Jazz and Improvised

Ontario 559 West - Harrison Argatoff; Ian McGimpsey

Ontario 559 West
Harrison Argatoff; Ian McGimpsey
Independent n/a (harrisonargatoff.com)

Nick Drake was a British singer/songwriter who released three albums and died in 1974. Since that time he’s attracted a larger-than-cult following who have enjoyed his soft and melodic singing, subtle guitar playing and enigmatic lyrics. His third album, Pink Moon, was his most sparse with just guitar and vocals.

In March of 2020, Ian McGimpsey (guitar) and Harrison Argatoff (tenor saxophone) travelled on Ontario 559 West to Carling Township where they spent three days recording this album which is their tribute to, and interpretation of, Pink Moon. They have certainly captured the mood of Drake’s final album with the intricate guitar parts and luscious and melodic saxophone lines. Ontario 559 West is a genuine homage to the earlier album but maintains its own identity: I listened to Pink Moon before Ontario 559 West and could not identify any specific song or melody that is covered in the later album. The interplay between McGimpsey and Argatoff contains elements of jazz, folk and some freer improvisation. At points Argatoff’s playing and tone are reminiscent of Stan Getz (particularly in the final song Swings) and McGimpsey’s guitar is clean and nuanced.

Ontario 559 West is an alluring concept which is executed by two sympathetic musicians.

Recoder - François Houle 4

Recoder
François Houle 4
Songlines Records SGL1632-2 (songlines.com/release/recoder)

Canadian clarinetist/composer/improviser and all-round inspiring musician François Houle works here again with Canadian Gordon Grdina (guitar), and in first-time collaborations with Americans Mark Helias (double bass/clarinet) and Gerry Hemingway (drums). The eight free-improvised Houle/Helias clarinet duets, and seven full-band Houle compositions, are memorable in their smart stylistic modern jazz/contemporary diversities and performance virtuosities.

Houle’s spontaneous single-take improvisations with Helias are short – some less than a minute – yet bursting with musical ideas. Each duet is placed between the longer Houle compositions, giving a welcome contrast. The opening Prelude features tonal, short, sweet and calming two-clarinet melodic interchanges by the two masters. At under one minute, it tweaks interest in what is to come. Interlude 1 features high-pitched contrapuntal lines, like the little birds singing outside my window, and is a great contrast to the fast, complex, dense full-band The Black Bird – the track just before it – with its slower guitar solo midsection and touches of superimposed jazz and avant-garde full-band sounds. The brilliant title track Recoder has all things musical, from pacesetting staccato guitar opening plucks, full-band, wall-of-sound effects, standard swinging grooves, amazing Houle rapid clarinet lines and clear production values.

Houle writes in his notes that he formulated “an approach that would be mindful of giving each instrument within the quartet complete involvement.” From calm to intense, his brave musical approach drives Recoder to timeless musical permanence.

Listen to 'Recoder' Now in the Listening Room

Palladium 2020 - Palladium

Palladium 2020
Palladium
Independent (2020palladium.bandcamp.com)

In celebration of the legendary Wayne Shorter’s 87th birthday, inspired impresario and producer Jesse Markowitz has created a two-disc, 22-track recording project featuring 30-plus musicians performing compositions written and/or made famous by the iconic saxophonist/composer. Released on Shorter’s birthday, August 25, this project is also an uplifting response to a world thrown into the harsh reality of a global pandemic. The impressive roster of artists on Palladium 2020 has been handpicked/curated by Markowitz, and reflects Shorter’s eclectic and luminous creative life, as well as many of his seminal collaborations, including those with Miles Davis, Art Blakey, Wynton Kelly, Weather Report and Herbie Hancock.

There are myriad brilliant contributions to this project, however several tracks stand out, having been culled from some of Shorter’s most memorable recordings. Embracing the length and breadth of his stellar career, it includes the ultra-cool bop exploration The Summit, taken from Art Blakey and the Jazz Messengers’ 1960 release Meet You at the Jazz Corner of the World, and features Nicole Glover’s burning tenor. Consummate pianist Eric Reed’s interpretation of Sydney (from Wynton Kelly’s 1959 Kelly Great) is not only masterful, but has captured the very essence of Shorter’s deeply sensitive soul.

Of special profundity is legendary soprano player Dave Liebman’s journey around the galaxy, flying on Shorter’s Footprints, first released on Miles Davis’ 1966 Miles Smiles, and arranged in a fresh way – as an elemental duo with the great Willy Rodriguez on drums. Leibman is as dynamic and rife with ideas as usual. This entire project is a tribute not only to Shorter himself, but to the very elemental power of music – power to heal and transform – which is exactly what Shorter has done through his art for his entire career.

West Meets East - Adam Shulman Septet

West Meets East
Adam Shulman Septet
Cellar Music CM110219 (cellarlive.com/collections/all)

San Francisco-based star pianist, bandleader and composer Adam Shulman has let his passion for the golden era of jazz shine with this latest release featuring a stellar gathering of musicians who really bring a unique light to each piece. With key talents such as David Wong on upright bass, Rodney Green on drums and Joe Magnarelli on trumpet, the tracks take on a life of their own, as everyone’s contribution brings out a different facet and aspect within the sonorous melodies. The album does a great job of showcasing Shulman’s talent as both a pianist and composer. Seven out of eight pieces are penned by him and bring forth a tremendous horn section balanced out by driving bass lines and sultry melodies from the keys.

The record starts off with a toe-tapping tune titled Nickel and Dimed and is a little wink at a “borrowed chord structure from Tin Pan Alley’s Pennies from Heaven.” It’s a traditional swing piece that has an addictive groove to it carried forward by Green’s constant shuffle, Wong’s moving bass pizzicato topped off by Magnarelli’s soaring and bright trumpet melody. Lean and Mean is a unique composition with the main tune following a stepped pattern that meanders along the scale and truly shines a spotlight on the gifted horn section in the septet. Traditional jazz flavour with a renewed breath and twist to it makes this album a new staple for any jazz enthusiast.

1962 - Ricardo Grilli

1962
Ricardo Grilli
Tone Rogue Records (toneroguerecords.com/#/1962)

An example of bona fide musical time travel, Brazilian native Ricardo Grilli has released a truly haunting and meaning-laden set of tracks that lead us into another period in both musical and personal history that has shaped who the guitarist is now. The follow-up to a similarly themed album, 1954, this record is a reflection of Grilli’s thoughts on a meaningful era which he expresses through “[focusing] on the idea of evolution and change that characterized the 1960s” and embedding it into his music. Helping to realize his musical vision, the guitarist called together a quintet of famed musicians like saxophone great Mark Turner, pianist Kevin Hays and bassist Joe Martin.

Taking cues from the title, 1954-1962 is an ethereal and meandering piece that connects the previous record to this one, a true bridge through time with Grilli leading us on a spacious journey with his melancholic guitar melody. In Coyote, a simmering and sultry samba-flavoured song, we hear the Brazilian hark back to the history and culture of his homeland, a possible reflection of the tumultuous state his country was in at the time and a longing for something familiar. Voyager, a fittingly titled piece to close out the album, carries a note of hope and exploration within, the rollicking piano tune and driving drum groove letting us know that although our musical journey has come to a close, the future is always a continuous voyage.

Into the Shadows - John Fedchock NY Sextet

Into the Shadows
John Fedchock NY Sextet
Summit Records DCD 765 (summitrecords.com)

New York City-based John Fedchock has long been an internationally regarded trombonist, with an extensive list of credentials. On his tenth recording as a leader, Fedchock also serves as producer/composer/arranger in order to create a magnificent celebration of the jazz sextet. Perhaps better known as the leader of his multiple Grammy-nominated New York Big Band, Fedchock has chosen here to highlight the opportunities for musical and unique creative writing options while maintaining a sleek and mobile blend. Fedchock first debuted his sextet 20 years ago, and the gifted members include first-call jazz artists Scott Wendholt on trumpet and flugelhorn; Walt Weiskopf on tenor saxophone; Allen Farnham on piano; David Finck on bass; and Eric Halvorson on drums.

Of the eight compositions here, five are written by Fedchock and three are well-known standards that are rife with harmonic/dissident arranging choices – maintaining a healthy balance between pure swinging and improvisational exploration. Up first is the high-octane RSVP, a rhythmic, Latin-infused leader-penned piece, cleverly utilizing the changes from the standard Invitation and featuring masterful soloing from all, most especially tenorist Weiskopf who burns like a bonfire throughout. Alpha Dog’s Art Blakey-ish shuffle (kudos to Halvorson) is a total delight, replete with masterful solos from Fedchock, Wendholt and Farnham.

The languid title track plumbs the depth and solitude of the creative process itself, while the sextet displays some of the most symbiotic playing on the project, parenthesized by Fedchock’s sonorous trombone. Finck’s considerable skill with Latin modalities is clearly ascertainable on the compelling arrangement of Star Eyes (Raye/DePaul) and the up-tempo closer, On the Edge, embraces everything that the art form of jazz is about and also transports this sacred musical expression boldly into the future.

2 Part Solution - Frank Basile/Sam Dillon Quintet

2 Part Solution
Frank Basile/Sam Dillon Quintet
Cellar Music CM110519 (cellarlive.com/collections/all)

In the art world, to make something distinctive one doesn’t necessarily have to aim for unprecedented or boundary-pushing new forms; Frank Basile and Sam Dillon have proven that relying on the tried and true can be equally effective. On their latest release, Two Part Solution, this approach takes the form of straight-ahead standard jazz arrangements. Musically speaking, the main selling point here is the tenor/baritone sax interplay that anchors each track. Basile’s rich baritone soars over the lavish mix, commanding the ensemble with impeccable phrasing and making the quintet sound almost as full as a big band. Dillon’s sheer virtuosity on tenor provides a perfect musical foil.

The original compositions that Dillon and Basile have provided are highlights of the collection, easily measuring up to the well-chosen standards of the set. In particular, Dillon’s Monk-esque title track is a thing of beauty, featuring some of the most elegant and intricate harmony on the album. It is thanks to the unusual bottom-heavy tonality courtesy of the dynamic band-leading duo, the production efforts of Cory Weeds and the powerful contributions of drummer Aaron Kimmel that the quintet achieves such a gratifyingly dense sound.

While far from the most left-field jazz recording this year, Two Part Solution breathes refreshing new life into a sound that has too often been presumed dead.