Jazz and Improvised

New York Rising: American Music for Saxophone Quartet - New Hudson Saxophone Quartet

New York Rising – American Music for Saxophone Quartet
New Hudson Saxophone Quartet
Independent (store.cdbaby.com)

The New Hudson Saxophone Quartet is led by Paul Cohen (soprano), who also arranges two of the selections on this CD. Avi Goldrosen (alto), David Demsey (tenor) and Tim Ruedeman (baritone) complete the group which plays cleanly and expressively, delivering nuanced performances of several conceptually related works.

The opening New York Rising (2003) was composed by Joseph Trapanese who evokes his sense of “curiosity and determination” from the time he moved to New York as a freshman music student and watched the sun rise from his small practice room. The piece is descriptive as it moves us through the day in this fabled city, from the Prelude, to the Chorale and then ending with the Fugue which represents the city at its busiest. The album’s centrepiece, the five-movement Diners (Robert Sirota, 2009), written for this quartet, was inspired by three of the composer’s favourite diners and his travels to them through the city and suburbs. A highlight is the final Taking the N train to Dinner at the Neptune, Astoria, Queens where we hear the quartet emulating the rattling of the elevated subway as a counterpoint to the dining experience.

The three-movement Saxophone Quartet No.1 by David Noon (2001), two works by Aaron Copland (arranged by Cohen) and Lisbon by Percy Grainger, round out the album. The quartet sound is excellent on all tracks and the range of compositions create diverse and engaging portraits of New York.

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Aftermath - Chelsea McBride’s Socialist Night School

Aftermath
Chelsea McBride’s Socialist Night School
Independent (crymmusic.com)

Chelsea McBride’s Socialist Night School is a modern jazz orchestra that’s been producing contemporary music only since about 2014 yet this is the group’s third recording and second full-length album. This is no mean feat for a small group, but for a 19-piece big band it’s extremely impressive. Even more impressive is the scope of this album. With ten tracks mostly clocking in at seven to eight minutes each, it tackles all kinds of ideas both musically and lyrically with all the songs written, arranged and conducted by McBride.

The main theme of Aftermath is conflict and, as such, it’s not surprising that the overall feel of the music is driving and angular and that there are sometimes less-than-pretty sounds used to convey the ideas. The opening track, Revolution Blues, was inspired by the 2016 U.S. presidential election. (The one and only good thing I can say about Trump is he’s inadvertently inspired some great art.) House on Fire with its carnival vibe, delves into the impact corporate greed has on our world. There are some melancholy beauties here too, like Say You Love Me and The Void Becomes You.

McBride formed the band shortly after graduating from Humber College and the majority of the players are her 20-something contemporaries along with a few veterans like trombonist William Carn and saxophonist Colleen Allen, the latter of whom is featured on the Me Too ode, Porcelain along with Naomi Higgins. Trumpeter Tom Upjohn takes an epic turn on Ballad of the Arboghast. The musicianship throughout the recording is superb but singer Alex Samaras deserves special mention. He executes the challenging melodies with skill and adds much musicality and warmth with his beautiful voice.

Aftermath is a big, ambitious project well worth the attention of fans of modern big band music.

Life Force - Diane Roblin

Life Force
Diane Roblin
Independent (dianeroblin.com)

Following her successful 2014 comeback, noted composer and multi-keyboardist Diane Roblin has once again created an eclectic, deeply personal and musically meaningful project that unabashedly celebrates life, and the inevitable, invigorating roller-coaster ride that is part of a well-lived human experience. Roblin’s gifted collaborators here include CD producer and acoustic/electric bassist, George Koller; trumpet/EVI player Bruce Cassidy (who also contributes the exceptional horn arrangements); Kevin Turcotte on trumpet and flugelhorn, Jeff LaRochelle on tenor sax and bass clarinet and Ben Riley on drums.

Back on Track is the sassy opener, with Roblin laying it down on Fender Rhodes, deftly establishing the spine of the funk. Cassidy’s EVI solo, followed by Turcotte’s trumpet solo, propel things to a higher vibrational level, while Koller’s gymnastic, supportive bass work and Riley’s drums are the soulful glue that gently hold the expandable structure of the tune together. Another standout is Snowy Day (which reappears at the end of the CD). LaRochelle’s bass clarinet is simply stunning and perfectly complements the introspective mood of the tune, as well as Roblin’s skilled and intuitive acoustic piano work. All the while, Cassidy’s horn arrangement weaves a silken web of harmonically complex ideas.

Another fine track is Suspend Yourself, where Roblin reminds us of her skill, not only as a pianist, but as a new music composer. The ensemble breaks into the piano intro with considerable pumpitude, morphing into a straight-ahead bop motif, spurred on by Cassidy’s EVI. Of special note is the tender Ballad in 3-4, which displays the gentle, contemplative aspects of Roblin’s musicality, gorgeously framed by Koller’s bass solo and the Kenny Wheeler-ish horn parts.

Dream a Little… - Champian Fulton; Cory Weeds

Dream a Little…
Champian Fulton; Cory Weeds
Cellar Live CLO22519 (cellarlive.com)

It is probably pure happenstance, but a song such as Dream a Little Dream of Me seems to have been written for just such an intimate encounter as between pianist and vocalist, Champian Fulton, and saxophonist and impresario, Cory Weeds. What is no accident, however, is the fact that these two musicians seem to automatically fall in with each other, melodically, harmonically and rhythmically, so that axiomatic sparks begin to fly.

Weeds plays with quiet brilliance throughout Dream a Little… His uniquely sophisticated and sonorous style weaves in and out of the vibrant and affectionate expressivity of Fulton’s pianism, her voice often becoming the crowning glory of the songs here. Both musicians seem to connect in a rarefied realm, but they then descend to earth where they each inhabit a palette of sumptuous colour. Then, like a couple in love, playfully oblivious of the attention they have attracted, they hold each other’s music in a tight embrace.

There is too much proverbial gold on this album, but I am going to risk suggesting that the biggest ear-opener is Darn that Dream. This performance burns in the quietude of the bluest part of a musical flame; its languid, seemingly interminable narrative made to simmer forever in a rhythmic and sonic intensity where Weeds contributes lyrical prowess, while Fulton offers her brilliant vocalastics, which sustain the music’s emotional mood while bringing the text’s poetic imagery to life.

High and Low - Sam Kirmayer; Ben Paterson; Dave Laing

High and Low
Sam Kirmayer; Ben Paterson; Dave Laing
Cellar Live CLO 20118 (cellarlive.com)

During an era in which even the most straight-ahead jazz guitarist tends to have a sprawling array of pedals on stage, Sam Kirmayer is something of an anomaly. A traditionalist who tends to eschew effects in favour of the unmediated connection between instrument and amplifier, Kirmayer has found a voice for himself in the bluesy, hard bop style of guitarists like Grant Green, Wes Montgomery and Peter Bernstein. His newest album, High and Low, is his first to be released on Vancouver’s Cellar Live Records; an apposite fit, for a label that has become Canada’s leading outlet for hard bop. High and Low is an organ trio album, a rarity in and of itself in Canada. Drummer Dave Laing – who also played on Kirmayer’s debut album – is a faculty member in McGill’s jazz program, and is a stalwart of the Montreal scene. New York organist Ben Paterson, whose résumé includes work with Bobby Broom, Johnny O’Neal, and Peter Bernstein, rounds out the trio.

High and Low delivers amply on the premise that it sets out for itself: it is a swinging hard-hitting album, with crisp, tasteful playing from all involved. It is also, from the opening notes of the title track, a sonically beautiful experience, with all of the richness and depth that one hopes for in an organ trio recording. Kirmayer is in his element throughout High and Low, and Laing and Paterson make for a strong rhythmic team.

Trane of Thought (Live at The Rex) - Pat LaBarbera/Kirk MacDonald Quintet

Trane of Thought (Live at The Rex)
Pat LaBarbera/Kirk MacDonald Quintet
Cellar Live CLO71819 (cellarlive.com)

When two extraordinary jazz saxophonists team up for a John Coltrane tribute, you know it’s going to be explosive. And that’s exactly what this live recording, featuring both Pat LaBarbera and Kirk MacDonald along with their band, is. The record is a well-picked and thought-out selection of songs from the two Coltrane tribute shows that the duo performed at our city’s beloved jazz joint, The Rex, in 2018. Ranging from the legendary saxophonist’s earlier works to some of his most lasting and obscure ones, LaBarbera and MacDonald have achieved, in their own words, “a thoughtful balance.” The album stems from a love for Coltrane that the duo has, LaBarbera seeing him live when he was studying at the Berklee School of Music and MacDonald discovering Coltrane on record at an early age.

The songs on the record, although from separate live shows, have been picked in such a way that it tells a thorough story; starting off sultry and well-paced with On a Misty Night and Village Blues, building up to a wonderful and fevered climax with Impressions and coming to a scintillating end with Acknowledgment/Resolution. Coltrane’s works can be appreciated very well here, especially with the excellent backing musicians – Brian Dickinson on piano, Neil Swainson on bass and Joe LaBarbera on drums. Fan of Coltrane or not, this album should definitely be a part of any jazz aficionado’s collection.

Chrysalis - Sonia Johnson

Chrysalis
Sonia Johnson
Independent PSJCD1911 (soniajohnson.com)

Creating an album of music where disparate musical styles come together can seem burdensome on paper. But when there is just too much in the essence of music to be left out, indulging everything becomes imperative. This is the raison d’être for Chrysalis the first English language album from the francophone artist Sonia Johnson. The title suggests a bringing to birth of something transformative. It certainly seems so after the last notes disappear into the air.

But more than anything else, you get the sense that Chrysalis is a labour of love. Featuring beautifully crafted arrangements of beguiling variety and sensuousness, in every lovingly caressed phrase, Chrysalis lays bare Johnson’s adoration of music in all its harmonic sumptuousness. Her chosen material consists of original songs – either written by her, or co-written with others whose work she delights in – so that listening to this music feels like opening an ornate box to reveal hidden gems.

For instance, listening to the way in which Johnson seductively bends the notes in Storm and Monsters, and how she sculpts the long, sustained invention of We Need to Know, it’s clear that there’s not a single semiquaver that hasn’t been fastidiously considered vocally and instrumentally by an ensemble attuned to Johnson’s artistic vision. Two other vocalists – Judith Little-Daudelin and Elie Haroun – deliver powerful performances. Meanwhile Johnson’s mellifluous timbre beguiles throughout as she digs deep into her nasal, throat and chest voice.