Beginning Monday I will be away, taking a vacation in Montreal and going to the Jazz Fest there, one of the biggest in the world. So far I have bought tickets for four of the biggest events, but I am sure there will be many others to attend once I get there. I have tickets for: 
Kikowski, Carpenter, Novak, and Sheppard "From the Hip" (BFM Jazz 2013) -- This a recording of alive perfornace in 206, largely unrehearsed, which fuels the energy and creatiity that oozes from this CD. Respectively the players listed above are the pianist, bassist, drummer, and sax player, and each shines during the perfomrance. Straight ahead, wonderful jazz. And despite how many times you have heard "Star Eyes", How Deep is the Ocean" or "Autumn Leaves", you won't be disappointed by this group's intensity, creativity and originality on those and all of the other pieces. 
Iro Haarla Sextet "Kolibri" (TUM 2013) -- The sextet is Iro Haarla on piano, Verneri Pohjola on trumpet, Jari Hongisto on trombone, Kari Heinila on woodwinds, Ulf Krokfors on bass, and Markku Ounaskari on drums. Haarla is familiar to me from her two ECM recordings "Northbound" and Vespers" and has that lovely northern European sensibility that she brings her to seven original pieces. The arangements can be lush at times and free flowing, at other times a bit angular and free, and they are always interesting to hear. The interplay among the six players is interesting as they weave in and out of each others lines, and create unusual pairings of sound. The songs are sometimes inspired by the sound of birds, and thus three are names "Nightjar", "Kolibri" (hummingbird) and "Legend of the Cranes". Each piece is almost a mini-suite, with a number of separate and distintive parts making up the whole, and coonstantly challenging the listener and each other to visualize the tale being told. "Kolibri" and "Spirit Bear" are especially wonderful but the entire CD shines as a work of impresionistic jazz. Not for those who like straight-ahead music and a clear melody and rhythm; this is for those who like modern abstract works nad impressionistic jazz. A very fine recording. 
Dominick Farinacci Quartet "Say It" (Pony Canyon 2013) -- Not sure why it is labelled a quartet when it actually is a quintet of Farinacci on trumpet, Ira Sullivan on soprano and tenor sax, Adam Birnbaum on piano, Ben Wolfe on bass and Carmen Intorre on drums. Farinacci released a really nice CD, "Dawn of Goodbye" (E One 2011), that was reminiscient of the work of Chet Baker and his first CD here in the U.S., but he has recorded many CDs for the Japanese market, which loves standards and straight-ahead jazz. This is precisely that, with some beautiful sounds from both Farinacci and Sullivan, a Chicago veteran with a long list of accomplished CDs as a leader and sideman. There are some up tempo bop songs, some originals by Farinacci and Sullivan, but the heart of the CD is in songs like "Say It", Just in Time" and "Black Orpheus". This is an outstanding if a bit pricy ($23.00 via Eastwind Imports) set of ballads, bop and swing that will please those who love the straight ahead sound reminiscient of the old blue not bands of the 50's. 
Junior Mance Trio +One, "Yesterdays" (Pony Canyon 2013) -- Junior Mance always makes beautiful music, and with Chip Jackson on bass and Jackie Williams on drums this is a potent trio on songs like "Willow Weep for Me", Yesterdays", Georgia on my Mind", and "Blue Monk". But the pop is deleivered by the "And One" added for this CD in the person of Eric Alexander on tenor sax who takes the beauty and depth of Mance's trio one step beynd. Just an amazing outing that is only on the Japanese label Pony Canyon, this is another $23.00 CD that is actually worth the extra bucks to hear. Masterful, pleasurable, potent, and perfect music. 
Jon Davis Trio, "Beauty and the Blues" (Venus Records 2013) and John Davis "One Up Front: (Positone 2013)-- Wow, two great CDs in one calendar year for Davis, one releaswed in the U.S. by Positone and the other released in Japan by Venus Records. As would be expected based on the labels, both are largely straight-ahead, down the middle jazz trio recordings, with the CD on Positone, "One Up Front" being the more adventurous of the two with three originals by Davis and some bolder improvisations. On "One Up Front" the band includes Joris Teepe on bass and Shinnosuke Takahashi on drums. For "Beauty and the Blues" it's Ed Howard on bass and Tim Gorner on drums. In both cases you will love the music if you love great piano trios playing great music. 
Ralph Alessi and Fred Hersh "Only Many" (CamJazz 2013) -- Interesting, unusual, captivating, and sucessful. The music is largely improvised, with the two plaers working in and out of each others lines, sometimes more sucessfully than other times, so it is not an even trip from start to finish. In fact the music begins a bit harshly with "Ride" but then it settles in nicely as it goes along. The improvisation on Monk's "San Francisco Holiday" is a whole new look at his music and the two expand the theme and stretch it to places where it basically disappears into the vapors. This is very expressionistic music of the modern abstract kind, which hits the mark far more than it misses. I recommend it for those who like a bit of the experimental and unknown in their music. Alessi is generally an outside player while most of Hersh's work is inside the box, so this is quite a departure, and an interesting one, for Hersch. 
Bobby Avey "Be Not So Long to Speak" (Minsi Ridge 2013) -- I read a review about this on one of the blogs and purchased it, and am sure glad I did. Avey composed all but two of the songs, "P.Y.T" by Ingram and Jones and the classic "Stardust" by Hoagy Carmichael. Avey is quite a composer at a young age and his songs shine with creativity and soul. The music has long and beautiful melodies as well as wonderful, captivating and creative improvisations throughout. Avey has a beautiful touch on the keys, from light running lines to large chordal sections, and he uses his dynamics to tell his story. I think you can tell I was captivated by the music and have a very high regard for this CD. Its modern mainstream music, generally within the box but with a great deal of lovely new melodies and improvisations. Highly recommended for those who wnat to venture away from the standards a bit as well as those who love the modern mainstream style. 
Angela Davis "The Art of the Melody" (Self-produced 2013) -- The title says it, this is a quartet that is all about grabbing a melody, playing it and then playing with it. Davis is a young saxophonist joined here by Chris Ziemba on piano, Linda Oh on basss, and Rajiv Jayaweera on drums. The set of nine songs a varied -- three originals by Davis, "Smile" by Charlie Chaplin, "Crazy She Calls Me", some Boz Scaggs and Tom Waits, and even the traditional "Annie Laurie". The group sounds great and Davis has a nice rich sound on her saxes that allows the music to flow beatifully from her to the hands of Ziemba on piano and Oh on bass. Nice nice music, nice grouping, and something worth listening to. Mainstream jazz but an unusual set that makes it special. 
Hush Point "Hush Point" (Sunnyside 2013) -- The star players in "Hush Point" are John McNeil on trumpet and Jeremy Udden on alto sax, along with Aryeh Kobrinsky on bass and Vinnie Sperrazza on drums. This is very low key music, very quiet and pretty laid back. Meditative music for a quiet evening. 
Mulgrew Miller "Solo" (Space Time Recordings 2010) -- The passing of Mulgrew Miller was the passing of one of the truly great musicians of our era, a pianist of incredible touch, dynamics and flow on everything he did, whether it was the recent outing with the Kluver Big Band that I posted on a while back, his trios on MaxJazz, and his work with Wingspan. Anything he touched was golden. I saw this CD a while back before his passing. It is European and though it was released in 2010 its was the first time I stumbled across it. Miller didn't record solo much, so this is a rare outing, a live recording from a night in Paris. Oh to have been there; this is masterful and emotional and now even more of a treasure to have. The songs are classics ---"Jordu", "Con Alma", Yardbird Suite", "Body and Soul", "Giant Steps", and more. This is a golden moment -- find it, buy it, and enjoy every second. 
I am not sure that this CD is widely distributed but I know that Sally will take and order over the phone and send it to you free if you call for it from her. If you like the sound of a nonet/small big band then you should take a listen. 
Sublime is the word that comes to mind when I listened to Frank Wess on "Magic 101" (IPO 2013), just released. Seven memorable tunes including "Say it Isn't So", "The Very Thought of You", "Come Rain or Come Shine", seven chances to hear this veteran of seven decades playing so smoothly and comfortably with a swing sound out of the 40s and 50s. At 89 at the time of the recording, music like this doesn't get any better. And no slouches in his band -- Kenny Barron on piano, Kenny Davis on bass, and Winard Harper on drums. Relaxed and unhurried, this is a gem. 
And at the same time I also received Duke Ellington, "The Duke at Fargo 1940: Special 60th Anniversary Edition" (Storyville 2013), another masterwork of 45 live songs on 2 CDs. Recorded with permission by two local amateurs but not for commercial use, the recordings were made with professional portable disc recording equipment using three mikes, and didn't appear until 1976, and now again cleaned and remastered for Storyville. It's a great record of a great band at work, and chronicles them playing their complete sets that night. It gives a real sense of the times, and what magic it must have been in Fargo to have this great band come to town. Some of the names in the band -- Rex Stewart on cornet, Ray Nance on trumpet, Barney Bigard on clarinet and tenor, Johnny Hodges on also and soprano and clarinet, Ben Webster on tenor and clarinet, Harry Carney on baritone and clarinet, Jimmy Blanton on bass, and of course The Duke on piano. Nicely recorded and remarkably clear and balanced, it's a second gem with all the great songs from the band's repetoire. 
And a third CD for the list of great music by veterans that I have received recently, Oscar Pettiford, "Lost Tapes: Germany 1958/1959 (Jazzhaus 2013), another in a series of recordings that were collected and archived by SWR in Germany and which date back to 1949. Reportedly there are 3000 hours of unpublished music, and to date there have been about a half a dozen "lost tapes" put onto CDs in the past two years. This one is from five dates with mostly European jazz stars and is beautifully recorded. It captures a sound that recalls the period of transition from swing to bebop, and Pettiford's bass and role in that transition. Pettiford's bass play demonstrates the new sound as he takes some great solos, is constantly playing complex measures and walking parts behind the band, and generally shows how the bass player can step out and shine rather than simply being a beat counter. Some swing, a little bop, and some magical movement from his deep and resonant tone on such songs as "But Not for Me", "Yesterdays", and "All the Things You Are" among the 16 tunes here. And a special treat is the beautiful full soprano sax play of the under-appreciated Lucky Thompson heard here on "Sophisticated Lady." Rolf Kuhn's clarinet is another highlight as he and Pettiford play a great duet on "A Smooth One", and as he stays on for another three tunes. Other knockout players include Hans Koller on tenor sax, particularly with a great turn on "O.P.", his own composition, on which Kuhn also shines; and the inestimable Kenny Clarke holding down the drum spot on the final four tunes. Tragically, Pettiford died only a year later in a car accident, leaving everyone to wonder where he would have taken the bass as jazz moved strongly into a new period. 
Ryan Cohan has a new CD called "The River" (Motema 2013). The music flows from his experiences in Eastern Africa with his quartet in 2008. He connects the 14 piece set with six segments called "River" with the river symbolizing for him the constant motion, changing patterns, and essence of jazz. His exposure to new rhythmic patterns, African instruments, and the overall cultures of Rwanda, Congo, Zimbabwe, and Congo inspired these compositions, which describe his journey and the ever changing landscape of his visit. 
Cohan, 42, is from Chicago and is a graduate of the DePaul School of Music (1993). He has performed as a session pianist with Freddie Hubbard, Regina Carter, and Milt Hinton, and was a protege of Ramsey Lewis, who has recorded many of Cohan's compositions. He first came to my attention with his recording "Another Look" (Motema 2010), a straight ahead recording of nine original compositions alongside two covers including a very energetic romp through "Caravan." The band included Joe Locke on vibes, Geof Bradfield on saxes and bass clarinet, Lorin Cohen on bass, Kobie Watkins on drums and Steve Kroon on percussion. The arrangements pop with energy and his solos and improvisations are full of life and imagination. It's straight ahead jazz that stands out from the crowd with its rich ensemble play. 
The next CD I found was "One Sky" (Motema 2007) which predates "Another Look". It has eleven tracks including five that made up the extended work "One Sky: Tome Poems for Humanity." The writing here is a bit more adventerous and impressionistic with shades of Herbie Hancock or Chick Corea, particularly in the extended suite, but the overall CD is east to listen to and retains the energy and bright sounds from the previous outing. The sextet for this outing includes James Cammack or Larry Cohen on bass, Geof Bradfield on soprano and tenor saxes and bass clarinet; Bob Sheppard on flutes, soprano and tenor saxes; Kobie Watkins on drums, and Ruben Alvarez on shekere. Cohan's solo play on "Lush Life" is a really fine demonstration of Cohan's abundant playing skills to go with his excellent compositional abilities. 
"The River", his latest, is a departure from his usual western jazz style and is simply outstanding. Cohan has written and arranged fourteen pieces that capture the spirit of his trip, the sights and sounds of East Africa, and the rhythms and melodies of the music and instruments he heard. The band includes Bradfield, Cohen and Watkins once more, along with John Wojciechowski on tenor and soprano saxes and flutes, Tito Carrillo on trumpet and flugelhorn, and Samuel Torres on percussion. 
The pieces are linked by the ever evolving "River", a mini-suite of short pieces (one to about three minutes) in six parts sprinkled throughout the set and serving as an introduction as well as a coda. The suite has six subtitles -- Departure, Dark Horizon, Aftermath, Beautiful Land, Connection and Coming Home. The first, "Departure" is a solo piano piece that traces the start of the journey using a simple tune in a standard "western" style. Later parts of "River" have other members playing short solos/duets -- two soprano saxes for "Dark Horizon", the flugelhorn for "Aftermath", bass for "Beautiful Land", drums and percussion for "Connection", and finally everyone for "Coming Home", a truly uplifting and spirited ending to the set. 
The first is from Mike Wofford, "It's Personal" (Capri 2013), a set of a dozen pieces on solo piano selected for the deep impressions they have made on Wofford over the years.
I recently read about this CD, "Alex Wilson Trio" (AWCD 2013) by the Alex Wilson Trio , purchased it, and I am duly impressed by its energy, its breadth of influences, and its musicianship. It's outstanding. 
As his first piano trio recording, this CD is a new direction for Wilson, but one that still draws heavily on his wide range of musical tastes and experiences. It's an exciting statement of his interests which melds Caribbean, Latin American, and West African music with the Western jazz heritage to create a statement on the universality of jazz. His partners in the trio are David Mantovani on bass, and either Frank Tontoh or Tristan Banks on drums (This was a recording taken from two live shows). 
At the end of the year I posted that one thing I wanted to do was to try and expand my listening horizons, or at least listen to some things a bit out of my zone to better understand the music. This was in reference to seveal top-rated CDs by reviewers last year, one of which was Wadada Leo Smith's "Ten Freedom Summers." (Cunieform 2012)
I have received a copy of Wadada Leo Smith's latest, coming out this month, "Occupy the World" (TUM 2013) and have given it a number of serious listens during the past few weeks. This is Wadada Leo Smith with TUMO, a large group that includes a long list of Finnish players on woodwinds, strings, brass, and percussion. Among the names I recognize from my European collection are Verneri Pohjola on trumpet, Juhani Aaltonen on flutes, Iro Haarla on harp, and Stefan Pasborg on drums, all of whom have produced some very interesting modern european jazz in recent years. the CDs come in an exquisite package featuring some really nice artwork, a very important informative booklet, and some great pictures of the band and Smith. 
I am not a blues expert and cannot cite all of the antecedents that are represented here. My blues roots originated not with the pioneers but rather with the music of the late 60s. so my roots are in bands like the Electric Flag, The Paul Butterfield Blues Band, The "Super Session" recording and subsequent music of Mike Bloomfield, Eric Clapton with and without Cream, mid-period B.B. King, and Johnny Winter. And I hear a lot of that music in this set. 
The opener "Old Time Ball" is an up-tempo blues that immediately reminded me of the work of the Electric Flag on their initial outing. Full-voiced, mid-tempo, soulful blues singing backed by greasy guitars, saxes et al, it says immediately that this is a set to be reckoned with, the real thing in modern dress. It immediately got my toes tapping. Robillard on second solo lights it up -- no wonder he is out on the road with Bob Dylan at present. Next we go mid-tempo with a real bluesy, soulful "Ride, Ride, Ride" which is lit by the outstanding play of the band, and establishes Gabriel's vocal range. 
Another uplifting and spirited recording comes once more from Miguel Zenon as he continues to merge his latin and jazz roots in his music. "Oye!!! Live in Puerto Rico" ( Miel Music 2013) is a wonderfully toe-tapping, body swaying set of seven songs, five by Zenon and one each by Tito Puente and Sivio rodriguez. Puente's "Oye Como Va" which many of us know from Carlos Santana's recording, is a 14:32 minute celebration of latin jazz, punctuated by a soaring and lyrical alto sax and outstanding percussion from Tony Escapa on drums and Reynaldo De Jesus on percussion. The fourth member of "The Rhythm Collective" as the group is called is Aldemar Valentin on bass. Fantastic music led by the showmanship of Zenon. 
Also in the Latin Jazz vein is the new one from Luis Perdomo, "Links" (Criss Cross 2013), with Miguel Zenon on alto, Dwayne Burno on bass, and Rodney Green on drums. Perdomo needs more recognition -- his string of piano music in trio and quartet is unsurpassed for energy, lyricism, and invention. Here he and Zenon, two masters of the form, really get it together to produce some amazing high energy music from a variety of sources. Perdomo's own "Crossmind Dreams" is an adventure in lyricisn and beauty, Zenon's "Paco" a high energy romp. Burno and Green have a composition each, and they contribute in a big way to the movement and spirit of the CD. Another sterling outing for Perdomo, as well as Zenon.
Finally, a solid mainstrem modern outing froom Michael Dease, a young trombonist building a very strong resume, "Coming Home" (Cleft 2013) features Dease with an all-star cast: Renee Rosnes on piano, Steve Wilson on saxes, Christian McBride on bass, and Ulysses Owens Jr. on drums. Each a leader, each a player who therefore knows about interations among the whole and how to create a "sound". And what a sound this is. Dease has total control over the trombone --- his sound is deep and burnished; his notes can come rapidly, wonderfully soulful and legato, smooth or greasy, or any other way called for; and his recognition of the interplay with his mates is impeccable as each is given plenty of space to shine. Good old mainstream jazz by a steallr cast. Fabulous. 
