By Dee Dee McNeil
January 2, 2024
GERI ALLEN & KURT ROSENWINKEL – “A LOVESOME THING” – Motema/Heartcore Label
Geri Allen, piano; Kurt Rosenwinkel, guitar.
This is a collector’s gem! It sparkles with artistic brilliance and features the one-and-only recorded collaboration between two jazz icons; Geri Allen & Kurt Rosenwinkel.
On September 5, 2012, the duet became a legacy on the stage of the famous Philharmonie de Paris. The compatible beauty of two master musicians was captured on tape that day. This project reflects the majestic interaction when piano and guitar are properly united in a duet. You will hear the Billy Strayhorn title tune, George & Ira Gershwin’s “Embraceable You,” a Kurt Rosenwinkel original titled “Simple #2,” a Geri Allen original called “Open-Handed Reach” and Monk’s “Ruby My Dear.”
Perhaps Terri Lyne Carrington described it best.
“I am so happy it is finally being shared with the world! I always felt that Geri’s chordal motion was very guitar-oriented, so the simpatico between them is no surprise.”
* * * * * * * * * * * * *
QUINSIN NACHOFF – “STARS AND CONSTELLATIONS” – Adhyaropa Records
Quinsin Nachoff, tenor saxophone/composer; Mark Helias, acoustic bass; Dan Weiss, drums; BERGAMOT QUARTET: Ledah Finck & Sarah Thomas, violins; Amy Huimei Tan, viola; Irene Han, cello; Matt Holman, conductor; Additional contributors on “Pendulum” composition: THE RHYTHM METHOD: Josh Henderson & Erica Dicker, violins; Leah Asher, viola; Meaghan Burke, cello.
The plucking of strings sweetly draws my attention, pulling like taffy from the computer to my ears. Quinsin Nachoff offers Avant-garde music that is a combination of jazz, classical music, and creativity. This album spotlights string instruments and a jazz trio joining hands to mold sounds and melodies in a unique and pleasurable way. The trio is the same one Nachoff used on his debut release in 2018. They are joined by two New York City-based string quartets. Together the musicians navigate exciting and sometimes complex compositions by Quinsin Nachoff, beginning with an eighteen-minute piece titled “Scorpio.” Nachoff only offers three compositions on this recording. The second one is ‘Pendulum’ and features ‘The Rhythm Method’ string quartet. The other and final song is “Sagittarius,” reflecting the artist’s sun sign. Both of the astrologically named tunes feature The Bergamot String Quartet. However, the star of the show is Quinsin Nachoff with his power-packed tenor saxophone solos and compositions that dive, dip, fly and crescendo across space like the “Stars and Constellations” he is celebrating. The drums of Dan Weiss assist in powerful ways, not only keeping the time but coloring the music with exciting cymbals, flying drumsticks and powerful technique. At the same time, Mark Helias knows how to steal the attention on his acoustic bass. For example, on the final composition, “Sagittarius” where the string instruments mimic street sirens, ambulances and police cars, I am swept into traffic. But the Helias bass is solid and pronounced beneath the fray. About ten minutes into this song, Mark Helias takes a well-deserved solo and settles the street scene down to a walk in the park, until Dan Weiss appears to steal the quiet solo time with his energized trap drum solo.
All in all, this is a work that stimulates the senses with sonic impulses and tickles the imagination. Nachoff’s composing skills are notable and lovely. His music is like a whirlpool that draws the listener into his magical, whirling circle of melodic notes and phrases. His compositions captivate. While listening, I found myself swept into the stars to become an unexpected part of his musical universe.
* * * * * * * * * * *
STELLA BASS – “LOOK FOR THE SILVER LINING” – Independent Label
Stella Bass, vocals/composer; Johnny Taylor, piano/arranger; Barry Donohue, double Bass; Dominic Mullan, drums; Michael Buckley, saxophone; Ronan Dooney, flugelhorn.
Irish vocalist, Stella Bass has a sweet soprano tone that caresses hand-picked standard jazz tunes and original compositions. Her album, “Look For the Silver Lining” will be released on the 3rd of February, 2024. In the throes of pandemic seclusion and aloneness, Ms. Bass began writing original music to fill the lock-down hours. She offers us “All the Colours of My Love” that she co-wrote with Yann O’Brien remotely during the COVID outbreak. It’s a very melodic song with a lilting, Latin arrangement. Another original song is “Still” that she wrote with Neville Lloyd. Stella Bass is a storyteller.
“I wanted to create something hopeful and positive. …Songs I chose reflect that. Some of them were long-time favorites (who doesn’t love a song about a chocolate factory?!!),” Stella quips about her rendition of the song,“Pure Imagination.”
She admits her love of singing Broadway songs and movie themes, as much as she enjoys singing jazz. Stella interprets Stephen Sondheim’s “Being Alive” and Jerome Kern and Buddy DeSilva’s “Look for the Silver Lining,” with Barry Donohue’s tasty double bass walking briskly beneath her delivery. This vocalist lets us know that she can ‘swing’ with the best of them on tunes like “Old Devil Moon.”
Here is a well-arranged album, thanks to the brilliance of her pianist Johnny Taylor. Phil Ware has also leant his arranging talents to the project on three songs, collaborating with Taylor. Thumbs up to Stella’s jazz ensemble. They shine and support her at every creative turn.
* * * * * * * * * * *
RICH HALLEY – “FIRE WITHIN” – Pine Eagle Records
Rich Halley, tenor saxophone/composer; Matthew Shipp, piano/composer; Michael Bisio, bass/composer; Newman Taylor Baker, drums/composer.
Rich Halley is a Portland, Oregon based tenor saxophonist who plays with imagination and power. He has released twenty-five recordings as a leader, all critically acclaimed. This one continues his tradition of excellence. The title tune is twelve and a half minutes long, but I was never bored. It was full of improvised brilliance and allowed space for each band member to step forward and show off their talents. Newman Taylor Baker captured my attention during his furious excursion into Halley’s arrangements. His drum skills are formidable. On track #2, Michael Bisio stepped stage center to open this original composition with his double bass singing its way into my heart. Halley’s beautiful tenor tones introduce the melody sweetly, while Matthew Shipp accompanies on piano, often playing counterpoint and always extremely interesting lines of melody. Drum master, Baker provides the clothespins that hold these tunes together, like colorful fabric on the line. All of these compositions are provided by this close-knit family of musicians, who have collaborated on all tunes. I fell in love with Track #4, “Through Still Air” with it’s intriguing, lovely, melody.
I am both entertained and fascinated by these compositions and arrangements. I found this album to be absolutely mind-bending; definitely provocatory! Halley’s rich saxophone locks hands with his trio and they swirl through the air like skydivers who perform tight acrobatics in space. This music is full of surprises, spacey and exciting, but at the same time, there is a sense of unexpected beauty and calm. Here is an album that will captivate, provoke and please.
* * * * * * * * * * *
CONSTANTINE ALEXANDER – “FIRETET” – Independent Label
Constantine Alexander, trumpet/flugelhorn/composer; Julius Tucker, piano; Greg Essig, drums; Ben Dillinger, acoustic bass; Roy McGrath, tenor saxophone.
https://www.youtube.com/results?search_query=constantine+alexander+firetet
This album is ‘hard bop’ at its best! Opening with a tune Alexander penned titled “The Show” I am swept into the energy and excitement of this Chicago-based trumpeter and his capable quintet. Not only is Constantine Alexander a gifted trumpeter, he’s also an awesome composer. Alexander has written every song on this ‘swinging’ album of music. I found each tune to be melodic and inviting. You will probably find yourself humming or whistling along with these well-composed, original pieces. There is a driving energy produced by these musicians, with Alexander leading the way. Greg Essig slaps the tempo and excitement into place on drums. Their opening song, “The Show” blasts into my listening room with the power of a hurricane. Alexander plunges into the spotlight on his horn and snatches the attention, displaying his trumpet technique for several bars, dueting with Essig on drums, until Ben Dillinger enters briskly walking his acoustic bass and locking hands with Essig to create a smokin’ hot groove. I see immediately why Constantine Alexander titled this album a “Firetet.” The sparks fly from the tenor saxophone solo of Roy McGrath until Julius Tucker steps front and center on piano and adds his own spunk and spirit to the mix. When they trade-fours with Essig, he shows off his drum ‘chops’ with no compunction. This is a band that is both enthusiastic and talented. Their enthusiasm is contagious. Track #2, called “IDKY” calms the moment with a melodic slow walk arrangement that spotlights Ben Dillinger’s mastery during his double bass solo. Obviously, Constantine Alexander has surrounded himself with the crème de la crème of his windy-city jazz cohorts. Each musician adds their tremendous talent to this production. Consequently, I am thoroughly entertained. They swing as hard as a Muhammad Ali punch!
“As a son of Greek immigrants, born and raised in the city oof Chicago, food and music have always been a big part of my life. … Inspired by legendary bands like Art Blakey and the Jazz Messengers, this is where the Firetet was born. Listening to trumpeters like Clifford Brown, Nicholas Payton, and Sean Jones reinvent the way a trumpet could sound ultimately led me to bring out my fire from within,” Constantine Alexander wrote in his liner notes.
Constantine Alexander is an alumnus of Chicago’s Lincoln Park High School. He is currently the Jazz Trumpet Professor at Roosevelt University, where he earned his BA in Trumpet Performance and Alexander leads their Large Jazz Ensemble. He received his master’s in music and jazz studies at DePaul University and was the 2018 city-wide Luminarts Jazz Competition winner and Fellow. This is an album I will enjoy playing repeatedly. Every composition, each arrangement, and the stellar talent that plays this music fuels my imagination and feeds my spirit.
* * * * * * * * * * * * *
VICENTE ARCHER – “SHORT STORIES” – Cellar Music Group
Vicente Archer, bass/composer; Gerald Clayton, piano/composer; Bill Stewart, drums/composer.
Archer has composed the opening tune, “Mirai” and uses it to introduce us to his bandmates. Mirai is a Japanese name that translates from Kanji to English as meaning ‘future.’ Vincente Archer opens his album plucking at the strings of his double bass and setting the tempo and mood. Clayton showers us with arpeggio runs in the upper register of the piano. Each of these trio members is a competent composer. Archer has offered three original compositions on this, his debut album as a bandleader. On Track #2, Gerald Clayton’s song is featured, “Round Comes Round” and Clayton shows off his more Avant-Garde chops and sensibilities. Archer is brightly featured on a bass solo that calls attention to his mastery of that instrument. Archer has always had an aptitude for challenging convention, even though he has shown his ability to play many genres of music, garnering five Grammy nominations and one win while collaborating with artists like Pat Metheny, Wynton Marsalis, Mary J. Blige, and Terence Blanchard to list only a few. Bill Stewart is dynamic throughout on drums. Stewart, Clayton, and Archer have worked together in a variety of situations numerous times, and over several decades. Before this recording, they toured together for three years. Archer notes in his press package that he feels the most comfortable playing with these two musicians. They help him interpret his “Short Stories” in the most like-minded way. I am drawn to their arrangement of “13/14” by trumpeter Jeremy Pelt. It’s more Straight-ahead jazz, where each trio member can explore and improvise. Pelt has also produced this recording.
Archer has included one funk-blues tune he penned called “Bye Nashville.” It inspires the trio to step up and spread joy around the room. After spending 25-years making music with legendary figures like John Scofield, Nicholas Payton, Norah Jones, and Robert Glasper, it seems appropriate for Vicent Archer to step into the spotlight and offer ten musical “Short Stories” for our ears to read.
* * * * * * * * * * * *
RUSS SPIEGEL – “CARIBBEAN BLUE” – Ruzztone Music
Russ Spiegel, electric & acoustic guitars/composer; Jim Gasior, organ; Lucas Apostoleris, drums; Hendrik Meurkens, chromatic harmonica; Brian Lynch, trumpet; Tim Armacost, tenor saxophone/flute; Javier Nero, trombone; Ben Beal, vocals.
Russ Spiegel brings us a taste of the 1970s era of funk jazz with these arrangements. His songs are robust with groove and enjoyable melodies, starting with the first track titled, “The Underdown Groove.” It recalls the hit record by Eddie Harris & Les McCann called “Compared to What?” You can hear Spiegel’s love of funk, big bands, and the addition of Jim Gaslor on organ thickens the arrangements in a very complimentary way, reminding me of the great Jimmy Smith. Spiegel’s bright guitar solos spotlight his terrific talents on both electric and acoustic instruments. As a world traveler, performing in a variety of settings from Florida to Australia, from Israel to Turkey and New Zealand to Argentina, Spiegel has composed ten songs in tribute to various genres of music and cultures across the globe. The title tune is a slow Bossa nova that features the legendary Hendrik Meurkens on chromatic harmonica. In fact, there are many Grammy-nominated and award-winning musicians on this recording. They lend their brilliance to each song, including trumpeter Brian Lynch and saxophonist, Tim Armacost. A singular Brazilian- like production of the tune “Inquietude” features the vocals of Ben Beal.
Each of Spiegel’s original compositions is well-written and his guitar is the ribbon that ties this project together with a bright bow on top.
* * * * * * * * * *
MICAH THOMAS – “REVEAL” – Artwork Records
Micah Thomas, piano; Dean Torrey, bass; Kayvon Gordon, drums.
If this trio music sounds like you’re sitting front row center in a club, it’s because these three musicians cut this entire recording session in a seven-hour marathon session with everyone in the same studio room.
“It was the best I ever felt after a recording session,” Micah Thomas shares in his liner notes. “…Not being able to hear everything everybody was playing with crystal clarity through headphones, I think we all benefitted from a powerful sense of relaxed creativity and the actual experience of creating one unified sound.”
The trio opens with a song that Micah wrote for his younger sister called “Little Doctor.” She is a pre-med student at Ohio State University. The pianist and his trio recorded this song twice. The opening song is a ‘Take Two’ and it gives Dean Torrey on bass time to shine. Collectively, the three talented musicians build this song with individual textures, notes and improvisations that fascinate and interest the creative part of my brain. I love the ‘mix’ on this entire production. It’s crystal clear and each musician’s individual talents are forward, glowing in the engineered spotlight, and acoustically perfect. Micah Thomas’s piano technique is a splendid example of mastery. His melodies uniquely tickle my interest. The second track was inspired by Matthew 26:
“Behold the fowls of the air; for they sow not, neither do they reap nor gather into barns; yet your heavenly father feedeth them. Are ye not much better than they?” Thomas calls this tune, “Look at the Birds” and says the bible passage he’s referring to has supported and challenged his collision with anxiety. Micah’s fingers become the soaring birds as they race up and down the 88-keys of the piano.
“Sacred Memory” is quite beautiful. It’s a ballad that settles the mood down after listening to ten minutes of a composition called “Eros.” Kayvon Gordon’s drum power is provocative and colorful. His percussion excellence is measured and tempered to each selection, coloring the music like pastel paints or watercolors. I hear his distinctive drum rolls, cymbal crashes and beats as part of the whole picture, intermingling with the arrangements and locking them into place like puzzle pieces. Gordon is quite prominent in Take 1 of “Little Doctor.” Each composition seems to flow into the next one, seamlessly, even with tempos and key changes. These tunes move like water, with melodies that fluidly develop and float atop the production chords. There is something very artistic about this album, the arrangements, and the compositions by Micah Thomas. This is musical art at its best.
* * * * * * * * * * * *
JUN IIDA – “EVERGREEN” – OA2 Records
Jun Iida, trumpet/composer; Aubrey Johnson, vocals; Masami Kuroki, guitar; Josh Nelson, piano/Rhodes; Jonathan Richards, bass; Xavier Lecouturier, drums.
From the first musical strains of this album, the group is swinging hard and they put me in a very festive place. The tone of Jun Iida’s trumpet reminds me of New Orleans and the early days of Louie Armstrong. The tune is titled, “Gooey Butter Cake” and it’s both sweet and jubilant, like celebrating someone’s birthday. The “Evergreen” title of this album reflects Jun’s time spent in Seattle, Washington. However, his birthplace is further East, in St. Louis, where he was born to a Japanese couple who migrated to our country. Jun Iida grew up hearing his mother’s sweet voice singing a popular children’s song to him in her native Japanese language. The second track on this album celebrates that precious memory and the popular, traditional, Japanese children’s song he remembers called “Akatombo.” It’s the story of a red dragonfly. Aubrey Johnson’s sweet soprano vocals highlight the delightful melody. Jun’s mother was also a Koto player, (a Japanese harpist) who was a semi-professional musician in Japan. Clearly, she passed her talents on to her son.
Torn between university training to become an engineer or a musician, Jun Iida studied classical music at Cleveland Institute of Music and jazz at Case Western, while also privately expanding his musical knowledge with Paul Ferguson while living in Seattle. He’s a bit of a gypsy, moving from St. Louis to Pittsburgh and living in the Los Angeles, California area for a while before relocating to New York City. Somewhere in between, he received a degree in aerospace engineering at Western Reserve University, but it is music that draws him like quicksand into the circular motion of jazz. He began his musical performance career in L.A., appearing locally with his sextet. I love the way Jun Iida blends pop and jazz music in a contemporary style, without ever losing the essence of ‘Straight-ahead’ jazz or the important roots of jazz music. He also incorporates his Japanese culture into this artistic work, not only with lyrics in Japanese, but also with the tinkling piano played by our Los Angeles icon, Josh Nelson. There is something about these arrangements and that piano that remind me of the time I lived and worked in Japan. This album awakens those fond memories on tunes like “Forgotten Memories” and “Shiki No Uta” featuring Aubrey’s vocals again and a driving drum heartbeat from Xavier Lecouturier that brings funk to the party. Jun’s muted trumpet takes center stage and instantly reminds me of a young Miles Davis. I admire Jun’s melodic sense. It streams through his music like Santa Ana winds, full of warmth and power, with memorable lines of melody. Now and then, Masami Kuroki steps into the spotlight on guitar to mesmerize this listener. Iida’s original tune, “My Anguish in Solidarity.” seems to be based on the changes of “Auld Lang Syne,” but clearly takes a different direction during the improvisational parts. Jonathan Richards parts the curtains and steps through with his upright bass soaking up the spotlight to offer a lovely solo. “Song for Luke” is beautifully performed on Jun’s trumpet and once again shows us what lovely, unforgettable melodies he creates. The trumpeter wrote this song as a tribute to a friend who passed away at a very young age. I am intrigued by this new artist and look forward to many more recordings of progressive and imaginative music. Jun Iida’s release date is January 19, 2024.
* * * * * * * * * * * *
GEOF BRADFIELD QUINTET – “QUAVER” – Calligram Records
Geof Bradfield, tenor saxophone; Clark Sommers, acoustic bass; Dana Hall, drums/cymbals; Scott Hesse, guitar; Russ Johnson, trumpet.
This album was recorded ‘live’ at the Green Mill in Chicago. If the crowd seems uproariously enthusiastic, it is because it was recorded slightly after the pandemic scare and people were eager to get outside and experience the live jazz scene again. The opening tune features drummer Dana Hall’s handclaps at the beginning of the tune Bradfield calls “Deep Ellum.” It’s a funky, blues-drenched tune that features the guitar work of Scott Hesse and Russ Johnson on muted trumpet. When Geof Bradfield enters, playing tenor saxophone, he brings this tune full circle and Hall bookends the arrangement with his body percussion, palms slapping the rhythm into place at the performance finale.
After the groups forced hiatus, you can feel an urgency in their playing. These old friends have been making music together for twenty-five years, in various situations. So, there is a camaraderie and comfort level that allows for freedom and spontaneity. There is also the joy of once again making music together.
“Scott is inside my head harmonically,” Bradfield says in the press notes. “For years we had such a strong intuitive hookup as a trio that it was challenging to add someone to the mix without changing the chemistry entirely. Then we played one gig with Scott Hesse, and it was like he was always there. He and Dana speak the same rhythmic language,” he concluded.
Sommers and Hall open the 2nd original track with just bass and drums. Bradfield has written all the music. The reed man has loved Russ Johnson’s trumpet playing from their days in New York City. Consequently, Johnson’s trumpet fit perfectly into their ensemble. The title tune called “Quaver” explores a more Avant-garde arrangement, giving Bradfield lots of room to stretch-out on his tenor saxophone. He is pushed and teased by Hall’s powerful drums. When Sommer’s bass steps into the picture, the texture of the arrangement changes and he and Scott Hesse on guitar share an instrumental conversation. Quickly, Dana Hall reenters the production and spurs the players forward. Russ Johnson’s trumpet adds his own staccato presence to their musical direction and then soars into his own abstract solo.
This music was recorded back in October of 2021, but it’s still fresh and explosive. It mirrors a time in our nation when people were excited to hear and explore ‘live’ music again after being locked down for two years of pandemic prison.
* * * * * * * * * * * * * *
Musicalmemoirs's Blog 