Michael Eckroth’s PLENA (f/ John Fedchock & Brian Lynch) is out October 15, 2021 via Truth Revolution Records

Pianist and Composer Michael Eckroth Presents New Album Plena, due out October 15, 2021 via Truth Revolution Records

Featuring Special Guests John Fedchock and Brian Lynch

“A modern renaissance musician with the kind of insights into the music that will surprise you.” 

Raul DaGama / Latin Jazz Network

Truth Revolution Records is proud to announce the October 15, 2021 release of Plena, a new album by renowned pianist and composer Michael Eckroth. On this eight-track collection of original music, Eckroth has assembled a brilliantly cohesive set that maintains a firm relationship with the foundations of Afro-Latin jazz while actively seeking new avenues of expression. “I was looking to create music that was lyrical, modern, and true to its Afro-Latin roots, but never purist in its approach,” he shares. The resulting work is a mesmerizing Latin jazz set that embraces a wide variety of musical lineages. 

Equally at home playing straight ahead jazz, Latin jazz, and a plethora of Latin American and Caribbean styles, the Phoenix, Arizona-native has enjoyed a fruitful career as a bandleader and sideman. A GRAMMY nominated artist, Eckroth’s releases have been received with universal praise and his skills as a pianist and keyboardist have made him a regular fixture on the New York jazz scene commanding the attention of such staple names as John Scofield and Sheena Easton. Recently, Eckroth gained further acclaim as the co-founder of Orquesta Akokán, one of the most invigorating Cuban mambo bands in recent history; their self-titled 2018 release featuring Eckroth’s arrangements went on to receive a Grammy nomination for Best Tropical Latin Album. 

Eckroth comes to the fore on Plena, his first full-length release as a leader since 2015’s well-received Piano + Rhythm. The musicians on Plena, which is named in relation to the folkloric music from Puerto Rico, prove to be important contributors exemplified by galvanizing performances by bassist Alex “Apolo” Ayala, drummer Joel Mateo and ubiquitous percussionist Mauricio Herrera. Together, these world-class musicians command attention from the opening moments of “And So It Goes”, laying a solid foundation for Eckroth to let loose. The veteran saxophonist Peter Brainin is a fresh secondary solo voice, laying down a mesmerizing soprano saxophone performance on “Superspreader”, a tune that at times recalls the very best of Hermeto Pascoal’s output. 

The music on Plena relies heavily on the superimposition of disparate harmonic and melodic elements with the rhythms of bomba and plena. The title track “Plena” features the ensemble playing a melancholic melody over a slow but effervescent plena rhythm with the percussion section augmented to a great effect by Carlos “Carly” Maldonado. A standout moment is a lyrical solo by bassist Ayala who navigates the harmony with strong melodicism and inviting tone. 

Alex ‘Apollo’ Ayala, Mike Eckroth, Mauricio Herrera and Joel Mateo

The track serves as a blueprint of sorts for the entire project. Eckroth explains: “I’ve felt inspired to incorporate the bomba and plena rhythms of Puerto Rico in this band’s music, partially because of what Joel and Alex bring to the table, and partially as a way to expand the rhythmic repertoire of the group.” A central element to the recording, the role of the percussion in the compositions has been comprehensively considered. “There is a deliberate dialogue between the percussion of Carly Maldonado and the compositional elements I’ve presented, as well as references evident in the playing style of the other musicians,” Eckroth illustrates. 

Firmly in the jazz tradition, “Invernadero” is a post-modern contrafact over the changes of the standard “What Is This Thing Called Love”, showcasing the dynamic rhythm section in bassist Edward Perez, drummer Juan Felipe Mayorga, and percussionist Samuel Torres. 

The undeniably cool “Soul Cha” features seasoned trombonist John Fedchock blends seamlessly with Brainin on the head, and then shines on a short but masterfully crafted solo. The Grammy-winning trumpeter Brian Lynch lends his distinct voice on “Exotic Particles”,  a composition that would be equally at home on a 60’s Blue Note record – or a classic Latin jazz LP. 

Throughout the album, Eckroth demonstrates a keen aesthetic sense in blending folk traditions with modern jazz compositions. “Like much of Latin jazz, this is a fusionistic approach, as I’m not attempting to recreate folkloric playing styles,” the bandleader shares. “This is carving out an individualistic path, all with respect to the creators of these varied folkloric and jazz forms.” The experience and mastery of Eckroth and his cohorts make Plena a delight to listen to, and a worthy addition to the bandleader’s already stellar discography.

1 And So It Goes 3:15

2 Summer Of Love and Discontent 6:10

3 Superspreader 7:01

4 Plena 4:46

5 Invernadero 5:55

6 Soul Cha 5:44

7 Exotic Particles 2:56

8 Rain Song 5:44

All music by Michael Eckroth

Truth Revolution Records

Alban Darche & Le Gros Cube #2 (2021 Yolk Records)

The latest from Alban Darche is a nice reminder that the fascinating eccentricities that mark his music are, in their own way, an extension of jazz tradition. The newest incarnation of his ensemble Le Gros Cube takes the form of a big band, and though the music has everything we’ve come to expect from Darche—bold harmonic surges and melodies wide as the horizon—it also channels the quirky turns of phrase and unorthodox shifts in cadence that characterize his music. Darche’s various ensembles are typically comprised of immensely talented saxophonists, and this one is no different. Jon Irabagon, Loren Stillman, and Matthieu Donarier join the fray, along with trombonists John Fedchock and Samuel Blaser, and double bassist Sébastien Boisseau.

1. A la bougie 06:44

2. Ping-pong 04:35

3. Arcane XV - Le Diable 08:46

4. Arcane XVIIII - Le Soleil 03:34

5. Le Mort Joyeux 03:50

6. Beauty and sadness II 04:10

7. Le chemin (vertueux) 06:48

8. L'oiseau qu'on voit chante sa plainte 03:33

9. Arcane XXII - Le Mat 03:22

10. Le cercle 04:15

Jon Irabagon : alto saxophone

Loren Stillman : alto saxophone

Alban Darche : tenor saxophone

Matthieu Donarier : tenor saxophone, clarinet, bass clarinet

Rémi Sciuto : baritone saxophone, flute

Joël Chausse : trumpet

Geoffroy Tamisier : trumpet

Jean-Paul Estiévenart : trumpet

Olivier Laisney : trumpet

John Fedchock : trombone

Jean-Louis Pommier : trombone

Samuel Blaser : trombone

Matthias Quilbault : tuba

Marie Krüttli : piano

Gilles Coronado : guitar

Sébastien Boisseau : double bass

Christophe Lavergne : drums

All compositions & arrangements by Alban Darche

Recorded and mixed by Jonathan Marcoz at Peninsula studio in January 2020, under live conditions.

Mastered by Pierre Vandewaeter at studio Lakanal.

01. À La Bougie — 06:44

Soloists: A. Darche, tenor — J. Irabagon, alto

02. Ping-Pong — 04:36

Soloists: L. Stillman, alto — C. Lavergne, drums A.Darche, tenor — M.Donarier, tenor

03. Arcane XV — le DiaBle — 08:46

Soloists: A. Darche, tenor — G. Tamisier / O. Laisney, trumpets

04. Arcane XVIIII — le Soleil — 03:35

Soloist: M. Donarier, tenor

05. Le Mort Joyeux — 03:51

Soloist: M. Krüttli, piano

06. Beauty And Sadness II — 04:11

Soloists: G. Coronado, guitar — S. Boisseau, double bass

07. Le Chemin (Vertueux) — 06:49

Soloists: A. Darche, tenor — J. Fedchock / J.L. Pommier / S. Blaser, trombones — L. Stillman, alto — O. Laisney, trumpet

08. L’Oiseau Qu’On Voit Chante Sa Plainte — 03:34

09. Arcane XXII — Le Mat — 03:22

Soloist: L. Stillman, alto

10. Le Cercle — 04:15

Soloist: A. Darche, tenor

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John Fedchock NY Sextet - Into The Shadows (Summit Records)

John Fedchock NY Sextet releases Into The Shadows,

a recording featuring an all-star roster 

performing fresh originals and new takes on standards

“Straight from the shoulder, unpretentious jazz.” – Jazz Journal

 

“a lineup of dazzling New York post-bop talent.” – Boston Post Gazette

 

“This is modern music that is symmetrical and harmonious and therefore a joy to the ear.” – AllMusic

 

“This tight sextet is astounding.” – Jazzscene

The John Fedchock NY Sextet recording Into The Shadows – released by Summit Records on July 17, 2020 – is the trombonist’s tenth album as leader, this time with an all-star group showcasing Fedchock’s notable solo skills and bringing his special composing/arranging to the forefront. The recording features new treatments of familiar standards coupled with five Fedchock originals in a dynamic album capturing a seasoned group of veterans. Fedchock shares the spotlight equally with the sextet’s other top-notch soloists: trumpeter Scott Wendholt, tenor saxophonist Walt Weiskopf, pianist Allen Farnham, bassist David Finck, and drummer Eric Halvorson. 

Although he’s garnered many accolades and GRAMMY award nominations for work with his New York Big Band, Fedchock explains his foray into the smaller format:  “Working with the sextet is the best of both worlds. While still giving plenty of space for individual soloists, the configuration offers unique, creative writing options and maintains a sleek and mobile blend.” Fedchock updates standards with a 21st century feel through his modernized arrangements while still embracing the heritage and provenance of the music. Considering the history of legendary sextets in the jazz canon, Fedchock understands that those groups “set an extremely high standard, so my biggest challenge in forming this NY Sextet was to honor that distinguished tradition and create something individual.” 

Fedchock’s NY Sextet has been in existence for nearly 20 years. It was first heard on a few tracks on Fedchock’s 2000 release, Hit The Bricks (Reservoir), which initiated the official formation of the band. The group’s 2010 release, Live At The Red Sea Jazz Festival (Capri), showed a glimpse of the sextet at a large international showcase. AllAboutJazz called the performance “electrifying” and declared Fedchock “a wildly creative composer who suggests melodies that turn into spectacular edifices.” Improvijazzation Nation exclaimed, “When you experience the levels of intensity they are playing, you know you're in the presence of jazz royalty, no doubt!”

 

With Into The Shadows, the trombonist’s acclaimed composing is clearly on display, featuring fresh writing anointed with Fedchock’s indelible musical signature. Five Fedchock originals cover the gamut of styles and emotions, honoring but not imitating music from history’s great sextets. The opening track RSVP starts off with a bit of abstract dissonance before opening up into familiar chords and an infectious Latin groove. Alpha Dog, the assertive shuffle, harkens back to memories of Art Blakey’s Jazz Messengers, but Fedchock’s harmonic approach gives the tune a decidedly updated sound, taking away any intent of a “retro” message.  Manaus, dedicated to the city in Brazil’s Amazon region, is smooth and warm, with a seductive melody and lush horn harmonies. The title track, Into The Shadows, inspired by Fedchock’s introspective time writing at the Yaddo artist’s retreat, is a lamenting theme with a fragile allure. His a cappella trombone introduction sets the mood of solitude, and dense harmonies create a solemn tone for reflective solos by Fedchock, Wendholt and Farnham.

Fedchock’s distinctive arranging style puts each of the three well-known standards into a completely new and different light. I Should Care, normally performed as a ballad, is treated as an up-tempo vehicle offset with a disjointed rhythmic vamp to keep things off balance. An Afro-Latin setting transports the classic Nature Boy deep into the rainforest, giving the theme an added depth and heightened intensity. And Star Eyes, a straight-ahead standard played by many bebop masters, is totally transformed utilizing bright post-modern harmonies and a churning even-eighth feel that eventually relents to Fedchock’s trombone in a masterfully swinging extended solo. And although an original melody, RSVP is actually a contrafact that Fedchock describes as a “reply” to the chord changes of the old standard, Invitation.

 

Closing out the session is On The Edge, Fedchock’s energetic blues theme, culled from his 1998 big band release of the same name. It is the album’s most straight-ahead tune set in an open blowing format, showcasing each player’s mastery of the music while displaying a relentless and undeniable groove, right to the final note.

 

Regarding his stellar sidemen, Fedchock says, “All are master improvisers who not only thrive within a modern framework, but also have not forgotten how to swing in a genuine and profound way. Players with these qualities give me the freedom to experiment with vintage repertoire by adding a new viewpoint while still maintaining the true essence of the material.” 

 

In recent years, Fedchock has focused on featuring his virtuosic trombone in small group projects, most notably with his quartet. His two releases Fluidity and Reminiscence (Summit) brought praise from critics including DownBeat, who observed,“With a golden tone and powerful delivery, Fedchock leads the quartet through standards and originals, delivering a timeless brand of hard-bop that’s free of cliché.” The New York Times has heralded Fedchock for his “dazzling trombone virtuosity.”His style eschews mere pyrotechnics for a relaxed lyricism and his sound is inviting and perfectly articulated.

Amidst it all, Fedchock has continued to keep his critically lauded 16-piece New York Big Band on the front burner.  The stellar unit, which has set the standard for modern, post-swing large ensembles for over three decades, has become a marquee group bringing Fedchock to the GRAMMY finals twice for his notable arranging skills.  The band has been stunningly captured on four Reservoir releases and one for MAMA Records.  

 

Born in Cleveland, Ohio, Fedchock began his career in 1980 as a jazz trombonist with the legendary Woody Herman Orchestra, serving as featured soloist, musical director and chief arranger for Herman's last two GRAMMY nominated albums.  Herman said of Fedchock, "He's my right hand man. Everything I ask of John he accomplishes, and I ask a lot. He's a major talent." Fedchock has also toured with Gerry Mulligan, T.S. Monk, Louie Bellson, Bob Belden and the Carnegie Hall Jazz Band, and has performed as a featured soloist, composer and conductor around the world. 

 

After the NY Sextet’s 2010 live release, DownBeat exclaimed, “Here's hoping Fedchock can keep this group out on the road so their impressive rapport can evolve even further.” Fedchock took that comment to heart, and now, ten years later, this album is the delightful result of that evolution.

1. RSVP 6:37

2. Alpha Dog 7:24

3. Manaus 7:16

4. I Should Care 7:01

5. Nature Boy 8:10

6. Into the Shadows 7:37

7. Star Eyes 7:16

8. On the Edge 6:25

John Fedchock: Trombone

Walt Weiskopf: Tenor Saxophone 

Scott Wendholt: Trumpet, Flugelhorn

Allen Farnham: Piano

David Finck: Bass

Eric Halvorson: Drums

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March 21: John Fedchock's NY Sextet performs in WPU's Jazz Room Series at Home

William Paterson University's Jazz Room Series at Home

Presents

John Fedchock’s New York Sextet

Streaming on Sunday, March 21 at 4 p.m. EST

CD release concert for Into The Shadows

“A near-perfect combination of mobility and weight, and with them, confident modernity…” (DownBeat)

 Advance tickets required, pay what you choose, $10-$25 general public, $8 students and WP community, WP students free. Click here for information and tickets.  

3 p.m. –  Sittin' In Meet–the–Artist session with Fedchock via the WP Presents! YouTube channel. Click Here to View

The concert was recorded live at Shea Center for the Performing Arts

The event celebrates Into The Shadows, Fedchock's dynamic tenth album as leader (July 2020). The album showcases new treatments of familiar standards coupled with five originals. Joining Fedchock on the album are trumpeter Scott Wendholt, tenor saxophonist Walt Weiskopf, pianist Allen Farnham, bassist David Finck, and drummer Eric Halvorson.  The album earned wide critical acclaim.

4 stars: "John Fedchock’s writing and arranging skills have been admired since his days with Woody Herman.  This smaller unit gives him a near-perfect combination of mobility and weight, and with them, confident modernity, even as Fedchock examines some repertory favorites.... one of his most poised and assertive recordings yet.” – Brian Morton, DownBeat

4 stars. '"The level of musicianship is high all around. Everything, understandably, falls right into place on Into The Shadows." –  Dan Bilawsky, All About Jazz

"As always, Fedchock has gathered a stellar crew around him to bring his original compositions and arrangements to life, and they play with all the tightness and joy you’d hope." – Rick Anderson, CD Hotlist

"When you have a band of musicians with the solo strengths that these players bring to the table, it is guaranteed that one moment of listening pleasure after another will occur.  The album may be titled Into the Shadows, but the excitement that pervades this music is definitely out in the open." – Joe Lang, Jersey Jazz

John Fedchock Quartet - Reminiscence (SUMMIT RECORDS 2018)

REMINISCENCE, the newest CD by JOHN FEDCHOCK, will surely enhance his already stellar reputation as a trombone master. The CD is a follow-up to his 2015 release Fluidity. Fedchock culled tunes for both CDs from a live show he performed over three nights with his quartet in a club in Virginia Beach, VA, called Havana Nights. Although the club has since closed, it was a beautiful, intimate space that was acoustically designed for recording with state-of-the-art equipment.

Although he’s garnered many accolades and awards for his larger ensembles, playing in a small club with just his quartet gives Fedchock and the band opportunities to stretch out and take chances. “Playing in this setting allows the players more of a chance to interact and create an intimate conversation through improvisation,” says Fedchock. “It offers endless possibilities for making good music.”

Fedchock’s tone is warm and perfectly articulated. He eschews mere pyrotechnics for a swinging lyricism. He updates standards with a 21st century feel through his solid, modern arrangements while still embracing the heritage and provenance of the music. The CD comprises a mix of jazz standards and Fedchock originals. Fedchock released the first group of tunes from this session on Fluidity in 2015. “I had a lot of fun on this gig,” Fedchock exclaims. “The entire group did, and I think you can hear that in the music.

So I later revisited the music from the entire live recording session, and with the benefit of time and perspective, I came to the realization that the remaining tunes that didn’t make the first recording really deserved their own release.” Fedchock is a sophisticated, sensitive trombonist, arranger, and composer. There are many exciting moments on REMINISCENCE, and the performances by all the musicians are outstanding.

This CD is not merely a follow-up to Fluidity but a project that stands on its own. It is a superb example of the magic that great jazz artists can conjure when all the stars align.