Stephanie”; one of my favorites on this album. In fact, all the O’Farrill musicians have written one or more songs on this project. On the whole, this is a well-produced CD of mostly original music that is expressive and offers a very pleasurable ear full of jazz musicality.
Perhaps Arturo O’Farrill sums it up best when he said:
“…When I look out across the stage and see my sons playing at such an incredibly accomplished level, I am not so much impressed by their skill as by their humanity. More than great musicians, they’re truly cool people; humble, fun, funny, simple and most importantly, as generous as any human beings I’ve known. This is the secret of their musical mastery. The same can be said of our friends whom we hang out with on this recording. They are all really cool and humble people. Of that I’m proud.”
According to the Recording Academy, “ALOE BLACC, HEART, AND ARTURO O’FARRILL
TO PERFORM AT 2016 GRAMMY CELEBRATION® ”
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JAIMEO BROWN TRANSCENDENCE – “Work Songs”
Jaimeo Brown, drums/electronics; Big Yuki, keyboards; James Francies, keyboards; China Pettway, vocals; Mary Ann Pettway, vocals; Revil Mosely, vocals; Larine Pettway, vocals; Falu, vocals; Chris Sholar, guitar/electronics; Brandon McCune, organ; Marcia Miget, flute; Jaleel Shaw, alto saxophone; JD Allen, tenor saxophone. Guest Vocalists: Lester Chambers, Falu, Marisha Rodriquez, Cadence Brown and the Gee’s Bend Quilters.
Did you know that one important musical part of American history has been literally unheard of on United States airwaves? Jaimeo Brown has corrected that with this recording. These songs, reflect strife and slavery; incarceration, both justified and unjustified, and are expressions of an era when music was sometimes the only thing that supported persecuted people. As a culture, we have always found freedom of expression in art and music. Art mirrors life experiences. Jaimeo Brown hangs ancient hopes and dreams on a clothesline strung between work songs, classical music and free form jazz.
“Hidden Angel” begins with the sound of mallets hitting hard objects and the chant of workers or prisoners. An organ cries in the background and melts into percussive accompaniment. Then comes the saxophone, weeping and wailing atop the chants. I am transformed to a place of bondage and servitude. Yet Brown’s music seem to squash sadness with eternal hope. This production is absolutely brilliant.
“Mississippi” has a melody that sounds surprisingly like the Beatles hit record, “Come Together”. Underneath the musical production, a train struggles up a Southern track and the guest vocalists sing with so much pain tinging the lyrics that my eyes tear-up. The harmonica is apropos and icing on a bitter cake.
Jaimeo Brown performs “For Mama Lucy” as a mournful plea and a tribute story. The lyric puts to melody a story about a five-dollar loss of pride and the resulting punishment. When a rock/jazz production turns the arrangement around, it usurps the sadness and adlibs into Avant Garde with a saxophone solo that flies above the sorrow. Somewhere between call and response, blended with improvisational freedom, a rock blues arrangement creeps in and absolutely hypnotizes me with its unusual blend of cultures and musical styles.
“Safflower” starts out so pretty and transforms us to somewhere in Asia. A female voice sings in an unfamiliar language and the minor mode slants the mood with Asian umbrella shadows. In my imagination, porcelain doll shapes dressed in ornate kimonos, play instruments that paint the scene multi-cultural. A jazz saxophone pulls us back to the States and to the African American jazz roots buried in Southern plantation soil. Brown unearths work songs we’ve been hiding from. There is something wild, free and beautiful about this saxophone work combined with primal drums. In the ‘mix’, the female voices are mermaid like and nasal. They float in the background and we become sailors, intrigued with the foreign voices as if they are mermaids calling to us from a musical place beyond our wildest dreams.
Bravo producers Jaimeo Brown and Chris Sholar! This is new, exciting music, both historic and undeniable. It’s a fresh face of freedom in the arts. This recording is plush with songs of suffering and blatantly reminds us, in a musical way, of the unforgettable importance of Human Rights and our struggles to elevate our humanity.
Beginning with his grandparents, Jaimeo Brown comes from a family with a rich heritage of music education. His parents worked with the National Endowment for the Arts, ‘Jazz Artist in Schools Program’ of the 80′s and have been teaching and performing throughout the country ever since his birth. Jaimeo earned his bachelor’s degree in Jazz studies from William Paterson University in 2001 and was a recipient of the respected Ralphe Bunche Fellowship. Brown earned his MA from Rutgers University in 2008 with a 4.0 G.P.A. He was one of a very few graduate students trusted to take over classes for his mentor, the composer and drummer, Victor Lewis.
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BRUCE TORFF – “Down the Line”
Bruce Torff, keyboards; Joel Frahm, tenor saxophone; Pete McCann, guitars; Ben Wittman, drums; Lew Soloff, trumpet.
This is an easy listening, smooth jazz recording, well produced and featuring eleven conscientiously-constructed compositions by Torff. Welcome to Torff’s second CD for Summit Records. He continues to offer a pattern of music excellence. The title tune, “Down the Line” is infectious with both rhythm and melody, shuffling along with Wittman on drums, holding the groove comfortably in place. On the 3rd cut, “Wave of Silence”, Frahm on tenor sax brings a bit of straight-ahead jazz to the party. I enjoyed the arrangement on this composition and the astutely clean mix brings each of these musicians upfront and prominent. At the same time, the mix ensures a perfect ensemble blend. Congratulations to mixologist, Michael Brorby, who also co-produced this CD with Torff.
On “This I Promise You”, I fell in love with the sweet trumpet work of Lew Soloff, who passed away from a heart attack just two weeks after recording this project.
Torff’s bio is interesting. Born and raised in Chicago, the family is musical with his brother, Brian, established as a ‘renowned bassist’. No slouch in academia, Bruce Torff received a Master’s degree from the New England Conservatory of Music before earning two more Master degrees and a doctorate in education from Harvard. He became a highly successful professor of educational psychology at Hofstra University, a college near New York City. But music continues to be an exciting outlet and passion for his left-side-brain. His creativity and talent explodes on this recording.
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