Carnaval
Carl Mayotte
Independent (carlmayotte.com)

Multi-faceted, bustling, exuberant and emotive, Quebecois bassist/composer/leader Carl Mayotte’s new album makes for quite the engaging listen. Mayotte consistently showcases the entire range of his instrument, using the upper register to add colour and warmth to interludes in tracks like Cascade. His use of natural harmonics and arpeggiations encompassing the fingerboard in the intro of Coeur d’enfant unlocks the electric bass as a sole creator of soundscape, which allows for a tranquil meditation before the blazing inferno that follows. Each composition in this sense feels like a living organism, never content with occupying a single space for too long, with woodwind quintet Choros often providing near breath-like reprieve from all of the endless celebratory rhythms. In terms of the instrumentation and arrangements, Mayotte draws from a consistently exhilarating palate of electronics, heavy percussion sections and acoustics, creating a synthesis of influences that are never tedious. 

The tracks that make up the Carnaval suite flow seamlessly into each other but contain enough twists within them that the overarching statement itself feels more holistic than the form normally allows. This album is a very ambitious undertaking, but it never allows this vision to obscure its sense of adventure, tunefulness or grace. Central to this point is L’éveil, one of the more discreet moments to be found on the tracklist, albeit maybe its most rewarding on repeat listens. As we listen closer and closer, Mayotte leaves us with more and more wonders to discover.

Recent History
Mike Murley; Mark Eisenman; Neil Swainson; Terry Clarke
Cornerstone Records CRST CD 166 (cornerstonerecordsinc.com)

Craving the perfect musical accompaniment to those cozy winter nights spent at the fireside, a warm drink in hand? Stellar duo Mike Murley and Mark Eisenman’s newest release is just the soundtrack you’re looking for. Mellow sax melodies and catchy piano riffs make for a warm, inviting record that conjures images of a snug living room and music floating softly in the background, watching the snow fall softly. Featuring all-stars Neil Swainson on bass and Terry Clarke on drums, Murley/Eisenman’s compositions soar to new heights via these fabulous backing musicians. 

The album harkens back to the classic jazz sound, featuring standards by greats such as Monk, Schwartz and Strayhorn. Yet just the right amount of modernity is brought into the mix, with Murley and crew adding a pleasing contemporary twist to the pieces to swiftly bring them into a current musical setting, as is heard in the time-honoured Monk’s Dream. Murley/Eisenman mention that the album “[reflects their] shared interest in writing new melodies on standard chord progressions,” otherwise known as contrafacts. What also adds a unique spark to the record is the several pieces that showcase Murley/Eisenman’s shared, intertwining solos that soar lyrically overtop of Clarke’s constant, energy-laden beat and Swainson’s rhythmic bass riffs. For those jazz aficionados looking for a foray into the past while also remaining present in the current day, this is a great album to add to the collection.

Gradient
Jesse Dietschi Trio
Independent JDM-2023-01 (jessedietschi.com)

With so much so-called 21st-century music to listen to it is refreshing when a disc turns up that harks back to the elements that made jazzy, improvisational music so attractive in the first place: melody and swing. In this case it is the album Gradient by the contrabassist Jesse Dietschi and his trio. This ensemble is fortified by pianist Ewen Farncombe, a wunderkind who combines technical prowess with intelligence and good taste, and the swinging timekeeper with a gift for melodicism, itinerant journeyman and drummer Ethan Ardelli, now well on his way to becoming something of a proverbial elder statesman. 

The trio operates as a partnership of equals, not as bassist and accompaniment. Each participant is given ample room to stretch; to pick up threads, develop ideas and to embellish Dietschi’s compositions with a range of ear-worm riffs, dancing melodies, insistent rhythms and harmonies with the added elements of colour and texture. 

A relative newcomer, Dietschi emerges as an eloquent musical contrabassist producing some tasty arco work (cue Loose Plug and Canmore), and agile pizzicato everywhere else. As a composer he is clearly more gifted than he would get credit for being. This is likely because he splits his time between chamber orchestras and contemporary ensembles. The music of Gradient, however, suggests a questing mind with a borderless, erudite aesthetic. This is quite a rare combination under any circumstance.

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Sonic Bouquet
Jocelyn Gould
Independent JGCD0523 (jocelyngould.com)

The aptly titled Sonic Bouquet is the third album as leader from guitarist-composer Jocelyn Gould, and is a snapshot of an artist who has refined their craft immensely. The melodies are lean, memorable and feature just the right amount of subversive turns. Across nine tracks, there is nary a single minute of excess, with only pinpoint solo sequencing and an enduring sense of restrained dynamism to be found. It is no coincidence that every track is directly in that five-to-six-minute sweet spot, the whole affair is an absolute breeze by design. 

The tracks distinguish themselves from each other through their beautiful subtleties and small details. Spring Regardless’ head is a clever one, making use of syncopated shots almost exclusively to relay its information, but these hits are metronomic enough to feel purposeful rather than a barrage of material. Coming out of the melody, Rodney Whitaker’s deep-pocket bass solo contrasts nicely with the driving nature of previous proceedings, reining in the band with the logic-defyingly easygoing time feel of his lines. 

Alongside other standard selections on this album, My Foolish Heart takes a ubiquitous ballad and turns it into a stirringly yearnful dialogue between two guitars in the midst of mourning. Gould and former teacher Randy Napoleon’s creative synergy forms the nucleus of what makes this album feel like a documentation of profound musical connection. In the first minute of My Foolish Heart, this effect finds its pinnacle.

We’ve Got Nothing
Peripheral Vision
Independent step3-009 (peripheralvisionmusic.com)

Innovative Toronto-based jazz quartet Peripheral Vision has released their long-awaited second live album, their sixth full-length release. From the first track, the listener is pulled into a musical realm where genre-defining boundaries don’t exist and the imagination can be let loose. The group was formed years ago by long-time collaborators guitarist Don Scott and bassist Michael Herring, with saxophonist Trevor Hogg and drummer Nick Fraser brought along for the 15-year (and counting) ride. The album was conceived during pandemic times and was a much-needed creative outlet for these musicians, as it was for many. 

The record stands out for its ability to make the contemporary and experimental accessible and captivating to listeners. This is achieved through two main components: a non-stop groove that gets the body moving and grooving, and through meandering between and constantly mixing genres to create an intriguing set of tunes. Each piece has its clear personality and moods that the listener is transported through. One of the influences for the record that Scott/Herring mention is “influential bassist Dave Holland’s thoughts on achieving balance in life,” which highlights the perfect word to describe this set of pieces: balance. Balance is reflected through the way each musician has a definite role to play within each song, how there is an equilibrium in regards to movement and mellowness and how we are left with a sense of symmetry and stability as the last notes fade.

Migrations
Allison Au; Migrations Ensemble
Independent AA-23 (allisonau.com)

Allison Au’s Migrations is a vibrant sonic landscape with ebbs and flows inspired by transitions through physical landscape. Described in the liner notes as a long-due creative articulation of personal history and identity, this undertaking succeeds in a profound, inspiring, thought-provoking way. Central to this triumph is the depth, versatility and range of the ensemble itself. 

Au’s own jazz combo is accompanied by string quartet, Michael Davidson on vibraphone and the expressive vocals of Laila Biali. This instrumentation unlocks a spectrum of prismatic mood and texture, with the brightness of the strings crackling over an undercurrent of spellbinding harmonies. Biali not only faithfully conveys the weight of her words during the expertly paced spoken word sections, but she shines as a primary melodic instrument in tandem with Au’s saxophone, particularly on pieces like Them. 

As a suite, Migrations’ sense of interconnectedness does not feel contrived. Rather than flowing into each other directly with manufactured studio transitions, there are brief pauses between movements. This allows each scene ample time to remark on the previous, while organically creating forward momentum that complements the album’s central text and themes. Racing Across the Land feels like a direct continuation of where Aves Raras ended up in terms of its pace, but from the utterance of “long after you are gone…” the throughline grows beyond what is outwardly stated, allowing for a retrospective plunge into the metanarrative properties of sound.

Quinsin Nachoff – Stars and Constellations
Quinsin Nachoff; Mark Helias; Dan Weiss; Bergamot Quartet; The Rhythm Method
Adyhaopa Records AR00040 (quinsin.com)

Noted saxophonist/composer Quinsin Nachoff has just released a new offering, pinioned on the synthesis of a free, non-chordal jazz trio and string quartets. The result is a challenging and bold three-part jazz suite. Nachoff is the composer of all of the material here, and the project itself features Nachoff on tenor as well as the superb players, bassist Mark Helias and drummer Dan Weiss – both frequent collaborators of Nachoff’s. The trio is joined by NYC’s string ensembles, the Bergamot Quartet and The Rhythm Method. The synthesis of these ensembles is breathtaking, as is the compositional and improvisational freedom lying therein.

Mankind has always looked upward to receive insight and inspiration from the sky – and in acknowledgement of those ancient engrams, the three movements of the suite are entitled Scorpio, Pendulum and Sagittarius. Scorpio explores the white luminosity of individual stars – mere points of light – morphing into constellations. Pizzicato strings instigate the chaos, as they form and are greeted by lengthening string lines, while blazing percussion indicates the heartbeat of the galaxy. The strings both support and antagonize the subtle spots of light, while the bass and cello lines support the very firmament itself. Nachoff’s potent tenor jumps into the fray with a deeply soulful recitative followed by a searing cry against oblivion, and hence into the very eye of creation itself. Fine percussive work from Weiss, as well a gymnastic and soul-searing bass solo from Helias summon the Paleolithic magic.

The 14-minute Pendulum is a study in extremes – invoking frenetic conversation between the string quartets, and Sagittarius celebrates the almost Vedic universal law common throughout the known and unknown universe – the eternal law of destruction and re-creation. This is a major work of luminosity and brilliance, which will inform the higher consciousness of each listener.

Play!
Lucas Niggli Sound of Serendipity Tentet
Intakt CD 406 (intaktrec.ch)

More than a game piece that creates musical situations suggested by the shuffling of playing cards into three-fold suits, Swiss percussionist Lucas Niggli’s refined this eight-track program so that tentet members negate any breach between composition and improvisation. Although different conductors, soloists and backing players are listed for each piece, foreground and background roles aren’t static.

Niggli, whose experience encompasses solo sets, a punk-jazz trio and African percussion experiments, only lightly sprinkles rhythmic strokes and slaps among the tunes from his kit and drummer Peter Conradin Zumthor’s. Instead the tracks’ contours are decided by soloist juxtaposition, as extended technique alters expected sounds. Movement 2 for instance evolves from Marina Tantanozi’s electronically doubled flute puffs and shrills to near opaque vibrating textures from organist Dominik Blum and accordionist Tizia Zimmermann, then reinstates flute peeps mated with squeeze box jerks. The most natural transition between dissonance and delicacy occurs with Movement 4 and Movement 5. Joana Maria Aderi’s voltage-altered vocals paired with percussion clangs cushioned by Marc Unternährer’s tuba ostinato subsequently turns into a brief pastoral flute feature.

While space is also made for aggressive altissimo asides by tenor saxophonist Silke Strah and stentorian slaps from bassist Christian Webber, as well as widely separated rock-like or marching-band-like interludes, the suite’s basic structure remains constant and linear.

Not only does the group Play exceptionally, but it also demonstrates how to play using varied sound elements while preserving a coherent musical perception.

Der zweite Streich
Meinrad Kneer Quintet
Jazzwerkstatt JW 234 (jazzwerkstatt.eu)

Balanced perfectly between inspiration and interpretation, German bassist Meinrad Kneer’s compositions on Der zweite Streich (the second trick) epitomize modern creative music. Still the implied trick is that the eight tunes depend on sonic integration from this Berlin-based ensemble of fellow Teutons, trombonist Gerhard Gschlößl and trumpeter Sebastian Piskorz, Canadian alto saxophonist Peter Van Huffel and Austrian drummer Andreas Pichler.

While each player gets considerable solo space for individual theme elaborations, tracks heavily feature collective harmonies. That means interlaced horn vamps can propel undulating swing; or the other horns riff while one explores individual timbral motifs. Gschlößl’s cross-blown slippery sobs, Piskorz’s dedicated soaring triplets and Van Huffel’s measured bites and finger vibrations enliven the pieces, sometimes projecting tones every which way or expressing round robin soloing until connecting. Pichler’s machine-gun-like accents also play a crucial role, as do Kneer’s carefully positioned string stops. 

Still the determination of the bassist’s ideas are expressed most clearly on extended tracks like the contrasting Sad Thing and Rhapsodie à la Bédouin. Sophisticatedly musical motifs coalesce into story telling even as asides such as contrapuntal reed flutters and operatic brass squeals puncture linear movement on the former; and pivot to vaguely Arabic lilts from trumpet and trombone to preserve delicacy in spite of the theme’s intensity on the latter.

Overall the only trick demonstrated on this quintet’s second CD is how efficiently profound musical ideas are expressed with such diversity in nationality and playing styles.

Okantomi
Okan
Lula World Records LWR036A (okanmusica.com)

The luminous duo of Canadian-Cuban musician/composers Elizabeth Rodriguez (vocalist and violinist) and Magdelys Savigne (vocalist and percussionist) are more widely known as Okan, and have already established themselves as the international co-ruling reinas of Afro-Cuban Music. With their latest release, not only have they composed nearly all of the material here, but they have incorporated the propulsive talents of their core ensemble into the CD (bassist Roberto Riveron, drummer Frank Martinez, keyboardist Jeremy Ledbetter and synthesizerist Miguel de Armas). Additionally, they have invited a staggering number of talented guests into their masterful recording. The compositions are all creatively connected to Mother Earth and are universal in their appeal. The deep emotional and musical verity of Okan challenges us to think and feel beyond boundaries.

The opening salvo is the incendiary Eshu Nigüe (Elegua), which thrusts us into the rich culture of West Africa, rife with magic and power and the fascinating fusion of Latin modalities with the rhythms of the ancestors. Quick on its heels is the stunning vocal duet, La Reina Del Norte featuring the relentless percussion of Reimundo Sosa and Emadio Dedue, as well as ridiculous violin work from Rodriguez. The title tune takes a sultry, contemporary twist with superb contributions from guitarist Elmer Ferrer.

Other stunners include the sumptuous, No Volvi, and the gorgeous, classically infused Preludio y Changui composed by Fritz Kreisler with stunning performances by Katherine Knowles on cello, Lara St. John and Rodriguez on violin, Matthew Giorlami on double bass and Sarah Di Niverville on viola. This irresistible recording is an invigorating, pure and potent project, as well as a triumph of Afro-Cuban fusion.

Eras
Randy Raine-Reusch; Michael Red
HMR3 Productions (isla.bandcamp.com/album/eras)

Veteran Vancouver-based multi-instrumentalist, composer and world music pioneer Randy Raine-Reusch and electronic musician, composer and DJ Michael Red join forces in six deep sonic meditations on Eras. 

The project has a fascinating backstory: back to 2014 when Red met Raine-Reusch in the latter’s home- world instrument-museum. Raine-Reusch is not only a noted instrument collector but has also spent his career studying and playing them. He specializes in performing and composing experimental music for instruments from around the world, particularly those from Asia.

During their 2014 recording session, Raine-Reusch chose various acoustic instruments from his vast collection including Asian flutes and various string zithers, African harps, and gongs. Adopting an intuitive interactive process, the duo recorded their finely-grained and honed improvisations, Red electronically processing them. The album was completed over the course of several days, but rather than immediately releasing it, they chose to leave it “to mature and distil.” The duo decided to finalize Eras this year, being “careful to preserve the direct and intuitive process that permeates the recording.”

Evocative track titles such as Five Names of Peace, Shifting Silence, Inner World and Winter Water capture the meditative, slowly flowing focus of the music. Between Is Six, the opening track, sets the tone with Raine-Reusch’s sensitive breath-centred sounds made on a low flute, sensitively modulated over the stereo sound stage by Red. And the last album sound is the most exquisitely languid fadeout I’ve heard all year. 

How to sum up the music on Eras? Rather than New Age, descriptors such as shadow worlds, sonic incantations and dreamtime may make more sense.

Kabeera The Thinker
Vandana Vishwas
Independent VV004 (vandanavishwas.com)

After a couple of albums in which Vandana Vishwas bent like a reed in the wind, allowing her Indian cultural topography to collide with her experience of Western contemporary music, the luminous-voiced singer looks inward, to the ancient Indian roots that sustain her artistry. 

The album, Kabeera – The Thinker… takes the poetry of the 15th-century Northern Indian mystic, Kabir but sets it to music with a wholly modern sensibility. 

Vishwas’ lofty vocals seem to create a stratospheric atmosphere in keeping with the mysticism of the lyricist and central character of these songs – that is Kabir whose philosophical minstrelsy (at the height of his powers) is purported to have dramatically altered religious thought not simply within Hinduism, but also among Sikhism. Remarkably, so deeply mystical were Kabir’s verses that he was also embraced by the Muslim Sufi, who shared a similar mystical relationship with God.

Much of Kabir’s poetic output was originally written in Bhojpuri, a Northern Indian dialect in the region where Kabir was born and raised. It is a testament to the preservation of Indian culture that Bhojpuri is still in use in that linguistic heartland, where wandering minstrels still write lyrics to their devotional songs.

The music of Kabeera – The Thinker… may have a more focussed appeal as Vishwas sings all the lyrics in Hindi. But her lustrous voice is seductive, beckoning listeners to dig deeper into the world of this legendary Indian mystic.

Oklahoma!
Nathaniel Hackmann; Sierry Boggess; Sinfonia of London; John Wilson
Chandos CHSA 5322(2) (chandos.net/products/catalogue/CHSA%205322)

Oklahoma
Audrey Silver
Messy House Records MH 0105 (audreysilver.com)

Since the original Broadway production opened on March 31, 1943 and ran for an unprecedented 2,212 performances, with its pithy lyrics and dialogue, sumptuous melodies, dramatic plot points, fully developed characters as well as a contemporary ballet sequence, Rogers and Hammerstein’s Oklahoma! has enjoyed endless revivals on Broadway, international productions translated into a plethora of languages and a film version that remains, in my opinion, one of the finest pieces of American cinema ever created. Recently, two fine recordings at either end of the musical spectrum have been released… a vocal jazz exploration of ten of the show’s most memorable tunes featuring the prodigious talents of NYC-based jazz vocalist Audrey Silver, and a full theatrical production conducted by John Wilson with the Sinfonia of London. These two diverse presentations are a fine representation of the near immortality of a good piece of theatre – one traditional and one exploratory – and both superb and timeless. 

For her fifth CD as leader (which she also produced), Silver has put together a phenomenal ensemble, featuring the gifted Bruce Barth on piano (Barth also serves as arranger here), Peter Bernstein on guitar, Adam Kolker on alto flute and bass clarinet, Khalil Kwame Bell on percussion and a well-appointed string section. The original book for Oklahoma! was adapted from Lynn Riggs’ 1931 novel, Green Grow the Lilacs. Interestingly, the novel contained a strong Native American plotline and presence which was effectively deleted for the Broadway show. In the opening title track, Silver restores that glaring omission by performing deftly on Native American Flute to parenthesize the song. The stunning arrangement by Barth is full of surprises as Silver’s warm, mellifluous voice weaves in and out of the familiar melody – making it her own. 

Other treats include a swinging take on Many a New Day, which features a lovely, Charlie Christian-esque guitar solo from Bernstein; a moving interpretation of Oh, What a Beautiful Mornin’ on which Silver, Barth and the sinuous string lines access the very soul of the hearty, natural world-loving settlers of the Western U.S. (or anywhere, really). Of special mention is a masterful and lilting treatment of the rarely performed, Out of My Dreams. The delicious and languid nature of Silver’s warm and wistful vocals here are reminiscent of the great Irene Kral, and Barth also renders a stunner of a solo, enhanced by luminous string lines.

And now for something altogether different. Chandos has just released a truly magnificent double-disc recording of Oklahoma!. The release of the recording itself, has coincided with the 80th anniversary of the venerable musical’s first performance while an expert, talented and compelling cast delivers performances that thrill to the bone. Heading up the fine cast are Nathaniel Hackmann as Curly; Sierra Boggess as Laurey; Rodney Earl Clarke as Jud; Jamie Parker as Will Parker; Sandra Marvin as Aunt Eller and Louise Dearman as Ado Annie. It was Wilson’s inspiration that resulted (ten years on) in this golden age musical that had previously never been recorded in its original form. Robert Russell Bennett’s orchestrations have been beautifully and perfectly restored as well as being re-engraved by Bruce Pomahac at the Rogers & Hammerstein Organization resulting in – to quote Wilson, “To my ears, this great masterpiece in its original instrumental clothing, sounds as fresh as the day it was written”.

The quality of the recording is so vibrant, vigorous and visceral, that one imagines that they are actually in the first row of the orchestra section. There is also much additional, fascinating interstitial music here, which was necessary in live theatre at the time, in order to facilitate scene/costume changes, etc. The sheer excellence of the arrangements, interpretation, orchestra, direction and the stupendous cast make this a totally satisfying listening experience – theatre buff, or not.

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Much of what we define as jazz and improvised music has been driven by rhythmic changes established by innovative percussionists. Yet very little that transpired was the result of single Eureka moments propelled by one individual. Each contemporary advance strengthened the next ones, with some percussionists operating far apart creating important advances not acknowledged until later. Proof of their creative skills and later acceptance is demonstrated on these mostly recently discovered sessions.

Arguably the most crucial disc here is Stop Time (NoBusiness Records NBCD 163 nobusinessrecords.com), a 1978 New York City live date by three sound architects who never recorded together before or afterwards. Key to the disc is the sympathetic, sophisticated yet strong accents of drummer Barry Altschul (b.1943), who by that time had perfected the melding of hard bop power with free jazz multiple tempos that he used with everyone from Paul Bley to Anthony Braxton. His associates were David Izenson (1932-1979), famous as a member of Ornette Coleman’s trio and clarinetist Perry Robinson (1938-2018), whose style encompassed elements of folk, Klezmer, abstract and notated music. Robins on, who was in groups headed by leaders as diverse as Dave Brubeck and William Parker, unites the four untitled improvisations with melodic trills and flutters, interjected squeaks and circular squeals and miniature reed bites. Izenson’s arco variations are often tinged with melancholy and confidently work up the scale, while his pizzicato work expands with triple stopping patterns. Yet his turns to walking or positioned thumps preserve linear motion along with Altschul’s backbeat. Conventional enough to trade fours with the clarinetist during Untitled I, the drummer turns on percussion razzle dazzle with paradiddles, flashy strokes and fanciful patterning on the last track. But his backbeat aids in connecting the clarinetist’s strained tonguing, clarion twitters and intense flattement away from sharp yelps into responsive swing by the finale. Probably the most telling sequence that confirms the trio’s sound evolution along takes place during the last section of Untitled III. Suddenly Robinson’s reconfigured tongue stops and slurs become a blues line, accompanied by string strums and drum shuffles. Rhythm blends with reconstitution as reed split tones and doits are interspaced among long-lined flutters and Izenson’s jagged arco swipes that alternate with rhythmic double and triple stopping.

Skip forward two and a half years to hear how a contemporary European percussionist advanced textural beats. Borne on a Whim Duets, 1981 (Corbett vs Dempsey CvsDCD100 corbettvsdempsey.com), is a series of duets between British drummer Paul Lytton (b.1947), who also uses live electronics, and German Erhard Hirt (b.1951), playing electric guitar and dobro. Lytton, known for his work with Evan Parker, and Hirt, who often plays in larger configurations, had by this point perfected the ability to strip down music to its core without affecting its essence and flow. The definition of lower-case improv, Lytton’s often segregated and positioned clanks, near-silent brush wipes and rim and cymbal rustles outline the sonic landscape alongside Hirt’s single-string stops, taunt frails and rapid twangs, with intermittent voltage oscillations filling the remaining spaces. Tracks are built with jagged guitar stabs and explorations up to the tuning pegs balanced by positioned ruffs and brief mylar resonations. Sometimes vibrations occur in tandem, other times they evolve separately, adhering and fragmenting like amoebas. At 27 minutes, nearly double in length than any other track, The Sensitive Stickler, is the CD’s tour-de-force. Gradually increasing in volume, drum expression moves from subtle metallic shakes and brief electronic warbles to broad wood pops, bell pings and cymbal clangs as the guitarist does the same, torquing single-note strains to continuous string shuffles and dial-twisting squeaks. With nuance, the exposition shifts again during the final sequence as the tune is brought to a convivial finale with delicate drumstick shakes and shuffles first set off rugged guitar flanges and string buzzes so that Hirt’s subsequent disconnected dobro licks meet appropriate slaps and paradiddles from Lytton.

Another duo that expresses percussion ambidextrousness and the adaptation of another country’s drum tradition to creative music is featured on Triangle, Live at OHM 1987 (NoBusiness Records NBCD 160 nobusinessrecords.com). Recorded in Tokyo, the selection details how Sabu Toyozumi (b.1943), a first generation Japanese free jazzer, who has worked with numerous local, European and American creators during his 60-year career, intersected with German tenor saxophonist/tárogató player Peter Brötzmann (1941-2023), whose take-no-prisoners approach is musically fiercer than the bellicose activities of either of these players’ countries prior to and during World War II. Reflecting, but not copying the power and theatricalism of Taiko drumming, Toyozumi confirms that style’s birth from jazz drumming and quickly marshals clip clops and clatters into a pseudo military pace that easily matches Brötzmann’s Teutonic altissimo runs and snarling overblowing. The saxophonist not only advances broken octave textures in all saxophone pitches, but at times, such as during Triangle and Valentine Chocolate, switches to woody tárogató whose gentling reed trills are ably met by the drummer’s carefully positioned palms-on-drum-top slaps and temple-bell-like plinks. Although the emotionalism implicit in Brötzmann’s solos sometimes causes him to momentarily turn away from the mics, there’s no stopping his molten flow of inspiration. The session is completed during Peter & Sabu’s Points as Toyozumi sounds out a contrapuntal collection of paradiddles and smacks to meet the unbridled thrust of spectrofluctuation and multi-sectional screams from Brötzmann’s horn. Note though that throughout the extended Depth of Focus as irregular split tones and jagged bites issue from the saxophonist, the drummer emulates both western and eastern percussion with metallic cross pops interrupted at points with miniature gong resonations.  

While the other percussionists here express their mature styles, The Milwaukee Tapes, Vol.2 (Corbett vs Dempsey CvsDCD101 corbettvsdempsey.com) from 1980 is noteworthy since it’s an early example of the accomplishments of Hamid Drake (b.1955), one of this century’s pre-eminent percussionists. Then known as Hank, Drake’s dextrous playing is a key element of this live date, headlined by AACM tenor master Fred Anderson (1929-2010) and featuring both men’s long-time associate trumpeter Billy Brimfield (1938-2012) and the little-known bassist Larry Hayrod. Overall, the program usually involves the two horns harmonizing on the theme, then opening it up for freeform solos as a powerful bass line and percussion resonations respond to each challenge. The rhythm section on Our Theme for instance rumbles and rambles as Brimfield’s emphatic half-valve exploration abuts Anderson’s harsh widening reed slurs. Drake’s smacks, bangs and rebounds gradually speed up the tempo, acknowledging Anderson’s distinctive accelerations. Each player follows the narrative’s descending arc before wrapping up with a comforting sound cluster. Bernice follows a similar linear association as the trumpeter’s portamento storytelling brings out Drake’s rim shots that solidify the overall swinging beat. Later, the bassist’s vibrating shakes provide a solid foundation for the others’ timbral explorations. Wedded firmly to Free Jazz as the Stop Time trio mentioned above, the Midwestern ensemble’s output is tougher, bluesier and unaffected by European influences. Still Drake’s quick responses to Brimfield’s sometime unexpected brass triplets and Anderson’s idiosyncratic Woody Woodpecker-like yelps and eviscerating split-tone bites with hard thumps, press rolls and Latin inferences augur his future percussion sophistication in any situation.

Although Catch The Groove: Live At The Penthouse (1963-1967) (Jazz Detective DDJD-012 cal-tjader.bandcamp.com/album/catch-the-groove-live-at-the-penthouse-1963-1967) dates from a mere decade before the other discs, the two-CD set could be from another musical planet. That’s because the quintets led by vibraphone player Cal Tjader are firmly implanted in the commercial music business that the other sessions transcended. However, the 27 tracks recorded during several dates at a Seattle night club are just as crucial to percussion evolution. Tjader (1925–1982) was the most prominent non-Hispanic musician with impeccable jazz credentials – early on he was Dave Brubeck’s drummer – to confirm the adaptability of Latin rhythms to creative music. Although fewer than half the tracks have obvious Latin titles, all include some aspects of the montuno style. That means the group’s kit drummer also plays timbales and on five of the six dates another percussionist, Armando Peraza, is added playing bongos and congas. While the quintet’s nightclub repertoire included ballads like Shadow of Your Smile, interpretations with faultless swing of everything from Bags’ Groove to Along Comes Mary, Tjadar’s individuality is best expressed on the Latin tunes. Throughout, he and his exceptional associates – which at points include pianist Clare Fischer and bassist Monk Montgomery – help solidify a sound that’s midway between a Cuban conjunto and a modern jazz combo. Responsive piano tinkling, mostly played by Lonnie Hewitt, confirms the blues and rhythm underpinning of most tunes; the piano-vibe interface is jazzy and improvised connections are constantly speedier and stretch past Latin conventions even if the base comes from expected riffs as on Maramoor Mombo or the standard Cuban Fantasy. Mambo Inn even includes a quote from Salt Peanuts. At the same time the bassists’ constant use of the expected tumbao patterns and tick-tock rhythmic breaks during expositions imbue even the most languid ballad with an Afro-Cuban tinge. 

Some percussion implement was likely primitive human’s first musical instrument. Its evolution has been in lockstep with humanity itself. Theses previously unreleased sounds provide more exact examples as how the beat goes on.

There are few instances of jazz musicians who achieve both musical greatness and some degree of genuine popularity. The rare cases are signalled by one syllable recognition (Duke, Bird, Monk, Miles, Trane) at most two (Satchmo, Dizzy). The most prominent current activity in jazz recording revolves around archival releases, whether reissues or newly uncovered discoveries. Each of these sets presents musicians who had a certain dance with significant popularity.

If there’s a singular jazz event embedded in Toronto history, it’s one that occurred in 1953. Hot House: The Complete Jazz at Massey Hall Recordings (Craft Recordings CR00683 craftrecordings.com/search?type=product&q=Hot+house) has often been marketed as The Greatest Jazz Concert Ever, a wild claim by any standard, but it is drenched in greatness. With saxophonist Charlie Parker, trumpeter Dizzy Gillespie, pianist Bud Powell, bassist Charles Mingus and drummer Max Roach, every musician in the quintet represented one of the greatest figures ever to play jazz (or anything else) on his instrument of choice. They had all played together extensively, and in 1953 were at or near their peak abilities. When it was originally released on Mingus’ Debut label, the bassist, unhappy with the original recording levels, overdubbed his bass parts. 

The present reissue offers optimal restoration of the original recordings on Disc One of the two-CD package, both the quintet set and a trio set by Powell, Mingus and Roach. A live recording at the dawn of the LP era, it offers longer takes than earlier formats had accommodated, so there’s plenty of brilliant blowing on bop anthems like Salt Peanuts and A Night in Tunisia, performances now embedded in jazz history. Powell, with perhaps the talent closest to Parker’s but with a life even more troubled (by police beatings, addiction, mental illness and electroshock therapy), performs brilliantly, especially in the trio set. Mingus’ remodelling of the quintet recordings is on Disc Two. His overdubs are at a tasteful volume level and are models of bebop bass line construction. The foldout liner includes a fine 2009 account of the 1953 event written by an attendee, longtime Coda and The WholeNote contributor Don Brown.

Pianist Ahmad Jamal, whose approach emphasized design over emotional impulse, has always been admired by audiences and musicians, though sometimes derided by critics. The third and last of a series of two-CD sets, his Emerald City Nights: Live at the Penthouse 1966-68 (Jazz Detective DDJD-006 deepdigsmusic.com) has the trio completed by bassist Jamil Nasser and drummer Frank Gant. It’s very much in the mould of the previous sets, though with more emphasis on current pop material. It has the fine structural detailing of Jamal’s arrangements, the hand-in-glove accompaniment of talented and regular sidemen and the regal elegance of Jamal’s keyboard command, here applied to a repertoire that stretches from traditional standards like Autumn Leaves to the then-current jazz of John Handy’s Dance to the Lady. There are also several contemporary film and television themes, like Naked City Theme and Alfie, a sign of the times that Jamal and his partners treat as vehicles for extrapolation. Among the extended improvisations, Henry Mancini’s Mr. Lucky and Antonio Carlos Jobim’s Corcovado stand out, while Jamal also provides a gem-like, unaccompanied solo rendering of Johnny Mandel’s Emily.

Another master stylist, Wes Montgomery, was definitely the most admired jazz guitarist of the 1960s, whether for his lyricism, rhythmic drive or the solos that often developed through choruses of single notes, then octaves, then chords. While the later recordings in his short career often featured pop ballads with light-pop orchestrations and minimal improvisation, his live performances generally stuck to the mainstream modern jazz that first brought him fame, like those heard with the Wynton Kelly Trio on Maximum Swing: The Unissued 1965 Half Note Recordings (Resonance HCD-2067 resonancerecords.org), recorded on Sundays between September and November 1965. Some of Montgomery’s greatest recordings were done with Kelly, who shared the guitarist’s own qualities, including strong roots in blues and swing and a crisp, engaging sense of purpose. 

The Kelly trio was literally Miles Davis’ former rhythm section with drummer Jimmy Cobb and bassist Paul Chambers. Here, Chambers is present for only the first three tracks, giving way to a succession of other distinguished bassists – Ron Carter, Major Holley and Larry Ridley – all of whom perform admirably. The recording quality isn’t good, but the spirited music usually rises above it, from high energy versions of Impressions, Cherokee and Four on Six to extended treatments of Star Eyes and The Song Is You, works crafted for Montgomery and Kelly’s combination of tuneful improvisations and joyous bounce.