At a time when the Supreme Court has lost all claims to
legitimacy and respect, and the Republican Party has essentially become a
criminal organization, it feels like we have lost our way. But musicians still
provide us with that needed and desired dose of humanity. Here are brief notes
on a few new jazz releases you might want to check out.
Greg Abate/Paul Del
Nero Quartet: “Reunion: Live At WICN” – Whenever I visit my family just
outside of Worcester, Massachusetts, I set my parents’ car radio to WICN, a
station that plays mostly jazz. This new album from Greg Abate/Paul Del Nero
Quartet was recorded at the radio station’s studio, and it features mostly
original material. This is the first time that Greg Abate and Paul Del Nero
have recorded since 1994. Joining them on this release are Matt DeChamplain on
piano and Gary Johnson on drums. The album opens with “Maria’s Ocean,” composed
by saxophonist Greg Abate, who delivers some lively work on this track. And in
the track’s second half we are treated to a good lead on bass by Paul Del Nero.
There was a small audience at the recording of this album, and you can hear
their applause at the end of the track. It must have been something to be able
to attend this special and intimate show. “Maria’s Ocean” is followed by “Light
Speed,” also written by Greg Abate. And while this track doesn’t move at quite
the speed of light, is does move at a fairly good clip, the saxophone flying at
the beginning. This track also features a wonderful drum solo. Then in “DSR,”
the saxophone is reaching out, connecting with something larger, something
universal. There is something bluesy in Matt DeChamplain’s piano lead as it
starts, which is great. This track also features a really nice lead on bass.
“Clare’s Ostinado,” the first of the album’s three tracks composed by Paul Del
Nero, has an interesting beginning, with a repeated phrase on bass that creates
some tension. On this one Greg Abate switches to flute, and that instrument
lifts us, seeming determined to remove that tension. The two instruments might
want to take the piece in different directions, but the results work
surprisingly well. “Reunion,” the album’s title track, was composed by Greg
Abate, and is a cheerful, friendly piece that leaves you feeling good. “Mose
Knows” has a delicious vibe from the start, mainly because of that cool bass
line, but with fantastic playing by all four musicians. This one was written by
Paul Del Nero, in honor of Mose Allison. “In The Moment” begins on drums, so
I’m immediately interested, and from there it maintains a good rhythm, a good
pace, as well as a sense of excitement, heard especially in Greg Abate’s
playing. That’s followed by the album’s only cover, Charlie Parker’s
“Quasimodo.”
The quartet wraps things up
with “Positive Energy,” a fast-paced gem delivered with strength and joy, each
of the musicians shining here. We could all use some positive energy these
days, right? This album was released on July 7, 2023.
Eunmi Lee:
“Introspection” – This is the debut release from pianist and composer Eunmi
Lee, who moved from South Korea to New York just before the pandemic took hold
and shut everything down. That was a time for introspection, no question about
it, and this album features all original material. Joining the pianist on this
release are Vinicius Gomes on guitar, Matt Clohesy on bass, Ari Hoenig on
drums, and John Ellis on tenor saxophone and clarinet, along with guests on
various tracks. She opens the album with “Gimmick,” a piece that about using a
somewhat different personality in social situations to meet some end. It feels
like the track establishes a situation at the beginning, where there might be
some tension, then settles in a pleasant groove when that personality takes
over, when there then is a freedom to move, heard particularly in John Ellis’
work on tenor saxophone and then in Eunmi Lee’s work on piano. Her playing has
a light feel that works to relax us in moments before she then hints at
something else underneath. I also really like the drum work on this track, the
way it builds in power toward the end, driving to the track’s conclusion. The
second track, interestingly, does not feature Eunmi Lee, but rather features
the string work of Joyce Hammann on violin, Lois Martin on viola, and Jody
Redhage on cello, along with John Ellis on bass clarinet. It is an intriguing
piece that feels like it could function as the soundtrack to a film. Then
“5.19” begins with some pretty work on piano, sounding hopeful and ready. There
is a relaxed joy to the sound, and on this one Eunmi Lee is joined by the
string section, with the addition of Meg Okura on violin, and Maria Jeffers
replacing Jody Redhage on cello. There is the sense of being at ease,
particularly during that lead on piano in the middle, while there is also a
curiosity felt at moments.
Then at the
beginning of “Narcissism,” there is a strong sense of movement, thanks to the
rhythm section, a sense of being on the go, while the horns then give the track
a more reflective vibe, creating an interesting overall effect. Alan Ferber is
on trombone, and Remy Le Boeuf is on saxophone. Eunmi Lee’s lead on piano begins
gently, then seems to become more engaged in the dance with the bass and drums.
And the track’s final section, where all the elements play together, is
delightful. Then “Mr. Weird” has more of a big band sound, with Tony Kadleck on
trumpet and Jon Gordon on saxophone joining the other horn players. “Wavelength”
begins with some cool, thoughtful work on bass, and is performed by just the
core quartet, featuring some good work on guitar. This track is soothing,
easing the tension that now seems unnecessary. The album concludes with
“Azure,” which has an uplifting, hopeful vibe, which is encouraging. This album
was released on July 14, 2023.
– The new release from guitarist Doug MacDonald
features mostly original compositions. In addition to MacDonald, the trio
includes Mike Flick on bass and Kendall Kay on drums. The album opens with
“Zoot And Pepper,” a seriously cool number featuring a delicious rhythm and a
wonderful guitar line. I love bluesy numbers like this, and the piece was
written in tribute to Zoot Zims and Pepper Adams, who were both saxophone
players. Mike Flick’s lead on bass in fantastic. That’s followed by “Eyow/Is
This It,” the first section of which is an interesting guitar solo. As the
others come in, the track develops a strong groove, over which MacDonald’s
guitar seems to dance at times. This piece is a whole lot of fun, even before
the drum solo. The trio then mellows things out a bit with “Benedetto’ Theme,” which
has a gentle vibe. That’s followed by “Three For Two,” which has an unusual
rhythm, yet feels like it is driving forward, determined to take us to some
place we haven’t before visited, or to approach a familiar place from a new
angle so that we view it with fresh eyes. Then we get the aptly titled “Groove
Blues,” a delightful number that moves and swings, and is one of my personal
favorites. On this track Doug MacDonald plays both guitar and Coimbra, a
Portuguese guitar. “JT” has an interesting vibe about it, at times feeling much
fuller and bigger than three musicians, and featuring some excellent work on
drums, and some changes that make me smile each time I listen. “Rapini” has a
light and playful mood. It’s named after a type of broccoli, after all. That’s
followed by “Tuned Out,” with another strong, prominent rhythm. This track
includes a good drum solo in the second half and features some wonderful guitar
work. The album concludes with its only standard, “You’d Be So Nice To Come
Home To,” written by Cole Porter. Doug MacDonald puts his own spin on this great
song, and it swings and rocks and pulses. There is an excellent bass lead in the
middle of this lively rendition. This album is scheduled to be released on
August 1, 2023.
– The New Jazz
Standards is an unusual series in that it celebrates the music of one composer,
Carl Saunders, with each volume being by a different artist. The series began
in 2014 with an album by Sam Most, his last before his passing. This sixth
volume is the first to be released after Carl Saunders’ death (though it was
recorded earlier and includes liner notes by Saunders). Ben Powell plays violin
and viola, and is joined by Christian Jacob on piano, Kevin Axt on bass, and
Peter Erskine on drums. The album opens with “Just A Samba,” with an
arrangement by Thomas Parisch. There is a wonderful joy to this track,
particularly in Ben Powell’s playing, which soars at times. And the lead on
piano has a delicious energy. Everything here works to renew the listener’s own
energy. Ben Powell does the arrangement for “Main Squeeze,” which follows.
There is a light, breezy sense to his playing right from the start, and this
track too should lift your mood. And toward the end, Peter Erskine gets a
chance to cut loose on the drums a bit, which I love. Ben Powell slows things
down then with “Solicitude,” the arrangement by Scott Tibbs. Ben Powell
delivers some moving work on this track. “Blues For Dexter Gordon” has such a
cool vibe, in part because of its bass line. This is a track that seems to get
more and more delicious as it progresses. And speaking of good bass work, check
out the beginning of “African Dreams,” the bass and drums establishing the mood.
Then “In Simple Terms” has a relaxed, gentle vibe, like a dream you just want
to wrap yourself in. Things turn light and playful with “Ricocheting,” which
features some wonderful stuff on drums. “Good Vibes Blues” is another fun and
delightful track, featuring a good groove and some excellent work on strings. “Latin
Tendencies” also features a catchy groove, the instruments seeming to dance at
times. The album concludes with “Sacred Secret,” which has a more intimate
feel, the piano work having a certain warmth. This album was released on April
21, 2023. A seventh volume is apparently in the works.
– Linda Purl is both an actor and singer, known for
roles on shows like
Happy Days,
Matlock, and
The Office, and movies like
Mighty
Joe Young. And she has extensive experience in the theatre. Her new album,
This Could Be The Start, finds her delivering
some beloved standards, and her talent as an actor comes across in her delivery
at times. For example, on the album’s opening track, “This Could Be The Start
Of Something Big,” listen to the way she gives a line like “
Declining a Charlotte Russe, accepting a fig”
or “
There's no controlling the unrolling
of your fate, my friend/Who knows what's written in the magic book.”
Supporting her on this release are Tedd Firth on piano, David Finck on bass,
Ray Marchica on drums and percussion, and Nelson Rangell on reeds. She follows
“This Could Be The Start Of Something Big” with a wonderful rendition of “I’m
In The Mood For Love,” holding us in her spell from that first line. She gives
us the song, but also the character of the song, with a talent that somehow
seems effortless. This track also features some really nice work on both piano
and drums. Then check out the excellent bass work on “Let’s Get Lost.” And
again, her combined talents for acting and singing are clear in that opening
section of “Blue Moon,” a section that is often dropped. “
Once upon a time before I started smiling/I hated the moonlight/Shadows
in the night that poets found beguiling/Seemed flat as the noon light.” She
puts her own spin on this song, and the track also features some delicious work
on piano. She then delivers a sweet rendition of Cole Porter’s “Dream Dancing,”
followed by a beautiful and moving version of “Let Me Down Easy” that features
a nice lead on bass. And check out that wonderful piano lead on “Live Alone And
Like It.” Her rendition of “I Love Being Here With You” has a great spirit
about it, and is one of my favorite tracks. She and the band seem to be having
a lot of fun with this one. The album concludes with another highlight, “Wrap
Your Troubles (In Dreams).” On this track, Linda Purl sounds like a friend who
is there to help us get through the tough days. This album is scheduled to be
released on August 25, 2023.
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