lunes, 10 de noviembre de 2014


Source & Label: Sunnyside Records
Gab's Rating: ☆ ☆ ☆ ☆ ☆

Often musicians find it refreshing to look back to past styles and masters to stimulate their creativity. This enables listeners to hear the true breadth of a musician’s artistry, from their most contemporary developments to their knowledge of the “tradition,” which is so important in jazz.

The New York City based saxophonist Michael Blake has built his reputation by producing albums that "make the familiar sound fresh" (Jim Macnie, Downbeat). That statement couldn't apply better than to Blake's new release, Tiddy Boom, his nod to the magnificent tenor saxophone innovators Coleman Hawkins and Lester Young.

Recorded in January 2014 and set for release on Sunnyside Records (October 28th, 2014), the session sounds like a classic recording date from the 1950s or 1960s. Tiddy Boom reunites Blake with two of his former Jazz Composers Collective colleagues, bassist Ben Allison and pianist Frank Kimbrough, who, along drummer Rudy Royston, provide effortless support for Blake’s tenor sax to flow in any direction he chooses on his program of all original compositions.

As Blake puts it, "I wrote these tunes with my friends in mind. They are swinging and melodic pieces that revere the type of spirit inherent to jazz that drew me into the music. But what I think gives Tiddy Boom that classic jazz sound is a combination of several things: First and foremost is the passion we all share for this music and the respect we have for the musicians that created it. On top of that is the trust we have in each other, a camaraderie that comes from being on the road together and years of hacking it out in NYC. In that regard we continue to walk in the footprints of the giants.”

The title references Lester 'Pres' Young (1909-1959), who had a vernacular all his own. Some of his infamous words include the invention of crib for apartment, Lady, as in Lady Day (Billie Holiday), and the word cool. While watching an old video of Pres, Blake picked up on him requesting the drummer to give him, "little tickity boom, please," which has since evolved into Tiddy Boom.

Blake has been known for producing contemporary jazz albums, often using world music influenced grooves, electronic tinges and avant-garde elements but always ripe with an underlying rhythmic sensibility. What sets this recording apart from his other work is that Tiddy Boom is all about the tenor saxophone.

"Last year I received Chamber Music America's 2013 New Jazz Works: Commissioning and Ensemble Development program funded through the generosity of the Doris Duke Charitable Foundation commissioning me to write a new work entitled Contrasts in Individualism. The compositions reflect on the stylistic innovations of Hawkins and Young that gave birth to modern jazz by peering at their concepts through a contemporary lens. I am now an artist in mid-career and I felt this commission brought with it an important opportunity for me to find my own identity as a tenor saxophonist.”

The recording begins with the sly blues of “Skinny Dip,” a coy piece with wide dynamic shifts. The title track is an uptempo swinger with a liquid melody and features Royston’s wonderful drum work and Blake’s warm tone. “Hawk’s Last Rumba” slows the pace with passionate ballad with drippingly led by a resonant duo between tenor and Kimbrough’s piano, later stirred by the supportive bass and drums. The charging “Boogaloop” features the ensemble in full force with Allison’s driving bass over a rhythmic monster with tricky stops and starts.

The knotty “Coastline” is perfectly suited for the deft hands of Blake and Kimbrough while rhapsodic “Letters In Disguise” begins impressionistically and builds into a bright and wonderfully swinging ensemble workout. “A Good Day For Pres” is prancing tune balancing a strong Kansas City swing with a funky New Orleans rhythm, all with a tremendous dialogs between band members, especially that between Blake and Allison. The recording concludes with “The Ambassadors,” a praiseworthy gospel inflected tune that is a perfectly uplifting coda to the program.

There is no better tribute for another artist than to utilize lessons learned from and spin them into something original. Michael Blake has reached back to his musical forefathers, Lester Young and Coleman Hawkins, to create a recording in Tiddy Boom that looks forward yet feels classic.

1. Skinny Dip 04:59
2. Tiddy Boom 05:33
3. Hawk's Last Rumba 06:19
4. Boogaloop 03:35
5. Coastline 03:32
6. Letters In Disguise 09:29
7. A Good Day For Pres 05:49
8. The Ambassadors 07:43 

Michael Blake - tenor saxophone
Frank Kimbrough - piano
Ben Allison - bass
Rudy Royston - drums 

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


Alexander Hawkins - Song Singular (2014)

Song Singular is a significant milestone in the ever-expanding discography of young British pianist, Alexander Hawkins – his very first solo piano album. 

Following in the footsteps of such classic solo recordings as Sun Ra’s Monorails and Satellites, Cecil Taylor’s Praxis, and Art Tatum’s Piano Starts Here, Hawkins presents an excursion into the possibilities of unadorned, unaccompanied piano. 

Though the pieces on Song Singular resound with a sense of unpredictability and freedom, not one is a free improvisation. Rather, each performance takes a strong compositional idea as a springboard to extemporisation – with stunning results. 

Across these ten tracks, Hawkins draws on the same incisive compositional acumen he’s deployed in Convergence Quartet and with his own Ensemble, here laid bare in the white hot glare of solo performance. Describing his approach to Song Singular, Hawkins told Jazzwise: 

“I haven’t necessarily thought of over-arching structures but more harmonic or gestural ideas as compositional things. Most of my writing as a leader to date has been for a medium sized ensemble: lots of the compositional tricks that I take from Anthony Braxton or, say, Charles Ives – the happy chaos of having lots of things going on at once – when you’re really forced to pare it down, to understand where your language is coming from, where you’ve only got two hands to deal with stuff, those options aren’t there so much. So it was really interesting thinking about how I could translate something compositional onto the solo framework.” 

Pieces like ‘The Way We Dance It Here’ and ‘Joists Distilled’ pay clear homage to the percussive melodramas of Cecil Taylor – full of balletic leaps, low tonal clusters and garrulous interrogations, while on ‘Hope Step The Lava Flow’, Hawkins tips his hat to the more explicitly melodic jazz of Art Tatum, with sly motifs coyly surfacing at oblique, unexpected angles. Elsewhere, two other giants of the keyboard – Duke Ellington and Sun Ra – loom large, with a delightfully splashing and playful rendition of ‘Take the “A” Train’ that reprises the freewheeling mood and style of Ra’s version on the Live at Montreux album. 

With Song Singular, Alexander Hawkins stakes his claim not just as youthful heir to these iconic figures, but as a key 21st stylist in the art of solo piano. 


Alexander Hawkins is “the pre-eminent UK avant-jazz keyboardist of his generation” (Jazzwise). 

Hawkins plays in Ethio-jazz pioneer Mulatu Astatke’s band; he has recorded with South African drum legend Louis Moholo-Moholo; and he co-leads the transatlantic Convergence Quartet and, together with bassist John Edwards and drummer Steve Noble, the Hammond organ trio Decoy, with whom he’s performed and recorded with veteran US avant-gardists Joe McPhee and Marshall Allen. He also leads his own ensemble, which has just released its third album, Step Wide, Step Deep, also on the Babel label.

Alexander Hawkins: piano

01. The Way We Dance It Here 05:24
02. Early Then, M.A. 06:19
03. Joists, Distilled 03:49
04. Stillness from 37,000 ft. 05:06
05. Two Dormant, One Active 05:40
06. Hope Step the Lava Flow 03:52
07. Take the A Train 02:57
08. Distances Between Points 04:06
09. Advice 06:19
10. Unknown Baobabs (Seen in the Distance) 04:29

"Hearing is Everything" Peter Watkins