Brief Notes On New Jazz Releases

I wonder why people like Marjorie Peach Tree Dish Greene even exist. I asked her that very question a couple of times via social media, but she has yet to respond. Some people seem to be here just to make life more difficult for everyone else. What a horrible and pointless way to spend one’s brief and fleeting time on Earth. Fortunately, there are musicians to counteract that kind of destructive energy, to remind us of our better natures and of what can be accomplished when we reach out to each other. Here are some brief notes on a few new jazz releases you might be interested in.

Henry Godfrey Jazz Orchestra: “Attitude & Gratitude” – Henry Godfrey is a drummer and composer. The second release from Henry Godfrey Jazz Orchestra contains all original compositions. The album opens with “For McCoy,” which is a tribute to pianist McCoy Tyner (and not to Doctor Leonard McCoy, which is where my brain initially went). This track is dramatic and exciting at times, other times settling into a cool place, and features some excellent work by Rowan Barcha on piano, and by Pritesh Walia on guitar. And of course there is plenty of great stuff on drums. There is something cinematic about the style and presentation. That’s followed by “Mad Max,” which begins with the good groove. With that title, I was expecting something perhaps frantic, with an ominous edge, but this track is a lot of fun, with some great funky energy. Nicholas Suchecki offers some delicious work on baritone saxophone. And then check out Eli Block’s cool work on trumpet. It is easy to get completely caught up in the vibrant power and joy of this track. And before the end, there is even a drum solo. So, yes, this is one of my favorite tracks. Henry Godfrey Jazz Orchestra changes gears with “Forgetting What Will Never Be,” which has a more contemplative air as it begins, and develops a nostalgic vibe. This one clearly has its own tale to tell, and takes us on an interesting journey. That’s followed by “Hot Water,” and almost immediately there is the sense of something building here, getting ready to explode. There is a certain excitement, expressed mainly by the brass section. The album then concludes with “We’ll Get There,” as hopeful a title as any I’ve seen lately (assuming “there” isn’t Florida or Texas or Kentucky). I think many of us have been repeating this to each other and ourselves over the course of the last few years. That we’ll get through this pandemic, that we’ll through this crisis to our democracy, that we’ll all get back on course somehow. And it is music that still makes me believe it (even as I am stuck at home with COVID). And this track does feel like a path forward. Plus, I love that drum solo. This album is scheduled to be released on September 23, 2022.

The Jazz Professors: “Blues And Cubes” – On this album, the group is inspired by the work of Pablo Picasso, particularly during his blue period, as the title suggests. This release contains mostly original material, and opens with “Blue Lamp,” which was composed by saxophonist Jeff Rupert (Rupert also contributes the disc’s liner notes, by the way). The piece has an easygoing vibe as it begins, featuring some nice work on tenor saxophone. Dan Miller’s trumpet then takes the track in a slightly different direction, and the rhythm is developed more. I really like Marty Morell’s work on drums here. This track also features a wonderful lead by Per Danielsson on piano. That’s followed by “Dora Maar,” which was composed by Danielsson. Dora Maar was a photographer who was depicted in several of Picasso’s paintings. There is a strong sense of movement as this track begins, in large part because of that cool rhythm, the way the piano is part of that force. And the saxophone takes off over that rhythm. There is a good deal of joy in the playing. And in the second half of the track, there is a good bass solo from Richard Drexler.  “Les Demoiselles d’Avignon,” a piece composed by Jeff Rupert, takes its name from a 1907 Picasso painting which shows five nude women, who seem to me to be leaning against a large upright mirror, perhaps even emerging from it in great flat shards. This track too seems propelled by its rhythm, and there is a certain excitement. I love the way that lead on piano flies. In the second half, guitarist Bobby Koelble delivers an excellent lead that likewise cooks and dances. His guitar lead in the next tune, “Blue Steel,” is a major part of that track’s appeal. That is followed by the album’s first cover, a seriously enjoyable and exciting rendition of Charlie Parker’s “Segment.” Talk about movement, this one races along like a determined beast. I especially love Jeff Rupert’s work on saxophone here. Things then turn more romantic with “View Of Heaven,” composed by Per Danielsson. Then the group’s cover of “Promenade aux Champs- Élysées,” written by Sydney Bechet, is absolutely delightful, with that great French flavor. I have not visited Paris, but I imagine it is exactly like this music (don’t disappoint me, Paris). That’s followed by “Promenade In Blue,” a track that is several shades of cool, the tone set immediately by Jeff Rupert, who also composed this piece. Richard Drexler contributes “Picasso’s Blue Lobster,” another incredibly cool track that draws you in and maintains its hold on you. As you might guess, it features a good lead on bass. The album concludes with “The Iberian,” a lively track written by Jeff Rupert, who plays alto sax on it. This album was released on August 5, 2022.

Doug MacDonald: “I’ll See You In My Dreams” – For someone as prolific as guitarist Doug MacDonald is, for him to also be consistently releasing excellent albums is remarkable. It seems like a mediocre one should have sneaked in by now. But no. And his new release is in fact one of his best. From the moment the title track begins, there is a delicious joy to the playing that seems capable of brightening the day of the saddest among us. On this album, MacDonald is joined by Tamir Hendelman on piano, John Clayton on bass, and Jeff Hamilton on drums, and each of them shines on that opening track. They then slow things down with a rather warm rendition of “I Got It Bad (And That Ain’t Good).” This track will make you feel good too, but of a different sort, giving you a more relaxed, peaceful feeling. Doug MacDonald delivers a wonderful and unusual rendition of “My Ship” that begins with drums, announcing this version will have a good energy and faster tempo. Approximately halfway through, I realize how much I am loving the groove of this track. Such great stuff on drums, and that helps this become one of my personal favorites. This disc also includes a nice rendition of “Easy To Love” that contains a wonderful section of bass and drums interacting. Then “‘Tis Autumn” contains some beautiful and passionate work on both guitar and piano. In additions to standards, there are two original compositions written by Doug MacDonald. The first is “New Mark,” which begins with a delicious blues groove that immediately has me tapping my toes and smiling. Interestingly, it suddenly changes gears after a minute or so, moving into a different but equally enjoyable direction. And soon it goes into a delightful rhythm and blues place, featuring some excellent work on guitar. This track is full of movement and surprises, and everything about it works perfectly. And it ends back in the blues, with a short guitar solo. The second, “More Yesterdays Than Tomorrows,” is a sweet waltz, and perhaps fittingly is the shortest track on the album (the CD case erroneously lists the final track as being shorter). Hey, who doesn’t have the brevity of existence on his or mind these days? The album then concludes with a breezy version of “Will You Still Be Mine” that features some great work from all four musicians, and includes a short drum solo. This album was released on August 30, 2022.

Ana Nelson: “Bridges” – This album is Ana Nelson’s debut full-length release as band leader, and it includes all original material.  Ana Nelson plays both alto saxophone and clarinet on this album. She is joined by Jamaal Baptiste on piano, Brendan Keller-Tuberg on bass, and Carter Pearson on drums, as well as by some special guests on a few tracks. The album opens with a track titled “Wanderlust,” which has a gentle, easygoing, yet playful opening, like someone who is thinking of taking a journey. And then the saxophone takes us on that journey, gathering energy and excitement as it goes. And when a rest is required, the piano takes up the story. Ana Nelson switches to clarinet for “Waltz,” a mellower, more serious-sounding number. I particularly like the work on drums here, giving the sense of something brewing within. Ana Nelson moves back to alto saxophone for “LCB,” and is joined by Garrett Fasig on tenor saxophone. When it begins, there is a contemplative and comfortable air about it. Then it starts to take off in a playful way, like a spirit beginning a dance. The piano picks up on this vibe, on this dance. On “Blue Flower,” one of the album’s most beautiful pieces, Ana Nelson is joined by a string quartet. Marina Alba López and Jodi Dunn are on violin, Alice Ford in on viola, and Kevin Flynn is on cello. The mood changes for “NelBap Choro,” a light and joyous number, on which Ana Nelson plays clarinet. On this delightful track, Ana Nelson is joined by just Jamaal Baptiste on piano. Both musicians seem to be dancing with their instruments, and calling us to join in the feeling of joy. Ana Nelson also pays clarinet on “Let The Light In,” where she is joined by the string quartet again. This time, it is just Nelson and the quartet, so this track has quite a different sound and vibe from “Blue Flower.” There is a sweet and peaceful beauty to this piece. The album concludes with “Fruit Of The Groove,” a lively and fun tune featuring some great work on piano. Here she is also joined by Bill Nelson (her father) on tenor saxophone, Jeremy Allen on bass, and Steve Houghton on drums. This album is scheduled to be released on September 2, 2022.

Dave Slonaker Big Band: “Convergency” – The new release from Dave Slonaker Big Band features original material, with all but one of its tracks composed by Dave Slonaker. It opens with its title track, which grabs our attention immediately with that first section, which seems to be issuing a warning of sorts, or a calling, a summoning. And soon the tune is off and running, building from those initial moments, and featuring a nice lead by Clay Jenkins on trumpet and a groovy bass line by Edwin Livingston. Interestingly, in the second half there is a sudden break in the action, and then Ed Czach leads things into a different direction for a moment, again aided by that bass. That’s followed by “Uncommonly Ground,” the title a playful reference to coffee. This one eases in, and features a somewhat mellow, but wonderful lead on guitar Larry Koonse. Then “Duelity” swings and moves right from its opening moments, with that delicious rhythm. Peter Erskine is on drums, by the way. Yeah, a seriously talented group of musicians was gathered for this release. That’s followed by “A Gathering Circle” which begins slowly, then, seemingly when all the pieces are ready, develops a good groove, and that’s when the communication can begin. This track features some excellent guitar work by Larry Koonse. But perhaps the album’s best track is “A Curve In The Road,” which is catchy and exciting, and breathes and dances. It features cool leads by Clay Jenkins on trumpet, Tom Leur on tenor saxophone, and Brian Scanlon on alto saxophone, as well as more delicious work on both bass and drums. Everything about this track seems to move just right. Another of the disc’s highlights for me is “Sometimes A Notion” (the title of course reminding me of a certain Ken Kesey novel, as well as the line from “Goodnight, Irene”). This one features some nice work by Alex Iles on trombone and by Rob Lockart on tenor saxophone. We then enter a more contemplative, space with “Vanishing Point,” which is at times pensive, at times more whimsical, and is yet another of the highlights. I love Bob Sheppard’s work on soprano sax here, as well as the interesting work from the rhythm section. The album concludes with its only cover, “I Had The Craziest Dream,” which was written by Harry Warren and Mack Gordon. This album was released on August 19, 2022.