SUMMER TRUMPETS, SAXOPHONES, & TROMBONES

By Dee Dee McNeil

JULY 15, 2023

ETHAN COHN & SEBASTIAN GRESCHUK – “ENSEMBLE INFINITY” – Ears & Eyes Records

Ethan Cohn, bass/composer; Sebastian Greschuk, trumpet/flugelhorn/valve trombone/composer; Tatiana Nova, vocals; Yakiv Tsvietinskyi, trumpet/flugelhorn/trombone; Joshua Schofield, alto saxophone; Gianni Gagliardi, tenor & soprano saxophone; Lorenzo Vitolo, piano; Aron Talas, drums/moog synthesizer/fender Rhodes.

All of this original music is written by Ethan Cohn and Sebastian Greschuk with the vocals of Tatiana Nova woven into their arrangements like silky golden threads. She becomes another instrument, not singing lyrics, but tonally blending her delightful soprano voice into the horn section or singing the melody in her own unique way.  This ensemble is comprised of eight jazz musicians from three different continents, and it is the brainchild of New York bassist Ethan Cohn and Argentinian trumpeter, Sebastian Greschuk.  They have arranged songs for the octet to embrace that features four horns, a rhythm section and Tatiana’s sweet voice that is slightly reminiscent of Flora Purim.

The opening tune, composed by Cohn is titled, “Saragossa” and it’s a moderately paced melody- driven piece. Both the second piece, “Luna’s Lullaby” and the third song, “Ladina Oswald” were also Cohn compositions. The latter skirts the edge of Avant Garde with the horns spotlighted and pianist, Lorenzo Vitolo stepping to the forefront with a long solo. Tatiana joins in on the fade and vocally brings a Middle Eastern flavor to the piece.

Greschuk wrote the next three songs that reflect his love of horns and brightly feature what Sebastian Greschuk calls the trumpet brotherhood that he shares with Tsvietinskyi.

“Yakiv is from Ukraine and my grandfather was from Ukraine.  We have this super-strong friendship and in the middle of the war I went to Ukraine to visit and perform with him.  On my tune, ‘Bosque’ we trade improvising on full choruses, with Yakiv on flugelhorn, and it felt so great to capture that,” Greschuk says.

On his song “Slonce” Greschuk’s arrangement is steeped in the blues. On “Bosque” Tatiana Nova shows off her scat skills.

On Cohn’s “I Bound to You” we finally hear Tatiana sing lyrics.  It’s a sweet song, and even though she’s mouthing words, her voice is so pure and pitch perfect that she still sounds like a horn.

The “Ensemble Infinity” has a spell-binding sound, a unique approach to jazz and a delightful blend of cultures and creativity that makes this jazz album come alive with possibilities.                                                                             

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ANTHONY HERVEY – “WORDS FROM MY HORN” –  Outside In Music

Anthony Hervey, trumpet/vocals/composer; Philip Norris, bass; Miguel Russell, drums; Isaiah J. Thompson & Sean Mason, piano; Sarah Hanahan, alto saxophone.

A native of Terra Haute, Indiana, this is Anthony Hervey’s debut album, and he dedicates it to his mother and grandmother. The trumpeter opens with a song he has titled, “Crystal Stair.” This title is taken from a Langston Hughes poem called, “Mother to Son.”  Many of us in the black community are familiar with this line from Langston’s poem that reads: Well, son, I’ll tell you: Life for me ain’t been no crystal stair.  Hervey’s trumpet plays tag with Sarah Hanahan’s saxophone. There is something playful and energetic about this tune, as though a child is playing on the staircase, jumping up and down each step and teasing the wooden stairsteps with childish feet. Anthony Hervey’s horn is like dancing feet, quickly taking over the spotlight and shining brightly.  Hanahan is no slouch in the horn department, stepping boldly into her solo with creative phrasing and flair. Isaiah J. Thompson leaps to stage-front and offers his piano solo with bright, audacious configurations.

This song is followed by four original compositions that celebrate the root of jazz, the blues.  Track #2 is titled, “The Rust from Yesterday’s Blues” and it’s colored with harmonizing horn lines by Hervey and Hanahan. The next blues piece is “Neither Here nor There” and sounds like something a big band would love to play.  It has a catchy melody at the entrance of the tune that happily lends itself to improvisation.  I commend Hervey’s composer talents.  He’s a young player, but he has been honing his skills working with established artists like Christian McBride, Jon Batiste, Michael Bublé and Wynton Marsalis.  His trumpet races over the chord changes of “Afro Power,” another original in the more Straight-ahead blues style. The song, “Du Rag” conjured up visuals from my past when men conked their heads into Patton leather sleekness and wore rags on that hair style to keep those hair waves secure. That head scarf was labeled a doo-rag.  The arrangement for this tune brings back the jazz years of Jelly Roll Morton and Louie Armstrong that certainly represent those “Du Rag” years.  “The Glider” is slick and slows the pace, with Miguel Russell’s drums slapping the tempo in place and propelling the piano solo forward.  When Anthony Hervey plays the beloved tune “But Beautiful,” the tones flow in streams from the bell of his horn. I am intoxicated. Hervey surprises me when he adds his vocals to the production on “Smoky Cloud” and his voice is strong and stylized.  Adding “His Eye is on the Sparrow” shows an indigenous respect for gospel music and his upbringing in the church.

“Before I began playing trumpet, I wanted to be a minister.  This gospel hymn has carried me through many difficult times.  I have come to believe that in our darkest moments, we can realize our truest dreams, that God is always watching over us and wants us to have faith and persevere.  The spirit of hope, rooted in spirituals, gospel, blues, and jazz, is what leads to “Better Days,” he references another of his original songs that follows this spiritual arrangement. 

After listening to “Words From My Horn,” I look forward to hearing more from Anthony Hervey.  I’m sure he has many more stories of life to share with us.

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NICK FINZER – “DREAMS, VISIONS, ILLUSIONS” – Inside Out Music

Nick Finzer, trombone/composer; Alex Wintz, guitar; Dave Baron, bass; Glenn Zaleski, piano; Jimmy MacBride, drums; Lucas Pino, tenor saxophone/bass clarinet.

Nick Finzer is not only a trombonist, he is also an entrepreneur who founded the record company, Inside Out Music.  From that perspective, the concept of “Dreams, Visions and Illusions” takes on a very compelling meaning.  As an independent-thinker, Finzer knows the business of music inside out!  He’s familiar from the exciting artist status standing center stage, to the bookkeeping, promotion and publicity as a businessman who sells records and runs an enterprise. 

“At one point, it’s just a dream.  A thing you think maybe you can do.  And that’s the ‘Visions’ part.  You’re playing with people. You’re getting closer.  As for ‘Illusions,’ there’s a circular nature to the journey,” Finzer explained his perspective in his press package.

This album is divided into three parts.  Part One is Dreams.  I enjoyed the first tune, both the music and the meaning, titled “To Dream a Bigger Dream.” On this arrangement, Finzer is brightly showcased on his trombone.  The opening tune for this suite of music called “Visions” is titled, “I Thought I Took the Road Less Traveled.” It’s got one of those melodies that makes you want to hum along.  Alex Wintz is inspiring on guitar. Glenn Zaleski introduces us to the tune titled, “To the Top,” as the rhythm section lays down a tight groove for Nick Finzer’s trombone to solo upon.  After Finzer’s solo, Zaleski’s piano takes center stage. Dave Baron’s walking bass is notable and dynamic during this arrangement. To musically describe Finzer’s suite titled “Illusions” he begins with a pensive piece, a ballad called “Vision of Mirage.”  He uses counterpoint horn lines to color the tune titled “Waking up” and Lucas Pino is given an opportunity to solo on his reed instrument.  Pino plays both tenor saxophone and bass clarinet during this production. The three-tune suite of music (Illusions) that closes out this production made me a little bit sad.  I wonder, is this how ‘Illusions’ affected Nick Finzer?  Often times we achieve our dreams, but not always in the way we imagined our dream would manifest.

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GREG ABATE & PAUL DEL NERO QUARTET – “REUNION LIVE AT WICN” – Summit Records

Greg Abate, alto, tenor, & soprano saxophones/flute/composer; Paul Del Nero, bass; Matt DeChamplain, piano; Gary Johnson, drums.

 In 2022 Greg Abate placed #2 on the Downbeat Reader’s Poll of great alto saxophonists, right next to Kenny Garrett. Greg’s smooth, Straight-ahead sound is highlighted on the first cut of this album, solidifying his award-winning credentials.  He composed this original song titled “Maria’s Ocean” and it sounds like a jazz standard.  Abate follows this original song with another original titled, “Light Speed.”  Gary Johnson makes a splashing solo on drums and the tune swings hard.  Greg’s tune, “DSR” sounds like music from the Coltrane years.  Paul del Nero takes a moment to step stage-center and share his bass talents with us during this one.  I love it and I love this entire album.  

Paul del Nero is not only a competent and intense bassist, he is also a composer.  On his “Clare’s Ostinado” tune, Greg Abate puts his saxophone down and is brightly featured on flute.  Then, on Paul’s tune called “Mose Knows,” del Nero sooths my blues tooth with a sweet, but low-down arrangement, while he walks that bass in a very soulful way.  Matt DeChamplain is noteworthy on piano throughout this recording. The group went into the WCIN radio studios in Worcester, MA to record this mostly original and improvisational music last year.

Gary Johnson is given several bars to introduce us to “In the Moment” on his trap drums. Then his quartet members join him at a speedy pace and swing their way across my listening space. This album is full of spunk, spontaneity and good, solid jazz musicians who bring their best to the table.  This is a feast for your ears and a musical meal to satisfy your soul.

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ALEX WEITZ – “RULE OF THIRDS” – Outside In Music

Alex Weitz, tenor saxophones/composer; Tal Cohen, piano; Ben Tiberio, bass; Michael Piolet, drums; SPECIAL GUESTS: Emmet Cohen, piano; Ari Hoenig, drums; Yotam Silberstein, guitar; Marcus Printup, trumpet.

Right out the gate, these musicians race into my listening space full speed ahead, with Alex Weitz leading the way on tenor saxophone.  He rides ahead of the energy, leading the way like Javier Castellano, who won the 149^th Kentucky Derby.  This tune is called “The Hive” and it moves like a swarm of honeybees, sweet, Straight-ahead and on a mission.  Special guest artist, Emmet Cohen is amazing on piano. Weitz has composed eight of the nine songs of this production, rich with horn harmonics that feature Marcus Printup on trumpet along with Weitz on various saxophones.  “Harlem Lullaby” is a sweet ballad that features Ben Tiberio offering a lovely double bass solo. The Weitz original tune, “Convent Court” is well written and melodic. It’s a happy composition with the horns harmonically coloring the tune, and featuring a stellar solo by Weitz. Tal Cohen adds spark and punch on piano. Printup is masterful on trumpet and his creativity, during a spontaneous solo, immediately snatches the attention. This is one of my favorite tunes on the Weitz album.  The title tune reflects rock-influenced odd meter music, woven into a jazz waltz theme. 

In 2019, Alex Weitz won second place in the Michael Brecker International Saxophone Competition. That announced his saxophone talent to the world. The same year and again, in 2021, he was recipient of an ASCAP Herb Albert Composer Award. Weitz honed his sax style playing in his hometown of Tucson, Arizona, part of the Tucson Jazz Institute’s Ellington Band. 

His “Rule of Thirds” release is fresh, contemporary jazz with a sprinkling of Straight-ahead, featuring the Weitz composing talents and an energy that shines brightly, like the Tucson sun.

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 JEFF COFFIN – “LOOK FOR WATER” – Ear Up Records

Jeff Coffin, soprano & tenor saxophone; Johnny Vidacovich, drums/toy piano; James Singleton, upright bass; Tony Dagradi, tenor saxophone; Helen Gillet, cello.

Jeff Coffin is a composer, an educator and a saxophonist.  This chord less album production allows Coffin and his bandmates a certain freedom, using horns to tell the entire story, with the exception of Johnny Vidacovich on drums, James Singleton on acoustic bass and Helen Gillet on cello. Coffin open with an ensemble number on Track #2 titled “Green light for Billy Drewes.”  Johnny Vidacovich is prominent on drums, spearing the music ahead, with Singleton taking a creative double bass solo. 

Jeff Coffin explained his concept for this album saying in his press package, “Water is life.  Without it, we don’t exist.  Water can feed people and it can nourish and replenish.  Water is our source of being.  ‘Look For Water’ means to find your source.  It’s where you find bliss.  It’s your holy place – your sacred space.  I believe on this day we all found water together, through sound,” Coffin writes.

All of these compositions were written by Jeff Coffin. “New Dawn” is composed in a minor mode with the saxophones espousing on the subject using long, improvised solos.  The title tune follows, opened by Jeff Coffin singing solo on his tenor saxophone.  The melody is beautiful, and the mood is sultry. This arrangement just features saxes and drums.  The original composition, “Sweet Magnolias” is rooted in the blues. Somehow the solo by the drummer accompanied by the bassist is lack luster on this tune and they seem to have forgotten what a terrific blues groove the saxophones had before they Solo’d.  Johnny Vidacovich redeems himself with powerful drum chops on Track #7, opening the song and then taking a lengthy and creative solo. On the composition, “Yusef” Singleton bows his double bass with precision, and there is nothing more beautiful than the bowing of that grand instrument.  They close with a tune titled, “Luminosity” that’s over eleven minutes long. This arrangement gives you plenty of time to hear each player individually and to soak up their interpretation of a chord-less production, while spotlighting the talents of Jeff Coffin on reed instruments. Also, the pleasant and unexpected addition of cello to this piece calls attention to the only female member of the ensemble, Helen Gillet, in a beautiful way.

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  DOUG BEAVERS – “LUNA” – Label Circle 9 Records

Doug Beavers, trombone/composer/arranger/bandleader; Jeremy Bosch, flute/vocals; Gabriel Chakarji, piano/Fender Rhodes; Jerry Madera, bass; Luisito Quintero, congas/timbales/percussion; Camilo Molina, drums/bongos; Paul Bollenbeck, guitars; Luques Curtis, acoustic bass; Robby Ameen, drums; George Delgado, itotele/shekere; Camilo Molina, okonkolo/iya;  Ivan Renta, tenor & soprano saxophones/ Manuel ‘Maneco’ Ruiz, trumpet/flugelhorn; Max Seigel, bass trombone; Carlos Cascante, lead vocals; Anthony Almonte, coros; Conrad Herwig & Francisco Torres, trombone; Eric C. Davis, French horns; Dave Riekenburg, clarinets/bass clarinets; Joe Locke, vibraphone; Ada Dyer, vocals.

A proud member of the Spanish Harlem Orchestra and a GRAMMY award-winning producer, composer, trombonist and arranger, Doug Beavers offers us his sixth release as a bandleader.  It’s titled “Luna” and it’s an ode to the moon. The moon, all powerful, that can transform ocean tides and cause wolves to howl is also often thought of as female or representative of womanhood.  Doug Beavers uses this powerful image to weave his salsa and Latin jazz roots into these big band arrangements.  This title song features the smooth vocals of Carlos Cascante and is arranged with Bolero undertones.  Beavers composed this melodic piece while taking a residency in Sitges, Spain along the Mediterranean Sea.  It was commissioned in 2021 by the Chamber Music America and generously supported through a New Jazz Works grant funded by the Doris Duke Charitable Foundation. This particular composition is part of a six-song suite of music. It quickly became one of my favorites on this album.

From the very first energized arrangement on Beavers’ tune called “Tidal” I am caught up in his wave of music that rolls over me like the uncontrollable ocean.  Gabriel Chakarji’s piano chops sparkle and fuse the arrangement with Latin beauty. The horns dance and punch the piece with bright harmonics, sprinkled like confetti across the project. The percussion brilliance of Luisto Quintero and Camilo Molina shines like diamonds. You will want to get up from your seat and dance on this one! It is followed by a dreamy arrangement of “Reflejo del Sol” with a pretty melody sung by Beavers trombone and offering Jeremy Bosch an opportunity to flutter his flute part over the Latin rhythms. “Las Piedras” has an undercurrent of Reggae richness that propels this arrangement forward.  It’s still Salsa, but threaded into the piece are glimpses of Motown, when Paul Riser was writing those amazing horn licks on many of Stevie Wonder’s hit records.  Doug Beaver’s music is fresh and happy.  It puts a smile in my soul. 

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Tags: aNTHONY hERVEY; nICK fINZER, Jazz