New Jazz & Blues News – 11/9/2021
New Jazz & Blues News – 11/9/2021
New Jazz:
Douglas J. Cuomo featuring Nels Cline & The Aizuri Quartet – Seven Limbs (Sunnyside): “Seven Limbs, composed by Douglas J. Cuomo, is based on the Tibetan Buddhist practice of purification. It juxtaposes Cline’s wildly inventive guitar playing and use of electronic effects with the Aizuri Quartet’s classically-based, forward-thinking musical style. Seven Limbs sets the musicians in a landscape that is slightly unfamiliar—where the ground under their feet is always shifting a bit in unexpected ways. Playing both electric guitar with effects and acoustic guitar, Cline’s musical input will be partially notated but largely improvised following specific direction and guidelines in the score. The Quartet’s score will be entirely notated, utilizing the full range of techniques, colors and effects available to the 21st century string quartet. Both strings and guitar are shapeshifters in that the roles of soloist and accompanist will be fluid.
“Nels Cline is best-known as the lead guitarist for Wilco, with more than 160 recordings exploring a diversity of styles from jazz to rock to punk to experimental. The award-winning Aizuri Quartet’s debut album, Blueprinting, was nominated for a 2019 Grammy. The Quartet draws its name from aizuri-e, a style of predominantly blue Japanese woodblock printing that is noted for its vibrancy and incredible detail.” (https://arts.ucla.edu/single/douglas-j-cuomos-seven-limbs/#!) Click here and scroll down to listen to three samples of this set.
Caroline Davis – Portals, Volume 1: Mourning (Sunnyside): “One challenge of this frustrating time has been finding methods to handle grief. The loss of loved ones, enforced isolation, and abounding uncertainty have only heightened anxiety and its painful effects. Learning how to cope with grief and work through it is imperative for one’s mental health. Saxophonist and composer Caroline Davis has done much to try to allay her own emotions after the harsh period she dealt with in 2019. Davis lost her father early in the year and was trying to cope with this devastating event when the pandemic descended. She turned to research and creation to work herself out again. Her new recording, Portals, Volume 1: Mourning, is a culmination of a year of suffering, accepting, and channeling her mourning through a unique process to find equilibrium through composition and reflection. Davis has always found ways to deepen her musical work by allowing her current preoccupations drive the generation of her art. When her father suddenly passed, Davis was stunned and needed to find a way to express her feelings. She read about grief and trauma, studying the work of Bessel van der Kolk, Mary Oliver, Resmaa Menakem, and Margaret Stroebe. Kübler-Ross’s five stages of grief did not occur in a similar sequence for Davis, so she looked toward the self-help and mystical teachings her father expressed interest in, even up until his passing. Looking back on her time with her father, Davis began to realize that she must deal not only with the immediate results of his passing but with the legacy of residual pain that he inflicted, intentionally or not. Living at a distance from one another, and his workaholic lifestyle, made things difficult in their relationship. Davis was still wrestling with this.” (https://carolinedavismusic.bandcamp.com/album/portals-volume-1-mourning) This work is an expression of her grief and determination to overcome through her music. “Mourning is simultaneously melancholy and bright. This is entirely appropriate as the best way to conquer grief is to face the trauma and mindfully engage in its bodily affectations, a message to reflect on as the world begins to blossom again.” Click here and scroll down to listen to the songs on this release.
Bruce Forman w/ John Clayton & Jeff Hamilton – Reunion (B4MAN MUSIC): “”Bruce Forman is one of the great lights of our age.” Barney Kessel, Jazz Times A hectic touring schedule; eighteen recordings as a leader, including his newest release, Junkyard Duo; countless sideman recordings including Ray Brown, Bobby Hutcherson, Roger Kellaway; soundtrack performances on three of Clint Eastwood’s distinguished films—most notably Academy Award-winning Million Dollar Baby; producer, arranger, acclaimed educator, in residence at USC’s Studio/Jazz Guitar Dept., when does Bruce Forman rest? Deep immersion in American culture inspires Forman to contribute to the traditions that he drew from. Formanism (his trio project); original works like The Red Guitar; his popular podcast with Scott Henderson, GuitarWank; Cow Bop and the “road challenges” down historic byways like Route 66; JazzMasters Workshop; his newest project: Junkyard Duo…these are only the latest answers to the endless question that underlies Bruce Forman’s creativity. His music and life reflect every step of his journey, and demonstrate the awareness of an artist who’s very much at home in the world, and at the top of his form.” (https://www.bruceforman.com/about.html) For this release he has reunited with Jeff Hamilton (drums) and John Clayton (bass) and everyone is playing great! Click here for an interview with Forman. I regret I can’t find a sample from this release.
Gordon Goodwin’s Big Phat Band – The Reset (Music of Content): “I assembled what would become the Big Phat Band in mid 1999 with the intention of recording a record and nothing more. I wanted to document the music I was writing for the big band genre, but no way did I want to hassle with doing live gigs and all the logistical problems and phone calls and…no way. But around the time of the release we got a call to play a concert at my alma mater Cal State University Northridge. I remember some of the guys had doubts we could even get through a whole concert of the charts I had written. But we did, and not only did the audience love it, we had a blast. For a bunch of session musicians, playing for a live audience again was intoxicating. It reminded me of why I started playing music in the first place, because the life of a session musician can get to be fairly isolated. You rehearse the cue, record the cue and move on to the next, and you don’t hear it again until the film comes out months later. But here you had a live audience, reacting in real time! Not only reacting but interacting with the musicians! So, with that fun experience resonating in my mind, I started to dip my toe into the water and attempt to get some gigs for the band. Which was easier said than done. But little by little we built the organization and the band slowly started to congeal and get a sound of its own, a sound based on the talents of these fine musicians and whatever assets I could bring to my charts. (I assembled what would become the Big Phat Band in mid 1999 with the intention of recording a record and nothing more. I wanted to document the music I was writing for the big band genre, but no way did I want to hassle with doing live gigs and all the logistical problems and phone calls and…no way. But around the time of the release we got a call to play a concert at my alma mater Cal State University Northridge. I remember some of the guys had doubts we could even get through a whole concert of the charts I had written. But we did, and not only did the audience love it, we had a blast. For a bunch of session musicians, playing for a live audience again was intoxicating. It reminded me of why I started playing music in the first place, because the life of a session musician can get to be fairly isolated. You rehearse the cue, record the cue and move on to the next, and you don’t hear it again until the film comes out months later. But here you had a live audience, reacting in real time! Not only reacting but interacting with the musicians! So, with that fun experience resonating in my mind, I started to dip my toe into the water and attempt to get some gigs for the band. Which was easier said than done. But little by little we built the organization and the band slowly started to congeal and get a sound of its own, a sound based on the talents of these fine musicians and whatever assets I could bring to my charts.” (Liner notes) Goodwin plays piano, tenor and soprano sax and the band members are Eric Marienthal (soprano and alto sax, and flute), Sal Lozano (alto sax, flute and piccolo), Brian Scanlon and Jeff Driskill (tenor sax), Jay Mason (bari sax, bass clarinet); Wayne Bergeron and Jeff Driskill (tenor sax) and Jay Mason (bari sax & bari clarinet); Wayne Bergeron, Dan Fornero Mike Rocha and Dan Savant (trumpets, flugelhorns); Andy Martin, Charlie Morillas, Francisco Torres and Craig Gosnell (trombones); Ray Brinker (drums), Kevin Axt (bass), Will Brahm (guitar), Will Brahm (guitar) and Vangie Gunn (vocals). (Liner notes) Click here to listen to “The Reset”.
Jon Gordon – Stranger Than Fiction (ArtistShare): ““Jon Gordon is one of these amazing young musicians I’m speaking of. We first met in 1988 when Jon called me for a lesson. I was doing quite a bit of teaching at the time on the faculties of William Paterson College as well as New York University. I had the chance to have some very intimate musical exchanges with some very inspiring young saxophonists. I’ll never forget when Jon came to my loft. He played with such a strong sound and direction. It didn’t feel like a lesson at all! We played music together!” Joe Lovano, insert notes Jon Gordon Ask Me Now [Criss Cross 1099]”… “In addition to Phil Woods, his first inspiration, Jon believes he “really learned to play Jazz by sitting in at Sweet Basil with Eddie Chamblee. I used to go down there every Saturday for almost seven years. That was important to me…. “Saxophonist/composer Jon Gordon confronts our bizarre reality with true beauty on his stunning new nonet recording Jon Gordon Stranger Than Fiction, due out September 17, 2021 via ArtistShare, features a stellar band with Derrick Gardner, Alan Ferber, John Ellis and others, with special guests including Orrin Evans and Jocelyn Gould. Truth has become a bizarrely contentious issue in this divisive era of fake news and alternative facts. Still, as alto saxophonist and composer Jon Gordon points out on his latest album, one oft-repeated maxim may be more true now than ever: that truth itself is indeed Jon Gordon Stranger Than Fiction. Over the course of ten original compositions arranged for a stellar nonet, Gordon explores the warped modern existence that we’ve all grappled with during the past several months and years.The music on Jon Gordon Stranger Than Fiction, due out September 17, 2021 through ArtistShare, reflects Gordon’s realization that reality takes twists and turns far more unpredictable than any author would dare write. In both his personal and professional life as well as the topsy-turvy world of politics, the composer has been forced to pinch himself repeatedly to confirm that what he was living was cold, hard truth rather than some strange dream (or, quite often, nightmare)…. on Stranger Than Fiction he aimed for something even more lush but also more urgent and confrontational.”I feel like we’re in a crisis on many levels,” he says. “And the only way you deal with these crises – the bullying and lies and authoritarian denial of reality – is by calling it out.” Gordon comes to this with first-hand experience, as he documented in his 2012 memoir, For Sue. “I grew up in an alcoholic family,” he recalls. “When you’re dealing with an alcoholic or an addict, sometimes they’ll look at you and say one thing, then 30 seconds later they’ll turn around and say the polar opposite. You’re trying to argue with somebody that’s not in reality. I feel like we’re dealing with that as a country and a planet, and it causes the same kind of pain in a family relationship, in a community, in a society and in the world.” (https://jazzprofiles.blogspot.com/2021/09/jon-gordon-stranger-than-fiction.html) Gordon offers a challenging and thoughtful set that is at times difficult listening, but he also offers a middle ground that invites the listener think about the options that musicians can choose expression. Click here for a sample of an outtake of the opening song, “Pointillism”.
Dino Govoni – Hiding In Plain Sight (Whaling City Sound): “Hiding in Plain Sight is a terrific title when considering that tenor saxophonist and composer Dino Govoni hasn’t issued a recording in nearly a decade yet has remained continually active as an educator, a long-time faculty member at Berklee School of Music…. Govoni aggregated heavy hitters for this quintet that features drummer Jeff “Tain” Watts, pianist Henry Hey, trumpet and flugelhornist Alex Sipiagin, and bassist Michael Pope.” (https://www.makingascene.org/dino-govoni-hiding-in-plain-sight/) Govoni demonstrates a firm grasp of a broad range of jazz traditions on Hiding In Plain Sight, his straightahead approach integrating all the major branches of the bebop tree into one all-encompassing, mature voice. His tenor seems to exude pure energy as he devours the carefully chosen repertoire with strong, limber chops. But Govoni doesn’t hog the fun; he gives free rein to his ace sidemen, who prove essential in shaping the material via highly personal, unfailingly creative interpretations. You can feel Watts’ presence at any given moment, whether he’s dictating group dynamics with each deliberate stroke or propelling the groove with swirls of subtle subdivision; indeed, everything “Tain” touches here turns to pure jazz gold. As a relatively unknown player with ideas, guts, maturity and enthusiasm to spare, Govoni makes a bold statement with Hiding In Plain Sight, not just proving that he can hang with the best of the best, but establishing himself as a serious artist who’s just as vital a performer with as much to say as today’s jazz fest headliners and poll winners. (https://downbeat.com/reviews/detail/hiding-in-plain-sight) Click here and scroll down to listen to the the songs on this release.
Gordon Grdina – Pendulum (AttaBoyGirl): “Gordon Grdina has always been a seeker intent on transforming his experiences into new approaches to sound. His innate curiosity has led him to explore an ever-expanding range of styles and contexts with a growing number of collaborators. Surprisingly, despite a discography that will include almost two dozen recordings by year’s end, Grdina has only recently devoted his energy to solo recordings. In 2018 he dropped his first such outing, China Cloud, while still employing the sort of electronics and effects that have marked so many of his dynamic band recordings, but on the 2020 album Prior Street he unplugged completely, burrowing deeper into his solo practice. Pendulum offers further progression, not only building on its predecessors, but also emerging as an important new capstone atop his growing oeuvre. Once again he complements his guitar playing with highly original excursions on the oud, further revealing how Grdina has steadily allowed his method on each instrument to infect the other. Back during his school days he assiduously organized solo gigs in Vancouver restaurants to develop his practice, particularly focusing on harmony and internalizing standard repertoire. Yet his love for improvisation propelled him to concentrate on collaborative situations, whether forging the ravishing chamber-like post-bop of his 2006 debut album Think Like the Waves with Gary Peacock and Paul Motian…”(https://www.hbclub.org/3137917643-gordon-grdina-pendulum-2021.html) Click here to listen to the songs on this release.
Frank Kimbrough – Ancestors (Sunnyside): “It is hard to listen to a posthumous released recording without reflecting on what the world has lost in their absence. Pianist and composer Frank Kimbrough was an individual who was beloved by all who knew him. A true musician’s musician and mentor to many, Kimbrough’s legacy lives on in his work and the lives that he touched. His passing in 2020 has left a hole in the heart of the jazz world.
Kimbrough’s Ancestors is a recording that encompasses much of the leader’s personality, depth, and approach to music making. Assembling a drummer-less trio with cornetist Kirk Knuffke and bassist Masa Kamaguchi, Kimbrough brought his spontaneity and introspection to the fore on a collection of original compositions and improvisations. The trio had been a favorite ensemble for Kimbrough over the years, the format being able to balance form and freedom of expression. The leader’s appreciation for the free-wheeling, drummer-less trio of woodwind iconoclast Jimmy Giuffre is apparent in Kimbrough’s choice to eschew the restrictive pulse of a drummer in favor of horn, piano, and bass. Kimbrough’s choice of trio mates was sublime. When Kimbrough proposed recording this trio album, Knuffke had never played with Kamaguchi. The bassist’s flexible, physical style was perfect for the interplay that Kimbrough was after for the recording. True to form, Kimbrough strayed from rehearsing the ensemble in an effort to maintain a freshness in their interplay…. The world is just beginning to miss Frank Kimbrough and his gifts, both personal and musical. It is a consolation that he left listeners with so much and that now he has joined the ancestors.” Click here to listen to the songs on this release.
Lady Blackbird – Black Acid Soul (BMG): “If you haven’t already heard of Lady Blackbird, you’ll know her name soon. The LA-based vocalist is making the jazz and music community turn their collective heads with her distinguishably powerful and raw vocals. Thinking about the success and attention she’s had so far, Lady Blackbird (Marley Munroe) jubilantly exclaims “It’s been amazing! It’s been such a long road and process”. There’s been some pretty remarkable influences and parallels drawn to Lady Blackbird, with Gilles Peterson labelling her “the Grace Jones of Jazz” and others pointing towards Amy Winehouse as well as many more timeless vocalists. Hearing these names and comparisons, she pensively comments that “they shock me ever time. They make me so happy…some of these people are my biggest influences. So, it’s your fantasy and dream to be like them. To have my name with theirs in the same sentence is remarkable”. Before starting her career as Lady Blackbird, Marley Munroe trod an utterly different musical path. The vocalist’s past career saw her exploring the realms of alt-rock and alternative music before finding her new jazz-tinged calling as Lady Blackbird. Reminiscing about this period, she muses that “I’ve gone through different phases and styles…I don’t ever think I’ll move away from anything because it’s all in me. It’s all music. I’m a true lover of music. All these different genres shape who I am as an artist”. (https://www.jazzrevelations.com/post/lady-blackbird-interview) AMAZING! Click here to listen to the opening song, “Lady Blackbird”.
Medeljazz Quartet – Versature (Zorojazz): “…both new and comforting, melodic and swinging but vibrant.[…] A cohesive jazz quartet that evokes some of the work of Chick Corea. This band has its own delightful swinging momentum — on original compositions built on simple lines that take unpredictable turns.” JAZZLIVES.COM The musicians are Laurent Medelgi (guitar), Julien Augier (drums), Yves Rossignol (contrabass) and Nicolas Fabre (piano). Medelgi composed all of the the songs. The set is delightful from end to end. Click here to listen to all of the songs on this release.
Jeremy Monteiro & Alberto Marsico – Jazz-Blues Brothers (JazzNote): “Back in April of this year, we brought you the elite trio of pianist Jeremy Monteiro aka Singapore’s King of Swing, bassist Jay Anderson, and drummer Lewis Nash Live at No Black Tie.” Add Alberto Marsico on organ and the groove turns things up a solid notch. Stir up Shawn Letts on tenor sax, Eugene Pao on guitar and Shawn Kelley on drums and this is a happening and more. In fact, Miz Dee Logwood spices up sweetens up two songs on vocals and you’ll take up residence for the rest of the night! In fact, seven of the nine tunes are originals as well! This is the kind of thing that will keep you up all night! Click here and scroll down until you see a list of all the songs on this set and see if you don’t stay right!
Jared Schonig – Two Takes, Vol. 2 Big Band (Anzic): “Jazz soars with rhythmic, harmonic and melodic luminosity in a variety of settings—solo, duo, trio, quartet, quintet and so on— but there’s nothing like being swept into the frothy tides of an instrumental community in which upwards of 18 members assemble to embrace and exchange notes. Today’s jazz scene flourishes with upstart big bands propelling the tradition forward. For his Two Takes Vol. 2: Big Band album, Jared taps into the deep well of renowned New York- and Miami-based arrangers and composers—Alan Ferber, Jim McNeely, Mike Holober, Miho Hazama, Darcy James Argue, Laurence Hobgood, Brian Krock and John Daversa explore where they could take his compositions. (He also showcased these tunes with his smaller band on Two Takes Vol. 1: Quintet.) Click here to listen to the songs on this disc.
New Blues News:
Tommy Castro – Presents A Bluesman Came To Town (a blues odyssey) (Alligator): “I’ve been fortunate enough to record for Alligator Records the last 12 years. This is the seventh album we’ve released together. I try to keep my music fresh by taking different approaches and writing and recording different types of songs. I want to stretch out musically, but I always want the songs to be my most authentic, to remain true to myself and my art. This time, I felt the need to do something I’ve never done before. With A Bluesman Came To Town, what I have for you is a record of songs that tell a story. It’s the story of a young man from a small town. One day a guitar-playing bluesman comes to his town. From that point on, the young man’s life will never be the same. It’s based on a classic hero’s journey–the odyssey of a musician’s life. I brought in the big guns this time and collaborated with legendary producer Tom Hambridge. I co-wrote most of the songs with him. In telling the story, I’ve tried to touch on the many different styles of music that I love. I’m excited for you to hear it! (Tommy Castro) Click here to listen to the opening song.
Willie Jackson – All In The Blues (Indie Music Channel Awards): “Willie Jackson is a native of Savannah, Georgia Music has been a huge part of his life since his early years in church. He often found himself playing drums and singing in the choir. Willie has always been a prolific songwriter. During his free time while working to support his family he wrote. In 2009 a tragic accident ended his previous career and he turned to the transcendence of music with song writing and learning bass guitar. Willie’s original music combines clever lyrics with rhythms of Southern traditional soul stirring blues…. He has an EP featuring twelve original songs combining elements of traditional blues with musings on contemporary life. Willie can be heard at various venues in Coastal Georgia and South Carolina, usually with a four piece group. He has shared the stage with Mac Arnold, former bass player for legendary Muddy Waters BB King, Stevie Ray Vaughan, and Eric Clapton, along with Willie’s latest original songs.” (https://fotosbluesrock.wordpress.com/2021/10/29/willy-jackson-all-in-the-blues/) Click here to listen to “Stranger in my Hole” from this release.
Luca Kiella – Ready For You (Cypress Road Productions): “Luca Kiella launched his solo career in 2019 releasing his debut Ep “Figure It Out”. The diverse and upbeat album was well received worldwide by critics, radios, and fans, securing him spots in established venues and festivals nationally and internationally. The new album “Ready For You” is set for release on October 22nd, 2021, on Cypress Road Productions. The new work features 12 original songs showcasing fresh and unapologetic songwriting with stories about love, heartache, hardships, and today’s society. Luca Kiella features in the new record one of Chicago’s finest rhythm sections and powerful horns lead by Bonerama’s trombonist Mark Mullins, recorded at New Orleans’ historic Esplanade Studios.“Ready For You” presents a diverse and mature sound showcasing visceral songwriting, tight grooves, and an expertise on the piano and Hammond Organ that touches the feelings of any blues, funk, and soul lover.” (https://www.lucakiella.com/about) Kiella’s vocals and songs are really on the dot! Click here to listen to the songs on this release.
The Mick Schafer Band – Back To The Blues (Lightning In A Bottle): “”Back to the Blues” has been a long time coming for Portland, Oregon guitarist, singer, songwriter and bandleader Mick Schafer. Like many top level blues vocalists, Mick started singing as a child in a church choir. He always knew he wanted music to be his life, and at 20, he dropped out of college and headed to Europe, spending the early ’70s playing for tips and meals. Back home in the States, though, he wasn’t able to make music full time. It was devastating, but he never gave up. He kept playing at home during the next 20 years as he raised his adopted son Chris. But in 2000, when Chris went into the Navy, Mick went back into professional music, taking a gig fronting the legendary Pacific Northwest roots band Blackberry Jam.
In 2017, Mick assembled some of the best musicians of Portland’s talent-saturated blues scene and built his own band, now on new Pacific Northwest blues label Lightening in a Bottle Records.”Back to the Blues” was born during the pandemic, during which Mick recruited some truly legendary players, including Shemekia Copeland guitarist Ken “Willie” Scandlyn and drummer Jimi Bott, who has 20 BMA nominations and 13 Cascade Blue Society Drummer of the Year awards his name, among many other awards. The resulting album reflects Mick’s lifelong passion for blues, and finally fulfills the long-held dream born in church choirs as a child, that of spending his life making the music he loves.” (https://www.mickschafer.com/) Click here for a teaser of “Back To The Blues”.
Dave Spector – Six String Soul – 30 Years On Delmark (Delmark): “Dave Specter has earned an international reputation as one of the premier talents on the Chicago music scene. Since 1985 Specter has performed regularly at top Chicago venues in addition to clubs, festivals and concert halls throughout the USA. International performances include: Argentina, Brazil, England, Northern Ireland, Denmark, France, Italy, Spain, The Netherlands, Germany, Norway, Belgium, Sweden, Switzerland, Poland, Luxembourg, Israel, Canada and Mexico. Specter celebrates 30 years of prolific releases for Delmark Records with a 2-CD retrospective titled Six String Soul, 30 Years on Delmark Records, featuring a myriad of special guests he has collaborated with over the years. Specter’s career has been interwined with the deepest roots of Chicago blues and Delmark’s rich musical history. This double CD release constitutes a definitive testimony to one of today’s most tasteful and versatile blues artists, featuring Specter in a wide variety of styles. Specter’s single, “The Ballad of George Floyd” is now showcased at the Woody Guthrie Center as part of the Songs of Conscience, Sounds of Freedom exhibit in Tulsa alongside Bruce Springsteen’s lyrics. Specter spoke to Rolling Stone about his dark period in songwriting and why he was inspired to write it. Before forming his own band in 1989, Specter toured extensively throughout the U.S. and Europe behind such blues greats as Son Seals, The Legendary Blues Band, Hubert Sumlin, Sam Lay and Steve Freund. Specter has also performed and/or recorded with such artists as Buddy Guy, Junior Wells, Otis Rush, Jimmy Rogers, Robert Jr. Lockwood, Jimmy Johnson, Jack McDuff, Johnny Adams, Snooky Pryor, Kim Wilson, Tad Robinson, John Primer, Johnny Littlejohn, B.B. Odom, Mighty Joe Young, Magic Slim, Lonnie Brooks, Ronnie Earl, Otis Clay, Floyd McDaniel, Pinetop Perkins and Jorma Kaukonen. Dave has performed for the President of the United States, the Governor of Illinois and the Mayor of Chicago…. Dave was inducted into The Chicago Blues Hall of Fame in 2018.” (https://www.rockandbluesmuse.com/2021/10/07/premier-guitarist-dave-specter-to-release-six-string-soul-30-years-on-delmark/) Click here to listen to samples of the songs on this set.
Kopasetically,
Professor Bebop
