Jazz and Improvised

March - Tomas Fujiwara’s Triple Double

March
Tomas Fujiwara’s Triple Double
Firehouse 12 Records FH12-04-01-035 (tomasfujiwara.com)

Brooklyn-based drummer Tomas Fujiwara is known for his progressive compositions, unique rhythmic grooves and “nuanced drumming.” This release does a formidable job at showcasing his modernistic compositional style through both the distinctive instrumental setup and captivating melodies layered on top of catchy beats. The band’s name says it all. Triple Double refers to the interesting instrument groupings used: two horns, two guitars and two drum kits. It’s described as “wandering through a hall of mirrors” because, depending on the listener’s interpretation, you could either hear three duos that work in tandem or pairs of instruments that explore their own melodic and rhythmic niches throughout, which makes for a truly immersive auditory experience. All pieces are penned by Fujiwara himself or in collaboration with fellow drummer Gerald Cleaver.

Pack Up, Coming for You starts off the album with a driving drum groove, soaring horn melody and bold guitar riffs that give the listener a shock of energy right off the bat. Life Only Gets More features elements of traditional jazz, as is heard in the more laidback shuffle beat and jazz guitar tone, mixed with modern bits such as an interpretive drum solo and dissonance within the melody. Silhouettes in Smoke truly gives off a hazy and mysterious vibe through a mellow and meandering cornet riff layered overtop circular guitar lines. This record is great for anyone looking to experience a well-balanced mix of the old and the new.

Källtorp Sessions Volume 2 - Ståhls Trio

Källtorp Sessions Volume 2
Ståhls Trio
Moserobie MMP CD 126 (moserobie.com)

Balancing on the firm underpinning of knowing strokes from Canadian-in-Stockholm bassist Joe Williamson is this eight-track bagatelle from Swedish vibraphonist Mattias Ståhl’s trio. Joined by Colombian drummer Christopher Cantillo, the group-composed tracks are thoroughly contemporary, but due to the vibist’s logical progressions and airy, open swing, encompass both Lionel Hampton-style pulsations and Cal Tjader-like nuances. Even a couple of tracks where Ståhl plays silvery soprano saxophone trills as well as vibes, and trombonist Mats Äleklint propels gutbucket slurs into the mix, the enhanced density doesn’t exceed harmonic intensity.

Williamson’s string suppleness also means that a balladic interlude like Guldkort is marked with expressive well-paced thumps; while faster tunes are propelled with torqued intensity that cunningly backs up freeform group improvisations such as I-Land Du Välsignade. Despite Cantillo wielding a thunder sheet and the vibes’ metal bars resonating at an allegro tempo during that track, the bassist’s contrapuntal andante pulse prevents any narrative imbalance. Later on, the bassist goads the other two to a harmonized finale. Occasionally introducing the themes with pressurized stops or a walking bass line, Williamson’s sly pulses comprehensively fit in with whatever drum crunches or airy vibe timbres are rolled onto the program.

Convincing in having achieved exactly what they set out to do on this disc, the Ståhls threesome also confirm the benefits of international musical cooperation. The result makes one interested in seeking out Volume One.

Celebration - Alan Silva; Itaru Oki; Makoto Sato; Richard Comte

Celebration
Alan Silva; Itaru Oki; Makoto Sato; Richard Comte
Nunc Records Nunc.027 (nunc-nunc.com)

A bittersweet celebration; while this 2019 Paris concert honoured the 80th birthday of U.S. expatriate keyboardist Alan Silva, it was also the final recording for Japanese trumpeter Itaru Oki (1941-2020), who, like Silva, was a longtime member of the Gallic creative music scene. During this three-part free improvisation, Silva uses the smears, swells and echoes from his keyboard to accompany Oki’s sophisticated command of his brass instrument that ranges from strained high pitches to half-valve guttural effects, all the while preserving the tune’s melodic kernel. Percussionist Makoto Sato, another Japanese expat, adds unobtrusive clip-clop accents to the action, while French guitarist Richard Comte strums connective lines for all, when not briefly disrupting the interface with pointed string stabs or jagged power chords.

On top of the pulsating drums-tremolo keyboard continuum, Oki’s muted harmonies and portamento grace notes take up the greatest part of his expression. But sudden dog-whistle squeals, and the introduction to the improvisation’s second section, where he appears to be huffing textures from a combination of plastic trumpet and harmonica, demonstrate his blazing individuality. Integration of that unique tone and his subsequent smeared triplets into that balanced narrative also confirm the scope of the quartet’s creative free jazz.

Silva, Sato and Comte continue making individual free music in other contexts. While Oki can’t anymore, this disc properly celebrates his reciprocal skill working with seasoned players of similar invention.

The Lights are Always On - Lynne Arriale; Jasper Somsen; E.J. Strickland

The Lights are Always On
Lynne Arriale; Jasper Somsen; E.J. Strickland
Challenge Records CR73532 (lynnearriale.com)

With her 16th album, jazz pianist/composer/educator Lynn Arriale has once again underscored exactly why she is considered to be one of the most creative, technically skilled and emotionally facile jazz artists on the globe. All of the material here was penned by Arriale, and her inspiration was born out of the horrendous world events that have taken place during the past two years, as well as the massive contributions left by the evolved souls who have existed on our blue orb as healers, truth-tellers and defenders of human rights.

First up is March On, which was directly inspired by the 2017 Women’s March on Washington. The composition is loaded with dynamic, insistent chordal statements. Arialle’s powerful rhythmic integrity and innovating improvisations drive this compelling anthem. Jasper Somsen’s lyrical bass solo generates beauty and peace while E.J. Strickland’s creative and dynamic-filled drumming seals the deal.

The title track is taken from a quote by dedicated physician, Dr. Prakash Gada, and in Arriale’s words, “There is always reason to believe in that light; the inherent goodness of people…” In this performance, Arriale’s musicianship is such a conduit of pure, undiluted feelings that it’s as if she reaches out directly into one’s heart and mind. Other stellar tracks include Sisters, which celebrates the struggle for gender equality and Honor, which is dedicated to Lt. Colonel Alexander Vindman – a truth teller, whose testimony exposed some of Trump’s heinous and illegal activities. Of special beauty are The Notorious RBG, in honour of Ruth Bader Ginsburg and the spiritually uplifting Walk in My Shoes, composed in recognition of legendary Civil Rights advocate and U.S. Politician John Lewis.

On the Town: Pete Malinverni plays Leonard Bernstein - Pete Malinverni

On the Town – Pete Malinverni plays Leonard Bernstein
Pete Malinverni
Planet Arts 302124 (petemalinverni.com)

Pete Malinverni is a highly respected New York City-based pianist/composer, widely known for his technical skill as well as for his swinging and lyrical interpretations. It was a bit of propinquity – the kind that can only happen in New York City – that kick-started the idea for this truly exceptional recording, on which Malinverni also serves as producer. While on a gig at a prestigious private party, Malinverni met Leonard Bernstein, and he was so moved by Bernstein’s passion for music, as well as by his New York City-infused compositions, that eventually this recording became fully manifest. This CD is not only a tribute to Bernstein, but it is also a love letter from Malinverni to his beloved New York City. Malinverni’s collaborators here include noted jazz luminaries Ugonna Okegwo on bass and Jeff Hamilton on drums.

The cheeky opener, New York, New York, comes from the Broadway/film hit, On the Town. The trio moves like one, swinging organism and the expertly recorded instruments draw the listener into a profoundly intimate jazz experience. Malinverni’s soloing is inventive, and easily segues in and out of deep grooves. Okegwo is both solid and facile and Hamilton propels everyone down the pike with his energy and skill – as only a New York drummer can do.

With a stirring percussion intro and outro by Hamilton, Cool from West Side Story is a stellar track that lends itself perfectly to a pure jazz format… which makes one wonder if Bernstein wasn’t a bit of a jazz musician himself! Simple Song from Mass is presented here with such heart and soul, that it feels as though each musician was singing the lyrics in his head. I have a feeling that if Lenny were here now, he would be thrilled with this masterfully conceived and performed project.

The Shape of My Heart - Jami Templeton; Andy Langham; Edwin Livingston; Charles Ruggiero; Joel Frahm

The Shape of My Heart
Jami Templeton; Andy Langham; Edwin Livingston; Charles Ruggiero; Joel Frahm
Independent (jamitempleton.bandcamp.com)

Los Angeles-based classically trained jazz vocalist Jami Templeton has a story to tell, and through the eclectic and emotional nature of her new recording, her story leads the listener through an auditory banquet of diverse material from the worlds of country, pop, rock, musical theatre and the Great American Song Book. Templeton’s voice is compelling, moving and a delight to the ear. Skilled producer Andy Langham also performs here on piano and melodica, along with first call L.A. musicians Edwin Livingston on bass, Charles Ruggiero on drums and the masterful Joel Frahm on tenor saxophone.

First up is Willie Nelson’s moving country ballad, Angel Flying Too Close to the Ground, rendered here with a swoon-worthy romantic treatment, as Langham expressively uses innovative chord substitutions and technical skill to bring forth every last drop of empathy. Templeton’s voice is sumptuous, controlled and pitch perfect – reminiscent of (and technically superior to) Julie London, Chris Connor or Joanie James – perfectly capturing the mood of the arrangement.

Also of note is a singular, creative interpretation of Sting’s Shape of my Heart, in which Templeton’s evocative voice and Sting’s melancholy/dystopic vision are perfectly underscored by strong arco bass lines, fine drumming and the sonic treat of Langham’s melodica. Of rare beauty is Templeton’s take on Tom Petty’s Room at the Top. Her warm, mezzo voice is diaphanous and haunting, and also intuitively rhythmic, with a profound jazz sensibility. David Mann’s 1950’s cinema noir-ish ballad, In the Wee Small Hours of the Morning is a total standout, replete with Ruggiero’s sensitive use of mallets, the thrilling coalescence of the trio, and the brilliant lyric, which all join together as one, wrapping themselves around Templeton’s balmy, knowing, lovely pipes.

Late Night - Fernanda Cunha; Reg Schwager

Late Night
Fernanda Cunha; Reg Schwager
Independent (fernandacunha.com)

With the release of this new recording, there can be little doubt that the creative pairing of the gifted Brazilian/Canadian vocalist Fernanda Cunha and eminent Canadian guitarist Reg Schwager is a match made in musical heaven. All of the fine compositions here were written by Schwager, with lyrics by Cunha. Schwager (also wearing producer and arranger hats) performs on guitars and electric bass along with his equally eminent colleagues Tom Szczesniak on piano, keyboard and accordion; Allison Au on alto saxophone; Masashi Usui on tenor saxophone; Pat Collins on acoustic bass; Michel Lambert on drums and Edson Chilardi on drums and percussion.

The eight superlative tracks here are luminous in their beautiful construction, performed with breathtaking technical skill and rendered with such emotional resonance that the term “awe-inspiring” is more than apt. Dança Do Amor is a sensual, intimate glimpse into pure romance and Szczesniak’s keyboard work is perfection itself, reminiscent of the great Manfredo Fest. Cunha’s velvety alto weaves a web of eroticism and Schwager’s solo is the perfect, crystalline appurtenance.

Quero só Viver em Paz is a joyous, lilting samba with intriguing chord changes and facile accordion work from Szczesniak while Cunha’s rich vocal sound evokes the great Leny Andrade. The lush title track boasts a thoroughly lovely alto solo by Au, and captures what it must feel like to walk on Ipanema Beach following a transplendent night in Rio. Novo Amor opens with a vocal/bass intro followed by a masterful acoustic bass solo by Collins and Vias Paralelas has an internal, chordal and rhythmic tension that solders the genres of Brazilian music and contemporary jazz. The sumptuous closer, October Song features Cunha singing in English and displaying her indisputable talent for fine lyric writing and lyrical interpretation in any language.