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.
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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 20th 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.
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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.
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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.”
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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.
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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.
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ANTHONY FUNG – “FO(U)RTH” – Independent Label
Anthony Fung, drums; Michael Ragonese, piano; Luca Alemanno, bass; Mark Turner, tenor saxophone.
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.
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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.
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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.
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