Tuesday, January 10, 2023

Brief Notes On New Jazz Releases

It’s a new year, but the world is still a maddening mess. Silly of us to think that things would suddenly improve due to a somewhat arbitrary changing of the calendar, I suppose. But, no matter, musicians are here to make it all palatable, and to remind us of the better side of humanity. Here are notes on a few new jazz releases you might want to pick up.

3D Jazz Trio: “9 To 5” – The new album from the trio of Jackie Warren on piano, Amy Shook on acoustic bass, and Sherrie Maricle on drums features some fun choices of covers (as its title promises), as well as a couple of original compositions. It opens with a fairly exciting rendition of “I Only Have Eyes For You,” a tune written by Harry Warren (with lyrics by Al Dubin). It has the appropriately romantic vibe, which is great, but it really begins to grab me when Jackie Warren starts to seriously dig in on piano, over a delicious rhythm. Then in the second half, there is a wonderful lead on bass by Amy Shook, who did the arrangement. And interestingly, the track concludes with a drum solo. All in all, an excellent start to this disc. Then Jackie Warren begins “Tin Tin Deo” with some beautiful work on piano, and it isn’t long before the song kicks in with a joyful energy. I especially love the drumming on this track, which keeps things hopping and cooking, and helps make this a highlight of the disc. That’s followed by one of the most interesting song choices of the disc, “Sing,” written by Joe Raposo for Sesame Street. And, sure, this was a hit for the Carpenters, but it’s still primarily a children’s television series song. As it starts, this version has a cool rhythm with brushes on the snare, the others providing what would be the vocal line. And then it just gets cooler from there. I particularly love that work on bass. It’s something of a feat to make this tune as cool as this trio has done. The arrangement is by Sherrie Maricle. And then we get the title track, a song I’ve enjoyed since I first heard it as a child. This version begins with the vocal line being performed on bass, the cool introduction teasing us, hinting at the delight that is to come. And yeah, this one kicks in and is a lot of fun. It swings and moves. The trio then changes gears with a touching rendition of “Some Other Time,” featuring some moving work on piano. The two original compositions come at the end of the album. The first is “Blues For G-C,” written by Amy Shook, which fairly quickly becomes a cool and lively number featuring some wild work on keys and a delicious lead on bass. And before the end, there is some fun work on drums. The second is “Theme For B.T.,” composed by Jackie Warren, which also has a delicious sense of movement and of play. There is something of a carefree attitude here, of truly enjoying life. This album was released on December 2, 2022.

The Birmingham Seven: “Just Passing Through” – This album features all original compositions, most of them written by baritone saxophone player Daniel Western. It opens with “Gotta Keep ‘Em Guessin’,” a fun track that keeps moving forward with a possible destination in mind, but with the journey itself being the focus. Just keep going and we’ll get somewhere, and if we don’t, well, that’s okay too. I especially like that lead on guitar by Tom Wolfe. That’s followed by “Ava’s Dance,” this one composed by alto saxophone player Jon Noffsinger. It has a somewhat easygoing vibe, with a bit of an introverted feel at times, as if this dance is done by a single person, who is exploring the world of the self as well as that outside. “Guard Donkeys” has a lighter, more playful vibe, and at times I get images of donkeys playing saxophones and hanging around, looking dapper, tipping their hats to the ladies when not scaring off intruders. There’s a good drum solo by Michael Glaser in the second half, and then the action is swinging. And then “Read The Room” features a wonderful lead by Chris Kozak on bass. The band then goes in a different direction with “Postizo,” written by trumpet player Rob Alley. This one has a delicious Latin groove, and a cheerful, positive vibe, particularly in Alley’s lead. And I love at the end when the drums move more to the fore. That’s followed by “More Of The Same,” which is a total delight. It has a sweet, familiar, relaxed groove, bringing to mind a nice summer breeze, a time without responsibilities, and an innocent love. Each lead on this track adds to wonderful vibe, and my appreciation of this track grows with each one. It’s followed by “The Wayfinder,” composed by tenor saxophone player Gary Wheat. This is one of the most interesting tracks, for at moments it feels like it is taking us back many decades, and then just as suddenly we feel wrapped in modern arms, while the rhythm section keeps us on our toes. Especially intriguing is the guitar lead in the second half. Then “Diggin’ The Dapples” presents a bright, cheerful dance. Things turn funky on “Green Lights For No One.” I love that title, by the way. I was recently at a traffic light, and it seemed every direction had a red light. How long were we all going to remain there? The album concludes with “Just Passing Through,” which is of course what we are all doing. There is something beautiful about this piece, the way the horns sound together. This album was released on July 15, 2022.

Eric Goletz: “Standard-Ized!” – As you might gather from the album’s title, the new album from trombonist Eric Goletz focuses on standards, but with fresh and exciting arrangements. It opens with Charlie Parker’s “Now’s The Time,” and it isn’t long before Eric Goletz is delivering some delicious work on trombone. On this one, he is joined by Don Braden on saxophone, and the two engage in some great play. This track also features good leads by Jim Ridl on piano, and by Henry Heinitsh on guitar. Then “Just In Time” comes at us at a great clip, featuring some phenomenal work by Brian Glassman on bass. The band is cooking here, so just do your best to hang on. That’s followed by a cool rendition of “Caravan.” On this track the group is joined by a string section, adding to the track’s mood and atmosphere. And in the second half, things really begin to move, each musician adding to the story in short bursts. Soon they ease back into the main theme, the strings coming in again. This for me is one of the disc’s highlights. And then check out the percussion on “Nutville.” Steve Johns plays drums on this album, and Joe Mowatt is on percussion. This track also features more good work by guest Don Braden on sax. There are two tracks to feature vocals on this release, both with LaJuan Carter. The first is a beautiful rendition of “Nature Boy,” a track that also features the string section. Carter delivers a haunting, captivating performance. Then “Train Shuffle” is all about that good groove. “Jungle Juice” also contains a great groove, and features some excellent work on piano. Things really take off during “Mayreh,” a track that has a delicious energy and features some excellent work on drums. The album switches gears then with “The Summer Knows,” featuring some gorgeous work from the string section and a moving lead by Eric Goletz. That’s followed by an unusual rendition of “Summertime,” with a Latin rhythm, a different sort of setting than is usually given this song. But perhaps the coolest track is “Sugar,” with Eric Goletz supported by just bass and drums. I love the vibe of this one, and it features some memorable work on bass, while Eric Goletz takes us on a delightful ride. That’s followed by “Windmills Of Your Mind,” the second track to feature LaJuan Carter on vocals. This one also features Eric Goletz on piano, as does his sweet rendition of Stevie Wonder’s “Overjoyed.” The album then concludes where it began, with a short return to “Now’s The Time,” along with a bit of studio banter. This album is scheduled to be released on February 10, 2023.

Christopher McBride: “Ramon” – This new album from saxophone player and composer Christopher McBride features all original compositions. It kicks off with a lively number titled “Lady D,” a piece written for his mother. My mom has this kind of energy too, so this track has me thinking of home. This tune is about movement, about vitality, about not backing down or slowing down, and it features some excellent playing by all the musicians. I find myself especially hooked by Noah Jackson’s work on bass, and by Cedric Easton’s work on drums, providing the track’s quick and strong pulse. There is also a great lead on piano by Jonathan Edward Thomas, and of course some excellent stuff on saxophone. Ah, if we can all keep moving at this pace, with this sort of energy, death will have trouble catching up to us. This track provides an exciting and delicious opening. It is followed by “Welcome,” in which the musicians are introduced, as if this were a live album. In addition to the musicians already mentioned, JS Williams is on trumpet, Morgan Burrs is on guitar, Bobby Broom is on guitar, Kenny Bentley is on tuba, Corey A. Wallace is on trombone, Luke Carlos O’Reiley is on keyboards and organ, and J. Hoard is on vocals. “You Put A Smile On My Face” is an easygoing, cheerful number, like a delightful stroll through the city on a bright day, when somehow everyone you meet is in a good, friendly mood. It features a wonderful lead by Bobby Broom on guitar, as well as a good lead on bass. The bass then begins “Bronx Unchained,” a tune with a strong sense of rhythm, a piece that feels like the city, but this time with a good deal less cheer, at least at first. The lead on piano then takes the track in a different direction, and it isn’t long before things are hopping. The track returns to that initial rhythm at the end. J. Hoard provides vocals on “Your Eyes Can’t Lie,” a mellower song with a romantic bent, a vibe that continues in “Intimacy.” But the heart of this album lies in “Stand Your Ground,” which was inspired by the story of Trayvon Martin’s murder. It is told in three parts, each part given its own track. The first part, “Suspicion,” begins with bass, the lone instrument giving the feeling of walking home alone. There is a sense of danger increasing just as the other instruments come in. The second part, “Confrontation,” interestingly also begins with bass, this time with more energy, more anxiety at the start. And as the other instruments come in, there is a frantic sense to the piece, any doubt as to the danger now gone. And its sudden ending makes clear what has happened. The third part, “In Memoriam: The Ballad Of Trayvon Martin” also begins with bass, this time more thoughtful, contemplative. “Girl Get ‘Em” is a fun number, with a delicious New Orleans vibe, to raise the spirits of all who listen. This album is scheduled to be released on February 17, 2023.

The Dave Stryker Trio: “Prime” – When things were shut down during the first year of the pandemic, most musicians found their schedules suddenly wide open after venues closed and gigs were canceled. Many venues started to stream concerts online in order to generate a bit of income both for the artists and the clubs, and to help with everyone’s sanity. In October of 2020, The Dave Stryker Trio recorded a show to be streamed by a venue, and to keep with that idea of a live show, Dave Stryker decided there would be just one take per tune. He also composed new material for the recording. And now those tracks are being released as Prime, the first album released by the trio of Dave Stryker on guitar, Jared Gold on organ, and McClenty Hunter on drums. The album opens with its title track, a cool tune that really moves, with an energy that pops and crackles at certain moments. McClenty Hunter in particular is cooking here, his work on the drums conveying an undeniable excitement, an excitement that all three musicians clearly felt at being able to play together again. There is some fiery playing here. And I am digging that drum solo toward the end of the track. The title track is followed by a tune titled, appropriately enough, “Lockdown.” This one seems to reach inward as well as outward, and the pace is not as wild. Still, Jared Gold takes off on the organ partway through, and it feels like there is a strong need, as well as desire, pushing his playing. Then check out Dave Stryker’s fantastic guitar work on “Captain Jack,” a song that has something of a positive vibe, with an enthusiastic and resilient spirit. Two of the tunes on this release also appeared on Dave Stryker’s 2022 album As We Are, “Hope” and “As We Were,” though in different configurations. One big difference is that on the earlier release there is a string quartet. “Mac” has a strong groove, and features some delicious work on organ early on. The album’s only track not composed by Dave Stryker is “I Should Care,” which was written by Alex Stordahl, Paul Weston and Sammy Cahn. The trio delivers a good rendition, which begins in a tender, gentle place, and then gets livelier partway through, Jared Gold driving it forward on organ. “Deep” also gathers energy as it goes. The album concludes with “Dude’s Lounge,” which has an easygoing, relaxed vibe as it begins, and then kicks in to become a swinging, grooving gem. This album is scheduled to be released on February 3, 2023.

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