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Time for Beauty--Goh's "Blue Quiet Sound"

5/21/2015

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Goh Kurosawa is one of the most gifted and dedicated guitarists anywhere. He has quickly and obviously attained master status, a true virtuoso. His own solo albums, as well as those with Sharp Three—with brother Kai Kurosawa and drummer Chuck van Haecke—has carved an already-enduring legacy of skill and grace.

Now, on “Blue Quiet Sound” (Onigawa Records OR011), he is on his own again. He composes and performs and produces each track with the lone exception of Leonard Cohen’s “Hallelujah,” which he arranged.

The album opens with “Eveline.” The introductory playing puts one in mind of Neil Young’s “Only Love Can Break Your Heart.” There are recurring moments of that same effect. What is remarkable, however, is there is a bent note, that returns only three or four times in the piece, which has a distinctly Japanese feel to it. It stands out but oh-so-shyly. I don’t think that that phrasing would occur to a Westerner, not the way Goh does it. It is tender and it is sad. It is extraordinary.

Those are the details that must be attended when listening to Goh. He is subtle and delicate, even at his most powerful. Listen for the little things.

“First Thing” is a meditative piece of solo guitar and is a splendid set-up for the third track, Leonard Cohen’s “Hallelujah.” It brings a sense of quietude in preparation for Cohen’s sardonic piece, arranged by Goh.

It is Goh himself who provides the vocals on “Hallelujah.” His staggered cadence is emotive and the guitar is as plaintive as the lyrics require. There is also an undercurrent of strength and resolution that offsets the brokenness of the vocals.

The depths of despair of that song are left behind in “Gentle Heart.” An affirming, uplifting piece, this Goh composition serves to break the blues of what went before as well as preparing the way for the title track. Track listing is everything on Goh’s albums.

“Blue Quiet Sound” opens with a string squeak that is, at first, puzzling. The sonic imagery is clearly a seascape or harbor setting. That is underscored by the photo in the gatefold of the CD itself. The recurring squeaks are obviously mimicking seagulls and the entire piece widens onto a watery vista of sound, imagination and reflection.

Goh’s gentle touch is mindful of emotion and fragility.

“Coffee Jam” contains some of the album’s most interesting guitar work. The low end playing against the melodic line is delightful and is much like the various sounds and conversations found in a coffee shop anywhere in the world. It concludes with a sprightly jump that brings a smile. It is Goh’s most whimsical. His endings become highly anticipated events to even the casual listener.

It becomes clear, as the album progresses, that Goh’s personality is being represented. He is thoughtful, reflective, humorous, devoted and caring. Those qualities are defined and displayed with every note.

“Prelude to Believe 2015” is 55-second preamble that seems to offer a nod and wink to several musical styles, including a touch of bluegrass.

What comes next, however, is unmitigated magic. “Believe” first appeared on the Sharp Three’s 2013 album “Zero Cool.” On that trio version, Goh and brother Kai create melodic tapestries woven on the framework of Chuck van Haecke’s brilliant drumming. The groove is cool but the dominant theme is moving, even awe-inspiring.

Goh’s solo version, on the other hand, is equally fascinating and equally moving—captivating. It begins with a 33-second intro of percussive scratching and brushing which continues throughout the track but is covered by a melodic line that is exquisitely beautiful and warm. The lone guitar is highlighted by Goh’s uniquely bent notes.

It is near the 4:45 mark, however, that a theme emerges amidst effects and distractions that threaten to cloak and obscure the theme. That theme, though, does not surrender to the distraction. The 5-note motif takes on the role of a chant and keeps the music anchored. That motif may very well be the most singularly philosophical riff ever.

If that motif is the image of what is it to believe, it is a clear and determined quest for groundedness. It is not a statement of dogma regarding the object of believe as much as it is about the very act of believing. The conclusion is a scattering of that motif as a display of release to the universe. After all, to believe is to go beyond one’s own limited sphere of understanding. This track is just such a journey.

“Keep It Simple” moves from the meditative to the celebratory. It has a samba feel and is as unfettered as the title implores. The eddying of the melody follows its own counsel and brings forth one of the more delightful passages of the album.

“Hidden Garden” follows a path of Japanese musical modalism that is so well-suited for this solo guitar interlude. One can almost as easily hear the tugging sound of the shamisen as much as the acoustic guitar. It is contemplative and touching. “Hidden Gardens” adds yet another example of the multi-cultural and multi-dimensional playing and composing of Goh.

The album comes to a close with “Rain.” It is a gentle description of the slow, measured and, yes,  multi-faceted rainfall that contains elements of falling but also of descent interrupted branches or rooftops. The sound of the rainfall, and the dripping that accompanies, collect into growing pools and rivulets and make this a simple but delicate piece worthy of daydreaming. The album thus ends gently, even wistfully, amidst the tones and tempos of nature itself.

In every recording, in every musical adventure, Goh Kurosawa is a guide on a journey to ourselves at our best. Like a roshi, he asks questions that outpace our answers and leave us with the complex solution of being still and just listening.

 



Purchase "Blue Quiet Sound" here at cdbaby: http://www.cdbaby.com/cd/goh1
Visit Goh's web page at: http://www.composelife.com/
Like Goh on Facebook here: https://www.facebook.com/gohkurosawalive?fref=ts
Also check out this:
http://www.kruufm.com/node/19685

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Photo by Goryo Kuwano
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Farnell Newton is Always "Ready to Roll"

5/17/2015

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Farnell Newton is one of the finest young horn players to appear on the contemporary music scene. He has crossed musical territories with the ease and integrity of the venerable cats from Tower of Power and others like them. He has played funk in Bootsy Collins' touring band, soul with young phenom Jarrod Lawson and high-powered Jazz in his own ensembles. He has done it on his won terms and without compromise.

"Ready to Roll" opens with the title track, a 57-second funk chorus that sounds like something that would make George Clinton grin that grin. A sweet little groove, it sets up what is to follow.

What follows is "Glimpse," another funk-laden groove piece that brings tenor sax hot hand Alex Milsted alongside "Neutron" Newton to create an excitingly cool work that is fondly reminiscent of Spyro Gyra's most fun grooves. The popping bass substrata to the horns is bright and energetic.

Ashley Jayy contributes her sweet soul vocals to "Make Me Yours." Kyle Molitor adds a rich trombone to the mix and Newton's equally rich tonality weave together with Jayy's vocals for a truly memorable track. The layered vocals are warm and thrilling, at once. However, as always, it is Newton's pop and plush that truly creates the emotion and the mood.

Farnell Newton has never disappointed in any of his previous recordings and he does not begin here on "Ready to Roll." The maturing tone has developed beautifully in pace with his virtuoso technique. Seeing him live or hearing him on recordings always serve to impress and to educate. The generosity an warmth of the man himself have continued to grow in equal or greater measure to his talent.

"You Gotta Move" features Donyea Goodman's vocals in this spiritual piece by the Reverend Gary Davis. "When the Lord gets ready, you gotta move," Goodman intones. With Newton's now lush, now raw treatment and the arousing of the soul that follows, one is left to wonder if Gabriel has lost his first-chair status to Farnell Newton.

An interpolation of Chuck Mangione appears in "Sweet Sauce." The quick and skilled guitarist Chance Hayden makes his only appearance on this track with Tony Ozier on bass and the splendid Tyrone Hendricks on drums. This is a group that has played often together in Portland's vivid music scene. The over-dubbing of a muted Newton over Newton adds to the texture and fun.

A few ago, I caught the trio of Farnell Newton, Tyrone Hendricks and vocalist/keyboardist Jarrod Lawson live in Portland. It was a clinic on rhtyhm, soul, Jazz improvisation and camaraderie. That same spirit pervades everything Farnell Newton touches. "Sweet Sauce" is a fine example of that.

The great Bomberg and Hammerstein composition "Softly" is given a lovely regard with Steve Rogers' acoustic guitar which provides a sensual introduction to Shannon Soderland's vocals. Jon Shaw--another young tiger--is masterful on the bass. Newtron's muted trumpet allows a nocturnal feel on the track that is well-suited and rewarding. At 3:39, it is too short.

"Peace + Love" includes vocals and keyboards by the above-mentioned Jarrod Lawson.Tony Ozier joins in by handling the bass, drums and additional vocals himself. Lawson appeared on Newton's second album--"Class is Now in Session"--on that great track "Everything is Clear." Again Newton's horns encompass the piece, circumnavigating the soulful vocals and adding a Jazzy depth.

One of the coolest grooves on the album is found on "Dunk Funk." Kyle Molitor makes his second of three appearances on trombone and together the horns create a sound as thrilling and vivid as anything from the heady days of the L.A. Express or Bill Chase. Will Birckhead's guitar and bass work are brilliant.

It was difficult to leave this track. I don't know how many times I hit replay.

"Stankie's Revenge Part Doo" is a title that belongs right up there with Charles Mingus' "The Shoes of the Fisherman's Wife is Some Jive-Assed Slippers." Molitor and Birckhead return for this, their final, track and they make it count. Birckhead provides a menacing backdrop to the shrieking horns. This is power and passion. What a great track.

"Congo Square" brings to bear one of my very favorite drummers found anywhere...or everywhere. Reinhardt Melz can handle any rhythm and his Afro-Cuban groundwork for Newton's trumpet is a thing of beauty. Newton's blistering attack is perfectly matched by Reinhardt Melz' percussion.

Surprisingly, the album concludes on a softer tone. "Human Race" features vocals by Cleveland P. Jones. The percussion of Ahmed Sirour is well-suited for Jones' vocals. Together, they lay a plush carpet for Newton's soulfulness. "Make this world a better place" is the them of the track but it is also the ongoing philosophy of Farnell Newton himself.

Throughn his own albums and the albums on which he contributes, Farnell Newton contributes a class and a charatcer that comes from his own depths. He can attack and assuage and both come from the same profound sense of humanity found within the man himself.




Visit Farnell's website at:
http://farnellnewton.com/
Like him on Face book at:
https://www.facebook.com/farnellnewton?fref=ts
Order "Ready to Roll" here
: https://farnellnewton.bandcamp.com/album/ready-to-roll
Download the MP3 from Amazon by clicking the link below:


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"Risky Notion" by George Colligan and Theoretical Planets

5/14/2015

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George Colligan has released an album of new compositions with young musicians and Colligan himself in a new role with the CD “Risky Notion” by George Collian and Theoretical Planets (Origin 82681).

Most people who know George Colligan think first of him as a pianist and that is as it should be, to think of him as a pianist first. What falls far short of the mark, however, it to think of Colligan only as a pianist. His first love was drums. Even then, he was trained as a classical trumpet player. He found his “niche,” on the other hand, as a Jazz pianist.

While he admits to only a limited number of drum lessons, he has gotten to perform with the very best drummers and has learned from Jack DeJohnette and Lenny White and others. “Free drum lessons,” he calls the experiences.

He has indeed recorded on drums before—for Kerry Politzer, for example—but never as a leader. Now, after 25 previous recordings, Colligan has released his first album as a drummer-band leader. To that end, he has assembled four gifted young musicians—some his students from Portland State University-and all from the Pacific Northwest, especially Portland.

As a side note, I got to see Colligan perform at a Portland Jazz club a few short years ago. He was leading from the piano but, late in the last set, brought up a young pianist and Colligan took to the drums. He had already played the melodica and I had seen him on trumpet before.  His turn on the drums was a surprise and a delight. Colligan is that good—at everything. The DaVinci of Jazz.

So this album is particularly exciting for me. To hear Colligan perform his own compositions from the drum set is a unique treat.

“Gorgoasaurus” kicks off the album starting with the drums and Jon Lakey on bass. Nicole Glover and Joe Mannis on saxes join in quickly. Although students, these musicians adapt well and aggressively. The unison playing of Glover and Manis is hot. Colligan himself takes a solo and proves that he has the right to lead from the drummer’s throne.

The recording and mixing by Sacha Miller—himself a drummer—helps to bring out the great textures created by Colligan. The very first track reveals much of what is to follow.


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“Constantly Breaking My Heart” is the first to follow. Jon Lakey’s bass is of particular interest here. In a music scene already invigorated by great Jazz bassists—think Damian Erskine, Eric Gruber and Dave Captein—Portland should prepare to admit Lakey into that revered company of musicians.

Glover and Manis continue their engaging partnership. There are a few moments that remind of Miles Davis’ “So What.” Not in any derivative sense, rather there is a similarity in flow and trade. The two saxophonists trade between soprano, alto and tenor horns.

“Hermawhatics?” shifts to a Latin rhythm with harmonies to match. Tony Glausi joins in on trumpet to puff up the Latin flavor. Colligan and Lacey add the punch and propulsion to the track with the humorous title. If the title is a play on “hermeneutics,” one wonders if Colligan is being self-deprecating about his interpretation of Latin rhythms. A thoroughly enjoyable piece.

Glausi stays on for “Con Woman.” The horn trio plays on top of Colligan and Lakey’s steady andante that calls to mind every bad woman of music history from “Long Cool Woman” to “Black Magic Woman” and the ways they walk. The pace is perfect, in a prurient sense, full of long strides and hip swings.

“Impromptu Ballad” is Glausi’s final appearance on the album. He gets the intro and trades a bit with Colligan’s brushes. His tone is excellent and is a great partner with Lakey’s bass as they weave to and fro against Colligan’s rumbles and crashes. It is the shortest track of the album.

A fascinating foray into syncopated rhythms and cool discord, “Risky Notion” is the title track and is a brilliant piece of compositional skill. Solos and duos are twisted together brilliantly. Lakey works a lively bass against Colligan’s staggered rhythms. It turns out to be one of the most interesting and enjoyable grooves on the album.

“Space Gives You Time” again features the duo of saxes and recalls the heady days of the Coltrane-Adderley duos. Colligan is fabulous on this hard bop and Lakey gets his first real solo here. He does not disappoint. Colligan follows with his own brief solo and the return of the horns carries the track to conclusion. A fun romp, to be sure.

One of the coolest melodies on the whole album is found in “Transparent.” Colligan takes to the brushes to create a soft space from which to launch Lakey’s second solo—even sweeter than the first. The whole approach is warmer and cleaner than one might expect. That melodic line holds sway throughout the piece and is entirely captivating. At the end, the melodic line is broken into fragments. A great composition.

One of the gentlest tracks is “Phantom Friend.” This deserves a tip of the hat to track placement as it is a fine follow to “Transparent.” The haunting soprano saxophone of Nicole Glover is wispy and evocative. The melody is sweet and the rhythm section lays low for most of the song.

The album closes out with “Losing Our Way.” It begins as an exercise in corps progression, almost in lock step. Colligan and Lakey begin to break the rhythm down as Manis solos on tenor sax and the melody staggers. It is a marvelous rhythmic and melodic fracturing. The cool opening groove is crushed and replaced by an ever-cooler splinter effect. It is a brilliant way to end an album.

George Colligan has adapted and adopted seamlessly from instrument to instrument and structure to non-structure and exactitude to improvisation and back again. It is impossible to get tired of Colligan because he never stagnates. Colligan’s imagination and creativity are spring-fed lakes that overflow in every direction.



Purchase “Risky Notion” here.
Like George Colligan at Facebook here:
https://www.facebook.com/george.colligan
Visit George Colligan's web site here:
http://georgecolligan.com


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It was only a "Matter of Time" for Aimée Allen

5/1/2015

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Aimée Allen's "Matter of Time" is the inevitable next step from her third album "Winters & Mays," a 2011 release. It has been a long wait but her trajectory from that album could only have brought her to this beautiful recording of her performances and compositions.

"Matter of Time" is an album of splendid arrangements of Jazz and Bossa Nova standards, very personal compositions of her own and an enchanting lyrical enhancement of a Pat Metheny piece. As before, her brother David Allen also contributes a track that is lovely and optimistic.

The album opens with
Aimée's own composition of the title track. "Matter of Time" is introduced by Scott Ritchie's bass line that is soon joined by the brilliant Brazilian guitar virtuoso, Romero Lubambo. That duo creates a rich backdrop for Aimée's rich vocals.

The alternating delivery of pulse and flow vocalization over the constant tempo of the instruments is both intriguing and meaningful. The lyrics also provide a counterpoint of faith and fate. Aimée Allen knows how to open an album!

Another of her compositions follows in "Soul Cargo." The theme of travel is highlighted with the feeling of flight in the instrumental interpretations of François Moutin on bass, Toru Dodo on piano and Jacob Melchior on drums. Dodo and Melchior are well aware of Aimée's intentions and desires as thy were both on "Winters & Mays" and Dodo was on her debut album "Dream."

Indeed Aimée sings of love but her lyrics carry her far afield of typical maudlin sentimentalism. There is a note of loving solidarity with the frequent hint of solitude, as well. The melancholy-tinged wistfulness is carried by the music even more than the lyrics. It is an extraordinary balance that she manages to achieve throughout the whole album.


PicturePhoto by Eric Noizet
The Rodgers and Hart standard "My Romance" is given a cool twist with the Moutin bass carrying the solo instrumental work through the first verse and chorus. Dodo and Melchior join for the second verse and thereafter. Melchior's metronomic time-keeping belies the understated brilliance of his support. Dodo's piano accompaniment and solo show why he is on this and two other of Aimée's albums.

Romero Lubambo is again featured on Ivan Lins' "The Island." This is a moving duo of Aimée and Lubambo, vocals and guitar alone. Lubambo's elegant effortlessness is warm and sensual and Aimée takes advantage of the gentle movement. There is a lyrical rising and falling that is almost erotic, even without the meanings of the words themselves.

Moutin and Melchior's rhythm section open "Close Your Eyes." Melchior's brushes brushes and Moutin's high-end bass flights arecharming in themselves. The track is a total reinvention of the Bernice Petkere composition.

"New Day" is David Allen's lone contribution to his sister's album. There is a feeling of Joe Jackson's best days here and Toru Dodo carries the upbeat melody with subtle delight. Aimée's delivery is spot-on, as always, but there is a smooth energy here that is compelling and satisfying, at once.

Aimée's own "Sometimes You Just Know" is one of the real highlights in an album full of highlights. Lines such as "Don't interrupt things that cannot be changed are truly memorable but the payoff line is "What you're never told, sometimes you just know."

The instrumental trio add an emotional depth of their own that takes the mood deeper than what the lyrics alone intimate. There are ever-so-slight shifts that tug at the heart. This is a magnificent track. The aforementioned melancholy is perfectly represented here.

"Out of Nowhere" is Aimée's reshaping of the Johnny Green-Edward Heymen piece. It has never felt so good. Moutin's bass is riveting and Melchior is again at his supportive best. Moutin has an affinity for the high end of the bass and one begins to wonder if he will ever drop below. And then when he does... Captivating and rich. Melchior is so skilled in his gentle approach to rhythm that he is almost a vocalist's dream drummer. Dodo is a pianist of great color and texture, definitive and detailed, he deserves more credit than he often gets.
Aimée knows exactly how to weave in and out of these brilliant players.

In a nod and a wink to her Paris sojourn, "Qu'est-ce qu'on est bien-ici" is a French-language duo with--once again--Romero Lubambo in the third of his four feautured tracks.
Aimée's intonation of the French lines are enthralling. Her sweet delivery of "Au moins on part pour la mer" is delicious, especially in the coda. Breathlessly breathtaking.

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Photo by Philippe Marchin.
Another fine inclusion on the album is "In the Name of Love" with music by François Moutin and lyrics by Aimée Allen and François Moutin. The bass lines are flowing and thrilling and Dodo's piano is right on it. Moutin's solo is another excursion into the upper ranges of the bass as Dodo's elegant lines walk steadily alongside.

Just reading the lyrics of "In the Name of Love" is like a reminiscence of the tales of Tristan and Isolde.
Aimée's vocalizations are gorgeous. The song is beautifully constructed on all points.

Romero Lubambo reappears for his final duet with
Aimée on "Corcovado." This Jobim piece is reverently held in Lubambo's hands and meaningfully interpreted by Aimée's approach. This one made me hit "replay" several times.

In one of the more surprising tracks on the album, Aimée adds her own lyrics to Pat Metheny's "The Space Between." The results are phenomenal. The music is faithful to the original Metheny composition but the added lyrics and vocals enhance the piece splendidly. Metheny would do well to commission Aimée Allen to write lyrics for everything he's ever written.

"The metaphysic of you and I defy, break through, all that we thought we knew." Her treatment of the lullaby at the end is wonderful.
The final track is the full quartet's reprise of the opening track "Matter of Time." With such admiration and appreciation of the musicians, I am particularly fond of this version, especially as the closing piece. While the first track carried the Brazilian Bossa Nova feel, this reprise carries a distinctive Afro-Cuban groove and Moutin and Melchior execute it terrifically. It is a song that allows many rhythmic interpretations.

"Matter of Time"--Aimée Allen's fourth CD--places her firmly amidst modern Jazz' finest vocalists and, especially, vocal composers. She has demonstrated incredible growth and has--in a very short time--reached a maturity unconfounded by her years. Aimée Allen no longer bears watching; she compels attention.




Like
Aimée Allen on Facebook here: https://www.facebook.com/AimeeAllenMusic?fref=ts
Visit Aimée Allen's website at: http://www.aimeeallenmusic.com/
Purchase "Matter of Time" on MP3 or CD by clicking the links below.
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