Brief Notes On New Jazz Releases

Though the pandemic is far from over, particularly in areas where misinformed nincompoops refuse to get vaccinated, music venues are reopening and bands are once again touring. I’m excited, though cautious. Meanwhile, artists continue to release excellent music to help us through these strange times. Here are notes on a few new jazz releases you might want to check out.

Rodney Jordan & Christian Fabian: “Conversations” – If you like the bass, you’re going to love this album. And if, for some reason I can’t quite fathom, you don’t like bass, well, perhaps this album will change your mind. Both Rodney Jordan and Christian Fabian are talented and inventive bass players, and these tracks are duets, without any other supporting players. In order for us to able to tell who is playing what, Rodney Jordan is in the left channel, and Christian Fabian is in the right. Most of the tracks are original compositions, and most feature leads by both players. The first of the tracks co-written by the two bassists is titled “Happy To Be Alive,” fitting for these strange times we find ourselves in. It’s a wonderful tune, with a sound that is full. What I mean is that it feels complete and perfect as it is, and you don’t long for any other instruments. In “Robin’s Theme,” written by Rodney Jordan, they explore a delightful theme, and at times it feels that each bass is a human voice with a vocabulary larger than that of the average person. This, for me, is one of the disc’s highlights. That sense of the instruments as voices continues, and increases, in “The Ride Over,” and we begin to see how apt a choice of titles Conversations really is. Often in this track, they take turns, and seem to both respond to and echo the other’s thoughts. This is a cool and sometimes surprising track. There are two title tracks, sort of. The first, “Conversations #4,” is probably the most fun of all the album’s tunes. It is a lively, spirited number, and another of my favorites. The second, “Conversations #1,” is an odd piece that is a bit disconcerting at first, but soon becomes kind of endearing. In addition, these two bassists cover two pieces by Hildegard von Bingen, who believed music had the power to heal. Related to that is the track titled “432.” In the liner notes, they mention that they did the entire recording in A at 432hz, which is supposed to have a healing effect on those listening. This album was released on August 1, 2021.

Lady Millea: “I Don’t Mind Missing You” – Vocalist Kate Millea’s debut album is a treat. It opens with its title track, which has a cool, sexy, and kind of elegant style, and right away she has us in her hands. And what’s more, this is an original number. In fact, all of the tracks on this release are originals, written by J. Frederick Millea (whom you might know by his stage name, L.A. Cowboy). Here is a taste of the lyrics: “And when I’m missing you, it’s almost pleasant in a way/Because I tell myself it’s really only for a day/It’s just another day, and when tomorrow comes/You just might change your mind/I’ve heard it happens.” This track also features some fantastic work on guitar, as well as some wonderful stuff on saxophone. Basically I love everything about this song. And that’s just the opening track. It’s followed by “Almost,” which has something of a delicious, classic vibe, with Kate Millea’s vocal approach and that rhythm, and yet simultaneously feels fresh. It is like time just doesn’t exist, or all times exist within this music. There is something magical here. Another highlight for me is “Play On,” in part because its main line is the first line from Twelfth Night, “If music be the food of love, play on.” It also has this cool, romantic vibe, but with a rather cheerful rhythm, and features some great stuff on flute. And with “My Heart Sings,” she engages the heart of everyone who listens. “So I give up, darling/You know I’ll always love you.” She follows that with “Hold Me,” which is adorable and seductive, with just the right amount of breathiness in her delivery. It also features some nice work on keys, and I love the playful way she interacts with the pianist. The entire album is great, but this is my personal favorite. This album was released on August 15, 2021.

Steve Million: “Jazz Words” – On his new album, pianist and composer Steve Million teams up with vocalist Sarah Marie Young to deliver some excellent original material. The opening track, “Heavens To Monkitroid,” begins with some light, playful work on piano before the rest of the band comes in. In addition to Sarah Marie Young, Steve Million is joined by Jim Gailloreto on saxophone and flute, John Sims on bass, and Juan Pastor on drums. This track quickly becomes a lively and exciting number about taking chances, featuring some great stuff on drums, and includes some scat from Sarah Marie Young. That’s followed by “Mis’ry Waltz,” a tune that Steve Million had included on Thanks A Million, where it is an instrumental. I prefer this new vocal version, with a passionate performance from Sarah Marie Young. “No, we have much more/To do before we get to leave here/Our lives up to this point/Are not as useless as they may appear.” Another highlight of the album is the moving “Hymnal,” about carrying on after a tragedy. “Time will come, then go away/Another welcome overstayed/So we will sing a hymn and pray/Will this help us find our way?” “Cold Wind” begins with some tentative work on bass, easing us into a dream, the first words being “Nothing’s real.” Jim Gailloreto plays flute on this track, adding to its beauty and its dreamlike atmosphere. The album ends with “The Way Home,” another beautiful and gentle song. “We’re always close to home/In our hearts and our dreams.” And that work on piano sounds like home to me. This track is a perfect way to close the album. This album was released on August 20, 2021.

Lukasz Pawlik: “Long-Distance Connections” – Pianist and keyboardist Lukasz Pawlik has put together a great group of musicians for his new album, including Mike Stern on electric guitar, Tom Kennedy on electric bass, David Glówczewski on alto saxophone, Szymon Kamykowski on tenor saxophone, Randy Brecker on trumpet and flugelhorn, Gary Novak on drums, Cezary Konrad on drums, and Dave Weckl on drums. Dave Weckl’s presence is what especially got me interested in this release, and in addition to his work on drums, Weckl co-produced the album. The album contains all original material, composed by Lukasz Pawlik. It opens with “Indian Garden,” an instantly catchy number that features a really good bass line and of course some fantastic work from Dave Weckl. Phil South joins the group on percussion for this track. This is a lively number, with some funky energy. My favorite section comes approximately halfway through, when Lukasz Pawlik delivers a wonderful lead on keys. There is also a delicious lead on bass toward the end. And, hell, that’s just the first track. It’s followed by “A Matter Of Urgency,” which also features Dave Weckl on drums (he plays on only these first two tracks), and here his playing is at the center of the action at times, particularly in the second half. Its title feels appropriate, as this track moves at a decent pace, and there is something pressing about it. “Jellyfish” takes us into the deep, into a mysterious, dark spot in the ocean, where unknown creatures brush past us. But soon we are acclimated, and can begin to see the action. Randy Brecker contributes some expressive work on trumpet on “For Odd’s Sake,” with Cezary Konrad delivering on the drums. “Planet X” has a dark, ominous sound at the start, with Lukasz Pawlik on synthesizers as well as piano and keyboards, supported only by Gary Novak on drums. This track takes us on an interesting journey. “Reflections” is the most beautiful piece on the album, in large part because of Lukasz Pawlik’s work on cello. It’s the only track featuring him on that instrument. Then “Greg’s Walk” seems to promise intrigue as it opens. “Suspensions” has a somewhat mellow, soothing vibe, and features some nice work on keys. This album is scheduled to be released on September 3, 2021.

Turning Circles: “What Goes Around Comes Around” – Trumpet player Kerry Moffit has been playing for four decades, including two as a member of the United States Air Force Bands and Music program, but this is his debut album as band leader. It features both covers and original material, with all arrangements by Kerry Moffit. The album opens with a good rendition of Hank Mobley’s “This I Dig Of You” which features, in addition to some excellent stuff from Moffit, a wonderful lead on keys by Arlene Pritchard McDaniel. That’s followed by a delightful version of Shorty Rogers’ “Just A Few,” with Terry Newman taking a lead on acoustic bass early on, and Moffit delivering some fantastic stuff. As good as those tracks are, it is the original material that really makes this album worth checking out. The first of the original compositions is “Free For All,” which has a great, loose feel, with plenty of solo drum work from Ian LeVine near the beginning, helping to make it a favorite of mine. But it isn’t just the excellent work on drums that makes this track stand out. Each of the players gets a chance to shine here, and the track is never dull for even a moment. “Life, Love, Loss,” the next of the original tunes, has quite a different vibe. It has more of a haunting, contemplative feel, and features some moving work from the horn section. Then “10-4 Jam” has a cool attitude from its start. And “M.I.” moves at a great pace, and is a lively and enjoyable number. This album was released on August 20, 2021.