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New Jazz & Blues – 1/18/2022

New Jazz:

Blue Reality – Quartet (Mahakala Music): “In 2018, jazz musician extraordinaire Michael Marcus got an invite to bring his duo with drummer Jay Rosen to the Austrian venue Jazzgalerie Nickelsdorf. And when he arrived, the promoter of their show sprung a novel idea on them: performing their set with fellow reedsman Joe McPhee and another drummer. “It was a great concept,” Marcus remembers. “And the chemistry was really good.” So much so that Marcus wanted to capture the sound of this unusual group—two horns and two percussionists improvising without a bass player or a piano or any other chordal instruments—on record. But with the drummer they played with in Austria unavailable to travel, Marcus, Rosen, and McPhee called on their friend and collaborator Warren Smith. And the Blue Reality Quartet was born.” (https://bluerealityquartet.bandcamp.com/album/blue-reality-quartet) Click here to listen to the performances of this unusual and intriguing concept.

Scott Burns – Tenor Time (AFAR Music): “Scott Burns, John Wojciechowski and Geof Bradfield are Tenor Time…. Jazz as a creative music and art form holds a heavy tradition of collaboration. From Charlie Parker and Coleman Hawkins, to Count Basie and Oscar Peterson, to Ray Brown’s “Some of My Best Friends Are…” series, jazz history is riddled with innumerable brilliant meetings of musical minds coming together to make something wondrous. In true continuation of this tradition, AFAR Music has brought together three of Chicago’s finest – tenor saxophonists John Wojciechowski, Geof Bradfield, and Scott Burns – to capture a moment of creative brilliance with their new release, Tenor Time… Tenor Time follows on the success of Altoizm, the previous collaborative project spearheaded by AFAR Music. The label’s founder and album’s pianist, Richard D. Johnson, remarked that such collaborations are often spurred on by the “what if?” conversations of music fans calling for their favorite artists to share not just the bandstand, but the studio….In addition to the three headlining tenors, the band on Tenor Time is comprised of Clark Sommers on bass, Greg Artry on drum set, and Richard D. Johnson on piano and keyboards. With Tenor Time, listeners find that two heads are better than one, and three is simply superb. Providing a glimpse into the possibilities of what can happen when apex musicians come together in joy with mutual respect for each other’s distinct perspectives and craftsmanship, Tenor Time leaves audiences enthralled and deeply curious as to what AFAR Music has in store next.” (https://lydialiebman.com/index.php/2021/12/20/new-release-john-wojciechowski-geof-bradfield-and-scott-burns-present-tenor-time-due-out-january-21-2022-via-afar-music/) I regret that I am not able to find a sample for this release.

Ron Burris – Shades Of Jazz (Self-produced): “Vallejo CA born saxophonist Ron Burris started playing sax at an early age. With a solid background in R&B and sprinkles of gospel, Burris went on to college to major in music at U.C Davis. He graduated with a B.A. in music and followed up with a teaching credential from Sonoma State University. That passion culminates in a very cool fashion with the release of his debut self-produced CD, Mr. Cool!  A 9-tune set with 7 originals Mr. Cool display Ron’s excellent writing, arranging and production skills as well as his on defining sound, and playing tenor, alto and soprano saxophones his musical virtuosity!” (https://newworldnjazz.com/ron-burris-shades-of-jazz-ron-burris-music/) Click here to listen to samples of the songs on this release.

Hope Diamond – Awaken (Self-produced): “Hope is celebrating her new album “Awaken” Summer 2021 that had been in the works since before the pandemic and is excited to bring it to you with a fabulous big band sound with special guest like horn player Tom Brown of “Jamaica funk”.  And guitarist Blake Aaron.   She is singing great nostalgic and very hot big band tunes with a jazzy yet funky feel….Hope Diamond, jazz, and RnB performer has sung since a child in church. She has song as a headliner for four months on the Italian cruise liner the MSC with a Ukrainian jazz Trio who played nightly to international guests’ way way into the night.  She currently is performing with the Paul McDonald 17-piece Big band out of Los Angeles as a featured artist.” (https://www.hopediamonddeans.com/index.php/about/) The songs on this release offer cover styles from Marvin Gaye’s “Trouble Man” and “What’s Goin’ On” to Kurt Weill and Ogden Nash’s “Speak Low” while showing her versatility with “Rio de Janeiro Blue”, Lane and Harburg’s “Old Devil Moon” and Bob Wilson’s “Follow Your Road”. Solid throughout! Click here to listen to clips of all the songs on this release.

Floating Points w/ Pharaoh Sanders & The London Symphony Orchestra – Promises (Luaka Bop): “Fulfillment – Yeah, I know. Just about everyone has already written about this album. Plenty of reviews, lots of promotion, even the big national magazines and newspapers wrote about “Promises”. But I wanted to let this one sink in, and give it a while. Even before I had read about it and before I had seen the trailers and heard the excerpts I thought that this is not the kind of album that is properly acknowledged with a hastily written comment after a quick first impression. Not appropriate. Some ten years ago, the first Floating Points 12″ entered my DJ bag. “Vacuum Boogie” stayed there for a pretty long time too, a killer track when the mood at the beach club was transitioning from hi how are you to man, this is a nice evening. “Nuit Sonores” was another one of those really nice pieces to play there, and I enjoyed building a nice and classy set around them….And now this. “Promises”. As much as this may be a spoiler, but at least for me, the transformation has gone from living room listening to music for meditative moments. I almost hesitate to write this – not all too long ago, this label would probably have rung a big old New Age Music alarm bell. But yes, I think it really is a kind of music that will let you spend some time on mindfulness and inspiration. Of course it is, and it is supposed to if you team up with Pharoah Sanders, an icon of Spiritual Jazz. The format chosen is ideal as well – one 47 minute piece consisting of nine movements connected by one simple theme consisting of seven notes, repeated like a mantra, acting as the only obvious form of structure. Everything else happens more than it is placed within this structure. What happens is Sanders, obviously. Shepherd may be the composer of this piece, but instead of entering the stage he provides it. When Sanders joins in after about one and a half minute of the first movement the full magic of this combination becomes clear – Sanders almost tentatively starts into his first solo, as if gently entering the sphere that is created by Shepherd, and then going for a ride that brushes the melancholic, serene and hopeful, getting more and more assertive and exploratory, and while his play is free and improvisational it never loses touch with the space created. During the fourth movement, Sanders puts his saxophone down to continue his improvisations with his voice, something that is so not concrete, so not scat or chant or anything, so seemingly amateurish that it did cause a few negative comments – to me, this is more an expression of human nature, an impulse, nothing that is planned at all, and I felt that looking down on these vocalizations is about as inappropriate as it would be if you scoffed at Keith Jarrett for his vocal expressions during his solo concerts. Right after this, Sanders picks his saxophone up again and does the exact contrary of what he did vocally – his second solo is masterful, clear, strong and impactful – and this impact is clearly partly embellished by the hushed naïveté of that vocal passage.
Shepherd gets to shape this space during several of the movements, and when he adds some keyboard play here and there it’s as if we get echoes from his Mojave Desert project. Still, this is limited to not even two movements, and just when you think that he might be giving this some more room the wonderful strings of the London Symphony Orchestra enter the stage – and they do it in an epic and even cinematic fashion. This is where Shepherd’s composition does an especially astounding trick as the big strings all but breathe in Shepherd’s recurring theme and even use it to highlight specific passages and moments. It truly is a great moment when the Orchestra and Shepherd reach a dramatic climax towards the end of the sixth movement, only to dissolve in the next moment…. And there is far more.This is an album that is wonderfully removed from everything that is setting the rules for formats of music in our time. First of all, it is an album. Not a collection of titles. It’s got a concept, even if it isn’t the kind of concept that would be written all over the work. And it’s one continuous piece, something that would be indigestible for lots of people that start looking for the skip button after a minute or two. ….When the last notes of this album have been played, there is this rare sense of silence and maybe even thankfulness. In its finest moments, music has the ability to let me be happy to be alive, and – as corny as this may sound – that despite all the horrible things humans are doing to the planet and to each other, there is plenty of greatness in all of us. Maybe that’s the promise here. The promise that lies in the essence of humanity.” (https://8000records.com/floating-points-pharoah-sanders-the-london-symphony-orchestra-promises/) Click here to check out Movement 1. 

David Friesen – Day Of Rest (Origin): “Bassist David Friesen often goes to his secondary instrument—the piano—to add new dimensions in color and texture to his recordings. But completely putting aside his main axe to focus on musing from the bench, as he does on this outing, is a step beyond the norm. Patiently working his fingers around a welcoming Ravenscroft grand, Friesen creates a series of attractive and unostentatious miniatures embodying quietude. Taken together, these pieces form a Sabbath day’s set capable of cocooning the ears and mind from the tension of the times. Offering broadly evocative titles to spark suggestions and call to distant memories, Friesen the pianist proves both reflective and connective in his reach. “Backward Glance,” while playing on nostalgia, establishes a state of serenity that, to one degree or another, spans the entire program. “Day Dream” delivers with diurnal delight(s). “Green Hills Slowly Passing By” eyes smoothly rolling scenery as it comes in and out of view. “Distant Shores” brings gently lapping waves of wistful thought right to land. And “My Dance” advances with terpsichorean delicacy and grace. Mood and expression vary little across these 20 vignettes, and Friesen rarely draws clear lines to indicate what’s composed or improvised. Those moves, of course, are largely intentional. Day of Rest, reflecting an ideal highlighted in the artist’s own liner statements truly seeks “a simplicity and peace that passes understanding,” favoring comforting developments over flashy exhibitions and formal blueprinting. Works like “In the Moment,” “Meaningful,” “Unfolding,” and “Going Forth” speak directly to this purpose in name and openness. Contented as can be in this particular space, David Friesen puts the mind right at ease.” (https://jazztimes.com/reviews/albums/david-friesen-day-of-rest-origin/) I regret I am unable to find a sample from this release.

Fred Hersch – Breath By Breath (Self-produced): “On his ambitious album Breath By Breath, pianist and composer Fred Hersch pairs a jazz rhythm section with a string quartet. “String quartets have been some of my favorite music to listen to my whole life,” Hersch explains. “I grew up listening to string quartets as a very young musician in Cincinnati…. And ever since I started studying composition at age eight, almost all of my music has always focused on four melodic parts – so string quartets are a natural musical configuration for me.” Hersch is joined by bassist Drew Gress, drummer Jochen Rueckert and The Crosby Street String Quartet, made up of violinists Joyce Hammann and Laura Seaton, violist Lois Martin, and cellist Jody Redhage Ferber.” (https://elusivedisc.com/fred-hersch-breath-by-breath-lp/) Click here to listen to “Worldly Winds” from the Sati Suite.

Reid Hoyson – Your Move (Self-produced): Drummer Reid Hoyson and sax player Keith Bishop joined together to lead this set featuring a five piece group with Ava Lintz (bass), Jeff Lashway (piano) and George Jones (congas) and a larger group adding Eric DeFade (tenor and soprano sax), James Moore (trumpet), Jeff Bush (trombone) and substituting Jeff Grubbs on bass for several songs. The tracks stretch from Benny Golson’s “Stablemates”, Kurt Weill & Ogdon Nash’s “Speak Low”, and Jaco Pastorius’ “Three Views of a Secret” to Jerome Kern & Oscar Hammerstein II’s “Nobody Else But Me” and Jimmy Van Heusen’s “I Thought About You”. Click here to listen to “Estate” featuring Keith Bishop.

Jim Knapp Orchestra – It’s not business, it’s personal (Origin): “Jim Knapp’s music is full of intensity, emotion and creative textures. His music should be more known. It’s among the best of orchestral jazz… (Maria Schneider) The career and music of Seattle-based composer/arranger and trumpeter James Knapp is a known and respected quantity in the inner circles of jazz music, inhabited by its musicians, bandleaders, journalists and educators. Those fortunate enough to gain awareness of the intrinsic beauty of his music place the work of his Composers and Improvisers Orchestra of the ’70s-’80s and his more recent assemblage, the 13-piece Jim Knapp Orchestra, in the upper echelon of modern jazz composition. For this 2009 session, we find the band focused and in top form, as it often was during a very active period in the early 2000s. Made up of a highly creative collection of colleagues from the Cornish College of the Arts, former students, and Seattle professionals, the music was approached with seriousness, dedication and honor, with the fun and fulfillment that comes with that level of involvement very evident.” (https://originarts.com/recordings/recording.php?TitleID=82834) The players are    Paul Taub (flutes), Mark Taylor (alto & soprano sax), Steve Treseler (alto & tenor sax), Stuart MacDonald (tenor sax), Jim Dejoie (bari sax, clarinets, flute), Brad Allison (trumpet, flugelhorn), Vern Sielert (trumpet, flugelhorn), Jay Thomas (trumpet, flugelhorn), Tom Varner (french horn), Jeff Hay (trombone), Chris Stover (bass trombone), John Hansen (piano), Jon Hamar (bass) and Matt Jorgensen (drums). Click here to listen to samples of two songs on this release.

Phil Parisot – Inventions (OA2): “Drummer Phil Parisot’s third release as a leader is a project inspired by the life and music of Johann Sebastian Bach. While shifting his focus to composition in recent years, Parisot observed that countless roads lead to Bach, whether through Bud Powell, Keith Jarrett, or even Albert Einstein. This insight inspired Parisot to research Bach’s personal journey and compositional approach, then apply this knowledge when developing his own material. Inventions is a humble tribute to the “musical scientist” from Thuringia, whom Beethoven referred to as “the immortal God of harmony.” “Parisot never seems to run out of inspired thought as a composer, or original rhythmic conception as a drummer.” (https://www.rabox.is/year/2021/3137924645-phil-parisot-inventions-2021.html) “Hailed as “an imaginative composer and an extraordinarily musical soloist,” drummer Phil Parisot offers a fresh take on acoustic jazz. The Seattle native began playing professionally at age 15. While a student at Garfield High School, he played at Lincoln Center, North Sea Jazz Festival, and Montreux Jazz Festival. Parisot then studied music at William Paterson University under the tutelage of James Williams and Harold Mabern. He also studied privately with jazz drumming legends Joe LaBarbera, Bill Goodwill, Carl Allen, and Rashied Ali….In recent years, Parisot has focused on composing original pieces as well as arranging material from the rock bands whose music he absorbed in his youth. This activity has resulted in the development of a unique approach including attractive melodies, rich harmonies, and multi-layered rhythms.” (https://www.philparisot.com/) Click here for an introduction.

Dave Stryker – As We Are (Strikezone): “This morning, award-winning master guitarist, former member of the Stanley Turrentine Quintet, and ArtistWorks jazz guitar instructor, Dave Stryker, released his 34th record as a bandleader entitled As We Are. While there are very few musical feats that Dave hasn’t conquered in his 40-plus year career as a professional jazz musician, Dave broached new territory with As We Are, blending a more traditional small jazz ensemble with the ethereal aesthetics of a classical string quartet. The caliber of musicians featured on As We Are speaks volumes about Dave’s prowess as a composer, arranger, performer, and bandleader. Supporting Dave on the upright bass is iconic jazz legend and fellow ArtistWorks instructor, John Patitucci. On the drums is the world-renowned Brian Blade, with Julian Shore filling out the harmony on piano and assisting Dave in arranging….“My new album As We Are was a dream project for me,” explains Dave. “As such, I decided to ask two of the greatest musicians in the world, John Patitucci and Brian Blade, to join. I feel we can put some positive energy into the world with music, and I hope everyone enjoys listening as much as we enjoyed putting it together.”
What truly sets As We Are apart is the unique infusion of strings alongside the more traditional jazz quartet. Shore played a major role in bringing this element of Dave’s vision to life and assisted in crafting many of the string arrangements. The string section is led by violinist and guest soloist on the album, Sara Caswell, with Monica Davis on second violin, Benni von Gutzeit on viola, and Marika Hughes on cello.“I have always wanted to do a record with strings,” Dave explains. “So in the Fall of 2020,  I contacted Julian Shore, a great pianist and former student of mine. I’d heard some of his writing for string quartet and immediately wanted to work with him. 20 years after teaching him at a Jazz Camp, we spent a year collaborating on this music.” (https://my.artistworks.com/blog/dave-stryker-releases-new-album-as-we-are) This is astounding and beautiful release from beginning to end. Click here to listen to “Lanes” from this release.

Dave Wilson Quartet – Stretching Supreme (Dave Wilson Music): “The Dave Wilson Quartet’s Stretching Supreme (Dave Wilson Music) is Available Now for purchase digitally on the Bandcamp site, as well as physical copies are also now available. This 7 song live recording, taped at Philadelphia’s own Chris’ Jazz club, includes 5 John Coltrane compositions, the three song suite “Love Supreme”, “Dear Lord”, “Naima”, a Wilson original “On the Prairie” and the Mancini classic “Days Of Wine and Roses”. The performances of Coltrane’s work are the fruition of the quartet’s long-time lineup as well as Wilson’s journey as a saxophonist going back to his early teen years. As Wilson states, “…one of the first jazz records I ever bought was John Coltrane’s Live at the Village Vanguard. I was hooked. On this night I owed so much to my long-time band mates, Kirk, Tony, and Alex. We hit some magic, got in a groove and stayed there. We felt a spirit, a creative flow and were in the moment.”In the Coltrane compositions, Wilson’s artistry shines, weaving through the legendary saxophonist’s epic suite, with a fluidity that is fresh, exciting, vibrant, while spanning all the nuances and dynamics of an arsenal of tenor and soprano horns.” (https://davewilsonmusic.bandcamp.com/album/stretching-supreme) The players are Dave Wilson (tenor and soprano saxophones), Kirk Reese (piano), Tony Marino (bass), Alex Ritz (drums) and Dan Monaghan (drums 4 & 5). Click here to listen to the songs on this disc.

Dave Wilson – Radio Edits (Stretching Supreme – Radio Edits): These are different cuts or “radio edits” of the above performances to be used for radio broadcasts.

New Blues:

Tinsley Ellis – Devil May Care (Alligator): Singer/guitarist Tinsley Ellis offers ten new original songs that match the best of his work and beyond. He is backed up by Kevin McKendree (piano, organ), Steve Mackey (bass) and Lynn Williams (drums) with Jim Hoke (sax) and Andrew Carney (trumpet) joining on three of the songs. 2022 release from world-renowned guitarist, vocalist and songwriter Tinsley Ellis. Devil May Care features ten of Ellis’ most dynamic original compositions, mixing muscular rock ‘n’ roll and hard blues into his own instantly recognizable sound. The emotionally-charged guitar solos soar in full service to the songs, as if Ellis is living and breathing the sound rather than simply playing the notes. “The goal,” says Ellis, “was to make the guitar sing.” (https://www.amazon.com/Devil-May-Care-Tinsley-Ellis/dp/B09JM3XS8Y) This is a certified Professor Bebop “Wax Devoid of Cracks”! Click here to listen to “Beat The Devil” from this release.

Scott Ellison – There’s Something About The Night (Liberation Hall): “For his new album, Scott Ellison had the opportunity to fine-tune his approach to every aspect of the creative process, and results are stellar. Sidelined from his usual wall-to-wall touring because of Covid lockdowns, he took advantage of the time spent at home to create the most focused album of his multi-decade career. “This is my 13th album, and it’s the first time I didn’t have to go through a start-stop start-stop recording process,” he relates. “Like pretty much everyone else, starting around March of last year, I was stuck at home! I would get up at 5:30 or 6 in the morning, pick up my guitar, and just work on songs. Being forced to be off the road might have been the best thing that’s ever happened to me from a creative standpoint.” Over the course of 14 tracks, Ellison’s searing guitar and soulful vocals make for a potent one-two punch. From a Chicago-meets-Texas shuffle to full tilt blues-rock workouts, pure soul blues and just about every point between, the album checks all the Blues boxes and then some. Writing and recording from his hometown of Tulsa, OK, the record features his primary backing and touring band on some tracks and an array of Los Angeles-based all-stars including members of Eric Clapton’s band and Albert Lee’s band on others. Ellison also co-wrote 10 tracks with Michael Price (who penned “Ain’t No Love (In The Heart Of The City)” along with Danny Walsh for Bobby “Blue” Bland, and which Ellison gives a soul-stirring treatment to for the record’s first single and video). “Working with Michael was an eye-opening experience. We just added all these layers and textures to the songs.” With an array of styles woven together in one cohesive package, There’s Something About The Night takes Scott Ellison’s past and present and reinvents them as a bold template for the future.” (https://scottellison.bandcamp.com/) There are numerous players on this release and everyone was giving just what the song – jammin’ blues with just enough rockin’ seasoning sprinkled on top! Click here to listen to the songs on this release.

Lady A – Satisfyin’ (Self-produced): “Lady A has been a Pacific NW favorite for 20+ year in the business.  Nationally and Internationally known, Lady A, has a high energy show has been compared to the likes of “Tina Turner” and “Chaka Khan” ~  a smile that easily draws the audience in with her sultry-husky voice and contemporary blues-funk style and  like a Good pot-a-Gumbo, Lady A is best served HOT! The Lady A’s NEW Album set to release in October titled:  “Satisfyin” ~ an album of Hope, Inspiration and a throwback to the Blues, and Soul music honoring those who came before with a dash of stories from her life told in comedic and style while giving the audience something to dance and clap your hands to.  Produced by Lady A and  her long time Music Director, Producer, band member and Songwriter, John Oliver III.  This album has something for everyone that reminds us of family, neighborhood BBQ’s, old flames and how to love ourselves as well as those we encounter in life. Voted 2020 and 2021 Female Blues Performer of the Year by the Washington Blues Society (WBS)….” (https://www.ladyababyblues.com/) Smooth is “Satisfyin’”. Click here to listen to Satisfyin’.

Reverend Nathon – Volume 1 (Self-produced): “After many years of songwriting and holding down the lead guitarist spot in Texas rock bands, Nathon Dees now steps forward to debut his new solo southern rock project REVEREND NATHON. A polished slide guitarist as well as being a noted Strat man, Nathon now brings forth his own sound and is packing a stellar veteran rhythm section on the upcoming debut studio CD “Goin’ Fishin”. (https://tunetrax.com/reverend-nathon/uploaded_audio/albums/reverend-nathon-volume-1) Click here to listen to samples of songs on this release.
The Sugar Roots – Savage’s Life (Lightning In A Bottle): “Consisting of Chad Rupp/voc-g-p-harm, Jason Thomas/g, Samuel Gendler/p-org, Chandler Bowerman/dr, Charis Mercer/sax and Joe McCarthy/tp, the Oregon-based Sugar Roots take you to the dirt roads of Austin and the deep south with some gritty blues rocking. With the horn section of Mercer and McCarthy, Rupp growls and jives on his “Sweet Lovin’ Daddy” and Jinmy Reed’s stomping “It’s A Sin”. The guitars deliver some slither ZZ Top’d licks on “Rain Checkin’” and the shufflin’ “145 Boogie” as well as the dark and sleek “Going Nowhere”. Gendler’s piano takes the lead on a slow and simmering read of Steve Miller’s “Rock’n Me” and gets rowdy on a soulful “Savage’s Life” with his organ grinding hard on the agonizing “Next To You”. Roadhouse rhythms.” (https://www.jazzweekly.com/2022/01/the-sugar-roots-savages-life/) “The Sugar Roots band is the brainchild of Chad Rupp. The band was formed in 2021, yet Rupp has been active in the Portland blues scene for thirty-five years. He is a songwriter/multi-instrumentalist who scored highly in 2018 with the EP ‘Murderville: The Service Industry Blues’.” (http://www.keysandchords.com/album-review-blog/the-sugar-roots-savages-life) Click here to listen to “Savage’s Life” from this release.

Kopasetically,

Professor Bebop