LISTEN TO THE BEAT OF THE DRUM

By Dee Dee McNeil

SEPT 15, 2023

MIKE CLARK – “KOSEN RUFU” – Wide Hive Records

Mike Clark, drums/composer; Eddie Henderson, trumpet; Henry “the Skipper” Franklin, bass/ composer; Skerik, saxophone/composer; Wayne Horvitz, piano/Fender Rhodes/composer; Bill Summers, congas/percussion.

Mike Clark gained worldwide recognition as one of America’s foremost jazz and funk drummers when he was performing with Herbie Hancock in the early 1970s.  Clark was inspired by his father, who was a drummer himself, as well as a railroad man.  As a child, Mike Clark recalls riding around the country on a train, listening, with his father, to blues and jazz music playing above the noise of the train wheels grinding against the metal tracks. Surprisingly, by the time he was four years old, Mike Clark (the young prodigy) was playing drums with various bands and sitting-in with bands in both Texas and New Orleans.  By the time he reached his twenties, Mike was already respected as one of the founders of the distinctive East Bay Sound, growing his musical roots in Oakland, California.

The technique of counterpoint plays strongly in these arrangements.  You will hear two separate melodies going on during most of these tunes, played at the same time and genuinely complimenting each other.  They open with “First Motion” an original composition by sax man Skerik, and it swings hard. Skerik’s saxophone and Eddie Henderson’s warm trumpet share a spirited conversation.  Both horns, playing over each other, argumentatively, but still harmoniously and pleasing, like old friends.

“Hat and Beard” is the second track on this album and was composed by the late, great Eric Dolphy.  The arrangement stretches into the outer edges of the universe, sparkling with shooting stars like Henry “the Skipper” Franklin on bass, Mike Clark’s driving drums that spark energy across open sky, as Wayne Horvitz attacks the piano with Avant-garde messaging. When Franklin’s bass starts walking, his giant steps propel the mood and spirit of this arrangement. Henderson’s trumpet sings atop the bass line and then Mike Clark enters with his own, solo percussive sound to thrill this listener. The third track, “MC’s Thing” is composed by Clark, bearing his initials and featuring the counter melodies that make this recording so rich, artistic and impressive.  A trail of blues runs like a path through this music, with Skerik’s saxophone dancing atop the inspired piano of Wayne Horvitz and Franklin locking arms with Mike Clark’s genius drums to shuffle the listener into a happy place. This tune is nine minutes of joy, with a funk undertone that keeps the energy pulsating. “Distance Between Leaves” written by the pianist Horvitz, quiets the groove and concentrates more on melody. Compared to the other three songs, this one is dark, almost sinister with beaucoup piano pedaling and a space made for ‘The Skipper’ to excel on double bass.  Speaking of Henry Franklin, Mike Clark introduces Henry’s original composition titled “Olivia,” with swift drums and mad technique. Skerik grows the melody on top of Franklin’s busy bass.  Then Eddie Henderson enters, like Joshua blowing the walls down. This arrangement has moods.  Perhaps those are Olivia’s moods, but they change and pulsate from one musical attitude to the next. 

Every tune on this well-played album of exciting and artistic jazz is worthy of a listen. There is funk, conjured up from Mike Clark’s drums like a magic potion.  There is Straight-ahead, blues, and shuffle rhythms that permeate every percussive place in these arrangements. Bill Summers adds his congas and percussion talents to the mix and the result is an excursion into the mind and mastery of Mike Clark’s music, past and present. His ensemble is as powerful and talented as he is! Every chapter of this exciting musical story is packed with intrigue, surprises, and dedication.

* * * * * * * * * * * * * * *

JACK MOUSE & THE THREE STORY SANDBOX – “ARTFUL DODGERS” – Tall Grass Records

Jack Mouse, drums; Janice Borla, voice; Scott Robinson, tenor saxophone/slide saxophone/
bamboo flute/Gopichand/Chinese opera gong/Japanese hyoshigi/Sabian Zodiac gong/Sabian thunder sheet/Sabian tam-tam/Japanese densho bell/Slaperoo slapstick; Guest artist: Mark Feldman, violin.

Drummer, Jack Mouse, has put together not only a unique sound with his ‘Three Story Sandbox’ bandmembers (Janice Borla, Scott Robinson and Mouse himself), but on this project they add a special guest, violinist, Mark Feldman.  This is a production of contemporary musical art, blended smoothly like fresh, whipped cream, with a sweet sense of Avant-garde and freedom, sprinkled liberally with Janice Borla’s soprano vocals. The vocalist plays like a horn with the other instrumentalists.

They open with “Twin Rivers” that immediately snatches my attention when Scott Robinson’s tenor saxophone speaks to me. The drums of Jack Mouse roll and the sticks slap musical sentences into place.  Robinson (with a conversation all his own) seems to answer him on saxophone. Their free flow of ideas pour out and stimulate, like a cup of strong, hot coffee. This is a dynamic duet.  Each musician on this project is magnificent individually. 

On “Kalahari Crossing” I am introduced to Feldman’s awesome violin talents, with vocalist Janice Borla joining him in the spotlight. Borla’s voice duets with Feldman’s beautiful violin mastery on “Slip ‘n’ Slide.  It’s quite amazing to hear them sing together and very captivating. On “Brush Dance” Jack Mouse shows us his brush techniques while Borla improvises on top of his rhythm.  “Kamakura” sounds very Asian and features Scott Robinson on what I think is bamboo flute.  Janice Borla’s voice purposely sings along with the reed work, lending her lovely tones to the unfolding work and transporting me to the island nation of Japan.  Together, the Feldman violin with the various reed instruments that Robinson plays and Borla’s voice sound like three island birds, singing to the rising sun. They invigorate my imagination. Their union and artistic expression is quite hypnotic. Jack Mouse supports the group’s inventiveness with his dynamic drums.

The Three-Story Sandbox concept debuted in 2014 with an album project titled, “Snakeheads & Ladybugs.” It was an improvised duet featuring drummer Jack Mouse and multi-instrumentalist, Scott Robinson.  They added Janice Borla to become a trio of great improvisers and epitomizing the title of Three-Story Sandbox.  This album has added Feldman’s dynamic violin to enrich the music even further.  Every song they play is absolutely beautiful, emotional, and fresh to the ear.  “Tears for Ukraine” is a sad lament that features Borla’s soprano voice swooping into the alto register and exploring notes we don’t expect. Her voice conjures up deeply buried feelings.

This is 20^th Century modern, contemporary jazz that expands the range of sonic possibilities and encourages human interactions with a spontaneous and improvised sound palate.  You can almost taste this music; it is so sweet and enticing.  A lot of free jazz is chaotic and discordant, but their music is melodic and inventive.  It rests like a peppermint mint on my tongue.

* * * * * * * * * * * * *

TONY ALLEN  – “18” –  Jazz is Dead

Tony Allen, drums; Adrian Younge, electric bass guitar/elec. Guitars/Acetone elec. Organ/marimba/percussion/ Yamaha YC-250/Wurlitzer Elec. piano; Marcus Gray, Jazmin Hicks, Loren Oden, additional percussion; Scott Mayo, flute; Phillip Whack, alto saxophone; Jaman Laws, tenor saxophone; David Urquidi & Jacob Scesney, baritone saxophone; Emile Martinez &Tatiana Tate, trumpet; Lasim Richards, trombone.

Tony Allen, an Afrobeat master, departed this world in April of 2020, leaving his legacy of legendary recordings behind. Allen bridged borders, cultures and forged a new sound that changed the face of music by incorporating polyrhythmic drumming into American jazz and world music. People began calling his style of playing, Afrobeat. Allen is celebrated for his contributions as an artist, a cultural ambassador and an innovative solo artist.  He made an impact on every genre of popular music from techno to jazz; from rock to hip-hop. Adrian Younge spoke of his relationship with this gifted and innovative drummer.

“First of all, to be able to work with somebody that helped pioneer the sound of a new genre, a genre that is kind of sort of an international style of funk … Afrobeat.  It’s Black American music going back to its birthplace, Africa,” Younge said in his press package.

Although Allen was enamored with jazz, and had a love of recordings by Art Blakey, Max Roach, and Elvin Jones, he also had a deep love for traditional Yoruba Juju music. On the nearly thirty recordings that Allen appeared on over the years, you can hear an entirely new way of conceptualizing rhythm.  However, on this current album, released in July of this year, the repetition within each song is more like a loop and less like a composition. I suppose that’s Younge’s concept.

The first song, “Ebun” begins with the sweet flute solo of Scott Mayo, but soon morphs into a repetitious and boring electronic mode. Most of these tracks are begging for a melody and musical improvisation. Those are two of the major roots of jazz; melody and improvisation. I understand that this was Younge’s first attempt at writing and producing an album of Afrobeat music. But, after listening to Tony Allen’s tribute to his hero, Art Blakey, and his album of original material played with trumpeter Hugh Masekela. I believe that Tony Allen’s world- renowned drum talents could have been better represented.

* * * * * * * * * * *

JOE FARNSWORTH – “IN WHAT DIRECTON ARE YOU HEADED?”  –  Smoke Session Records

Joe Farnsworth, drums; Robert Hurst, bass; Julius Rodriguez, piano/Fender Rhodes; Kurt Rosenwinkel, guitar; Immanuel Wilkins, alto saxophone.

Joe Farnsworth is one of five sons born to Roger Farnsworth, a trumpet player and bandleader himself, his father has obviously passed music down in his DNA. Joe’s drums have supported artists like George Coleman, Cecil Payne, Jon Faddis, Junior Cook, Annie Ross and Benny Green, to list just a few.  In the last few years, many of Joe Farnsworth’s close friends transitioned from this world to the next. Joe Farnsworth began to contemplate his musical life path and his own legacy.

“In the last decade, a lot of my mentors passed away; Cedar, Billy, Harold, Pharoah.  Guys that I looked up to.  When COVID hit, I thought about many conversations I’d had with Al Foster, who kept telling me to ‘be true to yourself.’  And I didn’t even really know who that was.  So, it gave me the challenge to start telling my own story and not someone else’s.  Be free to find my own voice, while honoring the legacy of those who came before me.  It’s like I finally realized that just being me is ok,” Joe Farnsworth reflected in his liner notes.

The first two songs on this album are penned by his guitarist, Kurt Rosenwinkel, and features Rosenwinkel with Immanuel Wilkins on alto saxophone. However, it’s the Mabern original composition called “In What Direction Are You Headed?” that catches my ear and makes me pause. Joe Farnsworth propels this arrangement ahead with funk drums and a sense of urgency. When Immanuel Wilkins’ saxophone takes center stage, he transforms this song into an Avant-garde universe, speeding across space like a meteor.

A tune called “Anyone but You” shows off the ensemble’s Straight Ahead sensibilities, with Farnsworth introducing the quick tempo at the top of the tune on his trap drums. This becomes another favorite arrangement of mine, with Farnsworth driving this tune forward with powerful drumsticks. Pianist Julius Rodriguez composed this one and shines on his solo. Farnsworth has penned the seventh track, titled “Bobby no Bags” and it features Robert Hurst on double bass, showing off his skills in a serious, no-nonsense way.  This blues-based tune is a toe-tapper. They close with Donny Hathaway’s beautiful song, “Someday We’ll All Be Free.”

* * * * * * * * * * * * * * *

JEREMY DUTTON – “ANYONE IS BETTER THAN HERE” – Independent Label

Jeremy Dutton, drums/composer; James Francies, piano; Joel Ross, vibraphone; Mike Moreno, guitar; Matt Brewer & Daryl Johns, bass; Jasper Dutz, bass clarinet; Ben Wendel, saxophone; Ambrose Akinmusire, trumpet.

Jeremy Dutton is prophesied to be the pulse of a new generation of jazz drummers by his publicist.  He has composed all the music on this, his debut album, and he explains the unusual title, (Anyone is Better Than Here) in this way:

            “I decided to record this album after working on these songs for several years and realizing that a story runs through them. … This project reflects my dedication to being honest, vulnerable and being who I am – – all things that I have taken from my time living in New York City and particularly the past several years in lockdown. The title of the album is trying to express the notion that who we are is inescapable, the desire to change who you are is futile, but the ability to change your perspective is imperative,” Jeremy quotes in his liner notes.

The first song “Opening Credits” strikes me as sad and ominous. The next composition, “Waves” is more upbeat than the first, but written in what sounds like the same minor key and featuring Ambrose Akinmusire on trumpet. James Francies piano accompaniment often creates counter-point melodies beneath the trumpet improvisation.  Towards the end of this tune, Jeremy Dutton demands the spotlight, taking a long and energized drum solo into the abrupt ending. “Mirrors” is reflective with an extended solo by Mike Moreno on guitar.  Joel Ross on vibraphone is prominent on cuts one through three.

However, this modern contemporary music composed by Dutton lacks memorable melodies.  Simply relying on improvisation does not establish a song, but is meant to enhance and explore a functional melody.  That’s what I miss in Jeremy Dutton’s writing.  For example, when you hear Satin Doll, you hear a clearly defined melody.  Or when you hear “All Blues” or Thelonious Monk’s music, or Billy Strayhorn’s compositions, all of these have definitive melodies. This project seems to be doodling around the chord changes. When I listen to the music of Ralph Peterson, Art Blakey or Billy Higgins, there is always a groove.  On most of these songs Jeremy Dutton is busy and energetic, but to what end?  For example on his tune “Vulnerable” I suggest that sometimes less is more. The group seems to settle down on “Unfolding” (still in a minor key) and explored creatively by Ben Wendel’s saxophone, with Dutton’s drums exciting and busy beneath the improvisation.  But where’s the melody?  Where’s the groove? His drum solo dances atop electronic voices and string-like arrangements, then disappears into the fade, the way clouds evaporate into space.

On “Truman (Reborn)” a viable melody arrives like a sunburst. It’s a beautiful composition.  For the most part, this is a concept album and not very lyrical. All the participants are fine players, however the composing and arranging could be stronger.

* * * * * * * * * * *

PHIL HAYNES/DREW GRESS/DAVID LIEBMAN – “CODA(s): NO FAST FOOD III “ – Corner Store Jazz Imprint

Phil Haynes, drummer/composer/gong; Drew Gress, bass/bells; Daivd Liebman, soprano saxophone/ wooden flute/bells.

Phil Haynes is a veteran jazz drummer and composer who has been featured on more than eighty-five recordings, both American and European record labels. 

“For a long time, I felt like I hadn’t quite achieved my dreams.  My models were Elvin Jones, Tony Williams and Jack DeJohnette, innovators. Maybe I never managed to become an innovator like Elvin, but I did my own thing.  I have an identifiable sound, and I did play with the masters.  I saw that I’d gotten a lot closer to my potential than I’d realized,” Phil Haynes quotes in his press package.

As I listen to the trio’s first track, I hear all the rhythms and textures of a master percussionist.  He’s not just flying around super-busy and playing every lick aimlessly.  With every swipe of the sticks or tap on his drums Phil Haynes offers us meaningful music with clarity, creativity and percussive mastery.  He is surrounded by two legendary musicians: David Liebman and Drew Gress.

“I realized when we were recording last year that I’d first met Dave Libman exactly fifty years ago,” he chuckles at the time that’s passed and the man he greatly admires.

It was 1972 when he received a Christmas gift of the Elvin Jones “Merry-Go-Round” album featuring Liebman. 

“From then on, Lieb was a huge part of my listening.  That record continued to be mysterious to me for more than a decade, until I got to college and all of a sudden it clicked and became an all-time favorite.”

In 2012, Haynes and Liebman recorded a duet called “The Code.”  The next year, Gress joined them.  Now they have a solid and highly motivated trio of brilliance.  I must complement their engineer, because this album is so clear and crisp, with each instrument mixed at the right dynamic clarity.

Because of physical challenges Haynes was facing, including challenges with his hand, the horrible time of Pandemic lockdown, and unfortunately, he was also suffering a bout of depression, Phil Haynes almost decided to retire. But the pandemic lock-down time allowed him to re-listen to his life’s work.  As he wrote in the album notes, listening to his earlier recordings stimulated a self-realization. He was encouraged by his work and proud, as he should be.  What he discovered was inspiration, and he decided to hold retirement at bay for the foreseeable future. Lucky for us, Phil Haynes knew he had much more music to make.

This amazing album of excellence renews Haynes’ dedication to being the best that he can be and surrounding himself with like minds.  It’s a 2-CD production that thrills and stimulates artistic senses with every tune they play. 

* * * * * * * * * * *

ANTHONY FUNG – “FO(U)RTH” – Independent Label

Anthony Fung, drums; Michael Ragonese, piano; Luca Alemanno, bass; Mark Turner, tenor saxophone.

Anthony Fung x Cogs Custom Drums

Ralph Peterson was one of this journalist’s favorite drummers and he mentored Anthony Fung.  Consequently, I was certain Mr. Fung would have to be superb.  He didn’t disappoint as a drummer and even more impressive, as a composer.  Fung already has released three full-length recordings as a bandleader, but this album pays tribute to his mentor’s mantra.  Ralph Peterson always told him, “Onward and upward,” recalled Anthony Fung. 

“His whole philosophy was forward. Forth,” Anthony Fung explained the tribute title of this project.

Fung has composed seven of the eight songs on his album,.  The only cover-tune is the Thelonious Monk song, “Boo Boo’s Birthday.” 

Michael Ragonese sets the mood on piano for the first track titled, “The Valley.” Modern saxophone legend, Mark Turner, unravels the melody like a ball of yarn, slowly unwinding the notes, one tumbling after the other and encircling my listening room.  On Track three, “A Drummerlude,” Anthony takes a brief, but inventive solo, on his trap drums. 

Fourteen years ago, Canadian drummer, Anthony Fung, moved to Boston to attend the Berklee College of Music.  His career has grown by leaps and bounds since that arrival in the United States.  Fung has immersed himself in contemporary music and composing, which he showcases on this album, along with his longtime trio of choice.  Although moving from one space to another can cause a feeling of “The Upside Down” you can also grow and blossom from such an experience.  This ‘Upside Down’ original composition by Fung is a ballad and quite lyrical, with Turner’s tenor saxophone unwinding the pretty melody and exploring the chord changes harmonically along with the piano of Ragonese.  Nice arrangement!  The title tune follows, with Anthony featured on drums from beginning to end.  The rhythm pattern grabs you right from the first several bars and makes me wonder what’s coming next.  It’s completely percussive and it sets the mood for Monk’s song that follows, with Anthony bursting “Fo(u)th” with drum brilliance. 

* * * * * * * * * * * *

RICHARD BARATTA – “OFF THE CHARTS” – Savant Records

Richard Baratta, drums/arranger/co-producer; David Kikoski, piano/elec. Piano; John Patitucci, bass/electric bass; Paul Rossman, congas/percussion; Jerry Bergonzi, tenor saxophone.

My head was spinning with disappointment, after listening to several CDs on my desk that represented mediocrity. That changed when I put this album on.  Wow.  What a blessing!  Richard Baratta is a captivating, powerful drummer, and he has surrounded himself with excellence. The first thing that struck me was the quality of the compositions.  I thought to myself, these are great tunes.  Who composed these?  When I looked at the liner notes, I realized all these compositions are by some of the most respected names in jazz.The first song is one that is covered quite a bit called “Herzog” by vibe master composer, Bobby Hutcherson.  Baratta’s ensemble tumbles into my listening space like a meteorite shower, with David Kikoski brilliant on piano and Jerry Bergonzi holding nothing back on the tenor saxophone. This is Straight-ahead jazz at its best. Baratta’s drums power-wash any grit off this arrangement and polish it to a bright shine. When he trades fours, the talented drummer lets you know he has the power, imagination, and technique. 

Their set list includes tunes by Wayne Shorter, Charles Lloyd, Chick Corea, Alec Wilder, McCoy Tyner and Joe Farrell.  They also cover the familiar “Out of This World” by Harold Arlen and Johnny Burke.  John Patitucci serves as a pillar in the basement of the rhythm section, locking grooves and tempos with Baratta. His solo, on the lilting and lovely “Molten Glass,” is melodic and sensitive.  Bergonzi swings hard on his tenor, until “Blackberry Winter.”  Then, he puts on the brakes and lets his horn caress this pretty ballad like sensitive fingers. Paul Rossman adds splashes of color and texture to this project as a respected percussionist.  You hear his energy on the conga instrument brightly on “Peresina,” a McCoy Tyner composition. 

This album inspired me.  It woke me up and stimulated my creative juices.  It entertained me and introduced me to some well-written songs I had not heard before.  Even though the material was lesser known, the arrangements, the masterful musicians and Richard Baratta himself made each selection a work of art.

* * * * * * * * * * * * *

BOB HOLZ – “HOLZ-STATHIS: COLLABORATIVE” – MVD Audio

Bob Holz, drums/composer; Dean Brown, guitar/composer; Jamie Glaser, guitar; James Moody, acoustic guitar; Krishna Booker, beat box; Billy Steinway, keyboards/composer; Ric Fierabracci & Benjamin Shepherd, bass; Alex Acuna, percussion/composer; Joey Heredia, Frank Stepanek & Airto Moreira, percussion; Brandon Fields, saxophone/composer; Ada Rovatti & David Goldberg, saxophone; Ido Meshulam, trombone; Bill Churchville, trumpet; Karen Briggs, violin; Rob Stathis, Elliot Yamin & Diana Moreira, vocals. Special Guests: John McLaughlin, guitar; Jean Luc Ponty, violin; Randy Brecker, trumpet; Ralphe Armstrong & Darryl Jones, bass.

Drummer Bob Holz brings us the energy and excitement of fusion jazz on his latest contemporary album “Holz-Stathis: Collaborative.”  He features some of the best jazz musicians in the business, and they bring this production to full force with power and drive.  Bob’s original composition “The Tunnel” opens this album with gusto. He follows this with another original song, “Island Sun Love” that features the beautiful vocals of Diana Moreira dancing among the lilting, Latin-flavored chord changes.  Alex Acuna opens Track #3 on percussion.  He has also composed this song, “Alex’s Dream” that features a stellar violin solo by Jean Luc Ponty.  An original composition by Billy Steinway is “World Turned Upside Down” propelled by the electric bass of Ralphe Armstrong and pushed into the funk idiom by the solid drums of Bob Holz. Violinist Karen Briggs lights a spark of brilliance during her performance on “Flight of Fancy.”  Here is an album of music that inspires joy and happiness.

* * * * * * * * * * * *

PIANO TRIOS, VIOLINS, VIBRAPHONES & GUITARS PAINT SHADES OF JAZZ

By Dee Dee McNeil

                                  September 6, 2023

MICHAEL ECHANIZ – “SEVEN SHADES OF VIOLET” (REBIRALOST) – Ridgeway Records

Michael Echaniz, piano/Hammond organ/Fender Rhodes/keyboards/MIDI programming/composing; Jeff Denson, double bass/vocals/electric bass; Dillon Vado, drums/Glockenspiel/percussion; Danielle Wertz & Molly Pease, vocals.  SPECIAL GUESTS: Friction String Quartet, Kevin Rogers, Otis Harriel, & Mitso Floor, violins; Doug Machiz, cello; Dann Zinn, tenor saxophone; Silvester Martinez, congas/ percussion; Lu Salcedo, electric guitar; Shay Salhov, alto saxophone; Erik Jekabson, trumpet; John Gove, trombone.

There is something quite engaging about the piano of Michael Echaniz, released as part of Ridgeway Record’s ‘Rising Star’ series.  His album title references the Echaniz fascination with mathematics and color. The shifting moods, tempos and use of various piano-like instruments keeps me engaged and on the edge of my seat. His arrangements are entertaining. Echaniz plays organ, Fender Rhodes, synthesizers, and the grand piano with equal brilliance.  I am particularly drawn to his acoustic piano interpretations and to his other worldly compositions. He was drawn to the album title because of the deep purple colors he embraced when composing these songs, starting with the title track, a 12-bar blues in form, but beginning in 7/4. 

“…the harmonies seemed to be a shade darker than the blues – so a purple or violet hue.  That more melancholic shade felt like a good fit for the album title,” Michael Echaniz explained.

About that sub-title of “Rebiralost,” that’s the name of his musical ensemble.  Michael invented the word as an anagram of ‘bertsolari’ that means a performer of improvised song in the Basque culture. It so happens, that culture is a piece of Echaniz’s DNA heritage.This unusual group name represents a life cycle that gathers his cultural roots of the past with his present, combining the two in a massive hug. The name represents the tentative cycle of life with all its challenges.  As a cancer survivor, Michael Echaniz is well aware of how precious and delicate the balance of life can be. You can hear that in his music.

Bass man, Jeff Denson met Echaniz while he was Dean of Instruction and Chair of the Bass Department at the California Jazz Conservatory in Berkeley, CA.  The bassist and educator, who played with the Lee Konitz New Quartet for over a dozen years, became interested in Michael’s musical talents. His contribution to this album on various basses is extraordinary.

“Each semester had a different focus. … we explored bud Powell’s music and … the bebop era, Chick Corea’s music… and then more modern players like Tigran Hamasyan and Shai Maestro. … We’ve continued playing together ever since,” Echaniz spoke warmly about his relationship with Jeff Denson. 

His album begins with a very brief piece titled “Prologue” and ends with an “Epilogue” composition.  In between you will enjoy the many faces of pianist Michael Echaniz.  The tunes are expressions of his original music and his unique approach to playing various keyboard instruments. Most importantly, Michael Echaniz made me feel something spiritual and gripping with the music he plays. Yes, it is often rhythmically complex, with fingers rolling over the 88 keys like a subterranean waterfall. Michael’s composer skills are buried deeply in a pyramid of jazz compositions, French poetry, and Basque towns from the Spanish Civil War.  Inspired by Picasso paintings and Chopin’s 4:3 ‘Fantaisie-Impromptu,’ Echaniz totally captures me with his “Gernika Bask Balms” composition.  The vocals on “Everything Is Embarrassing” move the jazz towards a more contemporary direction, but the entire arrangement is complex and fresh. It covers me like a sheer purple net.  I am stunned by its beauty and the unfolding creativity that features the vocals of Molly Peace. The emotional saxophone solo is delivered by Dunn Zin.

In summary, the music of Michael Echaniz is full of unexpected surprises, like batting a piñata and becoming amazed at the abundant gifts that fall into outstretched palms. This music, like those gifts, are a shower of joy.

* * * * * * * * * * * *

BEN POWELL NEW JAZZ STANDARDS VOLUMNE 6 – “THE GREAT CARL SAUNDERS” – Summit Records

Ben Power, violin/viola; Christian Jacob, piano; Kevin Axt, bass; Peter Erskine, drums.

Summit Records launched this ongoing New Jazz Standards project in 2014.  The idea was to have various prodigiously gifted artists celebrate the compositions of the great Carl Saunders. This time we listen to the brilliance of Ben Powell on both jazz violin and viola. Powell has chosen a dozen of the Sunders songs to interpret.  Each one is an amazing star sparkling on the standard-song universe.  These songs are just begging to join those jazz compositions musicians feel are worthy of playing over and over again. 

Powell opens with “Just a Samba” that dances into my room with a happy arrangement that makes my toes tap.  Ben Powell knows how to swing on his violin, and he makes me feel joyful as I listen.  Powell has become a sort of muse for Hollywood composers like Hans Zimmer, he called him in to do all the violin work on the Top Gun: the Maverick soundtrack.

Powell and Saunders first met on the golf course, through a mutual friend, but Ben Powell knew all about Carl Saunders and admired him as a gifted composer. He’d been listening to the Saunders’ music for years.  Powell swings hard on “Main Squeeze” and Christian Jacob shines during his piano solo. This tune is just wonderful, and it glues a smile across my face.  When they trade fours with Peter Erskine’s masterful drums, it lifts the arrangement to another level. Every hand-picked song from the Carl Saunders book of compositions is a treasure that glitters in the bell of my ear. 

“Blues for Dexter Gordon” was arranged by the multi-talented Brent Fischer.  When Ben Powell magically turns his string instrument into a horn, I am knocked to my knees. I have never before heard a violin or viola played with so much soul.  Highly impressive!  This quickly became one of my favorites on this album. Kevin Axt walks his double bass proudly, like a Kentucky Derby Grand Prize-Winning jockey walking his horse around the track. Even though Axt is in the basement of this bluesy arrangement, he is definitely the sturdy support a King’s castle needs. Perhaps Carl Saunders summed it up best when he said:

            “I got these great artistic musicians to come in and bring those sometimes complicated chord progressions to life with their creatively imaginative accompanying and improvising.  I gave them my book NEW JAZZ STANDARDS of over 300 tunes and they picked what tunes they wanted to do.  It has been very humbling to have these great musicians interpret ad play my music on all the volumes of the New Jazz Standards series that Summit Records and I have worked to create,” Carl Saunders said before his untimely death in February of 2023. 

Every composition and every arrangement on this album will put a smile on your face and a song in our heart.

* * * * * * * * * * * *

DIMITRI LANDRAIN TRIO – “ASTOR’S PLACE” – Zoho Records

Dimitri Landrain, piano/composer; Jim Robertson, bass; Keith Balla, drums.

The main influence for this album has been world travels that Dimitri Landrain made during his lifetime.  As a French composer and pianist, currently based in New York City, Dimitri gained inspiration for composing these tunes from places he’s visited.

“The main influence for my compositions comes from my travels.  I vividly remember the unique and rich music of the Carnival (in Brazil) and the harmonic and melodic language of Jobim and Gilberto Gil,” he shares in his press package.

Landrain has soaked up the South American genre, including visits to Argentina and his appreciation of Astor Piazzolla, a major Latin American Tango composer of the twentieth century. Consequently, Dimitri Landrain’s hat tips respectfully to that gifted composer in the title of this album, “Astor’s Place.”

“I tried to capture the spirit and passion of tango, especially the intensity and drama by alternating relentlessness and relief,” Landrain explains.

Although I think of Latin music as energetic and passionate, this trio creates an easy-listening production, with South American overtones and European classical influence vividly coloring their project.  “Entangled” is a song that celebrates the Tango dance and popularity in a silky-smooth way.  The composition “Eight Years” is a song exposing samba roots.  The music becomes pensive and the tempo calms to a ballad on “Lovers in the Rain.”  This melody is absolutely beautiful, full of emotion and Landrain says his arrangement is an homage to Michel Legrand, another great French composer. Jim Robertson steps forward on double bass to woo us with his solo. 

The next song picks the tempo up a hair, like a lace hanky on the dancehall floor. The listener will want to scoop it up and wave it to the bright rumba groove.  I long for the drummer to be more assertive and dynamic.  As if my wishes magically came true, Keith Balla makes his percussive rhythms known on “O Carnaval.” 

This is a very lyrical trio that features the piano expertise of Dimitri Landrain and showcases his talents as a prolific composer exposing a deep appreciation for Latin music.

* * * * * * * * * * *

MICHAEL RAGONESE – “STRACCI” – Rags Records

Michael Ragonese, piano/composer/arranger; Luca Alemanno, bass; Mark Ferber, drums.

From the very first four bars, I am captivated by this trio.  They swoop into my listening room playing “Solar” by Chuck Wayne, a song (I was surprised to learn) Miles Davis re-arranged and copy-wrote in his own name on an album released in 1954. Ragonese and his trio play it at an up-tempo pace and with the gusto and energy of three men on fire with jazz inspiration and musical excitement. They demand my attention.  This is the way I like to hear an album begin.  Ragonese is not only an exceptional pianist, but he is additionally a competent composer. Using his pen and his piano playing, Michael’s goal is to tribute his Italian-American heritage.  As a youthful jazz musician, one who graduated from Cal State Northridge in 2014 with a degree in Jazz studies, this sophomore album celebrates not only music but Michael’s newly opened music school. The school is named “Rags School of Music.” The title of this album is “Stracci” which translates from Italian to ‘rags,’ in English.  This was also Michael Ragonese’s nickname.  

The original compositions on this project, rich like Chamomile Italian tea, are steeped in European classical music. The Ragonese original song, “Escape” is quite classical in structure and arrangement, but at the end, Michael uses a chord vamp to give free reins to bandmate Mark Ferber, who races into the universe, displaying his mastery on trap drums. “In Attesa,” the title of another original composition by Ragonese, translates to “Waiting” in English.  Michael wrote this piece after he was in a serious motorcycle accident and couldn’t walk for more than a year. I enjoyed the Ragonese ‘take’ on the old standard, “I’ll Be Seeing You.”  The trio swings the familiar composition, while Michael Ragonese implements some very contemporary chords into the arrangement, reminding me a little bit of Bill Evans. His unique composition, “Copycat,” closes the album and becomes another favorite of mine. It’s very modern jazz, with the spotlight shining boldly on Michael Ragonese and his piano interpretations.  His fingers race across the keys like bald tires on oil. Both inversions and chord progressions surprise and delight.

* * * * * * * * * * * * * 

JALEN BAKER – “BE STILL” – Independent Label

Jalen Baker, vibraphone/composer; Paul Cornish, piano; Gabriel Godoy, bass; Gavin Moolchan, drums.

Jalen Baker has returned to the NYC scene, after an extended stay in his hometown of Houston, Texas. During the pandemic, he found himself stationary in his hometown for a while longer than he had planned.  But there is nothing like ‘home’ to ground you. 

Regarding the title of this album, “Be Still,” as I settle back to listen and enjoy Jalen, the vibraphonist, the first thing I realize is that most of the music on this recording doesn’t sound as if it is trying to “Be Still.”  In fact, the only time the band is totally and beautifully still is when they play the old standard, “Body and Soul.”

The drummer is either recorded badly or mixed poorly throughout.  This recording makes him sound like he’s beating on a wooden box.  Bassist Gabriel Godoy opens the title tune.  It’s quite melodic, but once again, the arrangement is just extraordinarily busy!  The piano needs to give Jalen a break; a breath; some space.  Maybe that’s why most vibraphonists use a guitar player in their bands. I do appreciate and applaud Baker’s composing skills. I think his title tune is outstanding.

Track #3 is such a beautiful composition, but it gets lost in the arrangement.  Somewhere, this artist has to embrace the concept of letting his music breathe.  It’s like speaking.  There’s a pause after the period.  A breath comes after the question mark, letting the people listening concentrate on the question.  Jalen’s vibes just rumble along in a flurry of unbroken, musical phrases.  It’s only when bassist Gabriel Godoy takes center stage that I hear a conversation that flows and breathes. That happens during the Bobby Hutcherson “Herzog” tune.  After growing up on Milt Jackson, Charles Earland, and Jimmy Smith, I just expect more from our young, talented musicians like Jalen Baker. 

 * * * * * * * * * * * *

ALEX COKE & CARL MICHEL SEXTET – “EMERGENCE” – PlayOn Records

Alex Coke, tenor saxophone/flutes; Carl Michel, guitar; Elaine Barber, concert harp; Carolyn Trowbridge, vibraphone; Bob Hoffnar, pedal steel guitar; James Suter, bass.

The initial thing that crossed my mind when I heard the first track of this recording was, what a unique and lovely sound.  The combination of guitars, tenor saxophone and Elaine Barber’s concert harp just flooded my listening room with warmth and wonderful jazz.  They opened with the great John Coltrane’s composition, “After the Rain.”  Together, the group’s unity was evident and brought comfort and peace.  Alex Coke And Carl Michel (both based in Austin, Texas) have made music together for decades.  They met after guitarist, Carl Michel co-founded “The Creative Opportunity Orchestra” and Alex became an original member of that group. Based in Austin,  Elaine Barber is respected as the principal concert harpist for the Austin Symphony Orchestra, but she also loves and plays jazz.  It’s a no-brainer that Alex Coke and Barber would merge their talents and personalities on the bandstand. 

On the composition, “Rolling …” James Suter takes a bass solo that quiets the moment and Alex puts down his saxophone and picks up his flute. Turns out, the opening Coltrane arrangement is not an example of the remaining album.  “4 Mobile Structures, Dedicated to Alexander Calder” was composed by Alex and is quite ethereal and leans heavily into Avant Garde jazz. Carolyn Trowbridge is brightly featured on vibraphone.  “Bagatelle II” is folksy.  Carl Michel’s original composition, “Mangled Tango” is a somewhat watered-down Latin arrangement where the saxophone solo reminds me of how an accordion might have interpreted the song.  The song “Locust Grove” sounds like a Pan Piper arrangement. Everything just seemed to move away from jazz, like confetti in the wind, and into another realm after the Coltrane opening song.  It took me by surprise. 

* * * * * * * * * * * * *

TODD MOSBY – “LAND OF ENCHANTMENT” – MMG Records

Todd Mosby, guitar; Vinnie Colaiuta, drums; Rhonda Smith & Timothy Bailey, bass; Charlie Bisharat, violin; Dapo Torimiro, piano; Laura Vall, vocals; Tom Scott, woodwinds; Arianna Woods, cello; David Leach, percussion; Ranya Ibiqal, cello.

Guitarist, Todd Mosby, brings us contemporary jazz with his bold and heavily groove-driven production.  Here is a delicious mix of contemporary jazz, samba, Bossa-nova and fusion music. The addition of Laura Vall’s amazing vocals is a plus as she scats and blends with the musical instruments.  Todd has composed most of this enchanting music and the opening tune, “Place in the Sun” and the second tune “Moonrise Samba” are both happy and energy-fused compositions. These song titles depict geography and natural moods. 

Mosby’s music stretches warmly, yet mysteriously, like moon rays against a dark sky on “Native Dancer,” featuring the bright horn of Tom Scott. Todd Mosby is the melodic propeller on this jazzy helicopter ride, flying from one of his original tunes to the other and sharing the spotlight with his talented ensemble members. “A Distant Light” is a pretty ballad that calms the mood, giving Dapo Torimiro an opportunity to sparkle on piano and inviting Adrienne Woods to add a lovely cello solo to the piece.  Rhonda Smith’s bass is constant and creative, while Mosby’s guitar shares his melodic brilliance with us.

“The evening star seen just after sunset in a Western sky was the inspiration for this musical reflection,” Mosby explains in the liner notes.

On “Emerald Springs” We get a taste of Todd Mosby playing solo guitar.  He shows all his multifaceted talents on his acoustic instrument, moving smoothly from rhythm guitar to melody driven interludes.

This is an enjoyable collection of well-produced original songs with two ‘cover’ tunes thrown in for good measure.  You will enjoy the Lennon & McCartney song “Norwegian Wood” arranged in a bluesy/semi-rock way and showing us another side of Todd Mosby’s guitar talents using  acoustic guitar. The group also re-interprets Jimmy Webb’s famous composition, “By the Time I Get to Phoenix” in a blues-based, moderate tempo. The arrangement reminds me of a horseback ride across an open plain, with Vinnie Colaiuta’s drums pushing and prodding me forward in a relaxed but determined way and Charlie Bisharat’s violin as a sweet surprise. This entire album is a delightful listening experience.

* * * * * * * * * * * *

BLANKFor.ms / TYLER GILMORE /JASON MORAN/MARCUS GILMORE – “REFRACT” – Red Hook Records

Jason Moran, piano; Marcus Gilmore, drums; Tyler Gilmore, electronics/tape loops/processing.

On this unique and Avant-garde marriage of digital meets analog, the trio digs deeply into electronic musical expression.  They are combining acoustic piano, drums and electronics in real time, while spontaneously recording loops that they snatch up, like hidden treasures, and incorporate into the arrangements.  The result is a rather unusual exploration of improvisation, technique and creativity that embraces the roots of jazz, but offers us a hybrid flowering of electronically driven moods and melodies. All of this was inspired by one of Jason Moran’s former students (Tyler Gilmore) who is a wizard at electronic music. The second track, “Onset II” sounds like the track for an AI (Artificial Intelligence) movie and features drummer Marcus Gilmore placing the rhythm beneath what sounds like robots talking to us.  Track four, “Affectionate, Painful” brings the beautiful talents of Jason Moran to the forefront on piano with a song that will make you want to fall in love over and over again.  It also reminds me of meditation music, a lovely listening experience.

If you are looking for music that is fresh, and jazz that is breaking through walls that once defined it, this is an album that will cause the senses to tickle, the mind to reflect, and the universe to open widely like a smile across your sky and lift you into passages and places never before explored.

* * * * * * * * * * * * * * *