JAZZ ORCHESTRATION REIMAGINED

By Dee Dee McNeil

August 27, 2023

MEHMET ALI SANLIKOL & WHATSNEXT? – “TURKISH HIPSTER” – Dünya Records

Mehmet Ali Sanlikol, vocals/Turkish  instruments/ney/duduk/berimbau/zurna/ rebab/saz/electric saz/kasik/woodblock/bendir/tambourine/synthesizers/keyboards/Fender Rhodes/composer/ lyricist/ arranger/clavinet/guitar/piano; Antonio Sanchez, Bertram Lehmann & George Lernis, drums/percussion; Fernando Huergo, bass; Phil Sargent, guitar; Utar Artun, piano/Fender Rhodes; Anat Cohen, clarinet; Miguel Zenon, alto saxophone; Mark Zaleski, alto saxophone/flute; Aaron Kaufman-Levine, & Lihi Haruvi, alto saxophones; Bill Jones & Wayne Bergeron, tenor saxophone; Rick DiMuzio & Aaron Henry, tenor saxophone/clarinet; Melanie Howell Brooks, baritone saxophone/bass clarinet; Kathy Olson, baritone saxophone; Mike Peipman, Jeff Claassen, Dan Rosenthal, Doug Olsen & Jerry Sabatini, trumpet/flugel horn; Chris Gagne, Bob Pilkington & Garo Saraydarian, trombone; Angel Subero, bass trombone; Brian O’Neill, vibraphone/kudum/ cymbals; Raydar Ellis, spoken word.

From the first strains of this innovative music, I start dancing. That’s a good sign. I love to dance, and I enjoy tracks that inspire dancing. Although Mehmet Ali Sanlikol plays with tempos and genres on this, his seventh album as a bandleader, his is the kind of music that draws you in and holds you tightly. The first song, “A Capoeira Turca” features Anat Cohen on Clarinet and showcases a rich tapestry of orchestral arranging and unexpected tempo twists and turns in the production.  While listening to this unique album, you will hear a taste of Turkish folk music, a hint of Brazilian influence, a pinch of the 70s Turkish psychedelic rock music and a huge swig of orchestral jazz. To top it off, they add African rhythms all stirred into his ethnic stew, with a liberal shake of American Hip Hop. This original music was specifically composed for jazz orchestra. That is the clothesline that holds all these various cultural influences, dangling together and flapping beautifully in the breeze. This is jazzy World Music at its best. 

“I grew up as a classical pianist, played in progressive Rock bands in my teens, came to the United States when I was eighteen and studied jazz piano and composition, only to rediscover my roots seven years after my arrival.  The process of that rediscovery involved intensely studying traditional music from Turkey for over a decade, which also included learning how to play several traditional instruments. In the end, I came to internalize several different musical languages, … I now consider myself to be a successful musical translator,” Mehmet Ali Sanlikol states in his liner notes.

That pretty much says it all!  On this project Mehmet Ali plays twenty instruments. A composition called “The Boston Beat” features spoken word rap by Raydar Ellis and surprises this listener with a very contemporary musical track, embracing Hip Hop and still incorporating the Turkish perspective. The lyrics celebrate Boston musicians and the city’s musical legacy, along with calling out names of players. Just when you’re getting comfortable with orchestrated rap music, Mehmet Ali Sanlikol switches to his own cultural roots during a tune called “Estarabim” where you hear a lyric sung in Turkish with all those rich minor chords that cradle melodies inside the arrangement and play like a prayer or a chant. Antonio Sanchez is the drummer on both of these unique compositions and adds zest and energy.

“Turkish Hipster” is just that, with his music swinging like a pocket watch, from tempo to tempo, psychedelic to Rock, from orchestrated Jazz to Turkish folk culture, and all of it played beautifully with a great deal of unexpected hypnotic, creativity and culture. 

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DAN BONSANTI AND THE 14 JAZZ ORCHESTRA  – “ISLANDS” – Independent label

Dan Bonsanti, producer/arranger/orchestrator; RHYTHM SECTION: Randy Bernsen, acoustic guitar; Lindsey Blair, guitars; Mark Egan, Will Lee, Nicky Orta, & Tim Smith, electric bass; Jamie Ousley & Dennis Marks, acoustic bass; Mike Mainieri, vibraphone; Peter Erskine, Lee Levin, & Mike Harvey, drums; Richard Bravo, percussion; Mike Levine & Joe Davidian, piano. REEDS: Ed Maina, alto saxophone/flutes; Ed Calle, tenor & soprano saxophones/flutes; Peter Brewer, tenor saxophone/flute/clarinet; Mike Brignola, baritone saxophone/flutes/bass clarinet; David Liebman, soprano saxophone; TRUMPETS: Brett Murphey, Jason Carder & John Lovell; TROMBONES: Dana Teboe, Major Bailey, & Dante Luciani. Dan Bonsanti, tuba emulation.

Dennis Marks opens the initial piece titled, “Man From Tanganyika” walking his bass boldly across my listening room.  When the rest of the orchestra joins him, the rhythm section creates a strong blues feel with Ed Maina’s flute taking the first lead solo, offering great expression and lyricism. The song was composed by the late, great McCoy Tyner and Dante Luciani offers a stellar trombone improvisation. Dan Bonsanti’s arrangement supports all of the soloists with harmonic horn parts that bounce like a musical trampoline.  The title tune follows.  “Islands” was composed by Mike Mainieri, and it’s introduced to us by Mike Levine’s piano and features bandmate and composer, Mainieri on vibraphone with Ed Calle blowing his heart out on tenor saxophone.  This is a great tune, melodic and it happily swings up a jazzy path at a slow tempo. 

Dan Bonsanti has dedicated this project lovingly to his brother Neal Bonsanti, who passed away this year.  Neal was a great inspiration to his brother, and he was a founding member of the 14 Jazz Orchestra.  I was surprised to learn that some of this amazing work was recorded remotely when band members were dispersed to various spots around the country. It’s such a seamlessly smooth and beautifully recorded piece of music, that it sounds as if everyone is in the same creative studio space. This miracle is thanks in part to the talents of brilliant engineer, Mike Levine who is also a pianist and composer.  Dan Bonsanti was formerly a working saxophonist and has performed with notable big bands including Stan Kenton’s Orchestra, Jaco Pastorius’ Word of Mouth Orchestra, and Doc Severinsen’s band. Although he is no longer performing, Dan’s arranger skills are in great shape, with every tune on this album well-played and pleasing to the ear. Bonsanti shares arranging credits on several of these tracks with Mike Levine and the late Tom Boras. Bonsanti has great admiration for the work and genius of Chick Corea.  He includes Chick’s tune, “Bud Powell” that features notable solos by Mike Levine swinging strongly on piano and a soaring alto saxophone solo by Ed Maina.  Jason Carder’s muted trumpet solo soaks up the spotlight during his impressive appearance at stage center. This is a band of seasoned musical veterans who are united in their shared love of playing great jazz.  The tune selections are perfect, and the Dan Bonsanti arrangements and conductor skills accentuate the importance and mastery of performing great jazz orchestra music.  “Part of me” is “All of Me” turned upside down, but absolutely recognizable.  When they mention that they have created a fresh melody to change the face of this song, I must disagree.  Clearly, I can hear the original composition in the chord changes.  Still their Bossa Nova arrangement is executed and played with genuine spirit and South American gusto.  The listener will enjoy every single cut on this album.  “When She Loved Me” is dedicated specifically to Dan’s brother, Neal Bonsanti who originally was scheduled to play oboe and English horn solos during this arrangement of the Randy Newman composition from the Toy Story 2 film that was nominated for an Oscar in 2000.  Instead, Bonsanti re-orchestrated the piece to feature Ed Calle on tenor sax, with Mark Egan on Electric fretless bass and Randy Bernsen on acoustic guitar. 

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DANIEL HERSOG JAZZ ORCHESTRA – “OPEN SPACES FOLK SONGS REIMAGINED” – Cellar Music

Daniel Hersog, conductor/composer; Dan Weiss, drums; Kim Cass, bass; Frank Carlberg, piano; Kurt Rosenwinkel, guitar; REEDS: Ben Kono, oboe/soprano saxophone/flute/clarinet; Ben Henriques, alto & soprano saxophones/clarinet; Noah Preminger, tenor saxophone; Tom Keenlyside, flute/alto flute/piccolo/tenor saxophone; Scott Robinson, baritone saxophone/bass clarinet/flute. TRUMPETS: Derby Byrne, Michael Kim, Brad Turner & Jocelyn Waugh, trumpet/flugelhorn. TROMBONES: Jeremy Berkman & Andrew Poirier, trombones; Jim Hopson, trombone/Euphonium; Sharman King, bass trombone.

Every song on this album tells a story of history, of country, of cultural folk heritage. The concept that Daniel Hersog developed was born during the pandemic, while he was locked down and had nothing but time to reflect.  As he revisited songs he had memorized and sung as a child, a concept began to grow inside of Hersog. Why not reinvent these familiar musical gems with jazz orchestration to celebrate the music he sang around a campfire, in his living room, or in the elementary school classroom?  So, that’s how this project came to be.

Gordon Lightfoot composed “The Wreck of the Edmund Fitzgerald” in 1976. It tells the story of a cargo ship, carrying an iron load while sailing on Lake Gitchie Gumee. The ship fell prey to nature’s wind and restless water. The Michigan hurricane winds took the ship down in November of 1975 along with a crew of 29 sailors.  The orchestration of this song highlights that tragedy with musical ferocity.

Although a bit of the material that Daniel Hersog reimagines has origin in Hersog’s native Canada, half of the music on this unique album are original compositions inspired by American folk music.  Interpreted by his 17-piece orchestra, “Open Spaces” features soloists who bring their A-game to the project like Frank Carlberg, whose piano solo on this first song is tenacious and mind-blowing.  Noah Preminger’s tenor saxophone epitomizes the melody and the storm that took that ship down. He paints pictures with his horn. This arrangement conjures up the violence of the sea and the storm, capturing the historic moment when the cargo vessel sank. 

The next song settles us down.  It’s an original composition by Daniel Hersog and asks us, “How Many Roads?”  Daniel’s composition was influenced by Bob Dylan’s popular tune, “Blowin’ in the Wind.” The arrangement takes a sharp left turn when it’s steered from folk to a jazzy blues piano solo by Frank Carlberg. The horns project a collage of harmonics, flashy like a computerized screensaver on my listening room walls. The harmonies are rich and create a radiant backdrop for the soloists to emerge and solo. Popular traditional tunes like “Shenandoah” and “Red River Valley” may remind you of your own childhood. The jazz influences on these folk songs are like neon paint that spruces up an old oil portrait and glows in the dark.

Canadian folk songs are also eternalized in Hersog’s orchestrations.  He has composed and arranged “I Hear” based on the French-Canadian folk tune titled, “J’entends to Moulin” featuring Preminger’s bright tenor solo, but also an emotional soprano saxophone improvisation by Ben Kono is compelling, and Brad Turner’s trumpet demands my attention. At the end of the song, drummer Dan Weiss steps forward to spotlight his percussive skills. 

Daniel Hersog is a respected and a vital trumpet voice, a composer, arranger, educator, and orchestra conductor. His talents are obvious and sparkling on this “Open Spaces” album. When Hersog’s not touring, you can catch him featured at the Vancouver International Jazz Festival or performing regularly in his Vancouver hometown, performing at Frankie’s Jazz Club or Pat’s Pub. 

A 2016 graduate of New England Conservatory, Hersog won the school’s prestigious Gunther Schuller Medal. He is currently Director of Jazz Studies at Capilano University in North Vancouver, British Columbia, Canada.

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BUSELLI/WALLARAB JAZZ ORCHESTRA – “THE GENNETT SUITE” – Patois Records

Brent Wallarab, arranger/conductor; Mark Buselli, trumpet/orchestra co-founder; Luke Gillespie, piano; Jeremy Allen, bass; Sean Dobbins, drums; SAXOPHONES: Greg ward, soprano & alto; Amanda Gardier, alto; Tom Walsh, tenor/flute; Todd Williams, tenor; Ned Boyd, baritone; TRUMPETS: Clark Hunt & Jeff Conrad, lead; Scott Belck, mark Buselli, John Raymond & Jeff Parker. TROMBONES: Tim Coffman, lead; Andrew Danforth & Demondrae Thurman; Rich Dole, bass trombone.

In the midwestern town of Richmond, Indiana the Starr Piano Company built a recording studio in its piano factory and called it Gennett Studios. Some of the most iconic music of the 1920s was recorded there and Brent Wallarab, a composer, and Indiana University Professor, vowed to capture that music history that reflected when jazz was just a baby.  This amazing two-disc set of orchestral music accomplished that task with flying colors. 

The Buselli/Wallarab Orchestra celebrates the music of Louis Armstrong, Joseph “King” Oliver, Bix Biderbecke and Tom Delaney on Disc One. Wallarab has refreshed the arrangements and his masterful orchestra plays these classic blues compositions, infusing them with their full, rich modern sound.  The Gennett Suite is divided into four movements.  The first movement (Royal Blue) traces those early creative jazz musicians that composed ‘The New Orleans Rhythm Kings” and the brilliance of a young Louis Armstrong.  Wallarab makes the transition, smoothly moving from “Tin Roof Blues” to a more contemporary classic, “Chimes Blues” that recognizes the contribution of King Oliver’s Creole Jazz Band that once starred Louie Armstrong. The second part of this suite tributes cornetist, Bix Beiderbecke who played his Midwest cornet with his own kind of soul and as an Iowan, he challenged the Southern New Orleans style.  On “Davenport Blues,” the orchestra co-founder and master trumpeter, Mark Buselli is featured.  He adds spice and soulful beauty to the piece. His trumpet solo made me shout out loud, “Yeah” inside my listening room. 

On the second disc, the third movement celebrates awesome composer, Hoagy Carmichael. Back in the early 1920s, Hoagy was a struggling songwriter.  It seems particularly appropriate to feature Carmichael and Bix Biderbecke together, since they were very close friends. You will enjoy his “Riverboat Shuffle” featuring Todd Williams on tenor saxophone, but the wonderful arrangement of Carmichael’s famous “Star Dust” number that really surprised me.  Hoagy first recorded “Star Dust” at Gennett in 1927 and conductor/arranger Wallarab was committed to making his orchestra arrangement one that would be fresh, challenging and appropriately modern, not just another arrangement of the revered standard jazz song. Consequently, Wallarab has woven classical ‘samples’ into his arrangements, like rappers sample old school R&B and pump it into their music. Wallarab’s classical samples weave like sparkling golden threads throughout his specialized arrangement, using inspiration from Chopin, Debussy, and Federico Moupou beneath the outstanding alto saxophone sweetness of Greg Ward. Wallarab also threw into the mix dissonant chord changes that struck like lightning and spurred Ward’s saxophone improvisation forward in a fiery way. Luke Gillespie, on piano, is particularly sensitive and challenging on piano. I loved every little thing he played during this presentation and Jeff Conrad also added his memorable lead trumpet to the mix.  On Carmichael’s “Riverboat Shuffle, Part 2” Todd Williams thrills me on tenor saxophone.  He plays with so much soulful emotion that his horn drags me into the tune and away from everything else I was doing.  Also, that walking bass by Jeremy Allen will not be ignored, as he locked into a tight, swinging step with Sean Dobbins on drums. Speaking of swinging, Jelly Roll Morton’s “King Porter Stomp” does just that.  The horn arrangements dance and Jitterbug around my ears with a very effective solo from Rich Dole on bass trombone.

This album of music joins hands with the historic music of the past, fingers entwined with the current wonderful jazz music of today, like a very special prayer.

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HARRY ALLEN ORCHESTRA – “WITH ROSES” – Triangle 7

Harry Allen, tenor saxophone/arranger/conductor; John DiMartino, piano; Mike Karn, bass; Lucy Yeghiazaryan, vocals; Warren Vache & Freddie Hendrix, trumpet; John Allred, trombone; Grant Stewart, tenor saxophone; Aaron Kimmel & Bryan Carter, drums; Peter Anderson & Will Anderson, clarinet; Dan Block, bass clarinet; Steve Kenyon & Kathleen Nester, flute.

Harry Allen has recorded over seventy albums as a bandleader and even more as a tenor saxophone sideman.  Even the pandemic couldn’t stop him.  During the lockdown, he produced three CDs from his home studio.  On his recent album release, Allen has recorded ten original songs, featuring composer Roger Frankham’s work with co-writers Bruce Brown, Roger Schore, and Mark Winkler. Allen and Frankham collaborated before, when Harry arranged three of Roger’s songs for an album her recorded with pianist, Mike Renzi.  One reason Harry and Roger work so perfectly together is Harry Allen’s belief that an arranger should respect the songwriter’s intention. 

“When I’m working with a song, I like to look at the sheet music, because you can see what the composer was thinking.  I may change some small things around, but I try to stay true to the original,” Harry explained.

The Harry Allen Orchestra swings hard when they open with “It All Catches up with You in the End.” Vocalist, Lucy Yeghiazaryan introduces us to the catchy lyrics of Bruce Brown. Then the orchestra takes the tune and runs with it.  Allen arranges “Be the One” in 5/4 time.  This time both words and music are written by Frankham, and Allen’s arrangement features Dan Block on bass clarinet. I think the title should have been “There Are Monsters Out There.”  That’s the line that quickly catches the listener’s ear.  “The Maestro” is another tune played Straight-ahead and is a swing-dancers prayer, with a dynamic tenor saxophone solo. The shuffle tune called “That Far Away Fella” has a muted trumpet in the background that captivated my ear. John DiMartino gives us a spirited piano solo and the trumpets are king. The title tune has lyrics penned by Mark Winkler, who is sending roses in apology for making someone cry.  On this project, each original song is creatively arranged, and this album is the perfect showcase for these composers and lyricists, with the awesome assistance of some very gifted musicians.

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CHUCK OWEN & THE WDR BIG BAND with SPECIAL GUEST: SARA CASWELL – “RENDERINGS” – MAMA Records

Chuck Owen, arranger/composer; Billy Test, piano/organ; Philipp Bramswig, guitar; John Goldsby, bass; Hans Dekker, drums. WOODWINDS: Johan Hörlén, Karolina Strassmayer, Gabor Bolla, Olivier Peters, Paul Heller & Jens Neufang. TRUMPETS: Wim Both, Andy Haderer, Rob Bruynen, & Ruud Breuls. TROMBONES: Ludwig Nuss, Raphael Klemm, Andy Hunter, & Mattis Cederberg. SPECIAL GUEST: Sara Caswell

The German-based WDR Big Band is world renowned as a force of jazz and creativity. The title of this album encompasses Chuck Owen’s personal musical perspective for this album. 

“I was trying to come up with a title and I thought of a rendering as being something that you’re taking and putting a different spin on,” Chuck Owen recalled.

Although the busy Central-Florida-based arranger had a full plate of music, gigs, and educational commitments when he was approached by Karolina Strassmayer, WDR’s evocative alto saxophonist, and asked to arrange one of her songs. For a brief second or two, he hesitated.

“I was flattered and honored to be asked, but I quickly became aware that it had been a long time since I had taken on arranging anyone else’s music,” Owen recalled in his liner notes.

It was that complimentary request by Strassmayer that led Chuck Owen to this impressive recording project with the WDR Big Band.  Despite his teaching responsibilities, and an international conference he was producing, once he heard Karolina’s beautiful tune, he accepted the challenge.  Before his pen could begin splattering the notes across music paper, COVID raised an ugly head, challenging the world as we knew it with its unexpected, deadly presence. The shut-down of daily activities probably gave Owen’s the time he needed to expand the one-song project into arranging an entire album for the WDR Big Band. 

This inspired work is the result of that one-song-project, and it unfolds with palpable beauty and energy starting with the very first song. It’s a Chuck Owen original titled “Knife’s Edge.”  The horns blast, as though announcing some royal dignitary’s arrival at the palace. The drums of Hans Dekker roll and propel the groove forward. Paul Heller steps boldly into the spotlight on tenor saxophone to soak up all the attention. Soon he is challenged by the trumpet of Andy Haderer, and they proceed to have a dynamic instrumental conversation.  The drums become the catalyst to invite Dekker to stage-center. They roll out like a vivid, red carpet and the percussionist struts upon it with brilliant improvisation and energy.  Chuck Owen is a magnificent arranger, and this composition showcases how he builds a tune’s intensity.  “And Your Point Is?” is a more laid-back composition by Owen.  It settles the listener down in a warm, cozy way and Billy Test’s organ brings a fresh element to the piece with just a little bit of the blues peeking a shy head around the corner. The surprising and wonderful addition of a tuba to this arrangement calls attention to the talents of Mattis Cederberg.  

Karolina Strassmayer’s original composition, “Of Mystery & Beauty” follows and of course, that song was the first project to inspire this entire musical challenge.  The arrangement by Owen is quite other-worldly, starting like a space journey into the unknown and featuring the double bass of John Goldsby and later in the piece, the exquisite violin of Special Guest, Sara Caswell.  Caswell and Strassmayer are beautifully matched as they soar past one-another in the music universe, two shooting stars featuring Strassmayer playing her saxophone and Caswell her violin.  The blend is quite intriguing.  Caswell’s violin brilliance is quite audacious and mind-bending.  While listening to the John Goldsby tune, “Fall Calls” I have to pause to see who is featured on saxophone.  It’s Strassmayer again and I think to myself, this woman deserves an album on her own. The WDR Big Band plays one of Chick Corea’s compositions, “Arabian Nights” with the infusion of a rock guitar solo by Philipp Bramswig that lifts this arrangement into the fusion era.  Chuck Owen brings his own furbelow to this project, but these master musicians bless his notes to life.

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THE BIX CENTENNIAL ALL-STARS – “CELEBRATING BIX!” – Turtle Bay Records

Mark Shane & Dick Hyman, piano; Howard Alden & Matt Munisteri, guitar; Greg Cohen, bass; Vince Giordano, bass/bass saxophone; Joe Ascione, drums; Jon-Erik Kellso, Randy Reinhart & Randy Sandke, cornet; Dan Barrett, trombone/cornet; Harvey Tibbs, trombone; Dan Levinson, clarinet/alto & C-melody saxophones; Pete Martinex, clarinet/C-melody saxophone; Scott Robinson, clarinet/tenor & C-melody saxophones; Jack Stuckey, clarinet/alto saxophone; James Langton & Barbara Rosene, vocals; The Manhattan Rhythm Kings (Marc Kessler, Brian Nalepka & Hal Shane), vocalists.

If Ragtime music and memories of the 1920s and 1930s thrill you, this album is sure to please. It is a celebration of Bix Beiderbecke’s recording career, even though it only lasted six and a half short years. Bix was only twenty-eight years old when he died in 1931. The idea for this updated release of the Beiderbecke music came from Scott Asen, the owner of Turtle Bay Records.  This label specializes in showcasing the best contemporary jazz players who are interpreting tunes of yesteryear.  This is a merger between reedman, Dan Levinson, and the record owner.  Levinson not only rearranges some of these old tunes, but he plays clarinet, alto saxophone, and C-melody sax on the project.  Levinson was the perfect candidate to co-produce this album since he had already recorded an album of Bix music. They use vocalist Barbara Rosene on the tune, “Just an hour of Love.”  Also taken from his original project were “Riverboat Shuffle” featuring cornetist Jon-Erik Kellso. He reinvents “Davenport Blues” as an example of Bix as a composer of blues-infused jazz music, and this song sounds like something Ma Rainey might have sung.

This is a two-disc record set that captures a place in time when the American artform of jazz was blossoming. This new and expanded 20^th Anniversary Edition of the Bix Beiderbecke music is a tribute to an important jazz contributor who died way too young.  This product was released on September 1, 2023.

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SANTIAGO BIG BAND featuring MARCOS FERNANDEZ & AFRO LATIN JAZZ ORCHESTRA featuring ARTURO O’FARRILL – SANTIAGO BROOKLYN SANTIAGO – Zoho Records

THE AFRO LATIN JAZZ ORCHESTRA: Arturo O’Farrill, piano/composer/arranger; REEDS: Larry Bustamante, Alejandro Aviles, Jasper Dutz, Adison Evans, Roman Filiu, & Ivan Renta. TRUMPETS: Steven Bernstein, Seneca Black, Walter Cano, Bryan Davis, Kali Rodriguez-Pena, Rachel Therrien, & Adam O’Farrill. TROMBONES: Abduirahman Amer, Mariel Bildsten, Rafi Malkiel, James Rogers, Earl McIntyre, Ben Barnett. RHYTHM: Andrew Andron, Vince Cherico, Keisel Jimenez, Carlos Maldonado, Bam Rodriguez, Arturo O’Farrill.

THE SANTIAGO BIG BAND (Cuba): Marcos A. Fernandez, piano/composer/arranger; Jose Angel Martinez, Acoustic bass/bass guitar; Rayner Bonner, drums/timbal/guiro; Modest Brave, congas; TRUMPETS: Angel “Caballito” Beltrán, Alain Gragoni, Raoni Sanchez. ALTO SAX: Ivan Alejandron Sanchez Guardiola, Julio César, & Gonzalez Simon. TENOR SAX: Rey Amaury Burgos, Juan Chacon Gonzalez, Goodridree Carbnilla. BARITONE SAX: Braudelis Rodriguez Sierra, Yormanys Soto Diaz. TROMBONES: Sergio Luna, Jorge Ortega, Andreas Arcia & Ismael Olivera. CUBAN PERCUSSION: Jasiel Rodriguez, Ernesto Hernandez, Requinto, Osiel Sauquet, & Damian Busqueta.  SOLOISTS & SPECIAL GUESTS:  Eglis Ochoa, Maracas Jorge Manuel, ,Raoni Sanchez, Alain Dragoni, Ivan Acosta, Fernando Dewar,  Carlos Miyares, Cesar Lopez (all Cuba); Rafi Malkiel, Rachel Therrien,  ^& Adam O’Farrill.

The Brooklyn neighborhood that Arturo O’Farrill knows and loves, is the one rooted deeply in the history, culture and dynamics of local people, local artists, and people who have blossomed from this New York artistic hotspot. Arturo can feel the spirit of a place. He transmits that emotional and spiritual connection through his music. When he met Marcos Fernandez in Santiago, Cuba something magical and deep rooted happened between the two men. The city of Santiago is often called “The Real Cuba” because it has historical roots that are planted deeply in African culture.

Once they met, Marco and Arturo took turns playing their hearts out at the piano. That was where their friendship was born, and a desire to make music together was soon discussed. This project is the consummate blending of two master musicians, their love of big bands and orchestra concepts. This music blends musicians from various cultures like musical chairs. The players take seats in the other ensembles as specials guests. During the height of the pandemic, Marcos and his musicians recorded in Santiago and the Afro Latin Jazz Orchestra recorded in their homes.  Guest soloists from each group were featured on each other’s recordings and finally, after many months, this unique recording was produced.  Not only did musicians blend, but Zoho Music and the EGREM label partnered. This was a historic union, an American record label, (popular for their Latin Jazz music releases) joining creative forces with a Cuban company, rich in cultural legacy music. This journalist was thrilled to listen.

The brief introduction to his album is a combination of excellence featuring both Arturo O’Farrill and Marcos Fernandez on piano.  Although the duet is just 1:45 minutes long, it is dynamic. One of my favorite tunes was the O’Farrill composition, “Pitbull Mambo” performed by the Afro Latin Jazz Orchestra. The title tune, “Santiago Brooklyn Santiago” composed by both Marcos Fernandez and Arturo O’Farrill quickly becomes another favorite. 

I love the piano solos that showcase each of the composer’s piano mastery and are meant to reflect the culture of both Santiago, Cuba and Brooklyn, New York.  It is full of energy and encourages me to dance to the swinging Latin beat and the hot percussive enticement. Marcos Fernandez has composed “Dialogo” and it’s Latin Jazz, but quite contemporary.  This too is a favorite of mine.

As Arturo O’Farrill said in his press package, “This recording is a statement of faith in the beauty of both nations” and it’s also exposing the unending musical possibilities that bridge all languages and world cultures. Music brings people together.  It heals, it entertains and just makes your heart happy.

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QUARTET SAN FRANCISCO, GORDON GOODWIN’S BIG PHAT BAND, TAKE SIX – “RAYMOND SCOTT REIMAGINED” –  Violinjazz Recordings

Jeremy Cohen, executive producer/co-producer/violin/viola/founder, QUARTET SAN FRANCISCO; Joseph Christianson, violin; Chad Kaltinger, viola; Andrés Vera, cello; Meredith Clark, harp; TAKE 6: Claude McKnight, Mark Kibble, Joel Kibble, Dave Thomas, Alvin Chea, & Khristian Dentley. GORDON GOODWIN’S BIG PHAT BAND: Gordon Goodwin, piano/tenor saxophone solo; Ray Brinker, drums; Don Williams, timpani, tom-tom; Wade Culbreath, marimba/vibes/xylophone/cowbell; Joey De Leon, congas/bongos; Andrew Waddell & Justin Smith, guitar; Kevin Axt, bass; Sal Lozano. alto saxophone; Bret McDonald, alto saxophone/piccolo/clarinet; Brian Scanlon & Thomas Luer, tenor saxophone; Jay Mason, baritone saxophone/bass clarinet; Wanye Bergeron Aaron Janik, Dan Savant & Daniel Fornero, trumpet; Andrew Martin, Charlie Morillas & Francisco Torres, trombone; Craig Gosnell, bass trombone; Wade Culbreath, xylophone/vibes/marimba.

As a child, Jeremy Cohen (this project’s producer, violinist, and founder of Quartet San Francisco, was fascinated by Carl Stalling’s incorporation of classical music into the Warner Brothers cartoon soundtracks Cohen watched on television.  That began his stellar journey into the world of music. 

Raymond Scott wrote music that was widely used in the Merrie Melodies cartoons that featured Bugs Bunny, Daffy Duck and his pals. Jeremy Cohen found himself mesmerized by the Scott music. Cohen began visualizing this music in real life situations, because the music was descriptive of what the cartoons were doing, and it pulsated in Cohen’s head.

Once Cohen picked up the violin, he never put it down again. He also played trombone and string bass.  This album is the culmination of Raymond Scott’s original music in cartoons that began Cohen’s journey and the fifty years that followed him on his musical path.  It is interpreted by the jazz vocal group, Take 6, by Gordon Goodwin’s Big Phat Band and Cohen’s Quartet San Francisco.  If you close your eyes while you listen, you can see the cartoon characters living and breathing this music onto film and television screens across the world. This music depicts situations and emotional journeys of those cartoon stories we idolized as children. 

Cohen’s unique album includes several short interviews with Raymond Scott, in the man’s own voice from audio historian files.  Although Scott never actually wrote music for animation, the animators found his compositions perfectly fit the actions of their cartoon characters. 

“Scott knew how to bring musical shape to emotions,” Jeremy Cohen explained in his press package.

Raymond Scott, born Harry Warnow on September 10, 1908, died on February 8, 1994, and was celebrated as an American composer, band leader, pianist, record producer and even an inventor of electronic instruments.  He is celebrated in this unique production.  Carl Stalling adapted his music and used Scott’s compositions in over 120 Bugs Bunny, Parky Pig and Daffy Duck cartoons.  This is a tribute to Raymond Scott’s legacy and his contribution to the love of violin, classical music and America’s own classical music called ‘Jazz.’ Bravo to Jeremy Cohen for bringing this important work to our attention.

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VICARIOUS VOICES EXPLORE JAZZ

By Dee Dee McNeil

Aug 15, 2023

ALLAN HARRIS  – “LIVE AT BLUE LLAMA JAZZ CLUB” – Love Productions Records

Allan Harris, vocals/guitar/composer; Arcoiris Sandoval, piano/keys; Marty Kenney, bass; Norman Edwards, drums/cajon; Irwin Hall, saxophone/flute.

During the pandemic, Allan Harris held live stream concerts that previewed new arrangements and kept his band tight and his talent in the eyes of the world.  As soon as COVID restrictions were lifted, Allan Harris and his ensemble began to tour again.  This concert was recorded ‘Live’ in Ann Arbor, Michigan inside the Blue Llama Jazz Club. It captures the excitement and excellence of Harris and his quartet in January of 2023. Harris is not only a vocalist, fondly referred to as the “Jazz Vocal King of New York” but he’s also a composer. I enjoyed his original song titled “New Day,” where Allan writes poetic and engaging lyrics and delivers a memorable melody. His smooth baritone voice caresses the lyrics of a well-established standard song, “The Very thought of You.” He follows this with the beloved Mile’s Davis & Eddie Jefferson gem, “So What?”  Arcoiris Sandoval is creative throughout this production on piano and keyboards.  Other original compositions by Allan Harris include his “Black Coffee Blues” which begins with the “All Blues” ‘lick’ made so famous by Miles Davis.  Allan picks up his guitar and reaches down into the gut-belly of the blues. 

He sings “Don’t take a lot of money to put a smile on your baby’s face. But you got to grind that coffee on a slow and easy day. Woke up on that morning and always try to fill my baby’s cup, she’s got that sweet black coffee and she’s good to the last drop.”

He follows this blues tune with a slow shuffle original composition called “Shimmering Deep Blue Sea.”  Another original by Harris is “There She Goes” with an arrangement that throws me back to the Gil Scott Heron and Eddie Harris musical days. 

Allan Harris shares music that will put a smile on your face and a skip in your step.

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MAX GERL – JML Recording

Max Gerl, bass.

Before I begin this review, let me say that every album cover is its own piece of art. Although I appreciate the cover artwork of Gerl hunched over his bass in the studio, I am appalled by the teeny tiny printing of the album credits.  I had to put on my glasses and use a magnifying glass.  May I remind you; the album credits are as important as the music itself. That being said, ….

This is a daring and adventurous solo recording that features a bass master, Max Gerl.  He offers us eleven-tracks of original grooves, melodies and bass techniques on both double bass and electric bass. 

He was produced by jazz great, Stanley Clarke, which lends its own validity and stamp of approval to this unique project.   Recording straight to two-track, he shows us the amazing potential of the bass instrument.  Max Gerl clearly explains his approach on this instrument in the video above. 

“My aims were to perform musically, to compose FOR the bass, and to demonstrate the breadth of sonic diversity available to this instrument,” Max Gerl explains his intentions in his liner notes.

This is a fascinating ‘listen!’

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MACI MILLER – “NINE” –  Independent label

Maci Miller, voice; Aaron Graves, piano/organ/producer; Mike Boone, bass; Byron Landham, Leon Jordan & Josh Orlando, drums; Larry McKenna, tenor saxophone; Victor North, soprano saxophone; SPECIAL GUEST: Jeremy Pelt, trumpet.

Maci Miller puts her own spin on the Chick Corea tune, “High Wire” to open this album. The lyrics tell the story of a trapeze artist balancing their life and career on a wire stretched across the space.  Miller’s own life and career has been influenced and stretched like the high wire, from a family musician pouring into her own DNA. Maci’s great-grandfather was a Russian Jewish violinist.  He immigrated to the United States to gig with the historic Ziegfeld Follies. She’s been in love with music from childhood to the present. 

Although she grew up drawn to the soulful R&B sounds of Tina Turner, Aretha Franklin, Chaka Khan and Whitney Houston, her voice is softer and way more pop than R&B.  Of course, those divas could all sing pop and jazz with the same energy that Rhythm and Blues demands.  However, Maci Miller has a sweeter, softer tone, that’s quite distinctive. I could hear the blues surface when she sang, “Love Me for who I am,” a song she co-wrote with her producer, Aaron Graves. The changes belong to the hit song “Since I Fell For You.”  However, she and Graves have changed the melody and created new lyrics.  The tenor saxophone solo by Larry McKenna is impressive.

The title of Ms. Miller’s album, “Nine” represents a number of things to this artist, including spiritual growth, inner awakening and self-realization.  She took a nine-plus-year’s hiatus from her music career to concentrate on motherhood.  Maci has returned with this, her second album, and reinvigorated her career as a singer/songwriter. The Philadelphia-based vocalist hired nine musicians for this project. She offers six original compositions (six being an upside-down nine) and Aaron Graves, (her producer and co-writer) turns out to be Maci’s ninth collaborative writing partner. I enjoyed their track, the original tune titled, “Little Bird.” It scratches the surface of contemporary jazz in a sweet way. Their co-written song “Strange is the Night” has a musical track that sounds a lot like Nina Simone’s arrangement of “Four Women.”   Maci’s publicity package referenced that song, “Strange is the Night” as modern-day echoes of Billie Holiday’s immortal “Strange Fruit” composition. Billie’s song documents the hanging of a black body from a tree that horrifically, was once common practice in the Southern United States. There is no song on this album that can be compared to that sadly historic and unforgettable depiction in Holiday’s famous song.

Miller’s album ends with an upbeat original tune titled “Feel the Music,” which lifts the mood, and she has added her own lyrics to Cedar Walton’s song “Firm Roots.”

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MIKE JONES – “ARE YOU SURE YOU THREE GUYS KNOW WHAT YOU’RE DOING?” – Capri Records Ltd.

Mike Jones, piano; Penn Jillette, bass; Jeff Hamilton, drums.

Mike Jones is a gifted pianist with Straight-ahead ‘chops’ and he obviously loves to ‘swing’ starting out with Gershwin’s ’S Wonderful.  The listener meets the trio on this one, as each musician parts the production curtain and takes a gratifying, improvised solo. Clearly, this trio is the crème de la crème of jazz cats.  On Track #2, the Sonny Rollins’ tune, “Doxy” swings  hard and makes my feet dance.  As I listen to Mike Jones interpret “Green Dolphin Street” I am reminded of one of my favorite pianists, Ahmad Jamal, although clearly Mike has been inspired by Oscar Peterson and perhaps Art Tatum.  Still, there is something that brings Jamal to mind.  The drums are ever constant and creative, played by the masterful Jeff Hamilton.

I was quite surprised to read that the double bass player was Penn Jillette, of Penn & Teller fame and he’s respected as a popular magician.  This duo has headlined in Las Vegas for years, showcasing their mind-blowing illusions to the applause and appreciation of sold-out audiences.  The connection here is that Mike Jones became the Penn & Teller musical director and when the renowned drummer, Jeff Hamilton dropped in to enjoy their show, he was impressed enough to suggest they should record a jazz trio album.

“Penn freaked out,” Jones recalled in their press package. “He was as nervous as I’ve ever seen him.  He was a basket case and kept repeating, this is absurd.  I’m out of my league.  But I reassured him and it was a fun session that turned out great,” Mike Jones concluded.

On “You’ve Changed” there is a taste of Erroll Garner present in the Mike Jones piano arrangement, with Penn pumping the bass and comfortably locked into the rhythm of Jeff Hamilton.  Every tune on this album is well-played, familiar and beautiful.  Mike Jones has performed ‘live’ for over four million people over his last twenty-one years acting as MD and opening act with the legendary magicians, Penn & Teller. 

This is a tight mix of Mike’s comfortable relationship with Penn Jillette. The addition of the phenomenal Jeff Hamilton to the mix is quite complimentary. It shines a bright spotlight on the very talented Mike Jones and his mad piano skills and supports Penn as a serious musician. I was blown away while listen9ing to the Mike Jones solo medley of “I’ll Close My Eyes” and “Close Your Eyes.”  I stood up in my listening room and gave him a standing ovation!

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NICOLE ZURAITIS – “HOW LOVE BEGINS” – Outside in Music

Nicole Zuraitis, vocals/piano/Fender Rhodes/composer/arranger/producer; Christian McBride, co-producer, bass; Gilad Hekselman, guitar; Maya Kronfeld, organ/Wurlitzer/Fender Rhodes; Dan Pugach, drums; SPECIAL GUESTS: David Cook, piano; Billy Kilson, drums; Sonica, Thana Alexa & Julia Adamy, vocals.

Here is a voice, as soft as velvet, but full of emotional excitement and believability.  Nicole Zuraitis is not only a jazz vocalist, but she is also a competent songwriter, who has co-produced this album with bass legend, Christian McBride.  The first song is a wonderful blues, caressed by her throaty, husky delivery.  I wonder why she didn’t name it “Your Type of Crazy” which is a continued phrase throughout this catchy original song.  Instead, it’s called “The Good Ways” and it falls under a division she titles “Oil.” 

The second half of her album is called “Water” and as you know, oil and water don’t blend.  The premise of this album is that opposites attract.  Nicole has composed ten songs, placing five in each category. Her voice is crystal clear and flawless on a tune called “Let Me Love You” that features Gilad Hekselman as her guitar accompaniment. The up-tempo composition called “Burn” spotlights the wonderful bass mastery of Christian McBride. Nicole’s original song “Two Fish” swings, and David Cook brings his piano interpretations to the forefront and shines. Nicole Zuraitis plays piano on several tracks where she has a gospel feel on “Well Planned, Well Played” while her voice floats above the track like a sweet horn.  On her composition, “20 Seconds” Nicole plays Fender Rhodes.  She has included a booklet of all her poetic lyrics for each of the ten songs she’s written.  Her melodies are beautiful, and like a free-flying bird, she uses her full range to dip and dive through this creative music. Nicole Zuraitis is an artist who paints pictures with her voice, using notes like paint brushes, blurring colors and moods across the landscape of the listener.

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WAYNE SMITH JR. – “BE STILL” – Blue Collar Records

Wayne Smith Jr., composer/drums; Madison Rast, bass; Ian Macaulay, guitar; Matthew Clayton, alto saxophone; Brent White, trombone. 

Wayne Smith jr. was a stationary member of the legendary Sun Ra Arkestra for many years. As the drummer with Sun Ra, he toured Europe, Canada, and Australia. Wayne feels as though his touring and musical life with the Sun Ra Arkestra helped his talent to evolve into the artist he has become. Wayne Smith Jr. was nurtured by the provocative Philadelphia jazz scene.  When he began to venture out and explore other cities and spaces, his talents were swooped up by such luminaries as Dr. Donald Byrd, Orrin Evans, Duane Eubanks, John Ellis, Stacy Dillard and Bootsie Barnes. Wayne teamed with organist, Lucas Brown and saxophonist, Victor North to form the trio known as “Three Blind Mice.”  They still perform together to this day. 

With his current quintet, Smith encouraged the musicians to approach each of his compositions with an open mind and gives them free reign to explore their instruments, their creativity, and to embrace their improvisation with total freedom. They open with a tune titled “Distant” that is brief and paves the way for “Ephesus,” a composition that starts our very mysteriously and features Madison Rast on bass until Brent White (the co-writer) enters on trombone to steal the show. Wayne Smith Jr. has composed all the music on this album with two songs he co-wrote with White.. I enjoyed Madison’s bass solo on the original composition called, “I-5.” This tune rambles along like a car on the I-5 freeway holding steady at fifty-miles-per hour.  On “Echo,” Smith picks up the pace and spurs the group on with busy and combustible drums.  Even though the drums are rhythmic, the tune arrangement itself is moderately paced. Matthew Clayton on alto saxophone and Brent White on trombone play a lot of unison parts that introduce the melodies.  However, I found I could not spiritually connect with most of this original music. I think it’s because most of the songs sound dirge-like and sad. This is modern jazz that scratches the surface of Avant-garde at points in Smith’s production.  Ian Macaulay’s guitar work is solid and beautiful throughout.  He shines like a sunrise on a “New Day.”  I would have enjoyed hearing more rhythmic diversity in these original compositions. Finally, on “Surge” I heard a blues peep through and a locked-in rhythm by Wayne almost made me want to slow-dance. The title tune “Be Still” stays in the same pocket, with all the original songs jangling together like a group of in-the-pocket silver coins. 

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 CHAD McCULLOUGH – “THE CHARM OF IMPOSSIBILITIES” – Calligram Records

Chad McCullough, trumpet/composer; Jon Irabagon, tenor & soprano saxophone; Larry Kohut, acoustic & electric basses; Jon Deitemyer, drums/percussion.

The music of Chad McCullough beams off my CD player like a bright smile.  It’s happy and energetic from the very first tune titled, “Retroactive Resonance.”  I am quickly impressed by Chad McCullough’s beautiful trumpet tone and attack.  Each player is showcased during this presentation, including a creative improvised solo by Jon Irabagon on tenor saxophone and a spirited drum solo by Jon Deitemyer towards the end of the production.  However, it was Larry Kohut, flying under the radar on bass. who grabbed my attention.  This is the kind of bassist I always enjoy.  One who is highly imaginative, yet still holds down the rhythm section; is foundational, but still remains true to their own individuality. Larry Kohut does just that.  His spontaneity is impressive. “Bee in the Flower” is a conversation between Kohut’s bass and McCullough’s trumpet.  Deitemyer spurs them on with his drums and when Irabagon enters on saxophone, he reminds me of the bee tasting the sweetness of the flower.  He flitters and flits, lights and dances among the petals.  The two horns certainly paint a portrait of insects at work.  Once again, Jon Deitemyer is dynamic on drums.  Together, this quartet brings us a united project of spontaneity and beauty. McCullough is a gifted composer, and his music is bright and boisterous. This entire production is inspired and their productivity and musicality energizes me.  Even this tender ballad had me wondering where these musicians would lead me.  McCullough’s muted trumpet brings new color to this musical palate. Chad McCullough explores everything a trumpet can do during this album that continuously expresses “The Charm of Impossibilities.” This time, Larry Kohut brings his electric bass to their party.  I can tell that these players are familiar old friends.  When I read their press package, I discovered my assumption was correct.  McCullough, Deitemyer and Kohut have a relaxed, comfortable interplay after performing together for the past decade.  Irabagon began playing saxophone with Chad McCullough a few years back.

“He brings so much to the table.  It’s impossible to overstate all of the ways in which he makes everything and everyone better,” McCullough praised his talented reed man.  

Clearly each musician on this project is a master in their own right.  Each has a unique sound and specialty on their instrument that never gets lost in Tim Hagans productions and yet is still supportive of the cohesive unit.  If you are looking for surprising and spontaneous jazz, woven tightly together like silk threads in an expensive suit of clothing, this is the outfit you have been waiting to hear.  Slip into it and enjoy.

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LOWCOUNTRY – Ropeadope Records

Matt White, trumpet/composer/arranger; Quentin E. Baxter, drums; Tim Fischer, guitar; Demetrius Doctor, piano; Rodney Jordan, bass; Jerald Shynett, trombone; Mark Sterbank, tenor saxophone/clarinet; Michael Thomas, alto saxophone/bass clarinet; FEATURING; Chris Potter, tenor saxophone; Charlton Singleton, trumpet; VOCALS: Gracie Gadsen, Joseph Murray, Ron Daise & Rosa Murray; Ron Daise, narration. THE CHARLESTON SYMPHONY STRING QUARTET: Micah Gangwer & Alex Boissonnault, violin; Jan-Marie Joyce, viola; Norbert Lewandowski, cello.

“LOWCOUNTRY” is a lesson in history about Gullah singers and storytellers. Composer and trumpet master, Matt White, has created a plush platform of jazz for these stories to dance upon.  Voices speak to share the history of their culture and families. We enjoy the happy, inspired compositions of White and his ensemble as a unit he labels, “Lowcountry.” 

The Gullah are an African American ethnic group who predominantly reside in the Lowcountry region of the United States inclusive of Georgia, Florida, the Carolinas, and some on the coastal plains of the Sea Islands. That includes St. Helena Island.  White, along with Dr. Eric Crawford, have made it a mission to conserve this rich heritage of the Gullah people and pass it on to their families and the families of the world.  Not only is this music rich with historic intonations and proclamations, but the inspiration that infuses this music is meant to be embraced and celebrated.  Dr. White and Dr. Crawford make a stellar impact with this cultural phenomenon wrapped in a jazzy theme.

You will hear singers and storytellers as a new collective of the Gullah people including the vocals of Rosa Murray, Joseph Murray, Gracie Gadsen and Ron Daise telling us stories about their family culture and singing us chants and spirituals they learned as children.  Consequently, we are introduced to “Aye Neva” from a chant offered by Joseph Murray.  Quentin E. Baxter energizes the drums.  White features Chris Potter on Tenor saxophone and Charlton Singleton on trumpet to warm this project with jazz excellence. Tim Fischer brings his guitar magic at the fade of “Raise the Hymn” and I am affected by the sweet violin song at the fade of this brief and spontaneous arrangement.  On the tune “Were you there?” they reference the familiar hymnal, ‘Were you there when they crucified my Lord?’  African heritage, slavery and Christianity meet and convene on this project.  Rodney Jordan’s bass sings the melody of “Cheraw” and the ensemble picks it up and runs with it, both as soloists and parts of the harmonic horn lines.  There are “Salt Peanuts, salt peanuts” adlibs thrown in to celebrate Dizzy.  It’s a seven minute, 43-second arrangement, but never boring. “Prayed Up” is a recollection of the Gullah’s connection to Christianity with a great sax solo by Chris Potter. 

This is not only an enjoyable musical recording, but also an important piece of American history and represents a deeply rooted culture called the “Lowcountry.”

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ALINE HOMZY – ALINE’S ETOILE MAGIQUE –  “ECLIPSE” – Factor Canada

Aline Homzy, violin/theremin/synth/voice/composer/arranger; Michael Davidson, vibraphone/bowed vibes/piano/synth/marimba/composer; Thom Gill, acoustic & electric guitar/synthesizer; Dan Fortin, bass; Marito Marques, percussion/drums; Joao Frade, accordion; Felicity Williams, voice; David Traverse-Smith, additional synth.

Aline Homzy’s virtuosic violin is dazzling, and her group of musicians is appropriately called, “Aline’s Etoile Magique.” As her magic wand tweaks across the violin strings, you may become hypnotized by the unique and completely entertaining sound.  Together, this group brings a magical mixture of jazz, classical and original music beginning with Homzy’s composition, “Caraway” that shows the velocity and mastery of her instrument.  Her composition is bold and melodic; forceful and power driven. 

Homzy is a native of Montreal, Quebec, but has since moved to Toronto where she studied jazz.  She also studied privately in New York with Sara Caswell and Sy Johnson, respected arranger for Charles Mingus. Additionally, Aki Takasi, a berlin-based pianist/composer has had a profound impact on Aline Homzy. All three of these inspired people had an effect on Aline’s musical trajectory.  According to the violinist’s press package, her musical goal is the same or similar to those of Monk, Mingus and Ellington; to create serious music, executed with a sense of playfulness, wit and humor.

The first thing I notice about Aline Homzy are the bold choices she makes on the violin, and the way she uses studio effects that shape and color her compositions.  For example, her arrangement on “Cosmos” features a warm mixture of Michael Davidson’s vibraphone with Aline’s violin.  It’s a wonderful arrangement full of spark and spunk. On “Hanakatoba” she solos to introduce us to both her instrument mastery and the lovely original melody.  Her violin stimulates my imagination. When she settles down, I picture a castle on a hilltop and picturesque grounds, lush with grassy green and an abundance of wildflowers.  For the most part, this music feels ethereal and spacey, which according to Aline Homzy, is exactly what she was striving to produce. For example, on “Aliens are Pieces of Wind” she leans towards a more contemporary, modern jazz arrangement and on her original tune, “Mesarthim” (that is the name of a binary star system in the Northern constellation of Aries) the song sounds like outer space ghosts floating in a starry universe or disappearing into a black hole in space. She and Davidson employ synthesizers and the theremin ( a Moog Etherwave electronic musical instrument controlled without physical contact to achieve a special sound palate).

She explained, “…It’s important to me to use the tradition as a foundation whole shining a more contemporary light on the instrument and its capabilities. ‘Eclipse’ is a universe where I can explore the idea of the unknown.  I’m fascinated by how we capture other-worldliness in music and sounds.  When the sun and moon align during an eclipse, the light changes.  How do we translate this visual shift into an aural one? Aline asks.

Indeed, her original compositions and arrangements reflect her musical foundation in creative ways. She and Michael Davidson have composed all the music except Charlie Parker’s “Segment” tune, and each musician reflects their own style and imaginative creativity. Homzy says she has borrowed some inspiration from violinists like Jean-Luc Ponty, Regina Carter and learned from Stephane Grappelli.  Her father encouraged her to listen to Ellington, Charles Mingus and Thelonious throughout her formative years.  He is a musicologist and a serious jazz lover.

The music of Aline and her group of musical magicians is as intriguing as a hypnotist’s watch that tantalizes us and gets our full and undivided attention. 

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JAZZ ACROSS CULTURES

By Dee Dee McNeil

August 1, 2023

NINA SIMONE – “LIVE PERFORMANCE AT THE 1966 NEWPORT JAZZ FESTIVAL – YOU’VE GOT TO LEARN – Verve Records

Nina Simone, piano/composer; Rudy Stevenson, guitar; Robert Hamilton, drums; Lyle Atkinson, bass.

It’s so fabulous to hear Nina Simone at the piano again and offering up her musical activism and beautiful, black cultural roots. In 1966, she was in tip top vocal shape.  Her tone is rich, unique and powerful as she sings:

 “You’ve got to learn to leave the table when love is no longer being served. … You’ve got to learn to be much stronger, sometimes your head must rule your heart.”

I had never heard that song before, the title tune above, “You’ve Got to Learn” is powerful! The lyrics are well-written, supportive, and wise.  The melody builds and soars, with Nina’s strong piano-playing supporting the song and the story. She preaches! She teaches. She delivers her classical mastery at the piano keys with no compunction.

We hear more familiar songs like “I Loves You Porgy” with the live Festival audience happily shouting out their appreciation.  The song still sounds fresh and takes my breath away.  It’s not like any of the recordings you have heard from Nina in the past.  This rendition is unique and emotional. 

She sings a “Blues for Mama” song that was co-written with Abbey Lincoln.  It’s a low-down blues with a message about a woman who acts strong as a man, but is beat down by her man and by life.  There’s an inspired guitar played throughout by Rudy Stevenson. Nina pulls out all her gospel licks on the piano during this arrangement.  “Be My Husband” has one of those infectious beats that spears the music ahead. Nina comes in with only drums, her powerhouse voice soars above the percussion like a chant or a prayer. Her band members encourage her with shouts and words of praise.  When she sings “Mississippi Goddamn” she improvises and talks about the state of politics and the racism that was so prevalent in 1966. Her activism shines like her star-status. She closes with “Music for Lovers.” A pretty ballad where she sings “When the whole world discovers that love’s the only thing worthwhile.  Then there’ll be music for everybody here – and the whole world will smile.” 

This album certainly made me smile and Nina Simone’s music continues to crisscross countries and influence society.  Although she encourages humanity by saying ‘You’ve got to Learn’ they seem to continue, so many years later, to stumble through life polarizing each other and painfully making the same mistakes over and over again.

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TED FALCON – “TO CHEGANDO – (ALMOST THERE)” – Independent Label

Ted Falcon, violin/mandolin/viola/composer; Wesley Amorim, 7-string guitar/cavaquinho/gypsy jazz guitar/viola caipira; Colin Walker, 7-string guitar; John Leftwich, acoustic bass; Clarice Cast & Ben Rempel, pandeiro/percussion; FEATURED SOLOISTS: Wesley Amorim, gypsy jazz guitar; Anat Cohen, clarinet; Fay Roberts, flute; Douglas Lora, 7-string guitar; Catherine Bent, cello; Rumi Inoue, flute. SAO PAULO MUSICIANS: Ze Barbeiro, 6 & 7 string guitars; Fabricio Rosil, cavaquinho; Leo Rodrigues, pandeiro and percussion.

The opening tune, “Quick Fix” is a mix of jazz and folk music; gypsy influenced by Ted Falcon’s love of Brazilian Choro music. Choro music is an urban-pop, Brazilian music that originated in Rio de Janeiro during the 19^th century. Falcon has written every song on this album and this recording spotlights his competent talent on both violin and mandolin, as well as his love of Brazilian music. Choro blends African rhythms with European classical music and is characterized by the musician’s tendency to improvise.  This would be the part of the music that is jazzy. Falcon’s violin sings like a happy Brazilian bird. He is the premier choro violinist in the world.  Ted Falcon’s obsession with the South American culture and music prompted him to relocate to Brazil in 2008 and live there for eight years.  He married a Brazilian woman and soaked up the culture and the music like a sponge.  Falcon became proficient in speaking Portuguese and began composing choro music, while teaching music workshops in the city of Brasilia.  Choro is sometimes referred to as the ‘jazz of Brazil’ because improvisation remains the heart of the music.  All of this music is rich in culture and inspires the feet to dance.

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ERIK FRIEDLANDER – “SHE SEES” –  Skipstone Records

Erik Friedlander, cello; Ava Mendoza, guitar; Diego Espinosa, bass; Stomu Takeishi, drums/percussion.

The original music of Erik Friedlander is a blend of jazz and rock music. This is his fourth release since his Parkinson’s diagnosis in 2016.  A widely acclaimed celloist, Friedlander was at first able to control the associated tremors with drugs.  Over time, the medication lost its potency, prompting Friedlander to undergo DBS (Deep Brain Stimulation) surgery at New York University. This procedure is considered the largest breakthrough in the treatment of Parkinson’s disease in the past forty years. It eliminated Friedlander’s tremors, which were the predominant side-effect of his diagnosis.

“I feel like I’ve been given a special gift to continue on with composing and playing the cello without the tremors, which made me self-conscious and also made playing the cello difficult.  It’s remarkable!” Erik Friedlander shared in his press package.

His song “Heatwave” captures the rising temperatures across the world with a recurring melody line played on Diego Espinosa’s bass string instrument and Ava Mendoza’s guitar securing a rich undertone and rhythm track beneath Friedlander’s cello melody. Diego Espinosa growls across the track on drums, securing the tempo and locking strong hands with Espinosa’s bass lines.  This group of musicians is called ‘Sentinel’ and they assembled in Mexico City in January of 2023 to record this “She Sees” album, their second Sentinel recording.

Friedlander imagined a sentinel on guard watching the world.  That inspired the album’s title.

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SATOKO FUJII & OTOMO YOSHIHIDE – “PERPETUAL MOTION” – Ayler Records

Satoko Fujii, piano; Otomo Yoshihide, electric guitar.

Both of these celebrated musicians have roots in the Avant-garde.  This is a first-time meeting of two stellar improvisational masters, Satoko Fujii’s piano with Otomo Yoshihide’s electric guitar.  The title of this album perhaps best describes it’s contents. Opening with gong sounds and plucked piano strings; the lower register of the guitar whines like a bass inside electric currents ripping through the air.  My imagination conjures up train wheels racing along steel girders, and I become the traveler, pulled along on a music journey by these two talented artists.  There are squeaking doors opening and closing along my journey and thunderstorms in the piano’s lower register that wet the train with nature music.  The duo has divided this album into a four-part suite with the singular title of the album, “Perpetual Motion” and the addition of roman numerals, one, two, three and four.

Otomo Yoshihide is greatly known and respected in Japan.  He has scored over 100 films, as well composing for television shows. This celebrates a completely different musical side of the guitarist. Consequently, he is also known and popular among people who are not interested in Avant-garde music.  Satoko Fujii was excited to play with him. Yoshihide offers metallic, sharp-edged phrases and Fujii counters with energetic piano voicings full of crescendos and aggressive energy.  Otomo is a pioneer in the electronic/acoustic bliss of improvisational music, and he crosses genre’s and avoids descriptions.  In 1991, Yoshihide released his first tentative album in Hong Kong as the leader of an experimental rock group called “Ground Zero.”  Next, he formed his own “New Jazz Quintet.”  This inspired many commercial appearances and blossomed his talent. Quickly, his reputation spread like hot wasabi on the tongue. Both Yoshihide and Fujii offer their composer skills to this project to tickle the listener’s interest. 

Satoko is a respected and heralded improviser and praised as one of the most original voices in Avant-garde jazz today.  She has created this reputation by being present and steadily working at her craft for over twenty-five years. This dynamic pianist is world-renowned since 1996, consistently electrifying her audiences with modern, improvised music and free-jazz. Satoko is one of the world’s leading composers for large jazz ensembles, but is just as comfortable in a duo situation.  If you are looking for surprise, creativity, and musical genius, this is a project packed with all three innovations.

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DAVID HELBOCK – “AUSTRIAN SYNDICATE” – ACT Music

David Helbock, Fender Rhodes/synthesizer/effects; Peter Madsen, piano; Raphael Preuschl, bass/bass ukulele; Herbert Pirker, drums; Claudio Spieler, percussion; GUESTS: Alex Acuna, percussion; Lakecia Benjamin, saxophone; Maria Joao, voice; Fred Wesley, trombone; Dhafer Youseef, voice.

A staccato introduction and an arrangement that embraces staccato as a prominent influence unexplainably turns into a blues.  Shades of the song ‘Watermelon Man’ are prominent. This opening composition by Joe Zawinul (Money in the Pocket) features Alex Acuna on percussion. Originally released in 1966, while Hancock’s Watermelon Man was released in 1962.  I never realized how close in sound and chord changes these two song were, until I listened to Helbock’s arrangement.  The second ‘cut,’ “Hymn to Vienna” sounds eerie and other-worldly, with minor chords and a vocal by Dhafer Youssef that sounds very much like an Arabic prayer chant. Youssef’s voice seamlessly carries over to the next tune titled, “The Third Man.” 

David Helbock offers us contemporary jazz with a rock music undertone and an Avant-garde attitude.  He enjoys using effects and synthesizers to color his arrangements and he’s quite spontaneous and very musical.  I must congratulate Helbock for having a style and personal flair all his own. You get to enjoy the piano of Peter Madsen blended with Helbock’s synthesizer techniques on “Dindé at Dindon.”  This is one of my favorite tunes. Helbock’s original composition, “The Ups and Downs” is another favorite of mine, featuring Lakecia Benjamin on saxophone.  Helbock also penned the beautiful “Ballad for Schonenbach” a tune that quickly becomes another song I enjoy tremendously. “Crimson Woman” had me dancing in my desk chair and features the exciting trombone of Fred Wesley.

There is something hypnotic and comfortable about David Helbock’s album.  His composing talents shine like the sun and his arrangements are fresh, transformative and unique.

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EUNMI LEE – “INTROSPECTION” – You & Me Music

 Eunmi Lee, piano/composer/arranger; Matt Clohesy, double bass; Ari Hoenig, drums; Vinicius Gomes, guitar; John Ellis, tenor saxophone/clarinet/bass clarinet; Remy Le Boeuf, Alto & baritone saxophone; Jon Gordon, soprano & alto saxophones; Alan Ferber, trombone/producer; Tony Kadleck, trumpet; Joyce Hammann & Meg Okura, violin; Lois Martin, viola; Jody Redhage & Maria Jeffers, cello.

She’s a pianist, composer and educator.  This album introduces us to Eunmi Lee, a South Korean, who has been living in New York City since 2020.  I’m certain it had to be challenging to arrive in America, during a pandemic that took millions of lives, and still pursue your artform. 

Eunmi Lee’s love of the piano began early in her youth. She was inspired to seek a degree in Contemporary Music/Piano at the Seoul Institute of Arts.  But when Ms. Lee heard jazz, she decided that was the music she really wanted to explore.  A trip to America was eminent, but that was an expensive dream. So, Eunmi Lee pursued a Holland National Excellence scholarship that allowed her to study jazz at the Maastricht Conservatorium in the Netherlands.  It was there that she received a Bachelor of Music degree in Jazz Studies and Jazz Piano. Her next step was to study at NYU. Finally arriving in the United States, she received a Master of Music degree in Jazz Piano in 2022.  One of her professors at this University was three-time Grammy-nominated trombonist, Alan Ferber.  He has produced this production, her debut album.

Eunmi Lee chose the title of “Introspection” because she feels her compositions are reflections of her inner self.  She has employed several horn players and a handful of string masters who fill her original music with beauty. The pianist’s compositions are rich with lovely melodies and chord changes that lead the way to unexpected places.  I fall in love with a tune she calls “5.19.”  She describes her incentive to create this particular composition in the liner notes.

“I believe that experiencing various cultures is akin to the excitement of reading thrilling books or the joy of trying new foods.  The same applies to meeting and interacting with new people.  Throughout this process, I feel both enchanted and unfamiliar when encountering distinct images different from my own.  This tune captures the emotional changes I experienced while immersing myself in new cultures and meeting new people in the Netherlands on May 19^th, a few years ago,” Eunmi Lee explains.

“Mr. Weird” is a straight-ahead big band composition she penned after spending time observing people in Washington Square Park.  It’s located close to where Eunmi lives. The off-beat individuals she saw there inspired this beautiful, big-band sound that features the improvisational solo of Remy Le Boeuf on baritone saxophone. 

Bassist, Matt Clohesy opens the song called “Wavelength,” creating an introduction to Eunmi’s piano entry.  It’s as though he has parted the curtains and she glides onto the scene, sitting at the piano with fingers unlacing the melody.  Vinicius Gomes adds excitement and beauty to this arrangement.

Eunmi Lee composes gorgeous music; music to contemplate on and to sweetly ingest, like slowly licking ice cream from a cone.

Although I appreciate that her professor and a horn player has produced this album, I find myself wanting to hear more of Eunmi Lee’s piano, and less horn solos.  However, throughout this project her composition skills shine.  The real criticism is in the layout of her album cover.  I wish the album designer had made the font more readable.  The names of the players are as important as the music itself, and this teeny tiny font printing out the credits, blending black into a rich, blue background, is troublesome. 

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ARMAN SANGALANG  QUARTET – Calligram Records

Arman Sangalang, tenor saxophone; Dave Miller, guitar; Matt Ulery, bass; Devin Drobka, drums/cymbals.

Tenor saxophonist, Arman Sangalang headlines his debut album, representing the next generation of Filipino-Americans seeking a place in the jazz sun.  Sangalang has been studying composition with bassist Matt Ulery, a respected recording artist and renowned composer himself.  Every song on this album has been composed by Arman, except for the familiar standard, “Polka Dots and Moonbeams.”

I was disappointed in the opening tune.  It lacked the energy and innovation that a first tune on a debut album should project.  It could be in the “mix” where the bass instrument gets lost.  I keep searching for the bass player’s lines.  Instead, the emphasis seems to be on horn and guitar.  However, instead of Miller creating a powerful rhythm track for Arman to solo over, he seems in competition with the featured artist, busy-busy-busy playing his own guitar solos throughout and during his accompaniment. 

Perhaps this could have been solved by assigning an arranger to the project.  The bass is just mixed way too low.  This project needs that stationary instrument to be prominent. During Sangalang’s original “Two Sides,” just by turning up the drums and bass in the mix, could have made this well-written composition a stand-out opportunity.  Maybe even strong enough to be an opening tune.  Just bass, drums and saxophone would have made all the difference in the world.  It’s just way too busy with Mr. Miller’s guitar everywhere, all at once.  Where is the groove underneath Arman’s horn?   

Matt Ulery takes a bass solo during “Odyssey” and he doesn’t get rhythm section support either.  Tunes like “September’s Lullaby” could almost have been more effective played solo, tenor saxophone only.  You can hear the beauty of Arman Sangalang’s saxophone on “Polka Dots and Moonbeams.”  Obviously, this reed player has mad potential.  His tribute to Sonny Rollins as the closing tune (Rollins) is wonderful and showcases the drums of Devin Drobka.  This should have been the opening tune!

This video, recorded ‘live’ one-year ago, lets you hear this young, talented horn player with a rhythm section that supports him.  The guitarist is the same one that’s on the album.  His solo sounds good and his accompaniment is rich and supportive.  Obviously, Mr. Miller can accompany if he so chooses.

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NOSHIR MODY – “A LOVE SONG” –  Independent Label

Noshir Mody, electric guitar/composer; Kate Victor, vocals; Campbell Charshee, piano; Yuka Tadano, double bass; Ronen Itzik, drums; Benjamin Hankle, flugelhorn.

Guitarist, Noshir Mody, blends fusionjazz with Indian classical music.  Mody is inspired by a concept shared by one of his mentors who reminded him that “Melody is King.”  Consequently, this has shaped Noshir’s approach to composing.  To my ear, what I found missing was the rich Indian rhythms that perpetuate that cultural music and the ‘groove’ that jazz demands.  I finally heard a bit of groove on the composition “In the Absence of Answers” where Yuka Tadano sets the tone on double bass at the song’s introduction.  However, this music is still very quiet, and more classical than jazz. All of the Mody songs are of moderate tempo.  This album begs for an influx of rhythm and excitement.  But if Easy Listening is your choice of music, Noshir Mody fills that bill.  The title song is sung by pop vocalist Kate Victor. It’s a very folk influenced arrangement, played with much emotional integrity, but matches the medium tempo of all the other songs.  

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JASON KAO HWANG /CRITICAL RESPONSE- “BOOK OF STORIES” – True Sound Recording

Jason Kao Hwang, electric violin/composer; Anders Nilsson, electric guitar; Michael T.A. Thompson, drums.

Jason Kao Hwang brings a certain vibrance and attention to the continuing fusion of jazz and rock music.  This is aggressive music played by Jason Kao Hwang and his group called ‘Critical Response.’  They open with what sounds like bird calls and then the trio flies onto the scene to deliver a composition titled “The Power of Many in the Soul of One.” Love that title!  This tune is dedicated to the democracy movement expanding in Hong Kong. His violin dances atop a very seductive guitar groove and invites us into the movement with open arms. The groove quickly expands to a unified aggressive mix of energy and melodies that swirl around me like an active tornado. All of Jason’s songs are over five and a half minutes long.  Some are thirteen minutes in duration and sound more like suites of music rather than a single song. Michael T. A. Thompson is dynamic on drums and takes a powerful solo during this first tune, to inform us about his talents.  He’s soon accompanied by a fuzzy guitar that turns this walk in the park into an Avant-Garde exploration of sounds, grooves, and mixed melodies.  This is music to pique your imagination and tantalize your listening experience with unexpected moments of brilliance and bluster. I found myself completely entertained.

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LAUREN HENDERSON – “CONJURING” – Brontosaurus Records

Lauren Henderson, vocals/composer; Joel Ross, vibraphone; Sean Mason & John Chin, piano; Eric Wheeler, bass; Joe Dyson, drums; Nick Tannura & Gabe Schneider, guitars.

Lauren Henderson has a voice as mellow, imaginative, and smooth as a magic carpet ride.  She whisks us up into a “Conjuring” mood with her opening, original composition titled “Spells.”  This showcases her rich talent as a composer.  Ms. Henderson has written five of the ten songs on this project, and each becomes a stellar example of her talents. The premise of this musical experience is based on magical moments in our lives. Henderson’s title tune, one that she has penned, offers her honey warm tones and a perfectly executed lyric that speaks of love’s power to lift and inspire.  Henderson proudly displays her heritage, a mixture of black, Caribbean, and afro-Latin roots, that culturally translates into her recording. On tunes like “Es Magia” and “Amuleto,” she sings in Spanish. Henderson’s voice is soothing and sexy.  She has a way of embracing and articulating the lyrics of these songs that draws the listener in, like a whirlpool of emotions.  Lauren Henderson knows how to sell a song.

“I don’t feel I can give a strong interpretation and representation of the song if I can’t find some way of connecting to it,” she told Downbeat Magazine in a recent interview.

The production on “Potions” is hypnotic and pleasant. Joe Dyson sets the rhythm slow and steady on drums, but with a sweet groove. Lauren’s measured and prolific delivery on Billy Strayhorn and Duke Ellington’s tune “Day Dream” gets a boost when she adds a harmony voice to her lead vocals. Nice! The vibraphone of Joel Ross contributes richly to the quality of this production and blends beautifully with Lauren’s vocal tone. Here is mellow music to cool you out or inspire you to curl up next to someone special and enjoy.

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GABRIEL ESPINOSA with KIM NAZARIAN – “BOSSAS & BOLEROS” –  Zoho Records

Gabriel Espinosa, bass/composer/vocals; Kim Nazarian, vocals/lyricist; Misha Tsiganov & Fred Hersch, piano; Gustavo Amarante & Enrique Toussaint, bass; Mauricio Zottarelli, drums; Cris Alcocer, percussion; Jim Seeley, trumpet; Jay Ashby, trombone; Anat Cohen, clarinet; Itai Kriss, flute; New York Voices; Gerardo Flores, vocals; Jeremy Fox, vocal arranger; Aviana Gedler, background vocals; Linwood Bell, arranger.

Gabriel Espinosa opens his current album release with a song that celebrates a “New Year.”  It’s pleasant, with a medium tempo Bossa Nova arrangement that features the lovely voice of Kim Nazarian. She sounds like a human horn and blends perfectly with the band. The title of this album honors the music that Gabriel Espinosa grew up with in Yucatan, Mexico.  It reflects the energy of the 1960s. This first song was composed by Espinosa to honor the year 2021 after the pandemic that raped the world of health and security. It features the trumpet of Jim Seeley and the trombone of Jay Ashby.  Track #2 immortalizes the child that his niece lost, baby Amelia. Nazarian has penned the lyrics for this tender composition. It’s a beautiful Bolero ballad. “Mi Jarana” is a traditional dance and a musical style popular in the Yucatan.  It is always played in waltz or 6/8 time. 

“I first heard “Aqui Estoy Yo” performed by Mexican singer Jose Jose with an incredible arrangement by Clare Fischer,” Gabriel Espinosa said of cut number three. 

Fred Hersch is featured on this tune and Gabriel is the vocalist. What he lacks in vocal ability, he clearly makes up for with his emotional delivery.  His friend, Memo Ruiz wrote the composition.

This entire album is packed with talented artists and wonderful music. The New York Voices soar on that popular Carpenter song of the 70s, “Sing,” with their creative jazz harmonies lifting the arrangement like a helium balloon released freely from the hand of a child. It also features a lovely flute solo by Itai Kriss, who becomes the buoyant balloon flying upward. Geraldo Flores lends his silky-smooth vocals to “Nosotros, a Cuban bolero.  For the most part, this is a happy    celebration of Bossa’s and Boleros that spreads joy across my listening room.

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