Kurt Elling - SuperBlue (October 8, 2021 Edition Records)

After scoring his second GRAMMY Award (and 14th nomination) in March 2021, the protean vocalist Kurt Elling hangs an unexpected left turn with SuperBlue for Edition Records. It’s a torrent of roisterous funk, indelible beats and all-too-current lyrics that boasts the talents of producer-guitarist Charlie Hunter and two stars of the hip-hop generation: drummer Corey Fonville and bassist-keyboardist DJ Harrison (both of the genre-hopping band Butcher Brown). Elling has always been a master of grooves, ranging from bebop to pure pop and progressive jazz to neo-soul, but he’s never filled an album with grooves quite like these.

Thanks to newly sprung melody and lyrics from Elling, along with Hunter & co.’s fresh grooves, SuperBlue features all-new songs, innovative takes on compositions from jazz lions Wayne Shorter and Freddie Hubbard, and a raw and stripped-down treatment of “The Seed,” a still-dynamic, decades-old riff on immortality written by Cody Chestnutt. There is even a slamming new version of a Tom Waits tune.

Elling has never made an album like this – and he’s never made any album in the way that SuperBlue took shape. To this day, he has yet to meet the members of Butcher Brown in person: with travel confined by the COVID-19 pandemic, their collaboration happened across a distance of roughly 1,000 miles, with Hunter acting as go-between. In their Virginia studio, Fonville and Harrison met with Hunter to hammer out an assortment of grooves and colors; at his home in Chicago, Elling took the rhythm tracks and determined whether they called for new melodic narratives or were better suited to existing compositions. Once the groundwork was complete, Elling and Hunter got together at a converted horse barn in Urbana, Illinois, where they recorded the vocal and solo guitar tracks and mixed it all down.

For all that, Fonville considers this “one of the most organic sessions” he’s ever done, with a surprising lack of hassle or fuss. “The seeds were planted a while ago,” Elling says, “and then the pandemic got [Charlie and me] both stuck at home. The time inside was the hothouse for something new to grow. Finally, the seeds busted open and grew into this crazy, weird COVID flower.”

The writing process gave Elling the chance to return to several of his now-familiar passions, such as the Beat Generation, current politics and the interpolation of contemplative poetry into already transcendent ballads. But even these touchstones buzz with the fresh energy of contemporary jazz-funk fusion.

Speaking about Fonville and Harrison, Elling is grateful. “For those gifted young cats to give me the trust, and to vibe with me and be so enthusiastic about this project, is a great compliment. It’s enlivening and even rejuvenating in the truest sense of the word. I haven’t been paying as much attention to the groove-oriented stuff that younger cats have been developing, except in a cursory fashion – not because I don’t like it, but because I’ve been focused for so long on learning from cats like Prez and Wayne and Dexter Gordon. I feel like Joe Square-Britches coming into this stuff.”

That’s far from how the Butcher Brown musicians see Elling, widely acclaimed as the pre-eminent male vocalist in jazz. “I’ve loved Kurt’s music since high school,” says the 30-year-old Fonville, who co-produced the album. “I mean, he’s a legend at this point. I obviously knew him more as a straight-ahead vocalist, but I felt like he would feel at home with us – partly because our music is so rooted in the blues and Kurt already has a lot of blues in his music. And I was super happy at the fact that he trusted us enough to really steer things in this direction.”

Elling also placed his trust in the production expertise of Charlie Hunter to bridge the worlds of Elling and Butcher Brown; in fact, with his unassailable cred in both the jazz and groove camps, Hunter is perhaps the only musician who could have done so. “Between the records he’s made with cats like D’Angelo and John Mayer and A Tribe Called Quest, Charlie is a made guy in that world, just as he has the respect of jazz people” says Elling, who first met Hunter when both were signed to Blue Note Records in the late 1990s. They struck up an immediate rapport, leading to Elling’s guest appearance on Hunter’s album Songs From the Analog Playground; more recently, during the pandemic shutdown, they worked on some highly funkified videos for the weekly webcast Elling hosted during 2020.

As Hunter explains, “We both really thought that making those vids was a lot of fun, and when Kurt decided he wanted to make a whole record like that, he asked me to produce it. We shot some ideas back and forth and then I brought up Butcher Brown, because these guys have a great community and a great collective sound.” Hunter initially had no plans to bring his guitars to the sessions, but Elling insisted that he play on the date as well as produce. Hunter gladly gave in. “It was great working with Corey and DJ,” he says now – especially because the project didn’t call for any long guitar solos. “I’m much happier when I’m just grooving and laying in the cut, you know?”

On SuperBlue, those grooves are generous and bountiful and the mix is phat and vibrant, creating springboards for some of the most vivid tracks of Elling’s career. The new rhythmic playground shows off Elling’s still-broadening vocal prowess. The arrangements extend the singer’s already remarkable range and expand his role as a gifted storyteller, adept at both hipster humor and soul-shattering pathos.

For the former, go directly to “Can’t Make It With Your Brain,” a hilarious spear to the heart of conspiracy disinformation, wrapped in a dance-club scenario. For the latter, there’s his reprise of the Carla Bley composition “Endless Lawns,” which previously appeared on his album The Questions, and which carries a breathtaking Elling lyric, highlighted by a Judith Minty poem that clarifies the song’s ethereal beauty.

Elling’s serpentine lyrics combine with the psychedelic production to make Super Blue, Freddie Hubbard’s late-70s fusion gem, the latest addition to his portrait gallery of jazz classics. On ”Sassy,” the band freshens the dance rhythms that the Manhattan Transfer used in their 1991 tribute to Sarah Vaughan. Then Elling switches gears on “Where to Find It,” transforming Wayne Shorter’s rapturous “Aung San Suu Kyi” into a Buddhist meditation, with the assistance of Charles Twichell’s haunting poem “Animal Languages.”

Among the originals, Elling honors the centennial of Jack Kerouac – with asides to David Amram and Mose Allison – on Dharma Bums, an affectionate view of On the Road that crashes headlong into Circus, a prose poem from the Beats’ direct descendant Tom Waits. Waits recorded this offbeat narrative against a spooky big-top dirge; Elling intones it against a slam-dance funk groove that recasts the piece from a 50s pulp-noir paperback cover to a neon panel by Ed Paschke. And “Manic Panic Epiphanic” lifts the spirit with a message of hope – falsetto harmonies from the Bee Gees book – at a time when the world needs it most.

The universal accolades for Elling don’t always mention his relentless, career-long, search for new vistas. He’s recorded an album of global love songs (Passion World) and transformed the Christmas tradition (The Beautiful Day); he’s written lyrics to jazz classics, staked out 1960s-70s rock-n-roll (on 1619 Broadway), and entered into a galvanic partnership, on disc and on tour, with Branford Marsalis’s quartet. He earned his first GRAMMY for updating the historic collaboration between John Coltrane and Johnny Hartman (Dedicated to You), and his most recent statuette for Secrets Make the Best Stories, his Latin-inspired project with modern piano giant Danilo Perez.

With SuperBlue, Elling continues on this path of bold collaboration – within the confines of worldwide lockdown – to map out a strikingly new direction, on a project guaranteed to gain new listeners and stretch the ears of his devoted admirers. 

1. SuperBlue

2. Sassy

3. Manic Panic Epiphanic

4. Where To Find It

5. Can't Make it With Your Brain

6. The Seed

7. Dharma Bums

8. Circus

9. Endless Lawns

10. This Is How We Do

Kurt Elling: Voice

Charlie Hunter: Hybrid Guitar

DJ Harrison: Keyboards

Corey Fonville: Drums, Percussion

Produced by Charlie Hunter and Kurt Elling

Co-Produced by DJ Harrison and Corey Fonville

Executive Producers Bryan Farina & Dave Stapleton

Instrumental Tracking by DJ Harrison at Jellowstone RVA. 10/19/20-10/21/20 & 11/22/20-11/24/20

Vocal Tracking by Anthony Gravino at High Cross Sound 2/1/21-2/13/21

Mixed by Anthony Gravino

Mastered by Dave McNair Mastering

PREORDER

Stu Mindeman - Woven Threads (SUNNYSIDE RECORDS September 14, 2018)

It is remarkable how people and places from one’s past may become intertwined down the line. The Chicago based pianist and composer Stu Mindeman spent his toddler years in Chile. As an adult Mindeman revisited Chile, became tied to the culture, and decided to embark upon a project celebrating Chile’s musicians and legendary wordsmiths on his new recording, Woven Threads. 

When Mindeman was very young, his father took a job with a symphony orchestra in Chile; the family lived there for several years. Mindeman was too young to have received much direct influence, but he did grow accustomed to hearing the sounds of Chilean folk music from the records his mother and father brought home, and he began learning Spanish from Chilean close family friends he spent time with. 

The pianist grew up to become a busy composer, arranger and producer. Mindeman has performed all over the world, most notably with Branford Marsalis, Kurt Elling, and Antonio Sanchez, among many others. His debut recording, In Your Waking Eyes: Poems by Langston Hughes, was released in 2014 to critical acclaim. 

In 2017 Mindeman returned to Chile. He immediately became immersed in the modern Chilean music scene, where he met a number of like-minded musicians who use Chilean folk, jazz and other Latin music to express themselves. These musicians subsequently became the core of Mindeman’s upcoming project. The celebrated vocalist Francesca Ancarola stood out for her interest in jazz and Latin music. Bassist Milton Russell and drummer Carlos Cortez Diaz rounded out the rhythm section. 

As his ideas progressed, Mindeman began to focus on the poetry of two revolutionary Chileans, Violeta Parra and Víctor Jara. Parra and Jara were titanic figures in their country’s Nueva Canción Chilena and for their stance against the dictator Augusto Pinochet. A brilliant singer, composer, and teacher, Jara was arrested, tortured and killed by the Pinochet regime, shortly after the US-backed military coup. Parra was known for her poetry, songs and visual artwork. She also met a sad end, committing suicide in 1967. 

Parra’s famous tapestries and the idea of blending the music and musicians from Chile and the United States led to Mindeman’s idea of Woven Threads. Mindeman had worked in the realms of Latin jazz and Latin American music in the past and wanted to preserve the textures of the South American influences as they melded with North American jazz. The composer utilized his connections in Chile and Chicago, along with special guests, to record eight pieces with an incredible emotional scope. The Chicago contingent was made up of bassist Matt Ulery, drummer Makaya McCraven, guitarist Matt Gold, and saxophonists Geof Bradfield and Greg Ward. 

The program begins with a folk song from the Altiplano region of northern Chile entitled “Casi, Casi,” featuring a cueca/chacarera rhythm and Ancarola’s persuasive vocals. Jara’s homage to Che Guevara, “El Aparecido,” follows with its moving lyrics touching on rebellion and human rights, passionately wrought by Ancarola with an incredible rhythmic underpinning. French-Chilean hip-hop artist Ana Tijoux lends her powerful voice to Mindeman’s “Sin Sentido,” which features a wonderful back and forth between the vocals and Marquis Hill’s sublime trumpet. Mindeman’s churning “La Rueda” generates steam over a compound 5-metered groove and features the fiery alto of Miguel Zenón. The ballad “La Casa de al Lado” comes from the pen of Uruguayan songwriter Fernando Cabrera and is adapted with a new harmonic palette and structure based on candomblé and timba. 

The next two pieces are a tribute to Violeta Parra, with lyrics inspired by her poetry, penned by poet Tim Stiles and performed by the great Kurt Elling. Mindeman felt that trying to translate poems directly into English, namely “Qué Palabra Te Dijera” and “Como el Roble en el Verano,” would be a disservice to the work, so the lyrics are reimagined, based on Parra’s original imagery and emotion evoked. The introspective “What Word” is a beautifully swelling piece that highlights Elling’s emotive breath and Zenón’s plainchant tone. “A Thousand Stars” is equally stirring, with its full harmonic wealth and Elling at his heartbreaking best. The recording finds a perfect conclusion in Jara’s bittersweet “No Puedes Volver Atrás,” a song about desperation and losing hope, that entreats the listener to have faith and move forward, because there is no going back. 

Completing a circle of sorts, Stu Mindeman returned to a source of inspiration he never quite fully grasped in his early home of Chile. On his recording, Woven Threads, the pianist/composer is able to reach out to old and new friends on two continents to create passionate music that speaks to the triumph of heart over the elements.

Stu Mindeman - piano, keyboards, organ

Francesca Ancarola - vocals (1, 2, 5, 8)

Ana Tijoux - vocals (3)

Kurt Elling - vocals (6, 7)

Milton Russell - bass (1, 2, 5, 6, 7)

Matt Ulery - bass (3, 4, 8)

Carlos Cortes Diaz - drums (2)

Malaya McCraven - drums (1, 3, 6, 7)

Juan Pastor - drums (4, 5, 8), percussion (1-6)

Yuri Hevia - bombo legüero (1, 8), percussion (5)

Matt Gold - guitar

Quentin Coaxum - trumpet (7)

Victor Garcia - trumpet (1, 3, 5), percussion (5)

Marquis Hill - trumpet solo (3)

Geof Bradfield - tenor saxophone, bass clarinet

Greg Ward - alto saxophone (1, 2, 3, 5)

Miguel Zenón - alto saxophone (4, 6)

Sally Blandon - background vocals (2, 5)

Devin Velez - background vocals (2)

Sarah Marie Young - background vocals (3, 4, 7)

1. Casi Casi (feat. Francesca Ancarola) 04:52

2. El Aparecido (feat. Francesca Ancarola and Matt Gold)

3. Sin Sentido (feat. Ana Tijoux and Marquis Hill)

4. La Rueda (feat. Miguel Zenón)

5. La Casa de al Lado (feat. Francesca Ancarola)

6. What Word (feat. Kurt Elling and Miguel Zenón)

7. A Thousand Stars (feat. Kurt Elling)

8. No Puedes Volver Atrás (feat. Francesca Ancarola)

Kurt Elling - The Questions (March 23, OKEH RECORDS 2018)

The Questions, Kurt Elling’s newest studio recording, is his musical response to this moment in history and the widespread anxiety of our times. It touches artfully on challenges – personal, political, global, spiritual, and existential – and on hopes and aspirations for the future. Elling offers a vibrant and surprising choice of songs, from Bob Dylan and Paul Simon classics to jazz, Broadway, and the Great American Songbook, plus two new originals. The Questions, Elling’s second recording for OKeh Records/Sony Music Masterworks, will be released on March 23, 2018.

The Questions unfolds into a rich and irresistible musical conversation, encouraging listeners to join Elling in living with big questions and finding courage to face our fears in difficult and uncertain times.

Of the ten songs on The Questions, Elling says, “At first I didn’t understand how they were going to relate to each other.” The title finally came to him as the album was being mixed. NEA Jazz Master and celebrated saxophonist Branford Marsalis co-produced The Questions with Elling and performs on three tracks. As Elling and Marsalis worked together on the mix and sequence of songs, Elling realized that they all lined up on various sides of some big, deep questions:

What is this life?

Does meaning have being?

Why is there such suffering and pain?

Where is the wellspring of wisdom?

The Questions opens with the powerful, insistent questions and stark, disturbing answers of Bob Dylan’s “A Hard Rain’s A-Gonna Fall.” What follows is the surprising assurance of “A Happy Thought,” a poem by the American poet Franz Wright, set to music by Elling’s collaborator, pianist and arranger Stu Mindeman. This establishes a kind of back-and-forth on The Questions – searching inquiries and thoughtful responses that both challenge and inspire us to find our own answers.

The world-weary resignation of Paul Simon’s “An American Tune” is followed by falling, loss, and redemption in Peter Gabriel’s “Washing of the Water.” The Jaco Pastorius instrumental, “Three Views of a Secret,” becomes the celebratory “A Secret in Three Views” with Elling’s lyric inspired by a poem by the 13th century mystic Rumi. Elling’s lyric concedes that quests to find meaning and purpose may all be for naught, but it also encourages us to take heart and awaken to the transforming power of love. In contrast, “Lonely Town,” from the Broadway musical On the Town, by Leonard Bernstein, Betty Comden and Adolph Green, reflects the empty inner landscape when there is no love to come home to.

Carla Bley’s “Lawns” becomes “Endless Lawns,” with Elling’s new lyric interposed with a poem by Sara Teasdale, bearing the weight of emotional suffering and then finding an uplifting freedom. Rodgers and Hammerstein’s “I Have Dreamed,” from the musical The King and I, is followed by “The Enchantress,” a new song by pianist Joey Calderazzo with Elling’s lyric adapting parts of a Wallace Stevens poem. This pair touches on the fluid, shifting boundaries between dreams, imagination, and reality. The Questions closes with the gentle, wistful wonder of Hoagy Carmichael/Johnny Mercer’s “Skylark.”

Elling notes, “I began experimenting with ‘A Hard Rain’s A-Gonna Fall’ in November of 2016, just after the U.S. election. Today I wonder what I can possibly say that’s relevant now.” He adds, “Branford brought in ‘Washing of the Water’ and ‘Lonely Town.’ I was doing some Sinatra shows during his 100th birthday year, and I love his rendition of ‘I Have Dreamed.’ Guitarist John McLean came up with the gorgeous arrangement, and Branford has his big solo moment there. I like to surround myself with people who are smarter than I am who can fill in the blanks. John also arranged ‘Skylark.’”

“‘The Enchantress’ began as a song called ‘The Lonely Swan,’” he recalls, “but what brought the new title to mind was a poem by Wallace Stevens (‘The Idea of Order at Key West’) that I draw on. It’s dedicated to Branford’s mother, who died last year, and to my aging mother. The lyric becomes clear once you have that in mind.”

Elling collaborated with Branford Marsalis on their 2016 Grammy-nominated recording, Upward Spiral (OKeh Records), and now Marsalis has collaborated on The Questions. Says Elling of their musical partnership, “We’re two musicians who have dedicated ourselves to a similar task – to be jazz musicians to the greatest extent of our abilities. We pay attention to the real heroes of the music, we play in the style and spirit of the greatest jazz musicians who ever lived, and we don’t cut corners. We’re here to play great melodies and express authentic emotion – to be the real deal as much as we can.”

1. A Hard Rain's A-Gonna Fall (feat. Branford Marsalis & Jeff "Tain" Watts) 

2. A Happy Thought (feat. Stu Mindeman)

3. American Tune

4. Washing of the Water

5. A Secret in Three Views (feat. John McLean & Stu Mindeman)

6. Lonely Town (feat. Joey Calderazzo & Marquis Hill)

7. Endless Lawns (feat. Marquis Hill)

8. I Have Dreamed (feat. Branford Marsalis)

9. The Enchantress (feat. Joey Calderazzo)

10. Skylark (feat. Stu Mindeman)

Kurt Elling voice

John McLean guitar

Stu Mindeman piano and organ

Clark Sommers double bass

Branford Marsalis tenor and soprano sax

Joey Calderazzo piano

Marquis Hill flugelhorn

Jeff “Tain” Watts drums

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