Get to Know: Leslie Pintchik

Pianist Leslie Pintchik is about to release her fourth CD, "In the Nature of Things" (Pinch Hard 2014) this month, a set of eight modern mainstream jazz pieces that she wrote along with one standard "I've Grown Accustomed To Her Face". I've been a fan since her first release in 2004, and this is another in a series of excellent performances from Pintchik and her group. 

Pintchik has an interesting biography. Before embarking on her musical career she taught English Lit at Columbia University, and received a Master of Philosophy degree in 17th Century English Literature. Her interest in music blossomed afterwards and she began her career with a stint with bassist Red Mitchell at the legendary club Bradley's on University Place in Greenwich Village. From that point forward she was committed to her jazz career and formed a trio with Scott Hardy on bass and Michael Sarin or Satoshi Takeishi on drums. All three -- Hardy, Sarin, and Takeishi -- appear on this CD, along with trumpet and flugelhorn player Ron Horton and Steve Wilson on saxophones. Wilson also arranged the horns on the six pieces on which they appear. 

The first CD from the trio (without Sarin) was "So Glad to Be Here" (Ambient Records 2004), a set of 11 pieces, seven by Pintchik along with three covers-- "All the Things You Are", "You Keep Coming Back Like a Song" and "We See" -- plus one original by bassist Hardy. The covers are played with a uniqueness that indicated Pintchik's already original writing, with the first done with a latin beat and the second a group encounter of great intensity and color. Her own songs are wide ranging in character, and the percussion of Takeishi certainly enhances the mood of each. This is a great opening salvo for her career. 


"Quartets" (Ambient Records 2007) came next and in addition to the trio added sax player Wilson for one quartet, and shifted Takeishi to percussion and added Mark Dodge on drums for the other. There are nine pieces, five by Pintchik, highlighted by a somber, slow version of "Happy Days Are Here Again" by the Dodge quartet, and the contrasting light and airy "Over Easy" and "Private Moments", originals by Pintchik featuring the lilting sounds of Wilson's saxes. The CD is fairly restrained but nonetheless captivating, and speaks to Pintchik's impressionistic writing and growing sonic palette. 

The third CD is "We're Here to Listen" (Pintch Hard 2010) with Hardy, Takeishi, and Hodge. Pintchik is up to six originals here, and interesting cover versions of "Blowin' in the Wind"  and "For All We Know". This is the most relaxed and laid back of the first three outings, with a number of nice mid-tempo songs played very simply and elegantly by Pintchik, particularly "Completely" and "For All We Know". Very nice music, elegant ind interesting melodies,  but perhaps a bit too mellow given what has come before. 

The newest CD, "In the Nature of Things" returns the group to a more rounded menu of songs and is a stronger CD, in fact the strongest one yet by Pintchik. The variety of moods, tempi, and dynamics is enhanced by the inclusion of Horton and Wilson on six of the tunes, with arrangements as previously noted by Wilson. Pintchik states the melodies in her songs and uses the horns to provide counter punches, as on the strongly grooved and bouncy "I'd Turn Back if I Were You", or for counter-melodies on several others, which deepens the context and emotional strength of the music. Pintchik has grown as a composer and has a gift for writing in various forms so there are mid-tempo ballads, uptempo swings, New Orleans sounds, latin, and blues sprinkled in the nine compositions, with only one standard this time, a beautifully and delicately rendered "I've Grown Accustomed to Her Face". "Sparkle" is one example of the mid-tempo swing and provides plenty of room for each player to solo, while "Terse Tune" is a minor blues" with a simple melody that grows in power and climaxes with dueling horns, drums, and percussion. "Ripe" and "Ready" are latinate tunes with flowing melodies and rich harmonies, and in the case of the former a wonderfully soothing flugelhorn solo by Horton. 

This is an outstanding addition to Pintchik's discography and one for fans of the modern mainstream.

Finally, for those in the NY area, Pintchik and her group are regulars around Manhattan at various clubs, and will be performing at a CD release concert at Jazz at  Kitano on Friday April 25th. 

A Straight Flush: Five of a Kind

I have purchased an overwhelming number of CDs lately, and even a few downloads where artists only produced digitally, and so, without further ado here are five of a kind, a straight flush, a wonderful set of five:

Colin Vallon Trio, Les Ombres (Unit Records 2004) is a predessessor to Vallon's recent outing, "Rruga" (ECM 2011). I sought it out after listening to the ECM set once again and wondering how he came to be there. This CD establishes his credentials very markedly; it is already very ECM-like -- lyrical, generally pastoral in mood and quiet in dynamics, and it features a lot of interplay among the trio members. The others are Patrice Moret on bass and Julian Sartorius on drums. There are a few pieces taken at a slightly more breezy tempo and tone, but the overall statement is relaxed and quite lovely.  

Nicole Mitchell's Ice Crystal "Aquarius" (Delmark 2013) is a quintet including Mitchell on flute, Jason Adasiewicz on vibes, Joshua Abrams on bass, Frank Rosaly on drums, and on one piece Calvin Gantt with spoken word. The combination of flute and vibes gives this a very light, confectionary feel, but the songs are acually very complex and shared freely among the partners. Modern jazz of the highest quality with some avant sprinkled in, it's a spiritually uplifting and energetic outing.

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.

So five CDs to try from a range of different places -- trios, quartets, quintets; modern lyricism and impressionism, mainstream jazz, and latin jazz; and horns, brass, piano, drums and percussion galore. Take your pick, they are all great.

CD: Newport Jazz Gala!

For those of us who did not get to Newport to see the jazz festival, the new CD from ArtistShare at least provides a snapshot of some of the participants as they performed in some unusual combinations at the Newport Festival Foundation Gala on August 4, 2012. The CD is called simply "Newport Jazz Gala" (ArtistShare 2013) and it inlcudes nine entries by a host of musicians. These are not from the sets played for the public, some of which you can hear via NPR, but rather a unique portrait of jazz covering a wide range of sounds, instruments, and groups in a single setting. A brief walk-through of the songs and players should be sufficient to intrigue most readers of this post.

First up is Dianne Reeves singing "I'm in Love Again", accompanied on the piano by Peter Martin, a nice standard way to start the set. The sound quickly turns more improvisational with "Three's Free", a freely imporvised piece played by Anat Cohen on clarinet, Ingrid Jensen on trumpet, and Jason Moran on piano. To start, Jensen introduces a phrase, then Cohen picks it up, followed by Moran. Then the trio begins to elaboraate upon the phrase, offering in turn solo riffs, and finally all three join in once the theme is fully established. A remarkably spry and lovely piece highlighted by the beautiful rich sounds from each master, but for my ears particulalry by Cohen playing across all three octaves of the clarinet.

Third up is "Aurora" a piece both written by and played by Rudresh Mahanthappa that is very much in keeping with the sound of the recently released "Gamak" (ACT 2013). His support is not identified but there are some traditional Indian percussion parts supporting him along with some electronic feedback and echoing. all in all a very modern and avant garde piece. "Merci" is next, a duet of Lionel Loueke and Jason Moran that is lively and fun. Loueke begins with any number of vocalizations including hums, clicks, and pos along side his guitar work. Moran enters as support a bit later first compling and then playing a melody line in support of the rhythmic play from Loueke and then taking over the melody while Loueke "plays" the percussion for the better part of three minutes. Finally, Loueke sings his part in his native language backed quietly by his guitar and Moran's piano. Lovely.

Lewis Nash on drums and Steve Wilson on sax cut it up with the "Jitterbug Waltz" next, followed by Edmar Castaneda playing two of his own compositions -- first soloing on "Entre Cuerdas" and then dueting with sax player Wilson on "Double Portion". Castaneda is probably the least known player on this CD; he is a 35 year old harp player from Bogota, Colombia now located in New York. His most recent CD has him leading a group which includes Gonzolo Rubalcaba on piano, Miguel Zenon on saxophone, and Hamilton De Holanda on mandolin. He plays what might be expected from the harp -- lush, long flowing melody lines and strong melodies that shift across the octaves to create intriguing expressive pieces. These are really outstanding contibutions to the CD from a wholly unexpected source, whether playing solo or comping behind a very interesting melody played by Wilson on the second piece.

Finally two last pieces. The first is just a great interpretation of the Beatles' "Come Together" by Anat Cohen on clarinet and Bill Frisell on guitar. Frisell of course did a complete CD a couple of years ago featuring John Lennon's music and this has the same combination of the familiar and the unexpected, with Cohen once again starring on the clarinet. So simple, so fun.  Finally, there is the ensemble of Frisell, Jensen, Moran, Nash, and Wilson playing, or in fact playing around with, "Blue Monk" a suitable closer to what must have been a great night.