I love debut albums. They are full of promise and hope. We sit back and wonder where this or that artist has been all our lives. And we can’t wait to hear how the artist will evolve by the next album. “Rootless” by The Corey Kendrick Trio is full to the brim of all those thoughts and feelings.

Corey Kendrick is a brilliant young pianist and composer. He wrote all but three tracks on the album. His sense of harmony and melody is something innovative with not only a little adventurousness and—dare I say—bravado. Joining him in his trio are Joe Vasquez on bass and Nick Bracewell on drums, both of whom can groove with the old guard and without guilt. Together, this trio brings the grace and the fire.

The album opens with “Blues al Pastor.” The trio jumps at you from the very, very beginning…and you love it. The double-time blues is a hot number with great rhythm and memorable melodic lines. Vasquez and Bracewell are relentless with the groove and Kendrick plays with fierce virtuosity. Vasquez takes off on a cool solo riff off of the piano’s ostinato. The trio rolls it out the door and you want to stand and shout “Amen!”

“The Unknown/The Unexpected” may be a thoughtful reflection on new scenes and situations but it comes off as a cool film noir soundtrack. Evoking images of Bogart in his Fedora, Kendrick makes it smoky and mysterious with the occasional pulse-pounding of the Bracewell drums to add to the excitement. Vasquez turns in some strident rhythms behind it all with Tommy-gun flashes from Bracewell. For all the anxiety, the piece has a great sense of humor.

“Julian’s Tune” is a beautiful ballad with an opening bowing bass from Vasquez and a delicate touch from Kendrick. The lightness is charming and the emotion warm as Bracewell takes to the brushes. The melody is sweet and affectionate. These three can create a mood. Wonderful.

“My New Old Tune” is a jaunty number with bouncy delivery and punchy accents. It is optimistic and light-hearted, full of fun and openness. Impossible not to like this. The piano touches are fun and the Vasquez solo is bright and lively. There are moments of a “Sunny Side of the Street” feel that are bound to bring a grin. The full stop is a nice close.

“Waiting for Midnight” is a Jazz nocturne of the finest sort. This is one of my favorite melodies on the album. Vasquez and Bracewell enhance the night air of the piece and keep the warm imagery intact. Kendrick’s piano artistry is the fitting match to his extraordinary composing talents. He can compose whatever he likes because he can effectively play whatever he likes.

It reminds me of a story I once heard from Porcupine Tree’s Steven Wilson. He had written a piece that was extremely difficult to play. Wilson called up Robert Fripp and asked about playing it. Fripp told him exactly how to practice and said, “If you do that, then—in two or three months—you will have it mastered.” Wilson informed Fripp that the tour was kicking off the following week. Fripp laughed at him.

Kendrick does not play above his ceiling because he has no ceiling.

“Nature Boy” is the cool piece from Eden Ahbez. Kendrick just owns the piece. Vasquez and Bracewell lock down on the rhythms splendidly and Kendrick is as percussive as he is melodic. Bracewell gets a hot solo and he and Vasquez work those Latin rhythms with Kendrick just beautifully.

That smoker is followed by “Misunderstandings (Remembering I Love You)” is a lovely piece with wonderful harmonies and joyful melodies of affection and attraction. It also has its lighter moments of fond memory and that tight groove. I love the way Kendrick writes. He structures his pieces so well—often fluid, sometimes lofty, always rewarding.

“Alone in Michigan” is a lonely and forlorn piece, obviously thinking on the aloneness of new unfamiliar surroundings. The music takes different turns, rounding strange corners, that magnify the sense of being in a different place. The rhythms are broken up like the broken strides of uncertain steps on unfamiliar pathways. All the while, the bass follows an exploratory line. The piece, not quite melancholy, is certainly uncertain.

Mann and Hilliard’s “In the Wee Small Hours” is a meditative piece that seems to think on what may lie ahead and what has passed by. It is hopeful and a little wistful. It is taken as a solo for Kendrick who makes the piece sing of looking ahead in hope.

“Yesterdays” jumps out in energy and snappy rhythms that the trio embodies as one. The piano’s touch of Blues and blistering Jazz is fantastic and Vasquez and Bracewell turn up the electricity. The melodic lock-step of Kendrick and Vasquez over several bars is a cool feature as Bracewell works the drums.

“Lullaby for a New Mother” must surely have been written for Kendrick’s wife, Ellen, who gave birth to the couple’s first daughter just when Kendrick decided to do “Rootless.”

The piano is lovely and Vasquez creates a warmth that supports the piano as Bracewell’s drums keep things steady. It is a fine and fitting close to the album from a composer and father who, thanks to Ellen, will no longer be “Rootless.”

The Corey Kendrick Trio have given us a debut album that stands among the finest albums of the year. For all of their youth, these guys play like they are channeling the best of the ages. There is energy and passion, warmth and affection, and loads of intellectual and emotional satisfaction. It is old Jazz done in a new way. I love it.
 
 
 
 
~Travis Rogers, Jr. is The Jazz Owl
 
 

In this their third outing, Ilhan Ersahin’s Istanbul Sessions has continued to create a musical adventure that takes you where you never thought possible. “Istanbul Underground” (on Ersahin’s own Nublu Records) is a work of extraordinary imagination, reflection, and meditation.

Joining tenor saxophonist Ersahin are bassist Alp Ersonmez, percussionist Izzet Kizil, and drummer Turgut Alp Bekoglu. The compositions were written or co-written by Ersahin.

The album is introduced with “Falling” by Ersahin and Ersonmez. The piece opens with the heavy rhythms of Ersonmez, Kizil and Bekoglu. Ersahin soon joins with the beautiful intonations of the tenor saxophone. A quick break comes with a heavy bass and trilling sax. And just like that. You. Are. Hooked.

The cool melodic lines of the tenor sax waft across the driving rhythms to intoxicating effect. Ersonmez’s thunderous, propulsive bass is of particular effect here as Kizil and Bekoglu nail the hard groove. It is mesmerizing piece.

“Sariyer” opens with a techno-rhythm that is actually kind of charming. Ersahin’s sax comes on top and his chord changes and his textures are completely unexpected. The rhythm is solid beneath as Ersonmez drives the groove. Ersahin’s melodic line is something quite extraordinary.

A funky, effected bass opens “The Calling.” The Bekoglu rhythm is straightforward as is Ersonmez on bass. The tonality of the tenor sax is something compelling. “The Calling” is aptly named, as the listener feels drawn in and submits to the summons. It is more than a sound, it is a visceral compulsion. The trilling tenor sax over the hard groove is sweet and is only shown once which makes it both satisfying—in the sense that you caught it in the first place—and it is anticipatory—in that you hope to hear it again.

An enthralling sense of meditative focus begins to manifest as you lose the awareness of surrounding and time in the midst of this contemplative adventure.

“Londres” launches with an Ozric Tentacles kind of groove and effect. Ersahin soars over the groove with a beautifully intoned narrative from the tenor sax. The staggered-beat of Bekoglu and the drive of Ersonmez create a springboard for Ersahin’s expressiveness. The rhythmic fade-out is cool.

A thunderous groove opens “McCoy.” The tenor sax comes overtop in arching tones and phrasing. The melody and the groove defy expectation. In fact, expectation is supplanted by expectancy. You cannot escape the captivation of the infectious melody and the riveting rhythms. The structure of the piece is brilliant. I began to listen deeply in a focus that made me realize that this was the music I have waited for my whole life. It is miraculous.

 “Senin Icin Geldim” is a hypnotic beat that is covered and enhanced by the Ersahin tenor sax. The voice of the sax speaks in tones sweet and bitter. There is a haunting quality that is overcome with a determination that speaks of will and perseverance. The bass and drums close the piece.

“Sex, Drugs, and Jazz” is a defiant response to rock ‘n roll’s slogan. It is a deliberate backbeat beneath a slurred, hypnotic melodic line from the tenor. The melody tells the tale.

The hard drive returns with “Studio 54.” The rhythms push the melody of the tenor sax rather than support it. Ersahin works over and above the groove as he paints a fine work of color and texture. Cool.

“Pra Gato” enters with the low, pulsing of Ersonmez’s bass. A slow-tempo piece, the extraordinary lyricism of Ersahin creates a lush work of colorful, exquisite beauty.

“1981” follows in simpler, straight-ahead rhythms that allow for quirky, fun expressions from Ersahin. The drumming and percussion forge a rock-ish layer below and the tenor sax carries on a Jazz monologue that hints at something like a pop melody that is riotous fun.

Ersahin and Bekoglu co-wrote “Tarzanca.” It comes across as a Jazz nocturne opening before breaking loose into those fantastic Eastern rhythms. The lonely tenor sax cries above the lively rhythms and then carries on with the rhythms in gorgeous Eastern melodic lines and narratives. The droning bass and beat are laser-focused and the tenor sax speaks loudly then sweetly as the rhythms give way to the lovely, fading tones of the sax.

“Istanbul Underground” is a work of unanticipated artistry and thought, elegance and fire, and entrancing dance. It is like nothing I have ever heard or imagined. It was intellectually stimulating, emotionally satisfying and, in the end, I felt enlightened by the experience. Ilhan Ersahin is the herald of a coming world of Jazz that no one could have foreseen. At least, I didn’t.
 
~Travis Rogers, Jr. is The Jazz Owl
 
 
 
 
 
 

Jane Ira Bloom does what she wants when she wants and she always makes it sing. She has just released “Early Americans,” her sixth album for Outline Records (OTL 142) and her sixteenth as a leader. It is however, her first trio album and I’m glad I was here to witness it.

The album is composed almost entirely by Jane Ira Bloom with the single exception of Leonard Bernstein’s “Somewhere.” Joining her are long-time associates Mark Helias on bass and Bobby Previte on drums. She drew these guys together with her in 2015 for this very project and it is a trio for the ages.

“Song Patrol” is the inaugural piece on the album. The strummed bass of Helias and the rim shots and hollow toms of Previte kick it off. Jane Ira Bloom’s exquisite soprano saxophone flies in on the wings of a lark and it is obvious from the very beginning that this is going to speak to your soul.

The trio is aware of each other in ways that comes only from deep familiarity. That Bloom and Helias have known each other since the mid-1970s and Bloom and Previte since 2000 should come as no surprise once you hear them together.

“Dangerous Times” features an aboriginal rhythm section as Bloom’s soprano sax seems to embody the fight or flight impulse. It is reminiscent of the Native American encounters with the European colonists and the uneasy relationship that unfolded into outright hostility as the Europeans began the push across the American continents. The drums are relentless and the bass drones menacingly as the sax flees, seeks to resist, and flees again. Still, the loveliness of the sax maintains its own virtue against the worst of threats.

“Nearly (For Kenny Wheeler)” is the shortest piece on the album. It is a solo soprano sax piece that allows Bloom full expression and exposure. It is lyrical and stunning in its simple beauty.

The tone and tempo changes with “Hips & Sticks.” Previte’s rhythms are brilliant and entirely captivating. It is a hard groove with a propulsion issuing from Helias’ bass that works perfectly with Previte. Over it all, Bloom dances to the drive of the rhythm section. This is tight and hot. Helias and Previte take off and stay aloft throughout the piece. There is a sound and a sensation here that is unexpected and certainly unmatched. This one got me good.

“Singing the Triangle” opens with soprano and bass in duet. The moves away with the drums in agreement as the Bloom sax works at odd ends. Then the trio catches together and all three artists are in complete union. Helias’ solo is an extension of the melodic line and Previte is in lock-step with him. The movement together is sweet and satisfying.

The bouncy gives way to melancholy in “Other Eyes.” The tonality of Bloom is astounding and the Helias bass expressions are spot-on. The duet of these two is something amazing. It is full of longing and unfulfillment.  The 4-note motif of the bass—with its bent third note—is a cool device for the soprano’s lookaways. The trades between them are soulful and meaningful in their beauty. Wonderful.

Things start to cook with “Rhyme or Rhythm.” Actually, it’s both. The rhythm section is locked-in on the hard groove and Bloom hovers close to the flame in her spiraling melodies. This one smokes.

“Mind Gray River” opens with a bit of Americana-sounding bass. The rolling drums behind the bass offer a wide space for Bloom’s movement and imagery. The soprano is transcendent of the earthy rhythm section and struggles for escape from the boundaries of the bass and drums. This is a folksy meditation.

“Cornets of Paradise” opens with a frenetic exchange of tempos and rhythms and textures. The bass and drums break one way and the sax breaks another. Previte’s drums drive forward and Bloom and Helias surf the wave he provides.

“Say More” brings another soulful episode around, full of space and understated movement. In a piece that says more in the space than it does in the music, “Say More” is a wonderfully ironic title. Bloom, however, takes that space to force tones that are sharp and even piercing. Hold your heart for this one.

“Gateway to Progress” is another hard-swinging piece that Bloom climbs all over. So help me, Jane Ira Bloom can do anything with that horn. Yes, every sax player is influenced by Coltrane to some degree or other but Bloom has learned experimentation and adventure that echoes of the master. Helias works a beautiful bass solo that is just that adventurous. Previte takes to the adventure in equally robust ways with fascinating drumming choices that grab the attention.

“Big Bill” has Previte sounding like Bill Bruford in the precise strokes and rolls, although that probably has nothing to do with the title. Bloom follows a fine theme that is rich and exciting. Helias carries the big stick into realms both foreign and familiar. This one is easy to love. And I do.

The album concludes with “Somewhere,” Leonard Bernstein’s adagio from “West Side Story.” It is, of course, a lovely piece and Bloom’s solo soprano sax rendition is exquisite. The tone, the phrasing, the emotion are warm and wonderful. As is the whole album.

Sometimes you encounter the unexpected in Jazz and that is not always a rewarding thing. With Jane Ira Bloom’s “Early Americans,” however, the experience can open one’s eyes to a land unknown and emotions unfamiliar. This album takes you where you have never been…and you don’t want to come back.
 


~Travis Rogers, Jr. is The Jazz Owl
 
 
 
 
 
 

In 2014, Doug MacDonald was approached by his friend, executive producer Don Thomson, about recording a “Jazz marathon” in Los Angeles. Doug MacDonald agreed wholeheartedly, gathered the hottest Jazzers in LA, and “Just for Fun” (Blujazz Productions BJ3432) is the finished product.

In late 2015, Doug MacDonald released "Solo Plus" (Blujazz Productions) in the phenomenally risky format of solo Jazz guitar but turned in a brilliant performance and recording. Now MacDonald takes on the marathon big band format and scores yet again. The guy can do anything.

Don Thomson explains in the liner notes the concept of the “Jazz marathon” as utilizing “two rhythm sections, so that the music would be continuous. The musicians improvised on standards, and played three short written arrangements. To create variety, the tenor, alto, and guitar all had feature numbers, and on other tunes, the horns were combined in various pairings. The audience, a packed house, was really into the music. Their spirit spilled over into the band, and created a special energy and synergy. The intimate setting of the club, while at first seemingly awkward, contributed to the ambience. It was, altogether, a magical experience.”

That collection of great LA Jazz artists includes Lanny Morgan (alto sax), Rickey Woodard (tenor sax), Bob Summers (trumpet), Les Benedict (trombone), Doug MacDonald (guitar), Andy Langham (piano, tracks 4-7, 11, 12), Llew Matthews (piano, tracks 1-3, 8-10), Luther Hughes (bass, tracks 4-7, 11, 12), John B. Williams (tracks 1-3, 8-10), Paul Kreibich (drums, tracks 4-7, 11, 12), and Roy McCurdy (drums, tracks 1-3, 8-10). The album was recorded live at redwhite+bluezz in Pasadena, CA on September 2, 2014. It is released on two CDs.

“Just for Fun” kicks off with a Doug MacDonald original, “Unimpressed.” The rhythm section of Matthews, Williams and McCurdy are joined by all the horns and guitar. McCurdy’s drums start off the show and the full horn section comes into play. Summers’ trumpet lead is a smoking bit as John B. Williams works over the upright bass just the way you like it. Rickey Woodard’s tenor sax spirals forward to the handoff to MacDonald’s fine guitar lead. Lanny Morgan takes the solo on his alto sax as Williams and McCurdy rumble and roll below. Les Benedict enters on trombone and works that sweet tone as it becomes clear that all God’s children are going to solo on this track. Sure enough, Llew Matthews takes over on piano and then Williams’s bass to McCurdy’s drums.

In one song, we are treated to the proof that all of these artists and this particular composer/arranger belong here and they are truly doing it “Just for Fun.” I don’t know who exactly is “Unimpressed,” but it’s not me. I’m impressed as hell.

“G Jazz Blues” is also a MacDonald original with the very same line-up as the first track. In a piece full of stand-outs, Les Benedict’s trombone deserves special attention. The tonality, the delivery of the guy is as flavorful as my grandmother’s pecan pie. And that’s the best I can say of anything.

The tenor and alto saxes are gorgeous, as well. The trumpet is so fine and MacDonald’s guitar is splendid. Matthews’ piano solo is a thing of beauty and the bass and drums add such depth. The word marathon takes on another aspect as the pieces themselves turn into extended opportunities for all of the artists to work solo as well as riot together.

Strodahl and Weston’s “Day by Day” is a sweet arrangement. Rickey Woodard and John B. Williams bounce off each other beautifully. MacDonald pops in with the guitar and makes the appearance count. I love this guy’s approach and response. The same can be said of Matthews on piano, especially when you hear him drop in a nod and a wink to the theme from “Bewitched.” Once again, “Just for Fun” is a great title.

“Softly, As in a Morning Sunrise” is the Romberg and Hammerstein classic. MacDonald starts off the piece on guitar and is soon joined by Summers and Woodard on trumpet and tenor sax. The second rhythm section of Langham, Hughes and Kreibich make their first appearance here. Summers and Woodard get some cool leads and Langham lays down beautiful piano work while Hughes and Kreibich anchor the rhythm section.

This is an extraordinary arrangement. As I was listening to this all I could do was look again at the track listing and gleefully anticipate what was to come.

Doug MacDonald worked the guitar over with straightforward refinement. Summers and Woodard and MacDonald and Langham trade between themselves as they break up the righteous drums of Kreibich. Fantastic.

Cole Porter’s “I Love You” stays with the same line-up as in the previous track. Les Benedict’s trombone takes on a vocal quality that is rich and swinging. Hughes and Kreibich carry a great groove through the piece. Summers’ trumpet is top flight. And you just have to dig that MacDonald guitar.

This is another one of those fine arrangements that works well for everyone concerned.

“Samba de Orfeu” by the great Luiz Banfa is one of my favorite pieces ever. Again, MacDonald’s arrangement is a thing to be admired and certainly enjoyed.

The piece is carried by the rhythm section of Langham, Hughes and Kreibich and MacDonald in a brilliant quartet setting. The samba is a wonderful form and these guys make it cook. Hughes and Kreibich just own this piece. I mean, they own it.
MacDonald’s different phrasing is fun and delightful. Langham turns in a splendid piano lead. This just might be my favorite piece on the album. The swing is hard and pulsating and the leads of MacDonald and Langham are electrifying. The crowd responded very enthusiastically.

The second disc opens with Joseph Kosma’s “Autumn Leaves.” Lanny Morgan’s alto sax opens the piece and the Benedict trombone picks up the melodic line for a moment before swinging it back to Morgan. Benedict and Hughes work it beautifully in duet as they take over from Morgan, again. Kreibich and Langham play it understated beneath and are magnificent in the doing until Langham joins Hughes in duet.

Langham has the ability to play with force and percussiveness as well as anyone. Sometimes he sounds likes the saloon piano player accompanying the shooting of a Doc Holliday victim and, in the next moment, he turns in something like a 1930s ragtime guy and then into the most straightforward Jazz. He is impressive.

Then comes the smooth, often subtle-always impressive, Luther Hughes on bass who can make the thing walk, stride, run, crawl within the framework of so many different stylings. He and Paul Kreibich on drums are formidable together. And “Autumn Leaves” is solid proof for all of them.

Sonny Rollins’ “Airegin” is taken up beautifully by Lanny Morgan’s alto sax. Morgan is himself a gifted artist and his tone and attack are extraordinary. It’s easy to focus in on his playing. John B. Williams and Roy McCurdy are back with Lew Matthews in the rhythm section and they nail the rhythms. Matthews plays with more delicacy and touch (no insult to Langham) and together that rhythm section creates a propulsion that is so fine. This was hot stuff.

Doug MacDonald’s guitar is heard first in the start of Charlie Parker’s “Yardbird Suite.” Bob Summers on trumpet and alto saxman Lanny Morgan are in it together, smoking the trades. MacDonald gets great lead time and he turns in some gorgeous guitar work as Williams and McCurdy groove below. This is one of MacDonald’s finest moments—and the audience whooped their approval. Matthews and Williams get fun solos, lighter touches and soft stops making the tempo break. McCurdy then gets to trade with everybody in succession before the shout chorus at the conclusion. After the stop, you hear someone exclaim, “Oh, man. What fun!”

The Van Heusen/Mercer classic “I Thought about You” follows after with Les Benedict taking the start on trombone with another fine arrangement, as Summers represents the horns alone. It is the final track with the Matthews-Williams-McCurdy rhythm section. MacDonald and Matthews mirror and echo in cool fashion. The tenor sax of Woodard is warm but lively and full of emotion. Matthews takes the solo from Woodard while Williams and McCurdy work a slow swing. Williams’s own solo carries its own warm thoughts and passes them along to the listeners. Benedict comes back around for the final pass on trombone and is joined by MacDonald and Woodard to close it all out. Wow.

Kaper and Washington’s “Green Dolphin Street”—one of everyone’s favorites—is initiated with Lanny Morgan on alto sax. The bop piece is beautifully carried off with the alto and tenor saxes and the return of the Langham-Hughes-Kreibich rhythm section. The hard swing is wonderful and the trades between Morgan and Woodard are splendid. You just can’t get enough of this stuff. Again, MacDonald works the solo melody like a hypnotist and you find yourself mesmerized. Langham and Hughes duet with the melody to tasty results. So help me, Andy Langham is absolutely fascinating. The saxophones duet to the end.

The marathon and the album concludes with MacDonald’s original piece, “Magic Lamp.” All the artists return with the Langham-Hughes-Kreibich rhythm section to end the night. MacDonald, rightfully, gets the first voice in the piece before handing off to Bob Summers’ trumpet. It’s easy to anticipate an “everybody rides” participation in the solos and that is what you get and you’re glad for it. The improvisations are brilliant and the rhythm section is exemplary. Morgan and Woodard get their licks in as they trade fiercely. Benedict’s trombone commands attention and is worth the hearing in every way. Langham brings that unique sound back to the forefront and hands off quickly to Hughes’ great bass work. The album concludes before the crowd responds. Just as well because I was shouting and applauding on my own.

Doug MacDonald titles the album appropriately. “Just for Fun” is exactly what the listener gets to feel. In a marathon Jazz session with two rhythm sections and more horn parts than Gabriel’s heavenly host, it is a delightful excursion into the fun that Jazz can be. The smile has not left my face.
 
~Travis Rogers, Jr. is The Jazz Owl

Venezuelan trumpeter Raul Agraz has released his debut album as a leader. “Between Brothers” (OA2 Records OA2 22127) is a fantastic and dynamic treat that features some of the best of the best—the real brothers of the music.

Special guests include the legendary Paquito D’Rivera, Dave Samuels, Luis Perdomo, Luis Quintero and Dan Willis. The band also includes some of my very favorite artists like bassist Ruben Rodriguez, Ivan Renta on tenor sax, percussionist Luis Quintero, drummer Anderson Quintero and many more. It is a band to set your soul on fire. And they do.

The album’s inaugural piece is Pedro Flores’ “Obsesión.” The piece was arranged by trombonist Mark Miller. It opens with fierce percussion and the horns and rhythm section soon come aboard. Raul Agraz and Ivan Renta are the featured soloists. Luis Perdomo keeps the rhythm section going as Renta turns in a brilliant tenor sax solo. I first heard Ivan Renta on Chembo Corniel’s “Afro Blue Monk” where he won me over once and for ever. Renta’s work here with Agraz is no less exhilarating.

Agraz’ blistering trumpet solo is supported brilliantly by the horns of Javi Olivencia, Mark Miller, Luis Bonilla and Randy Andos. The rhythm section of Perdomo, Ruben Rodriguez, Cliff Almond, Luis Quintero and Robert Quintero are fine and furious.

“Between Brothers” has the great groove set before the melody is even discernable. The Luis “Papo” Martinez composition is a sweet work for the featured artists Dave Samuels, Paquito D’Rivera, Rodner Padilla, Anderson Quintero and Raul Agraz.

The muted trumpet of Agraz is a great set-up for the clarinet of Paquito. No one thrills like D’Rivera who can swing and invigorate and charm all at once. The vibes work wondrously with Agraz and D’Rivera. This was a favorite.

“BossAgraz” is composed by Raul Agraz. It is beautifully written and arranged and is a great showcase for Agraz on flugelhorn. Dan Willis solos on soprano sax and turns in a work of true beauty. As always, the rhythm section creates the great excitement that the melodies are built upon. It is no mystery why Agraz is a Venezuelan national treasure. His work on flugelhorn is something immensely enjoyable. His tone is gorgeous. The bossa feel is always loved and Agraz works the magic well.

“A Song for You” is Raul’s song for his wife. Jon Werking takes piano duties in support of Agraz’s excellent trumpet. The string section adds a depth and a warmth to the lovely piece that sings of love and sweet affection. Werking’s piano is a fine partner for Raul’s trumpet, as the strings provide the lilt and swirl.

Sean McDaniel’s “FDB” follows with the gorgeous saxes (alto, tenor and baritone) and the featured solos of Jake Ezra on guitar and Raul Agraz’s muted trumpet. Raul works in exquisite trumpet runs and riffs that are quick and cool. Ezra creates beautiful lines with his guitar solo. The whole horn section swiftly shifts from languid to lively and simply opens wide doors of expression. The opening and closing segments are sharp.

Agraz’s original “In a Sentimental Day” contains some of Agraz’s most lush and lyrical playing on flugelhorn with Werking again on piano. The string section returns in beautiful waves with Dave Phillips on bass and Sean McDaniels on drums. Werking’s solo is touching with a hint of blues against the gorgeous tonality and phrasing of Agraz.

This is followed by another Agraz original, “One Day at a Time.” This time it is Luis Perdomo on piano with the up-tempo rhythms expressed so well by Ruben Rodriguez (bass) and Cliff Almond (drums) along with Luis Quintero and Robert Quintero on percussion. The whole horn group is in play and it works well. Perdomo offers a fine solo in anticipation of the excellent Agraz trumpet solo. Agraz does not disappoint. He is virtuosic and vibrant, sweet and sweeping, and completely satisfying. Plus, the composition is something remarkable. Gorgeous.

“Sentimiento de Canción” is composed by the great Oscar Hernandez and arranged by Ricky Gonzalez. It is hot and robust and Agraz makes it his own. He is the only soloist and he flies with it by himself. Javi Olivencia and Renta work the saxophones as Oscar Cartaya creates a pulsing and pounding bass wsith Cliff Almond back at the drums. Smoking.

“Beautiful Diana” is a John Walsh piece. It is an elegy to beauty personified. The swing of the movement is augmented by the drive of the rhythm section. Axel Laugart’s piano solo is dancing and bright. Luis Quintero on timbal works the rhythm like a madman. Agraz again is on flugelhorn and he speaks volumes in adoration. It is so well-done and well-stated. It is a thing of true beauty.

The album concludes with “Concone” by Giuseppe Concone, arranged by John Walsh. It is a lovely duet Raul Agraz on flugelhorn and pianist Axel Laugart. It is a fine example of the tone quality and texture of Agraz.

“Between Brothers”is well-described by the title. Raul Agraz has gathered his musical brothers together and together they speak of the friendship and fellowship of artistry. The energy is high and the performance is exemplary. It is carried on rivers of fire by the smoking Latin rhythms and beautiful melodies. It is what we love most—to not only hear the music, but to feel it inside. And Raul Agraz makes us feel it.



 
~Travis Rogers, Jr. is The Jazz Owl
 
 
 
 
 
 
 
 
 
 
 

Ed Neumeister played with the Duke Ellington Orchestra for more than 16 years bringing with him his skills as composer, arranger and fierce trombonist. Duke’s son, Mercer (the guy who rescued Billy Strayhorn’s “Take the A Train” from the garbage bin), would put the originals in Neumeister’s hands and call for a new arrangement. Neumeister, ever the student of Ellington and Strayhorn, would build on what they had created together.

“Suite Ellington” (PAO Records PAO11290) was originally done for Ellington’s 100th birthday in 1999. The work was brought back to life for a 2010 tour and the live recording is what has now been presented to us. An additional track, “The Single Pedal of a Rose” was recorded in late 2015.

With Neumeister (trombone) are some of his long-time collaborators and brilliant artists such as Billy Drewes (clarinet and alto saxophone), Jim Rotondi (trumpet and flugelhorn), the late Fritz Pauer (piano), Peter Herbert (bass) and Jeff Ballard (drums). The album is dedicated to the memory of Fritz Pauer.

The album opens with one of my very favorite pieces ever performed by Ellington, Juan Tizol’s “Caravan.” The arrangement is superb. The phenomenal Jeff Ballard opens with Peter Herbert’s bass to open the piece. Ballard turns Afro-Cuban rhythms lose while the horns do some sweet mix-ups on the melody. This is not a straightforward arrangement of the original, it is a worthy reinterpretation of the work.

Fritz Pauer also turns in fine piano work to work behind the splendid solos of Drewes and Neumeister. Drewes alto sax solo is a hot excursion but then comes Neumeister’s trombone solo. It is no wonder why he is synonymous with great Jazz trombone. Hearing the trombone—especially Neumeister’s trombone—take the solo on “Caravan” is a thing of beauty.

It is impossible, however, to get enough of Herbert and Ballard. Ballard can sniff out the groove from a mile away. Instead of a caravan, this is more like a band of mounted marauders—striking hard and fast and moving on to their next prey. With the live audience showing their appreciation, you can almost hear the stunned pause before the applause at the conclusion.

Ellington’s own “Come Sunday” is splendidly rendered by Fritz Pauer on piano. It is the longest track on the album but every second is pure joy in the listening. Billy Drewes joins on a sweet clarinet and the two duet together in wondrous understanding.

Neumeister brings his muted trombone into another duet with Herbert’s bass, as piano and clarinet take a seat. The two of them take a different—but no less amazing—path. Neumeister’s trombone-speak is stunning.

Jim Rotondi on trumpet and Jeff Ballard’s drums join with the full group for the final section. It is light-hearted and smart stuff. Beautiful.

“The Queen’s Suite” follows in six movements. Ellington and Strayhorn, Neumeister reminds us in the liner notes, wrote this suite for the Queen of England after meeting her in 1958. Ellington recorded it on one record and sent it to Queen Elizabeth. The work was not brought to the light of day again until 1976.

The first movement is “Sunset and the Mocking Bird.” With the piano trills and the soaring clarinet, a fine picture is painted. A cool deepening-nocturne develops and the horns imagine a warm dusk leading to darkness. It is a fantastic offering of beauty and simple delight.

“Lightning Bugs and Frogs” is a fun look at musical interpretation with throaty horns and quietly striking cymbals. It is happy and even playful against the discipline of the artists. The piece envisions an early evening festival of summer’s creatures in chorus. Neumeister paints the picture in streaming watercolor sounds that merge and blend together into something remarkable.

“Le Sucrier Velours” opens with the smooth bass and piano. Ballard joins in with the brushes before the addition of the horns. This is one of those numbers that sounds like it was crafted for just such an ensemble. The melded horns are superb and Fritz Pauer’s piano work if exceptional. "Velvet Sugar," indeed.

“The Single Pedal of a Rose” is the great spotlight for Neumeister’s solo trombone. The tonality is extraordinary and the phrasing is fascinating. The falling action is like the pedals that have dropped away, leaving the single pedal. Gorgeous work.

“Northern Lights” jump starts with the whole band in motion. The horns create an exemplary cohesion that allows so much space for the piano, bass and drums. The rhythm section is exciting and exhilarating.

“Apes and Peacocks” pick up quickly where “Northern Lights” leaves us. Ballard is again at his finest and Herbert works the bass over energetically. The percussive piano is cool as can be and then Ballard gets his solo. The guy is a beast.

The returning horns are exquisite. And Herbert turns in some of his most exciting work on the album here. In fact, this may be the single most exciting piece on the whole album which itself is full of excitement.

The album concludes with “DEPK” from the “Far East Suite.” Billy Drewes nails the clarinet and Herbert walks along with the bass. The horns light it up and Neumeister himself carries the melody with powerful finesse. Pauer creates some cool moments all around and Jim Rotondi gets in some blistering trumpet with Pauer sweeping behind. The audience whoops in appreciation.

With Fritz Pauer’s unexpected passing in 2012, the album—and this song, in particular—is a fine memorial.

Duke Ellington’s words are emblazoned on the interior panel of the album cover. They read: “Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mind.” Neumeister brings that union to life once again in this album.

“Suite Ellington” is a work of extraordinary dedication and beauty. Ed Neumeister takes some of the great and renowned works of Ellington and Strayhorn and adds a work that went virtually unknown from 1958-1976. In the process, Neumeister and his colleagues bring Ellington and Strayhorn back around to us in ways that can only make us say “Thank You.”




~Travis Rogers, Jr. is The Jazz Owl
 

Consider the Blues is bassist and composer/arranger Will Goble’s second release as a leader. This album (Origin/OA2 22132) was written in 2015 with this very line-up in mind. Goble had performed with them in 2013 and “knew immediately that I wanted to record with this quartet.”

And what a quartet! Joining Goble is his “long-time partner in crime Dave Potter on drums,” along with pianist extraordinaire Louis Heriveaux and the fine tenor saxophonist Greg Tardy. All of them are superb artists in their own right but, together, there is a swing and a drive that comes from chemistry and familiarity.

Goble has chosen a mix of standards, traditional pieces, and originals all arranged by the bright pen and agile creativity of William Goble. With an album title such as Consider the Blues, you already know what the feel is like.

Tabreeca Woodside adds her vocals to Another Man Done Gone, the first track on the album. The song is a traditional chain-gang piece rendered with such fluid subtlety by Woodside. Although an old piece, it has been reinterpreted in the glaring light of the horrifying and “infuriating” case of Eric Garner.

The drum choices of Potter strike a judgmental tone and Heriveaux’s piano work is full of dismay. Goble plays bass like a wandering stride to nowhere and Tardy’s tenor sax is more than Blues. It is anguish.

Johnson’s Magic Umbrella is a, thankfully, more lighthearted piece “inspired by a recurring dream of the enigmatic pianist Austin Johnson.” It is a tight groove with bouncing bass and drums behind the riveting tenor sax and striking piano. Heriveaux’s solo is invigorating and has its own sense of the surreal. An original by Goble, the piece is a fun jaunt and shuffle that rolls sweetly.

Dirge Blues is by one of my favorite composers ever, the great Mary Lou Williams. It takes a great pianist to interpret a great pianist and Goble knowingly tapped Louis Heriveaux for the task. Well done.

The composition itself is “haunting and compelling,” in Goble’s words. The arrangement by Goble loses nothing of that. Goble’s bass solo is sad but still sweet in recognition of loss and grief. It is a monologue of mourning. Heriveaux, on the other hand, odds a touch of resentment—perhaps anger—in the phrasing that is so remarkable.

George and Ira Gershwin’s It Ain’t Necessarily So (It Never Really Was) follows. Goble’s solo bass inaugurates the piece with exquisite touch and intent. It is the first of several interludes (prelude, in this case) to the Gershwin standard.

Tardy’s sax takes the lead and the quartet launches into a true-to-form approach that opens several portals for the swinging interludes that follow. On the one hand, you think that this is a great rendition of the Gershwin original and then the quartet breaks into something unexpected and unbelievably cool.

Goble and Potter smoke the rhythm section and Heriveaux enhances his growing reputation with remarkable work of his own here. A sweet ride.

Just Think for a Moment is a Goble original. The composition itself is beautifully structured with rests that create instants of reflection. The unmistakable Blues is carried brilliantly by the melodic work of tenor sax and piano but the bass and drums of Goble and Potter are the backbone of the Blues movement. Goble’s solo is thought-provoking and intelligent and sets the piece alight with a smoldering flame.

Belle Isle was written for Goble’s wife on the occasion of their wedding at Belle Isle State Park in Detroit. It is soulful, it is emotional, it is beautifully lyrical and Greg Tardy compels the heart to smile in agreement at what love can do to a person.

Heriveaux adds his own soulful touch and the bass and drums echo the sentiment. Goble’s solo adds his own particular warmth with such smooth vibrato longing. Again, Tardy closes the piece with stunning emotion and clarity.

They Ants Go Marching One by One But They Didn’t Come Back is a riotous and riveting piece. It is not a whimsical piece—don’t make that mistake. It is full of stürm und drang over the plight of young soldiers made to fight old men’s wars. 

Is it melodic? Yes, just like war marches are melodic. It is rhythmic? Yes, just like the march songs that young warriors sing in cadence. But there is also a furious frustration not allowed to “those who are about to die.” Is it protest? Actually, it is more like the poetry of the lost in a world moving too fast to notice anymore.

Hold Tight is another Goble original and is the first movement of The Kirtipur Suite. Kirtipur is the home home of the Newari people in Nepal. It was the Newari who suffered from the catastrophic earthquakes of 2015.

As fine a bassist as Goble is, his writing and arranging skills are just that fine. He knows how to set up a groove—that he and Potter create—and how to express emotion and melody in all the right ways. Tardy carries beautiful intonation in Hold Tight (and everything he touches, really) and Heriveaux’s piano works the same wonders. All the while, Goble and Potter swing ever-so-slightly in the piece that imagines the calm before the earthquake.

Uncertainty is what follows the destruction of the first quake and the fear during the aftershocks. Tardy’s sax moves with measured dismay in an unusual phrasing full of doubtful steps. Heriveaux moves with occasional off-notes and missed rhythms to enhance the feeling of unknowing. Goble’s bass solo also carries that very feeling of unsureness and faulty steps. A fine, fine movement to the suite.

Hopefully is the follow-up adverb to rebuild and renew. Tardy again gets to breathe deeply and take control of the emotions that ravaged immediately before. Goble’s bass measures a plan for reconstruction and for the future. Potter’s brush work casts imagery of clearing debris and rubble as Heriveaux touches moments of relief with his fine touch on the piano. There is hope, there is even a return to joy.

Three Little Words is the sweet piece of swing from Harry Ruby and Bert Kalmar. It is an upbeat, swinging Blues that allows for even optimism to find its home in the Blues. Dave Potter gets a drum solo on Three Little Words and he makes it count. Goble and Potter drive the Blues and Heriveaux and Tardy get to paint their stories over that canvas.

Will Goble’s point on Consider the Blues is that any emotion can be expressed in great detail and with great emotion by the Blues. With this quartet of Tardy, Heriveaux, Potter and himself, Goble swings the Blues with joy and sorrow, happiness and outrage. The music is astonishing. The message is profound.
 
 
 
~Travis Rogers, Jr. is The Jazz Owl
 

Trying to unravel the various influences and genres of Daniel Bennett Group’s Sinking Houseboat Confusion (Manhattan Daylight Media 016) is like attempting to follow the bloodline of the Plantagenets. Listen again and again (as you will) and you will hear Jan Garbarek, the Ventures, Ozric Tentacles, and Aaron Copland. Others hear other influences but forget all that. This is the most fun I have had in a long time with any new album.

It is not the first album by Daniel Bennett Group and beg the Universe it won’t be the last. Their first album dates back to A Nation of Bears in 2004 and Sinking Houseboat Confusion marks their seventh.

The group is made up of Daniel Bennett on alto saxophone, flute, clarinet and piano; Nat Janoff on electric guitar;  Matthew Feick on drums along with some special guests like Eddy Khaimovich on electric bass.

All of the compositions were written by Daniel Bennett and they are—each and every one—amazing.

The album is introduced by John Lizard Comes Home. The opening measures catch you. The strong melodic hook along with the beach backbeat is outrageous fun. Bennett plays the alto sax and Nat Janoff rocks the Dick Dale-esque guitar.

Now, it is indeed great fun but you are also hearing some of the most intelligent and creative stuff you can imagine. So, keep the grin on your face as you listen but also keep your ears and (more importantly) your mind open.

Andrew Variations is a sweet number with Bennett alternating between (and overdubbing) alto sax and flute. The cool bass and drums groove pave the way for exquisite alto sax and flute. Eddy Khaimovich knocks down the heavy bass lines and Janoff works a cool rhythm guitar which morphs into an effects-laden lead. Meantime, Matthew Feick carries out a cool bamboo-sounding percussion. Sweet stuff.

Bobby Brick Sent Me sounds like the messenger came from a bad basketball player or some mobster. Probably the latter. The drums are a bit menacing and the alto sax sounds like a talkative wiseguy. This was thoroughly enjoyable.

Sinking Houseboat Confusion is a grabber from the start. The chord changes were excellent and unexpected. The alto sax and flute were again in complementary duet. Janoff’s strumming was rockfish and Khaimovich and Fieck rolled a smoking groove. This one could have gone on for 30 minutes and I would have been happy.

This was followed by Paint the Fence with its Eastern guitar licks inaugurating the piece. The flute and rhythm section join in together. Go ahead and admit that you hear the Moody Blues here and then forget you ever thought it. The lines are jazzier, the guitar more esoteric, and the bass is more Jaco Pastorius than John Lodge. Bennett’s flute intonations are gorgeous. What a sweet song.

Doctor Duck Builds a Patio has Bennett back on the alto sax. Good God, this guy can create an image and an emotion with the very best. The ripping guitar of Janoff is a great add and Khaimovich’s bass is extraordinary. All the while, Bennett keeps your attention rapt in his incredible explorations on the alto. Feick works in some cool fills and rolls, as well.

We are OK! sounds like the signal from a distressed spacecraft. The Bennett alto sax and piano sound adrift while bass and drums reveal the propulsion coming and going. A hard-driving piece, the Janoff guitar strives to find direction amidst the confusion. A blistering foray into expressions of misdirection this.

Little Disappointments in Modern Life is an original poem by Michele Herman who narrates the poem to Bennett’s alto saxophone accompaniment. Bennett’s alto sax opens the piece and does so beautifully. The delivery is versatile and continues into the narration. The poem is about a woman’s disappointments with a man who didn’t press or pound or impress her, with this or that key, only to discover… You find out. The track closes with a detailed and entrancing run of the alto.

The penultimate track is Animals Discussing Life Changes. Bennett picks up the clarinet for the first and only time on this number. Playing tightly with the whole group, the guitar scratches, pulsating bass and straight-up drums, the clarinet is a warm expression of the melody. It is cheerful and lively with the discussion passed between clarinet and guitar. Fantastically frivolous.

Sinking Houseboat Confusion – Acoustic Reprise is gorgeously rendered by Bennett’s alto saxophone and special guest Mark Cocheo on acoustic guitar. It is lovely, enchanting, captivating. It serves as a rich close to an album full of riches. It is emotional and delightful. That same melodic hook reappears and brings back the same smile.

Sinking Houseboat Confusion is too creative, too fun, too innovative to ignore. With their razor-sharp and laser-focused artistry and intelligence, Daniel Bennett Group has crafted a light-handed and heavy-minded narrative that speaks to each of us precisely in the place we reside. In mischievousness or madness, joyfulness or jadedness, loss or love, Daniel Bennett Group finds you…and whispers wisdom to you.
 
 
 
 
~Travis Rogers, Jr. is The Jazz Owl
 
 

Michika Fukumori has a way about her piano playing that is almost vocal. So expressive and lyrical, the piano becomes—in the truest sense—her voice. Since coming to the U.S. from her home in Mie, Japan, Michika has performed at the finest clubs and with the greatest Jazz artists. Quality Time (Summit Records DCD679) is her second album as leader, the first being 2004’s Infinite Thoughts.

On Quality Time, Michika performs four originals and eight standards taken from Samba to Show Tunes to Standards and she makes them her own. With her on the album is bassist Aidan O’Donnell and drummer Billy Drummond. The album is produced by Steve Kuhn. Both Drummond and Kuhn were with Michiko for her first album, as well. It shows.

The album opens with the always enjoyable Jule Styne classic, Make Someone Happy. It is a standard trio approach that is made different by Michika’s own phrasing and dynamics. O’Donnell and Drummond are excellent together and in support of Michika’s melodic lines and swinging it beautifully. O’Donnell’s bass solo is a splendid retelling of the melody and shows why he is on the album. Nice ending.

The second track is from one of my very favorite composers, Antonio Carlos Jobim. The lovely Someone to Light Up My Life gets Drummond doing the Brazilian rhythms and O’Donnell bouncing alongside.

Michika’s take on the Samba is exquisite. Her classically-trained precision does not inhibit her improvisational explosiveness in any measure. In fact, she follows the rule that Oscar Peterson’s father laid down—learn classical music and let it be your vocabulary for Jazz.

The Story I Want to Tell You is an original waltz that, she says, “represents my deepest feelings for my homeland.” It is warm and generous, just like the people of Mie. It carries an old-soul feel, like the people of Mie.

Mie Prefecture is the home to the Ise Shrine, Japan’s oldest shrine. Young couples go there together, starting their young love in the oldest of venerated sites. Old people go there and touch something far older than they. The story of the young and the old are narrated warmly by Michika’s composition and performance.

Luz is also an original composition. Luz means “light” and the song was written as a meditation on the tragic Tohoku earthquake in March of 2011.

O’Donnell glides slowly beneath as Michika expresses the melancholy and the memory in this delicate prayer offering. Drummond’s cymbal washes roll like tears.

Producer Steve Kuhn wrote Looking Back. In fact, it should be said rather that Composer Steve Kuhn produced the album. Michika refers to Kuhn as “my teacher, my mentor and my musical hero.”

Michika treats the piece with a lively reverence and O’Donnell and Drummond work it over from both angles of the rhythm section. Kuhn must have enjoyed every moment of this. It is indeed a beautifully written piece and the trio makes it come alive in all the brightest colors.

Quality Time is another Michika original number. The sweet swing is lovely and O’Donnell treats his solo with equally measured delicacy. She can attack like Thelonious Monk and swing like Bill Evans without imitating either of them.

Cat Walk swings as sultry as the title suggests. Michika admits to being a cat lover and wrote this Blues piece for them. O’Donnell and Drummond slink languidly along with the piano in this feline tone poem.

O”Donnell’s solo sounds like a strutting tomcat and Drummond offers a midnight rumble. Michika paints a vivid image. Cool as a cat.

Duke Ellington’s gorgeous Solitude follows after. This ballad gets a bluesy treatment, as well. Under Michika’s arrangement, the emotional quality is almost palpable.

Velas by Ivan Lin is a return to the Latin sounds that Michika understands and delivers so well. O’Donnell offers another splendid bass solo. The guy never disappoints. Drummond plays with such understated grace that he compels attention.

Again, however, Michika strikes with such impressive delicacy and alternating power that her own dynamics are irresistible. Her range is phenomenal and her interpretations are stellar.

Two compositions by Leonard Bernstein follow. The first is Lucky to Be Me from On the Town. Michika and the guys swing the piece delightfully. This is one of the most obvious examples of the vocal quality of her playing.

O’Donnell takes a cool solo and gives a fine statement. Drummond is straight-up swing.

The second Bernstein piece is the classic, Somewhere. This was the adagio from West Side Story. The composition is… well, it’s Bernstein, isn’t it? It is beautiful and heart-breaking. And Michiko renders it just so in this piano solo performance.

She has a way of interpreting that keeps the vitality of the original while breathing something entirely fresh into it. She, in fact, breathes herself into it and that is the best we can ask.

That’s All is the 1952 classic by Alan Brandt and Bob Haymes that was first recorded by Nat King Cole. What was originally a ballad turns into hard-swing from this trio. O’Donnell again works this over feverishly and Drummond answers with his understated rolling thunder.

From the originals to the covers, Michika Fukumori makes them all her own. Her reinvention of the covers is stunning and her own compositions reveal a passion and compassion that is shown brightly through her performance artistry with O’Donnell and Drummond. Quality Time is high Jazz and we are fortunate to be reminded what that is supposed to sound like.
 
 
 
~Travis Rogers, Jr. is The Jazz Owl
 

Megumi Yonezawa was born in Hokkaido, Japan, and graduated from Berklee School of Music where she earned her Bachelor of Arts in Piano Performance and Jazz Composition. She has proven herself on recordings by vibraphonist Michael Pinto, violinist Meg Okura, trumpet master Nicholas Payton and alto sax great Greg Osby, and playing—along the way—with drummer Francisco Mela and bassists Chris Tordini and Ben Williams.

Now Megumi has released her debut album A Result of the Colors (Fresh Sound New Talent FSNT504). Joining her are bassist John Herbert and drummer Eric McPherson on this, her debut album as a leader. Megumi has written all of the songs on the album with the sole exception of For Heaven’s Sake.

The album opens with the title track, A Result of the Colors. The piano and bass introduce the piece. With her credentials, there can be no doubt that Megumi will meet any expectation as far as performance goes. What was left to examine was her writing and arranging abilities. That, too, met and exceeded all expectations.

In the trio format, and with two exceptional band mates, Megumi is able to express herself completely and to maximize the impact of her artistry. Her phrasing is excellent and her touch is precise.

Herbert’s bass solo is finely wrought and also has a deep emotional impact. When the piano returns atop the bass, the results are stirring. So very well-written and brilliantly performed.

Children of the Sun is a lively work with a bouncy introduction. Herbert and McPherson carve out a cool groove and Megumi works off of it smartly. I found myself smiling broadly at her enchanting delivery of the piece she herself crafted so well. She has moments like Keith Jarrett and that influence is enough to win me over completely.

Herbert and McPherson work in tandem flawlessly and truly flesh out Megumi’s vision of the music.

The third track is titled Untitled. The bass and drums work on something lyrical beneath the piano’s melodic lines. Then the piano and bass answer each other softly in a quiet dialogue between them. It is another example of Megumi’s excellent writing talents.

Dr. Jeckyll and Mr. Hyde opens with a menacing, albeit alternating, melodic suggestion that is taken up by bass and drums. There is clear division within the strident motifs. The piano and bass are at odds and the drums keeps up the rhythm until the abrupt—and fitting—full stop.

Sketch has a haunting quality that is irresistible. Herbert’s bass lines run in opposite directions from Megumi’s piano and then together. McPherson’s heavy drum beats add to the air of mystery.

For Heaven’s Sake is the only piece not written by Yonezawa. It is a lovely piece that is performed extraordinarily well by Megumi. It is a gorgeous ballad and the trio makes it come alive in many different ways. The piano work is like something Bill Evans would enjoy. The bass lines are warm and the drums are fascinating. Listen to this one over and over and pay attention to all three musicians.

This may be my favorite piece on the album.

Nor Dear or Fear has a quirky, odd-meter opening that is catchy and fun. The bass and drums get into a great swing and Megumi plays off of it fearlessly…like the title says. That swing is felt nicely with the trading of bass and drums.

The piece reminds me of the epitaph of Nikos Kazantzakis, “I have no hope. I have no fear. I am free.” Megumi plays with it just that way. She is not reckless but she is determined and aggressive.

A Letter from Stillness is a meditative piece full of reflection and thoughtfulness. It comes from a sense of quiet that is only shaken by the glance of memory. The grip of the piece is inescapable. It is beautiful but it is inexorable. It is like Odysseus hearing the song of the sirens.

The album ends with Epilogue. It is a farewell that wrings the heart because it is not with hope of janeh (See you soon!) but is, rather, an acknowledgment of sayonara or goodbye. It is a frenetic farewell, without joy and final.

I am amazed at the delicate ferocity with which Megumi Yonezawa plays. John Herbert’s bass can be emotional, methodical, and relentless as Eric McPherson is exploratory and experimental, sensitive and sensory. With their support, Megumi springs forward with creativity and expression befitting someone who is determined to be heard and must be heard.
Megumi Yonezawa is a voice from the future.
 
 
~Travis Rogers, Jr. is The Jazz Owl