Swamped!

March has brought me a plethora of new and inviting music, on a wide range of labels from countries near and far. It's time to attack some of them.

Sara Serpa has had a string of special releases in the past few years, and in February 2013 I wrote glowingly about her duet with Ran Blake, "Aurora" (Clean Feed 2012) and noted her earlier "Camera Obscura" (CD Baby 2010), also with Blake. At the time I noted that Serpa is hardly a classic jazz singer, so do not expect that. But she is a wonderfully eclectic singer with a simple voice that is wonderfully reassuring. Here on her newest release, with husband Andre Matos on guitar and bass, "Primavera" (Inner Circle Music 2014) they have composed twelve of 14 pieces.  The arrangements are once more simple and sparse, just the duo on most pieces, with some guest appearances including a lovely soprano sax solo on one piece by Greg Osby,  blending beautifully with her clear voice, range and dynamic patterns.  The words to describe the pieces are mellifluous, swaying, seductive, and soothing. Some pieces are in Portuguese, some in English, and some are wordless, but all wash over you with a calming effect. It's hard to say much more, these are such lovely little melodies that connect with Serpa's heritage at times, and with contemporary music at others. A tour de force. 

Ellen Rowe Quintet, "Courage Music" (PKO Records 2014) is a terrific set of ten modern jazz pieces, eight of which were written by Rowe, and the others by Ingrid Jensen and Cole Porter. Ingrid Jensen joins pianist and composer Rowe on trumpet and flugelhorn, with the others Andrew Bishop on tenor sax and clarinet, Kurt Krahnke on bass, and Pete Siers on drums. Paul Ferguson joins on the final piece, playing trombone; and the University of Michigan Chamber Jazz Ensemble plays on the tune "And Miles to Go (Part 2)". Rowe is an accomplished pianist, composer, and educator at the University of Michigan (GO BLUE!) who has worked with performers like Kenny Wheeler, John Clayton, and Tom Harrell, among others. The beauty in this recording rests with the wonderful compositions and arrangements by Rowe, which create some lovely layering and textures throughout. The harmonic pallet and the colorations form each performer serve Rowe well in bringing energy and light to her songs. The songs are each distinct, some very impressionistic and others hewing closer to the mainstream jazz tradition. All have a deep beauty that is a joy to listen to.  


Tim Hegarty, "Tribute" (Miles High Records 2014) is a straight-ahead, full-bodied set of ten songs played by a quintet of Hegarty on tenor and soprano saxes, Mark Sherman on vibes, Kenny Barron on piano, Rufus Reid on bass, and Carl Allen on drums. With a group like that there is no reason to say much more of course; suffice it to say these are classic jazz tunes from Hegarty's teachers, some who he worked with and others who taught him through their recordings. Jimmy Heath, George Coleman, Monk, Coltrane and Bird are all mentioned in the notes. This is a robust, energetic CD that swings boldly on songs like Heath's "Gingerbread Boy", Joe Henderson's "Inner Urge" and Coleman's "Amsterdam After Dark." Hegarty own contributions fit the form beautifully on this wonderful example of up to date mainstream jazz. 

Three down, many more to go for March. What a month! 

Qui est George Robert?

George Robert is a terrific saxophonist and Director of the Jazz Department at the University of Applied Science Western Switzerland in Lausanne. Born in 1960 in Switzerland, he began his musical studies at a young age and by nine was enrolled at the Conservatoire de Musique in Geneva, where he studied clarinet. At 20, he enrolled at the Berklee College of Music and studied alto saxophone, graduating in 1984 with a Bachelor of Arts in Jazz Composition & Arranging Magna cum Laude. He stayed on in New York and in 1985 received a full scholarship to study at the Manhattan School of Music where he played lead alto.  In 1987 he earned a Master of Music in Jazz Performance at the Manhattan School of Music. In addition to free-lancing with such notables as Billy Hart, Buster Williams, the Lionel Hampton Big Band, and the Toshiko Akiyoshi-Lew Tabackin Jazz Orchestra, he formed the George Robert Quartet which earned the Down Beat Award for Outstanding Performance and was invited to perform on the main stage of the 1984 Montreux Jazz Festival.

In 1987 he formed the George Robert-Tom Harrell Quintet, a group from 1987 to 1992 that  recorded five albums. He later moved to Canada, and toured that country as well as the world with his quartet, featuring  Dado Moroni, Isla Eckinger and Peter Schmidlin.  

In 1995 George was chosen as Director of the Swiss Jazz School and returned home to lead the program for the next 11 years.  In 2003 he founded the Swiss Jazz Orchestra and earned the Suisse Foundation Award for his outstanding international career. He also toured with Phil Woods during that period and recorded several CDs with him.

He has had a long-lasting musical partnership with Kenny Barron and has toured Europe with him and together they have a number of recordings. In 2006 George moved to Lausanne and was hired as Director of the newly-created Haute Ecole de Musique de Lausanne which has the only jazz department in the University of Applied Sciences of Western Switzerland (HES-SO), the largest university in the country.  In 2009 he was honored by the French government and received the medal of Officer in the Order of Arts and Letters, in recognition for his outstanding international musical career.

Throughout his career Robert  has recorded well over fifty albums as a leader and performed with a who's who of modern jazz: Toshiko Akiyoshi, Jeff Ballard, Kenny Barron, Giani Basso, George Benson, Jerry Bergonzi, Randy Brecker, Brian Bromberg, Ray Brown, Terri Lyne Carrington, Bill Charlap, John Clayton, Jimmy Cobb, Billy Cobham, Chick Corea, Eddie Daniels, Jesse Davis, Joey DeFrancesco, Paquito D’Rivera, Billy Drummond,  Jon Faddis,  Paolo Fresu, Hal Galper, Benny Green, Larry Grenadier, Johnny Griffin,  George Gruntz, Charlie Haden, Jeff Hamilton, Lionel Hampton, Slide Hampton, Tom Harrell, Billy Hart, Louis Hayes, Jimmy Heath, Fred Hersch, Billy Higgins,  Daniel Humair, Hank Jones, Lee Konitz, Diana Krall, Michel Legrand, John Lewis, Dave Liebman, Joe Lovano, Russell Malone, Phil Markowitz, Cecil McBee, Ron McClure, Bobby McFerrin, Jim McNeely, Bob Mintzer, James Moody, Dado Moroni, Lewis Nash, Adam Nussbaum,  Nicolas Payton, Alvin Queen, Rufus Reid, Alex Riel, Claudio Roditi, Renee Rosnes, Wallace Roney, Arturo Sandoval, Bud Shank, Lew Tabackin, Clark Terry, Toots Thielemans, Steve Turre, Mads Vinding, Kenny Washington, Peter Washington, Frank Wess, Buster Williams, Jimmy Woode, Phil Woods, and many others.

So why is he largely unknown in the United States? Most likely becuase his CDs as a leader have been on European labels like TCB, Mons, and GPR so they are not well-publicized here. He first came to my attention a few years ago with the CD "Inspiration" (TCB 2000) as I was looking through Kenny Barron's catalogue and noted how he had often played as a sideman to George Robert. On this particular CD he was joined by Rufus Reid and Kenny Washington. Given such a powerhouse trio behind him, I figured that M. Robert had to be an outstanding saxophonist, and I was proven correct. Since that time I have invested more time and money into M. Robert's catalogue, purchasing "Peace" (DIW 2003), a duo with Barron on the Japanese import label; and several others.

"Inpiration" is taken from a live concert in Lausanne in 1999 with the aforementioned trio of Barron, Reid, and Washington. Robert on alto saxophone is out front and wrote six of the eight tunes. This a a group that knows how to swing. The two covers are "You Don't Know What Love Is" and "East of the Sun". Dedications are clear from the song titles -- "Blues for C.T." to frequent partner Clark Terry, "My Man Kenny" for Barron,  "Dexter" for Dexter Gordon, "Cannonization" for Cannonball Adderley, and even "Mom's Song."  The tribute to Terry is a lively upbeat blues song with a hard driving melody line, while "My Man Kenny" is as one might expect a toe tapping hard bop/post bop piece. Robert has a nice tone on alto and high speed delivery that avoids shrillness, and can really blow it out like on "Cannonization." And Barron picks up the same groove when he comes in, and then Reid to the continuing delight of the audience.  The embodiment of Robert's sound and taste is beautifully heard on the warm and lyrical interpretation of "You Don't Know What Love Is" as a duo with Barron. The trio is fabulous, with Washington pushing the beat and livening the music and some nice soloing from the big sounding Reid. But it is the sophistication of Barron that stands out as Robert's partner as the two trade melodies and imporvisations seamlessly. Barron's touch on "Mom's Song" is a joy to behold when he takes the reins from Robert after his own stirring opening. And Reid doesn't let up with his solo either. Clearly these guys all love their mothers.  

"Peace" is a duo recording by Robert and Barron that is long on lyricism and creativity, as the two tackle three Robert  originals, "Song for Abdullah" by Barron, and six covers including a stunning "Soul Eyes" "Softly as in a Morning Sunrise" "I Didn't Know What Time it Was" and "'Round Midnight." Once again the touch of Barron and alto tones of Robert are well matched to bring out the melodies and emotions inherent in the music, whether they be in the ballads or in the spritely delivery of "Blue Monk." And Barron stuns with his introduction to "'Round Midnight" and the solo outing on "Song for Abdullah."

Once you hear these CDs you'll wonder why George Robert is not a household name in jazz, at least in the U.S. His tone, expressive play, and choice of partners is impeccable, as demonstrated on these and other recordings. This is mainstream music of the highest order.

Look Behind the Leader: An On-Going Theme

I think I last used this blog title in July 2012. Here it goes once more:

Do you know the following names? Dann Zinn, Peter and Will Anderson, or David Caldwell-Mason? Probably not.

How about these names? Taylor Eigsti, Kenny Barron, Ben Wolfe, Kenny Washington, or Ari Hoenig? Those should be more familiar; some are pretty well established veterans, some are newer to the ranks, but each has a pretty long list of accomplishments as  leader or sideman.

So once again, its time for introductions.

First up, Peter and Will Anderson, brothers and graudates of Julliard whose debut disc is a beauty of straight ahead jazz entitled "Correspondence" (Smalls 2013).  Peter plays tenor sax, Will plays alto sax, and the rest of the band is Kenny Barron on piano, Ben Wolfe on bass, and Kenny Washington on drums. This is a first class, A-One pedigree piano trio/percussion group backing the Andersons, which has to mean something, right? And it does. The two both possess lovely tones, fast fingers, and great emotional range, captured in six originals by the brothers as well as some classics like "Shaw Nuff" from Dizzy Gillespie, "Let's Get Out of Town" by Cole Porter, "Slipped Again" by Thad Jones, and "I'll Keep Loving You" by Bud Powell. And you'll love both the originals and arrangements of the others, which give plenty of time and space for the brothers to stretch out solos, play heads, and interweave their two instruments. Meanwhile the piano trio is supportive, driving the beat, playing interesting fills, and taking some lovely leads. From the first two bars of the title song "Correspondence" you know the two young leaders know their jazz history and their instruments, as they immediately go into a tune that could have been recorded in the 50s. Ballads or upbeat tempos, this is a great debut. And Phil Schaap's notes will add to your pleasure in knowing them.

Next up, "Cold Snap" (Self-produced 2013) by David Caldwell-Mason, pianist,with support by Kellen Harrison on bass and Ari Hoenig on drums. Hoenig is the veteran here, a drummer who has led a number of outings as well as a sideman to such players as Kenny Werner, Jean-Michel Pilc, and Ben Wendel, to name just three. Caldwell-Mason wrote six of the eight songs on the CD, which are modern mainstram fare. The opener "Unfold" is a nice, lively song that picks up speed as it progresses and demonstrates Caldwell-Mason's light touch as well as his ear for interesting melodies and turns. Hoenig keeps the rhythm moving ahead with a similarly light touch on the cymbals and high hat and quiet use of the snares. As Caldwell-Mason varies the tempo and dynamics, Hoenig shifts his use to more of the drums, and Harrison comes in and takes a turn in the lead. The CD continues with other similarly balanced tunes among the trio and lively play. "With Fear and Trembling" slows the tempo and quiets the mood as it begins with a gentle rolling piano melody and clear bass support mirroring the piano's notes. It's a nice change of pace on the CD and Caldwell-Mason has a chance to stretch out into quiet and somewhat haunting melody that peaks and recedes several times. Very nicely played throughout, whether it is the simple notes and tune of "Single Ladies"  up next or the larger sounds of "Without Fear and Trembling."  Pick this up if you like piano trios playing modern mainstream tunes.

The last of the three CDs caught my attention for the pianist, Taylor Eigsti, who is young but making a name for himself as a leader and sideman, most recently as a sideman on this and on Kendrick Scott's latest (out today) "Conviction" (Concord 2013). I've been a fan of Eigsti's since hearing "Lucky to Be Me" (Concord 2006) and his renditions of "Giant Steps", "True Colors", and particularly his take on the Soprano's theme song "Woke Up this Morning." Here he and John Shifflett on bass and Alan Hall on drums are in support of the tenorist Dann Zinn on "Grace's Song" (Z Music 2012). Zinn composed seven of the nine songs, and included "Stardust" and "King of Pain" (Sting) as the other  two. Zinn ranges widely over his instrument, plays mellow with a bit of vibrato on the opener "Live and Learn" to start and then increasingly edgy/bluesy as the song increases in intensity. He gets to the edge at times, but not over it as he explores and improvises into his upper register in particular. He turns things over to Eigsti in the opener just as he gets to that edge, which provides a nice change of pace as Eigsti proceeds with a bouncy melodic turn. "Western Sky" starts out with an edgy solo tenor part that sounds over-dubbed with a second tenor, and then shifts into a nice straight ahead up-tempo melody that gets everyone involved, with Eigsti once again taking a solo that slows down the growing frenetic pace from Zinn just as it reaches the edge. "Grace's Song" and "King of Pain" by Sting show Zinn's other side, the mellow ballad player, and have really nice Eigsti parts as well. "Grace's Song" features a really nice bass solo part as well.  "Jumpstep" returns to the up-beat tempo, with lots of nice driving rhythm provided by Hall on the drums, and solid piano support including Eigsti's outstanding solo.  "Stardust", the closing tune, is an opportunity for Zinn to once more play it straight and narrow, with less vibrato or bravado, and with quiet support from the others. Its a nice rendition and demonstrates just how skilled the young tenorist is with a standard. Good disc, nice variety, with a bit more edge than the others but still really modern mainstream. 

 

Do You Know Harvie S?

Harvie S (Harvie Swartz), is an accomplished bassist with a long and distinguished career as a leader and accompanist, dating back to the early 1980s. As Harvie Swartz he began his career as leader with a 1982 recording on the Muse label, "Old Time Feeling", a duo with Sheila Jordan, with whom he went on to have a great deal of success. In fact, last year High Note released a 1990 duo recording of the two called "Yesterdays" which I didn't write about but is pure magic. Through 2001, when he shortened his name to Harvie S he recorded almost a dozen sets as leader and was an accompanist playing with, among others, Toots Theilemans, Mark Soskin, John Abercrombie, Joe Locke, and Art Farmer.

As Harvie S, beginning in 2001 he has recorded another half dozen or so CDs for Zoho, Savant and other labels. Highlights include the first duo with Kenny Barron, "Now Was the Time" (Savant 2008) and his first recording on Zoho "New Beginning" (Zoho 2001) a distinctly individualistic melding of bop and Afro-cuban beats.   

The latest CD to feature Harvie S as leader is his second duo with Kenny Barron, "Witchcraft"  (Savant 2013), and given the players how can it be anything by elegant, tuneful, and terrific? This will be a pretty short post since there is not much to say other than the two are marvelous together, Barron displays all of those skills he has learned over his 50 years as a professional musician, and Harvie S shows his skills as an accompanist/colorist as well as stepping out on the lead on many occasions and playing a beautifully bowed "Juan's Theme" with some elegant backing by Barron.

Some of the tunes may surprise, like Stevie Wonder's "Creepin' "or Eumir Deodato's "Juan's Theme" but in the hands of these veterans they are as mellow as the rest, which include songs like "Wig Wise" by Duke Ellington, and the title tune "Witchcraft" by Cy Coleman. Barron's tribute to "Sonia Braga" and "Until Tomorrow" by Harvie S feel right at home with the rest.

What a treat.

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Get to Know: Erena Terakubo

Just heard an amazing disc from a new young alto sax player, Erena Terakubo, age 20! The disc is "Erena Terakubo with Legends: New York Attitude (4Q Records, under license from King Records of Japan,  2011). According to the little I found on her, she is a native of Japan who began jazz at an early age, did master classes with visiting jazz players at home, attended a Berklee summer program, and then in 2009 started at Berklee as a full time jazz student.

She sounds great, has a nice lively tone and seemingly plays effortlessly, and on top of that wrote two of the 10 songs on this disc. Most importantly perhaps is the veterans who have chosen to play with her, an indication of what they think of this young talent. there is Kenny Barron on piano, Ron Carter on bass, and Lee Pearson on drums, anyone's idea of a top notch piano trio. In addition, on three of the songs they are joined by another young and upcoming star, Dominick Farinacci, on trumpet, whose mellow burnished sound (and his looks) have drawn comparisons to Chet Baker.

Together this is a really outstanding combo, and from the first song, Barron's New York Attitude, the music is upbeat, in the pocket, and great to listen to. Star Eyes is taken at a pretty quick tempo and Terakubo shines both at the head and during her improvisations. Barron as always is smooth and creative.

I think anyone looking for one of the next great players should try this one out. If you like stright ahead jazz played with verve, this is your ticket.