Jerome Jennings - The Beast (2021)

Drummer Jerome Jennings, takes the lead in this swinging, soulful sextet. The brass is heavy with trumpet/flugelhorn player Sean Jones, trombonist Dion Tucker, and tenor saxophonist Howard Wiley. McBride is present on his bass as well as fellow Trio pianist Christian Sands. Four of the nine tracks are composed by Jennings himself, with the others from the pens of Ben Webster, Freddie Hubbard, Don Ray & Gene de Paul, Vincent Brantley & Rick Timas, and Jon Burr. Scatting vocalist Jazzmeia Horn appears on You Don't Know What Love Is.

The title track, The Beast, stems from his incident of "driving while being Black" and the photography and text on the album packaging support his outrage. The music of the album, however, is full of love and respect of his craft. Educated at Rutgers and Julliard, Jennings further developed his skills with many esteemed jazz artists; he worked with Sonny Rollins for three years, and his schedule is filled with educational and diverse performance gigs. Jennings drum work is evident in Cool It Now, with Vernel Fournier's Poinciana beats.

The album is cheerful with nice grooves and shuffles, but there is also some side excursions: McBride's solo is the entry to Hubbard's hot and furious piece, The Core; Cammy's Smile is a slow, sweet ballad for the daughter of Jennings' late friend drummer Tony Reedus that has wah-wah muted trumpet; and then there is The Beast, a drama with snare drum introduction, driving, trombone siren, jittery and staggering solos. The final track, New Beginnings, begins with waving chime percussion and harmonious brass; it includes a spoken sampling of a #blacklivesmatter protest speech, which reminds me of Gil Scott-Heron and his early 1970s releases. This debut album is thoroughly satisfying in arrangements and compositions, balance, sonority, and grooves. 

1. Love The Drums - Jon Burr 5:15

2. Cool It Now - Vincent Brantley, Rick Timas 8:48

3. Ice Cream Dreams - Jerome Jennings 5:16

4. You Don’t Know What Love Is - Don Raye (lyrics) and Gene de Paul 6:31

5. Did You Call Her Today - Ben Webster 7:43

6. The Core - Freddie Hubbard 10:09

7. Cammy’s Smile - Jerome Jennings 7:10

8. The Beast - Jerome Jennings 4:58

9. New Beginnings - Jerome Jennings 6:44

SHORT DESCRIPTION OF THE TUNES

LOVE THE DRUMS - Props to my friend, bassist and composer Jon Burr, for writing this tune with me in mind. The title says it all. Not only do I love the drums, I also love to play shuffle grooves.

COOL IT NOW - "Ronnie, Bobby, Ricky, and Mike..." one of the most important influential R&B vocal groups: New Edition! Actually, this was the first musical group my parents took my brother and me to see at a very popular music hall in northeast Ohio called The Front Row (it no longer exists). Side note: respect to Johnny Gill (who wasn't in the group yet when we saw NE).

ICE CREAM DREAMS - Between the months of May and August there is one tune that puts a smile on every kid's face on most every block in this country. "The Ice Cream Man is coming!!!" The Mister Softee theme is the most ubiquitous tunes I heard while living in Brooklyn, NY. It has a catchy and infectious ring, but most importantly it makes kids happy and laugh. I would see kids joyfully running to the ice cream truck outside of my window.

YOU DON'T KNOW WHAT LOVE IS- This is a classic standard by Don Raye/Gene de Paul. We are all in search of affirmation and love. This arrangement is by Curtis Fuller. I replaced the top trumpet voice with the fantastic vocalist, Jazzmeia Horn.

DID YOU CALL HER TODAY - This swinger is from the pen of Ben Webster. My mom and I have always been really close. Once I moved to the east coast we became even tighter. I suspect it was because of the distance. I tried my best to call her everyday to let her know I was alive and well. This tune is dedicated to her and her constant support.

THE CORE - This is one of my favorite tunes. Art Blakey and The Jazz Messengers recorded this on one of my all time favorite records "Free For All." Freddie Hubbard wrote this tune commemorating the Congress Of Racial Equality (CORE). The CORE organization played a pivotal role for African Americans during our struggle for Civil Rights during the 1950s and 60s. Its stated mission was "to bring about equality for all people regardless of race, creed, sex, age, disability, sexual orientation, religion or ethnic background." Many jazz musicians performed at CORE benefits during the 1960's.

CAMMY'S SMILE - When I moved to the east coast in fall of 2002 I was blessed to befriend drum great Tony Reedus. The next year he invited me to his place for Thanksgiving. His then fiancée (they later married in 2006), Niecy Grice, treated me like family from day one. They soon had a child, a beautiful girl named Cameron. In November of 2008, Tony unexpectedly passed away. Needless to say this was a very sad time for the family, and our music community was hit hard by the loss of one of the great ones. The year that Cameron Reedus lost her father, she was only five years old. Little Cammy's consistent upbeat attitude and smile was a great source of encouragement. This entire tune represents a conversation between Cammy (the muted trombone) and Reedus (the tenor saxophone).

THE BEAST - This tune was inspired by a troubling encounter with a Mercer County (NJ) police officer. Mom advised me to "put the emotion you felt in a song." Everything that happens in this piece is significant. The drum roll at the beginning represents me driving. It slows down as I pull over to the side of the road. The horns represent me and the rhythm section represents the officers cutting me off as I try to explain what I'm doing in that particular neighborhood at 2am.

NEW BEGINNINGS - This is a piece that I composed with the encouragement of my friend and mentor, Victor Lewis. The title represents a dual meaning: the beginning melody is stated by all of the horns while at the 'B section' each band member passes each phrase around creating a new sound or new beginning before we all unite for the climactic last 8 bars before the last 'A section.' I only hope to show that as individuals we can accomplish amazing things, but together we can do even more. Educator, activist, and actor Jesse Williams gave a courageous speech this year at the 2016 BET Awards. I've included excerpts of it at the end of the piece. I believe that it’s time for a new beginning in our country as well.

Jerome Jenning - drums, percussion on track 9

Sean Jones - trumpet, flugelhorn on track 2

Howard Wiley - tenor sax

Dion Tucker - trombone

Christian Sands - piano

Christian McBride - bass

Jazzmela Horn - vocals on track 4

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Ariel Bart - In Between (May 20, 2021 Ropeadope Records)

We are excited to present to you new music from rising chromatic harmonica player, Ariel Bart.

Yes, we said harmonica. here’s the scoop:

Working to extend the harmonica’s boundaries by creating original music, Ariel Bart is bringing a fresh sound to Jazz. The Jazz influences from her mentors are evident on her debut album, In Between, set for release on May 20, 2021, yet she stretches into unknown territory with the unique sound of the harmonica. Hints of Jonathan Levy and Tin Hat Trio are there in her solos, backed by a free flowing composition and playing from Mayu Shviro (Cello), Moshe Elmakias (Piano), David Michaeli (Double Bass), and Amir Bar Akiva (drums). The interplay with the band highlights the unique feelings evoked by a lead harmonica - always longing with a touch of sadness but punctuated with moments of pure joy.

'Storytelling in any form of music always grabs my attention; and my response to Ariel's style was instant. In Between feels like a soundtrack to my own journey; a remarkable connection between artist and listener is immediately evident' (Louis H. Marks, Ropeadope)

1. Spiritual Wars

2. Colors Palette

3. Stranger on the Hill

4. Memory of a Child

5. Deep Down

6. The Year After

7. Intro (feat. Mayu Shviro)

8. In Between

All compositions composed and produced by Ariel Bart

Mayu Shviro - Cello

Moshe Elmakias - Piano

David Michaeli - Double bass

Amir Bar Akiva - Drums

Ariel Bart - Harmonica

Mix - Yaron Mohar

Mastering - Yoram Vazan

Recording engineer: Arik Finkelberg

Recorded and mixed at the "Yellow Submarine JLM”

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The Philadelphia Experiment (Uri Caine / Ahmir Thompson / Christian McBride with special guest Pat Martino) - The Philadelphia Experiment (April 2021 Ropeadope Records)

At a time of deep reflection on the 21st Century; of our very lives, of our values, and of the art that is of value, Ropeadope takes a step back to the beginning. While the label began in 1999, it is clear that the 600 albums released in the last 20 years mark a reflection of the times; a chronicle of musical evolution from a centralized marketing machine to a wide field of independent artistic creation. The Philadelphia Experiment stands as the definitive Ropeadope album; three titans of the scene in the studio with producer Aaron Levinson making music on the fly, answering only to their muse and the subject; Philadelphia.

The Philadelphia Experiment was met with wonder and acclaim, fusing influences with respect for the legacy and an adventurous spirit. Young artists would look to this album as a starting point, a realization of what is possible. And yet it also stands as a historic document that defines a method of independent creation that defines Ropeadope to this day, and inspires musicians to simply create.

It is with this sense of history that Ropeadope celebrates 20 years since the June 2, 2001, release of The Philadelphia Experiment. A limited run of 1000 Double Vinyl LP’s will be pressed (plus 10 test pressings). With original 2 inch tape lost to time, the audio has been gently remastered from digital files for optimal Vinyl sound by G & J Audio. The lacquer will be etched with a blockchain transaction id, and each copy will carry a unique QR code entitling the buyer to a non-fungible token (NFT) specifically minted for the project as a permanent certificate of ownership. This will be the first time that NFT’s are directly linked to physical Vinyl LP’s. 

1. Philadelphia Experiment 04:15

2. Grover 04:57

3. Lesson #4 02:52

4. Call For All Demons 05:26

5. Trouble Man Theme 04:31

6. Ain’t It The Truth 06:10

7. Ile Ife 05:04

8. The Miles Hit 05:45

9. (Re) Moved 02:06

10. Philadelphia Freedom 03:09

11. Mister Magic 03:33

12. Just The Two Of Us 03:58

Uri Caine / Fender Rhodes Electric Piano, Steinway Grand Piano and Hammond B-3 Organ

Ahmir Thompson / Drums

Christian McBride / Electric and Acoustic Bass

with

Pat Martino / Electric Guitar on (1) (2) and (4)

Jon Swana / Trumpet on (1) and (5)

Larry Gold / Cello & Arranger on (10)

Aaron Luis Levinson / Handclaps and SFX on (2) and (9)

EXECUTIVE PRODUCER: Andy Blackman Hurwitz

PRODUCED BY: Aaron Luis Levinson

ENGINEERED BY: Jon “Iron Man” Smeltz and Jim Bottari

SECOND ENGINEER: Carlos “Storm” Martinez

ASSISTANT ENGINEERS: Gordon Goss & Jim Bottari

RECORDED & MIXED at The Studio, Philadelphia, PA. from September 25-27, 2000

All songs mixed by Aaron Luis Levinson and Jon Smeltz except: “Philadelphia Experiment” and “Grover” mixed by Uri Caine, Aaron Luis Levinson and Jon Smeltz, and “Philadelphia Freedom” mixed by Jim Bottari

ASSISTANT MIX ENGINEERS: Krystof Zizka and Gordon Goss

This entire jawn was recorded and mixed within the analog universe by the Iron Man. This entire jawn was mastered and tweakified into the digital universe by Mike “The Wizard” Fossenkemper.

REMASTERED BY: G&J Audio, Union City, NJ.

DESIGN: David Bias

PHOTOS: Candice DiCarlo

Ahmir Thompson appears courtesy of MCA Records

Christian McBride appears courtesy of The Verve Music Group

Uri Caine appears courtesy of Winter & Winter Music

Pat Martino appears courtesy of Blue Note Records

Jon Swana appears courtesy of Criss Cross

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Daniel Carter / Brad Farberman / Kid Millions - Forever Is an Infinite Always (2021 Ropeadope Records)

One of the joys of being a musician is hopping onstage with people you’ve never played with before. I’d been a fan of Kid Millions since checking out his band Oneida in 2015, but I hadn’t had the right project to pitch him. Daniel had never played with Kid either before this night. I think we hit on a sort of mellow chaos, which is sometimes the best kind of chaos. It’s beautiful when things are both what they are and what they aren’t.

1. Recorded 07:57

2. Live 06:34

3. At 08:24

4. Nublu 06:31

Daniel Carter // flute + trumpet + tenor saxophone

Brad Farberman // guitar

Kid Millions // drums

All songs created right then and there by Daniel Carter, Brad Farberman, and Kid Millions Recorded live at Nublu on August 20, 2019

Mixed by Jonah Rosenberg

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The Fergus Quill Trio - Zoop Zoop (April 2021 Tight Lines Records)

The Fergus Quill Trio is an ensemble based in Leeds who are led by the inimitable Fergus Quill and inspired by the whole range of 20th, 21st and 22nd century improvised music: from Jelly Roll Morton to Sun Ra to Derek Bailey to Puture Ferson.

Zoop Zoop’ is the first collection of original music recorded and released by The Fergus Quill Trio, though the trio have been bubbling on the city’s live scene for a short while. Influenced by the classic piano trios of Oscar Peterson and Bill Evans, Contemporary Classical music and free improvisation, it is in equal parts swingin' and disorientating; a dichotomy that’s come to define a subsection of the burgeoning Leeds DIY Jazz scene.

The record was birthed during a single overnight session at Eiger Studios and produced by Hamish Dixon and Will Lakin, who both guest instrumentally. Florence Rutherfood-Jones also contributes the original graphic score, “Echo Location”.

1. ¿Who Shot Pinetop? 03:24

2. Sun Dream 07:44

3. Organ Bellows 03:18

4. Not A Lot There 06:45

5. Itchy & Scratchy 02:44

6. Echo Location 02:09

7. Watusi 03:40

Fergus Quill ~ Double bass, viola, vocals, percussion and composition

Nico Widdowson ~ Piano, vocals and percussion

Theo Goss ~ Drums, vocals and percussion

Hamish Dixon ~ Recording engineer, mixing engineer, producer, alto saxophone, harmonium and percussion

Will Lakin ~ Producer, electric guitar, 12 string guitar, vocals, shruti box and percussion

Florence Rutherfood Jones ~ Composition (Echo Location)

Lewis Dutton Taylor ~ Mastering Engineer

William Rees ~ Cover art

Mike Winnard ~ Digitisation of cover art

Recorded at Eiger Studios, 25th-26th July, 2020

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MidnightRoba - Bitter Boy (feat Jason Moran) [Edits & Carlos Niño & Nate Mercereau 'My Unique Boy' Remix] April 2021

Bitter Boy, as heard on MidnightRoba's 'Golden Seams' LP, is a song in two parts; a Mother's Plea and a Mother's Lament. Part I is a cry of the loss of innocence and the truths faced by parents of black children - the conversations that need to be had to protect them and the helplessness of not knowing if it will be enough.

In their 'My Unique Boy' Remix, Carlos Niño & Nate Mercereau transform the wails of lament of Part II into the energy of meditative prayer, summoning a healing strength.

1. Bitter Boy (feat. Jason Moran) Carlos Niño & Nate Mercereau 'My Unique Boy' Remix 03:33

2. Bitter Boy (feat. Jason Moran) [Edit] 06:26

MidnightRoba - Bitter Boy (feat. Jason Moran)

"My Unique Boy" Remix

by Carlos Niño & Nate Mercereau

Carlos Niño - Editing, Mixing, Arrangement, and added Percussion

Nate Mercereau - added Guitar Synth, Sampler, Drums, and Mixing

Roba – Voice, Vocal Arrangement, Original Production and Composition

Jason Moran - Piano

Ben Williams - Bass

MidnightRoba - Bitter Boy (feat. Jason Moran) [edit]

Roba – Voice, Arrangement, Percussion

Jason Moran - Piano

Tony Nwachukwu – Drum Programming

Ben Williams - Bass

Written and Produced by Roba El-Essawy

Mixed by Tony Nwachukwu

Mastered by John Davis at Metropolis

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Dan Rose - Last Night (2021 Ride Symbol Records)

In his career, guitarist Dan Rose has performed and recorded in many settings, from avant-garde groups to intimate trios. His recent releases, Last Night and New Leaves, give him an opportunity to perform thoughtful unaccompanied solos and to play intuitive duets with one of his favorite musical partners.

On Last Night, Dan Rose virtually defines “beautiful music” in his solos. He interprets a set of superior ballads with impeccable taste and restraint, letting the music breathe and uplifting each song. His relaxed and thoughtful treatments of such standards, as “Body And Soul,” “Say It Over And Over Again,” “Tenderly,” “What’s New,” “The Folks Who Live On The Hill,” and “Last Night When We Were Young” remind one of how rich those classic melodies are, and how rare it is to hear a guitarist sound very much like an orchestra. Rather than deluge the music with virtuosic double-time runs (which he can supply when it fits the music), Rose serves the melodies rather than the other way around, letting the love songs speak for themselves while he adds his own chord voicings and subtle creativity.

1. Body And Soul (Johnny Green, Edward Heyman, Robert Sour, Frank Eyton) 6:02

2. Darn That Dream (Jimmy Van Heusen, Eddie Delange) 4:26

3. Ellington Medley: Prelude To A Kiss (Duke Ellington, Irving Gordon, Irving Mills); Things Ain’t What They Used To Be (Mercer Ellington, Ted Person); Sophisticated Lady (Duke Ellington, Mitchell Parish) 6:41

4. Say It Over And Over Again (Jimmy Mchugh, Frank Loesser) 4:07

5. Tenderly (Walter Gross, Jack Lawrence) 3:30

6. What’s New (Bob Haggart, Johnny Burke) 3:31

7. Sweet And Lovely (Gus Arnheim, Charles N. Daniels, Harry Tobias) 3:54

8. The Folks Who Live On The Hill (Jerome Kern, Oscar Hammerstein II) 4:11

9. If I Loved You (Richard Rogers, Oscar Hammerstein II) 3:32

10. Spring Is Here (Richard Rogers, Lorenz Hart) 4:42

11. Moonlight In Vermont (Karl Suessdorf, John Blackburn) 3:09

12. Last Night When We Were Young (Harold Arlen, Yip Harburg) 3:37

13. Medley: Guess I’ll Hang My Tears Out To Dry (Jule Styne, Sammy Cahn); Detour Ahead (Herb Ellis, John Frigo, Lou Carter); Dreamsville (Henry Mancini, Ray Evans, Jay Livingston) 6:13

Dan Rose, guitar

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Dan Rose / Claudine François - New Leaves (2021 Ride Symbol Records)

I wrote “The New Leaf” and “Yes I Do” with Claudine in mind, hoping to move into musical areas that were new to us. Both tunes are organic in that one idea moves naturally to the next, thus hopefully leading to a kind of freedom and sensitivity in the improvisations. Claudine and I have been playing together off and on for nearly thirty years and each time new ideas present themselves. For me, the music is always fresh. Her talents - the way she expresses musical feelings -are impressive indeed. It is a distinct and pleasurable challenge to find ways of blending what I think of as my New York jazz sensibility with Claudine’s beautiful classical, jazz and African influences. We hope we have made a recording that allowed freedom in our playing while being musically accessible. 

Dan Rose

I composed “Le Désért” many years ago. When I started going to Africa I only visited the northern area where the Sahara is rich with many unique species – animal and vegetal – and surprisingly strong contrasts in landscapes and temperatures. “Mr. Slaint” is a tribute to the late Steve Lacy, whom I had seen in live performances since the 1970s. Among other things, Steve was very close to Monk’s music as well as to the Monk himself. One day I asked him if he could answer a few questions about Monk’s music. Not only did he spend a whole afternoon analyzing tunes on his Swedish piano with red “black” keys, but when I proposed to pay for his time, he answered, with a big smile, “Information is free.” Steve had a “slaint” position when he played the soprano saxophone and also an awkward stance whenever he played a percussion instrument or danced. I met Dan over thirty years ago when he lived in France after he’d recorded his album, Conversations, with Steve Swallow and John Betsch. We started to practice together and found that we had a relaxed and family feeling in the music we made. We developed a sound and a repertoire and went on the road to perform in Germany, Switzerland, Austria and France. We’ve stayed in touch all these years, even when Dan went back to New York, and with great pleasure came to record this special album.

Claudine Francois

Once again, I feel most fortunate to be able to work with Dan Rose on a recording project. His consummate artistry and superb taste are perfectly served in this set of intimate duets with yet another remarkable musician, pianist Claudine Francois. They work delicate and tasteful wonders on bold, new originals and pointedly chosen covers, and demonstrate how true communication and a fine sense of listening can create timeless expression. I humbly thank the two of them.

Donald Elfman

1. The New Leaf (Dan Rose) 4:56

2. Monk’s Dream (Thelonious Monk) 5:10

3. Ladies In Mercedes (Steve Swallow) 4:44

4. Le Désert (Claudine François) 5:36

5. Señor Blues (Horace Silver) 4:39

6. Lawns (Carla Bley) 5:46

7. Yes I Do (Dan Rose) 5:24

8. Mr. Slaint (Claudine François) 4:44

9. The Seagulls Of Kristiansund (Mal Waldron) 6:00

Dan Rose, guitar

Claudine Francois, piano

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Alfa Mist - Bring Backs (April 2021 Anti- Records)

Alfa Mist is one of the driving forces behind a young and vibrant scene of UK musicians, who've taken on jazz as their musical narrative. On his new album Bring Backs the producer, self-taught pianist and rapper takes us on a sonic trip back to his beat-making past on the streets of East London, through the depth and musicality he discovered composing and playing jazz.

2017 saw the release of Alfa's breakthrough record, Antiphon and the 2019's album Structuralism were both self-released on his Sekito label. His latest endeavour, 2021's Bring Backs, sees Alfa taking on new challenges. The record marks his first release for the label Anti and is also the most detailed exploration of his upbringing in musical form.

1. Teki 06:00

2. People (feat. Kaya Thomas-Dyke) 02:59

3. Mind The Gap (feat. Lex Amor) 03:28

4. Run Outs 04:52

5. Last Card (Bumper Cars) 04:26

6. Coasting 04:49

7. Attune 07:04

8. Once A Year 01:22

9. Organic Rust 04:36

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Landon Caldwell & Flower Head Ensemble - Simultaneous Systems (April 30, 2021)

Landon Caldwell & Flower Head Ensemble blur the line between improvisation and composition on their debut album, “Simultaneous Systems”. Recorded remotely in Indianapolis, Asheville, Chicago and San Francisco, all players recorded improvisations to a morphing tone independent of the others. Those takes were compiled and arranged by bandleader Caldwell with intuition as a guide. The result is a stunning spiritual jazz album for the contemporary era, melding shimmering ambience alongside ecstatic free flowing spontaneity. The project brings together Mac Blackout and Tom Lageveen on alto sax, Nick Yeck-Stauffer on trumpet, K. Dylan Edrich on strings, Mark Tester on vibes/synth, Thom Nguyen on drums/percussion and Landon Caldwell on electric piano, organ, synth, voice and pan pipes. It’s a powerful debut befit of the times.

1. Reaching Out

2. Life Underground

3. Woven Realm

Landon Caldwell (Indianapolis) - Electric Piano, Organ, Synthesizer, Voice, Pan Pipes

Thom Nguyen (Asheville) - Drums/Percussion

Mark Tester (Indianapolis) - Vibraphone, Moog Prodigy

K. Dylan Edrich (San Francisco) - Strings

Nick Yeck-Stauffer (Chicago) - Trumpet

Tom Lageveen (Indianapolis) - Alto Saxophone

Mac Blackout (Chicago) - Alto Saxophone

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Sven Wunder - Natura Morta (June 11, 2021)

On Natura Morta, Sven Wunder is exploring art as a bridge between nature and the human ability to judge and observe in eleven musical compositions with brightly colored textures and an emphasis on vibrant melodies.

Throughout human history, we have depicted the world we live in through art. By reworking what we see in the world, the simplest things have helped us understand the beauty of nature and to evaluate the material world that we have created around us, as a window to a constantly changing reality, through our own perception. It is that absolute reality that appears in the seam of human and nature and that can be revealed through art.

Still life painting, also referred to as natura morta (”dead nature”) in Italian, stretches back to ancient times. Some of the earliest works, found in Pompeii, depict commonplace objects such as fresh autumn fruits alongside man-made objects such as a small amphora and a small terracotta heap with dried fruits. These two thousand year old paintings give a snapshot of Roman life, and also creates a link to time and space. A slice of life has been created by binding the earth’s pigments with extracts of oil, made from nuts and seeds, painted with brushes, made from a variety of fibers, such as trees and hair from animals. While life wanes with each brush stroke, by shifting reality into past, art exists to make us come alive, being a living image of a dead thing, a surface and a symbol with symbolic powers of its own. Still life works celebrate material and ephemeral pleasures by returning to nature as the ultimate source for our standards in art as well as in life itself.

Natura Morta collects pieces from a continuous variety of melodies — supported by a decisive rhythm section — creating a musical kaleidoscope of ever-changing colors. Sven Wunder brings life into this rich assortment of musical implications by fusing and combining melodic instruments with each other in a setting that spans from a classical to a modern idiom. The author evokes this panoramic portrait by articulating an instrumental dialog between a chamber orchestra and a jazz ensemble. The result is a musical celebration of material pleasures that also serves as a reminder of the brevity of human life. This album was produced with financial support from the Swedish Arts Council.

1. En Plein Air

2. Impasto

3. Prussian Blue

4. Natura Morta

5. Panorama

6. Alla Prima

7. Umber

8. Barocco, Ma Non Troppo

9. Memento Mori

10. Pentimento

11. Natura Morta (Reprise)

The staff used on this LP is the following:

9 violins, 4 violas, 3 cellos, 1 flute, 1 piano, 1 electric piano, 1 cembalo, 1 twelve-string guitar, 1 electric guitar, 1 trumpet, 1 flugelhorn, 1 tenor horn, 1 marimba, 1 electric bass, drums and percussions.

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DOM K. Trio - Requiem for Bella (April 25 2021)

Requiem for Bella is the music from Hugging the Air, Clenching Teeth, multimedia art and work in progress, that is update every April 25, day of the birth of María Oriana Chiappe Ontiveros. In memoriam.

1. 51 Nereids – 51 Nereidas 05:43

2. Birds, Lifecycle – Aves, ciclo de vida 07:16

3. Listen to my voice – Escucha mi voz 05:15

4. Fragility, Desolation – Fragilidad, desolación 11:17

DOM K. Trio

Dom K: guitar

Fidel Cordero: piano

David de la Fuente: drums

Music by - composición: Domenico Chiappe

Produced and Arranged by – Producción y arreglos: Fidel Cordero

Recorded on - grabada en Madrid, on january to march – de enero a marzo de 2021

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Sandro Gibellini, Ares Tavolazzi & Mauro Beggio - Put On a Happy Face (April 23, 2021 Caligola Records)

Sorprende che un gruppo nato nel 1996, formato da tre riconosciuti maestri della scena jazzistica italiana, abbia pubblicato sin qui soltanto tre dischi. Ancor più stupisce che, dopo «You and the night and the music» (1999) e «Let’s face the music and dance» (2001) – pubblicati entrambi dalla Splasc(h) Records – siano dovuti passare ben nove anni affinché Sandro Gibellini, Ares Tavolazzi, Mauro Beggio vincessero la pigrizia e si convincessero a raccogliere e incidere del nuovo materiale per questo terzo atteso lavoro. I loro numerosi estimatori lo aspettavano da tempo. Nelle nove tracce di «Put on a happy face», registrato in uno studio toscano nel marzo del 2009, vengono esaltate le principali caratteristiche del trio, che sono la costante ricerca dell’interplay – in una sorta di continuo dialogo tra i musicisti – e la freschezza della musica proposta. Il repertorio, scelto con estrema cura, mescola standard (alcuni celeberrimi come Moon river di Henry Mancini o la gershwiniana Strike up the band, altri meno noti come I’m through with love, delizioso brano d’apertura o quello, dallo swing fluido e contagioso, che dà il titolo all’album) a composizioni originali, una di Tavolazzi, un valzer, e tre di Gibellini.

Appare riuscita in particolare la ripresa di Jazz dream, che i suoi co-autori, il chitarrista bresciano ed il cantante Alan Farrington, presente come ospite soltanto in questo brano, avevano già proposto tre anni or sono in duo nel riuscito disco «Two of us…» (Caligola 2082). Il trio suona con grande relax, senza per questo apparire leggero o superficiale. Le linee melodiche di Sandro Gibellini, chitarrista estremamente versatile, sempre puntuale ed elegante, rispettoso della tradizione jazzistica ed allo stesso tempo originale, sono un invito a nozze per il raffinato contrabbasso di Ares Tavolazzi, dalla cavata agile e profonda, che trova a sua volta nel fantasioso e solido “drumming” di Mauro Beggio un partner altrettanto ideale.

Poco importa che ad intrecciare il dialogo siano musicisti di età e formazione così diverse (Tavolazzi è nato nel 1948, Gibellini nel 1957, Beggio nel 1970: fra il primo ed il terzo c’è quindi lo spazio di un’intera generazione). Questa è piuttosto la riprova, se mai ce ne fosse bisogno, che nella musica la differenza d’età non ha mai rappresentato un serio problema, né a nostro parere lo potrà mai costituire.

1. I'm Through With Love 08:00

2. Sati 06:14

3. Moon River 07:44

4. Strike Up the Band 03:33

5. Piccolo valzer per Ruiz 04:32

6. Question Mark 05:49

7. Put On a Happy Face 05:01

8. Flamingo 09:42

9. Jazz Dream 03:31

Sandro Gibellini (electric guitar)

Ares Tavolazzi (double bass)

Mauro Beggio (drums)

Special guest: Alan Farrington (vocals) on n° 9 

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Doug Hammond - It's Born (April 23, 2021)

Doug Hammond is a drummer, singer, composer, producer, and coordinator. Best know as a composer for "Moves"on Charles Mingus LP, MINGUS MOVES 1974; for the Doug Hammond Trio featuring Steve Coleman and Muneer B. Fennell 1980-82 on ground breaking LP "Spaces", D.H. Trio with Dwight Adams and Pablo Nahar LP Singing Smiles 2005; and Doug Hammond Tentet "ROSE"2011.

1. For Our Souls / We People 07:27

2. Marcia's Move 03:50

3. It's Born 03:18

4. Treat For Reggie (For Reggie Workman) 02:52

5. World Protection Blues 03:55

6. Peaka's Dance 03:41

7. Crazy Over You 06:22

8. Mrs. & Mr. Cat / Leanin' / Perspicuity 04:18

Regina Carter - Violin

Dwight Adams - Trumpet

Wendell Harrison - Tenor Sax

Marion Hayden - Bass

Doug Hammond - Drums, Voice, Sansa

All compositions by Doug Hammond

Jodgoa Publishing Corp. ASCAP/GEMA

Produced by Doug Hammond

Recorded at Rebirth Studios, Detroit

Mixed by Doug Hammond and James Gibeau

Mastering and Overdub by Wolfgang Dorninger at Sonic Sound Studio, Linz

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Ståle Storløkken - Ghost Caravan (April 30, 2021 Hubro Music)

The venerable composer and keyboardist Ståle Storløkken follows up his previous Hubro release (and solo debut recording), The Haze of Sleeplessness, with a second solo album performed entirely on pipe organ and recorded at Steinkjer Church by Stian Westerhus.

While the Norwegian Grammy-nominated 'The Haze of Sleeplessness' used a whole keyboard-museum’s worth of antique synths and contemporary digital software to create its vast array of sounds, everything on ‘Ghost Caravan’ is the product of one organ’s pedals, pipes and sonic plumbing.

1. Cloudland I

2. First Sphere

3. Cloudland II

4. Second Sphere

5. Cloudland III

6. Ghost Caravan

7. Cloudland IV

8. Third Sphere

9. Drifting On Wasteland Ocean

10. Fourth Sphere

Ståle Storløkken - Church Organ

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Trond Kallevåg - Fengselsfugl (April 2021 Hubro Music)

Trond Kallevåg’s “Fengselsfugl” (prison bird in english) might well be the soundtrack of the prison-movie that director Wim Wenders never made, closely related to the musical landscapes of Ry Cooder and Bill Frisell. Once again joined by fellow Hubro-artist, the great Geir Sundstøl.

Old Norwegian prison ballads and years of work with inmates in Oslo Prison are a few ingredients the young Norwegian guitarist and composer Trond Kallevåg has put in his distinct lyrical and instrumental guitar-based sound of his upcoming album “Fengselsfugl” (Hubro). Instrumental front porch picking, folk, experimental lyrical soundscapes and field recordings combined with non traditional instruments such as musical glass and saw are some of the ingredients that make up the musical stew of Trond's cinematic and somehow familiar melodic compositions. Some may call it «cinematic nordicana».

“Fengselsfugl” is the long-awaited follow-up to his critically acclaimed album and Hubro debut “Bedehus & Hawaii” (Prayer house and Hawaii) from 2019 which was inspired by his deeply religious grandparents and their strange prayer house music that according to Trond sounded a bit like Hawaiian guitar-music or slack key. Both albums follow an artistic concept that is based upon his encounters with environments that stand next to the established. “Bedehus & Hawaii” was highlighted as one of the 15 best jazz albums in 2019 by Bandcamp - one of the world's largest websites for selling music: "Kallevåg has created one of the most gorgeous recordings to hit the shelves in 2019!"…"The contemplative release from Trond Kallevåg is a deep dive into serenity, where melodic improvisations melt into indistinguishable shapes and take on the logic of dreams." He has also by numerous reviewers been compared to guitarists like Ry Cooder and Bill Frisell. "Bedehus & Hawaii" locates Trond Kallevag Hansen at the right height on the heels of Ry Cooder and Bill Frisell." - Jazzaroundmag.

Trond is originally from the small rain-filled west coast town of Haugesund which he thinks has inspired his distinct lyrical sound. "For me personally, I think my music is very much inspried by my home town. I think it has something to do with the rain, the coastal landskape and the people living there, which conveys a kind of somber mood. My music also has that somberness, I prefer the sound, melodies and form over individual virtuosity.»

As with the previous record, Trond composed the music and mixed the record himself, which is a big part of his creative work. The recording was also this time recorded in three days in Studio Intim which is owned by the legendary Norwegian guitar player, and fellow Hubro-artist, Geir Sundstøl. On both albums Geir has contributed with his sublime steel guitar playing that perfectly matches Kallevåg's obvious affection for atmospheric film music and broadside ballads. In the sextet you also find one of Scandinavia’s foremost keyboardist David Wallumrød who tastefully complements the lyrical songs.

Trond tries to convey something personal through his music. While composing “Fengselsfugl” Trond wanted to draw inspiration from his many years of work with inmates inside Oslo Prison.

"There is a strange and interesting mood inside Oslo Prison. Getting inside the prison walls is like entering an unfamiliar world yet only separated by a dozen inch thick concrete wall. The inmates told me stories and gave me insight into their innermost feelings. Feelings that we all share as human beings. But of course, a few times also nasty and bad stuff.”

«Inside Oslo Prison I composed a lot of the music for the record. As on my previous album, "Bedehus & Hawaii", I wanted to portray self-experienced moods in my encounter with societies next to the “normal” and established. There are also several musical similarities between the prayer house music and the old prison songs, which makes "Fengselsfugl" a natural sequel to "Bedehus & Hawaii.”

He examined the prison songs or broadside ballads written by some famous Norwegian prison birds from the 1800-s who were national celebrities in their time. A broadside (also known as a broadsheet) is a single sheet of inexpensive paper printed on one side, often with a ballad, rhyme, news and sometimes with woodcut illustrations. They were one of the most common forms of printed material between the sixteenth and nineteenth centuries, particularly in Britain, Ireland and North America. They were also popular in Norway. They were often about famous people, stories and legends and often served as the social media of the time and often "Fake News". The famous prison birds of Norway served the entire Norwegian people with self-composed ballads, they created myths about their heroic and exciting lives. Many of the titles on the record are the same as some of the prison broadside ballads.

Trond uses his guitar as a tool for conveying his musical ideas that often has a strong melodic foundation and storytelling quality to them but still open enough for his fellow musicians to express themselves effortlessly. Everything seems to fall quite naturally into place, sounding intimately poised and at home with itself. “I wanted the musicians to express themselves without feeling limited by the music, but I also wanted to tell stories and have a cinematic quality”, he says.

The music draws in expressions from folk music, American folk / blues where one can mention Ry Cooder and the eccentric composer and folk musician Kenneth Sivertsen from his home town. Hawaiian Slack Key tradition inspired by Joseph Spence and Ray Kane. In addition to classical music and modern improvisation, in combination with electroacoustic musical directions inspired by Arne Nordheim and Helge Sten, among others. 

1. Til fengselet jeg vandrer 05:01

2. Amerikabåten 03:50

3. Brevet 04:16

4. Desember 04:51

5. Sentralen 02:10

6. Cowboy og Indianer 04:39

7. Porten 02:15

8. Bodskirken 03:07

9. Levnedsløp 03:10

10. Fengselsfugl 07:27

Trond Kallevåg: acoustic and electric guitar, electronics and field recordings

Adrian Løseth Waade: violin

Geir Sundstøl: electric guitar, pedal steel and harmonica

David Wallumrød: upright piano, Wurlitzer, Arp Solus, Clavinet, Minimoog og Logan Strings

Alexander Hoholm: double bass

Ivar Myrset Asheim: drums, chimes, percussion, musical saw and glass

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OUT FRIDAY: Spike Wilner's ALIENS & WIZARDS due out April 23, 2021 via Cellar Music Group

Celebrated Pianist and Impresario Spike Wilner to Release 'Aliens & Wizards' with Cellar Music Group on April 23, 2021

Cellar Music Group, in association with the SmallsLIVE Foundation, is thrilled to announce the release of Aliens & Wizards, the new album by the Spike Wilner Trio. Recorded at the height of the pandemic,  Aliens & Wizards features newly composed music by jazz veteran and impresario Spike Wilner, with the addition of several thoughtful renditions of jazz standards.  This spirited release is the follow-up to the trio’s 2017 Cellar Music Group recording Odalisque. 

Steadfast pianist, bandleader and club manager Spike Wilner has enjoyed a long tenure on the New York City and global jazz scenes, performing with the likes of The Artie Shaw Big Band, The Glenn Miller Orchestra, Maynard Furgeson & Lennie Cuje while remaining highly active as a bandleader all while managing iconic NYC Jazz shrines Smalls and Mezzrow. Wilner is joined here by two long-time collaborators, bassist Tyler Mitchell (Art Taylor, Jackie McLean, Barry Harris) and drummer Anthony Pinciotti (James Moody, Dr. Lonnie Smith, John Abercrombie).

This electrifying release marks the beginning of a fruitful collaboration between Cellar Music Group and The SmallsLIVE Foundation. The foundation will carry out its mission to support artists by funding album releases through the Cellar Music Group. As Cory Weeds, the label’s founder, notes “2020 has been a year to forget, yet in the most difficult of times, Spike continues to inspire with his unwavering dedication to the presentation of this music through his clubs, Smalls Jazz Club and Mezzrow, and through recordings, streaming and other important initiatives that serve this music. It’s fitting that the first release – in what we hope will be one of many – is a date led by Spike himself.” The SmallsLIVE Foundation is dedicated to the creation and propagation of jazz music in New York City through recording, live streaming, archiving, educational initiatives and live performances.

In March 2020, tragedy struck and Smalls and Mezzrow were closed to the public. Wilner took the opportunity to stay in Pennsylvania for several months with family and, like many musicians during this time, focused on practicing and composition. Informed by great change and isolation,  Aliens & Wizards was born. 

Aliens & Wizards begins with the bright-tempoed “Righty – O!”, Wilner’s piano-centric rendition of a piece by the late drummer and friend of Wilner, Johnny Ellis. Right out of the gate, Wilner demonstrates his seamless integration of ragtime, bop and contemporary stylings.  Also on full display is the interplay of a trio with an unmistakably rich history of collaboration. While these three players have worked together in various incarnations since they were quite young, this iteration of the Spike Wilner Trio was first assembled in 2012/2013 and has been a working band ever since, touring Europe and performing regularly throughout New York City.

“Non Troppo” and “Adagio” are both Wilner pieces inspired by the artist’s study of Bach and Beethoven. “Non Troppo” specifically is inspired by the movement of a Beethoven sonata, and the title refers to the musical tempo marking “allegro ma non troppo” meaning “at a brisk tempo, but not too much!”. Fittingly on this third-stream inspired piece, Wilner’s melodic refrains flow from his fingers with ease and a beautiful simplicity, each statement answering the last. Similarly, “Adagio” refers to a slow tempo marking. The intro is bowed beautifully by Tyler Mitchell, setting the tone for a moody and wistful piece with a supple melody wrife with harmonic intrigue. “Adagio” is a heartfelt tribute to Wilner’s wife and daughter.

Lush interpretations of standards mark the center of this album, with Wilner’s take on “Blue Gardenia” and “Stella by Starlight”. “Blue Gardenia”, written by Lester Lee and Bob Russell and later popularized by Dinah Washington, features a deeply soulful improvisation by Wilner, showcasing the band’s dynamic sensibilities. “Stella by Starlight” features fiery improvisations from both Wilner and bassist Tyler Mitchell. The album’s title track “Aliens & Wizards” is a free improvisation, demonstrating the enormous range and cohesion of the ensemble.

Wilner notes “We are grateful to partner with Cory Weeds and The Cellar Music Group on presenting artist projects commissioned by the SmallsLIVE Foundation”. Until we can once again venture to Greenwich village, descend the narrow stairway of smalls’ heralded hall and sit elbow to elbow with fellow jazz lovers, taking communion from the luminaries of our times, Wilner is dedicated to bringing the music to the people in a multitude of mediums, supporting the artist community that he has gone far to cultivate over his illustrious career.

1. Righty-O! 3:54 (Johnny Ellis)

2. Non Troppo 6:55 (Spike Wilner)

3. Adagio 6:31 (Spike Wilner)

4. Mindset 4:36 (Spike Wilner) 

5. Blue Gardenia 4:22 (Lester Lee, Bob Russell)

6. Stella by Starlight 4:34 (Victor Young)

7. Aliens & Wizards 3:18 (Spike Wilner)

8. Prayer for Peace 6:09 (Spike Wilner)

9. Trick Baby 5:45 (Spike Wilner)

Spike Wilner piano

Tyler Mitchell bass

Tyler Pinciotti drums

Recorded at GB'a Juke Joint, Astoria, NY on August 16th and 22nd, 2020

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Jeremy Monteiro / Jay Anderson / Lewis Nash - Live At No Black Tie (Kuala Lumpur) April 23, 2021 on JazzNote Records

SINGAPORE PIANIST JEREMY MONTEIRO TEAMS WITH AMERICAN JAZZ GREATS

JAY ANDERSON AND LEWIS NASH FOR NEW CD

LIVE AT NO BLACK TIE

COMING APRIL 23, 2021 FROM JAZZ NOTE RECORDS

Pianist JEREMY MONTEIRO considers himself a very fortunate man. Renowned as one of the premier jazz pianists in Singapore, he is presently entering the 45th year of a career spanning concerts, education, and music administration. He has played and recorded with many of the world’s greatest jazz artists, including James Moody, Benny Golson, Michael Brecker, Bobby McFerrin, Randy Brecker, Lee Ritenour, Herbie Mann, Paulinho DaCosta, Ernie Watts, Charlie Haden, Terumasa Hino, Al Foster, Carmen Bradford, and Toots Thielemans.

In the 1980s, Monteiro formed a partnership with the legendary bass/drum team of Eldee Young and Redd Holt, who had earlier worked as two-thirds of the Ramsey Lewis Trio. One night in 1986, Claude Nobs, the producer of the Montreux Jazz Festival stopped for dinner at a restaurant in Singapore, and heard a recording on the overhead speakers. Nobs asked who was playing, and when he was told it was Monteiro, Young and Holt, Nobs called the pianist and offered him the opportunity to play on the main stage in the 1988 festival, provided he could bring Young and Holt. Monteiro came through, and the resulting live album marked a milestone in the young pianist’s career.

Thirty-five years since that historic concert, Monteiro’s latest album LIVE AT NO BLACK TIE finds the pianist at the helm of another all-star trio. Bassist JAY ANDERSON and drummer LEWIS NASH rank among New York City’s most in-demand jazz musicians, but Monteiro did not come to New York to record with them; rather, it was Anderson and Nash who made the trip to Kuala Lampur to work and record with Monteiro. LIVE AT NO BLACK TIE was recorded and mixed by exceptional sound engineer Sunil Kumar in Kuala Lumpur and mastered by Klaus Endel in Germany.

The opening track, Dave Brubeck’s “In Your Own Sweet Way,” is a song that Monteiro returns to every three or four years. The new edition begins with it a mysterious introduction which gives no hint of the Brubeck melody. All three musicians take part in this prelude, with Monteiro’s rubato improvisation answered by Anderson’s rich tones and Nash’s glimmering cymbals. Once the melody has appeared and gone, Monteiro, Anderson and Nash subtly interact with each other, propelling Monteiro into an ecstatic improvisation which reveals his diverse influences, including Oscar Peterson, Erroll Garner, Chick Corea, and Keith Jarrett.

A swift-paced “Just in Time” follows, with all three musicians providing solos which offer an admirable contrast with each other, while supplying powerful musical content. Duke Ellington meets Erroll Garner in the opening chorus of “Prelude to a Kiss,” but after Anderson’s dramatic bass solo, Monteiro returns with a conception which subtly changes the scope of the arrangement. “Mode for Love” is Monteiro’s tribute to James Moody.

Late in his career, Moody experimented with inverting some of the modes used by John Coltrane. Monteiro was duly impressed with Moody’s discoveries and commemorated them with this tune, the title of which puns on Moody’s famous solo on “Moody’s Mood for Love.” As Monteiro readily admits, the modally-based composition doesn’t resemble Moody’s bebop, but the inspiration clearly rests with the spirit of the iconic saxophonist.

The wistfully melodic original, “Josefina” is dedicated to Monteiro’s wife. Anderson shows his respect to the composer and his subject by using the song’s arching main phrase as the primary building block of his solo. “Mount Olive” is also a dedication, this time to Eldee Young and Redd Holt, who dragged a tired Monteiro out of bed early one Sunday morning to attend a black congregational church. The overwhelming spirit of the music never left Monteiro, and the trio brings the sanctified spirit from the south side of Chicago to downtown Kuala Lampur. The last piece in this set of dedications is “Life Goes On,” a heartfelt tribute composed shortly after the death of Monteiro’s father. Monteiro—whose style was once described as “Ravel meets the blues”—displays both impressionistic and soulful ideas in his emotionally overwhelming improvisation.

“Monk in the Mountain,” co-composed by Monteiro and Hong Kong guitarist Eugene Pao, has nothing to do with Thelonious Monk. It celebrates an American man who gave up all of his worldly possessions to become a Buddhist monk to live in seclusion amidst nature. The trio gives this modally-based original an energetic workout, with Nash’s beat patterns and Anderson’s inquisitive counterpoint providing the necessary fuel to lift Monteiro to great creative heights. The passion which Monteiro injects into his solo jumps from the stereo speakers into the listener’s soul, and one can only imagine the excitement that this performance generated within the nightclub. The trio rides on that groove for the album closer, Herbie Hancock’s “Watermelon Man.”

Monteiro has received many awards and honors in his career, including the coveted Cultural Medallion (the highest artistic recognition available in Singapore), two literary awards from the Golden Door Awards (for his memoir, Late-Night Thoughts of a Jazz Musician), and a Silver Medal for Best Music Score from the International Radio Festival in New York for his original composition, “Overture in C Major: The Story of Singapore.” Live at the No Black Tie is his 45th jazz album, and Monteiro hopes to reissue several of his older albums on his own label within the next few years. As is appropriate for a very fortunate and talented musician.

THOMAS CUNNIFFE is the publisher, editor and principal writer of www.jazzhistoryonline.com

1. In Your Own Sweet Way 12:07

2. Just in Time 7:09

3. Prelude to a Kiss 9:14

4. Mode for Love (for James Moody) 7:47

5. Josefina 6:31

6. Mount Olive (for Eldee Young & Redd Holt) 9:11

7. Life Goes On 6:56

8. Monk in the Mountain 12:20

9. Watermelon Man 7:18

Jeremy Monteiro Website

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