Tuesday, February 16, 2016

Jeremy Pelt - #'Jiveculture (2016)

Label: HighNote

The pivotal track on “#Jiveculture,” an awkwardly titled but persuasive new album by the trumpeter Jeremy Pelt, is “Einbahnstrasse,” which you wouldn’t be wrong to call a ditty. Context is everything: The song was composed by Ron Carter, the redoubtable bassist, who has recorded it in the company of some exalted peers. But Mr. Pelt, leading a quartet anchored by Mr. Carter, sounds undistracted by legacy or history. He’s just here to eat the tune for breakfast.
Mr. Pelt, who will turn 40 this year, has been a fierce and self-confident talent since his mid-20s. “#Jiveculture” is his seventh album on the HighNote label, and it comes on the heels of several smartly arranged experiments: bands with two drummers or elegant chamber embroidery or chiming electroacoustic effects. To the extent that the album has a concept, it’s simple chemistry — primarily with Mr. Carter, with whom he’s collaborating for the first time, but no less with Danny Grissett on piano and Billy Drummond on drums.
Mr. Pelt has an intensely focused sound on trumpet, a warmblooded gleam. It’s hard to imagine his sounding much better than he does here on “Dream Dancing” and “Love Like Ours,” sashaying ballads from two different songbook eras, each also a platform for the cruising eloquence of his rhythm section.
Those tunes appear, like “Einbahnstrasse,” on the front half of the album, under the heading Part I. (No plans have been announced for a vinyl release, but the tracks are organized as if with that format in mind.) The second half consists of four Pelt originals, in a post-bop dialect loosely traceable to the Miles Davis Quintet of the 1960s, which included Mr. Carter; “Desire” could almost pass for one of Wayne Shorter’s compositions for that band.
But again, Mr. Pelt doesn’t sound hemmed in by that frame of reference; he’s using it to his own aims. His exploratory fire on “The Haunting,” like his controlled glow on “Rhapsody,” rings with conviction. It’s surely no coincidence that Mr. Carter plays brilliantly throughout the album or that Mr. Grissett rises to a similar level: They have a fearless leader, and their agenda is clear.  Nate Chinen

Baswald's Place
Dream Dancing
A Love Like Ours
The Haunting
Jeremy Pelt - trumpet
Ron Carter - bass
Danny Grissett - piano
Billy Drummond - drums

Jon Davis - Changes Over Time (2015)

Label: Posi-tone
Source: Allaboutjazz

While there are no liner notes to accompany pianist Jon Davis' third date for the Posi-Tone imprint, there's a quote inside the package, attributed to author Anne Rice, that gets to the heart of the matter: "None of us really changes over time. We only become more fully what we are." So is personal evolution and growth an illusion? Is development a figment of the individual's imagination? Yes and no would be the correct answer(s). It really just comes down to perspective. Plenty of people would say that deepening one's very being is change. Others would argue that change and self-actualization are two very different things. This writer's take? It's a semantics-based argument that's not worth having in this particular instance. Better to focus on the music than wax philosophical.

Changes Over Time is a piano trio date that splits focus almost evenly between familiar covers and originals. That's not such a novel concept for Davis, given the fact that the same exact thing can be said for One Up Front (Posi-Tone, 2013) and Moving Right Along (Posi-Tone, 2015). But who gives a damn about novel concepts if the music sounds this good?! There's a level of comfort and sophistication in these performances that eludes most trios, and Davis, who already had it all together when he started his trio run with Posi-Tone, seems to be getting better and better with each date.

Here, Davis breaks in a new threesome on record, teaming up with bassist Ugonna Okegwo, who many may remember as the backbone in pianist Jacky Terrasson's breakout trio, and drummer Jochen Rueckert, a fluid and swinging presence who's worked with pianist Marc Copland, guitarist Kurt Rosenwinkel, saxophonist Melissa Aldana, and plenty of other notables. It proves to be the best lineup that Davis has used to date. These three were made for each other, and that's obvious from the first notes of the first song on this album—a thoroughly enjoyable, laid-back version of "Soul Eyes" in seven. Davis sounds relaxed and confident while Rueckert and Okegwo set up a million dollar feel. The same can be said for any number of songs on this album—the angular, bluesy, odd-metered title track; The Beatles' "Yesterday," reharmonized to suit Davis' liking; the probing "It's For Free," a piece that finds the trio in drive-and-search mode; and a mellow, flowing take on Stevie Wonder's "My Cherie Amour" included. The list of strong performances goes on and on. Jon Davis' formula may not be changing from album to album, but his artistry is certainly ripening with each release.  Dan Bilawski


Nikolaus Neuser 5tet - Pink Elephant (2016)

Label: Jazzwerkstatt

Unità d'intenti, chiara visione di gioco, condiviso senso strategico sono tra gli elementi fondanti di un coeso ensemble che, non contraddicendone la quota di libertà individuale, conferma quanto sia stato già espresso nell'anarchica democrazia del free (ma ampiamente pescante in aree post-bop), cui il quintetto s'approccia azzardando un non-velleitario contributo in proprio, sotto la regia del giovane trombettista, piuttosto schivo nell'area mediatica ma intelligente presenza nello scenario del contemporaneo talento, abile nel motivare i partner e nel conferirne aerea libertà agli strumenti, di cui non si esita a destrutturare voce e fisica, senza snaturarli ai fini dell'espressione collettiva, non ancorata da soggezioni a doveri formali nei rispetti dell'àmbito.
L'interessante canovaccio scrittorio posto in gioco lungo momenti quali Dekonstrukt o Pfrümmff! (già un programma a sé), si concede ampia espressione pittorica nell'eponima Pink Elephant, lasciando all'improvvisazione del collettivo non più di due delle dodici tracks, atte in più casi ad esporre la propria carica espressiva entro uno spazio di circa due minuti, stante l'esposizione concisa e sgombra da preamboli, toccata da ironica baldanza marziale, tracciata da forte tocco istintuale nonché garbato e diffuso spunto umoristico.
Una vena lirica impregnata di gusto rappresentativo mitteleuropeo, non antitetica ad un vigoroso senso della propulsione ritmica (tonificata dalle operose tessiture della coppia formata da Bern Oezsevim e Mike Majkowski), appare dominante ma non esclusiva nella performance (in più momenti letterale tour-de-force) della triade di fiati tracciata dalla provocatoria sordina del trombone di Gerhard Gschlößl, dalle mai scontate prestazioni dell'urticante, fluviale sax alto della mercuriale Silke Eberhard, d'alterno passo alla squillante arguzia dell'ottone del titolare trombettista, che palesa d'aver fatto proprie più incarnazioni della tromba condensandole entro un brillante, personale mix linguistico.
Utile, sempre godibile la lettura delle note, in tal caso a firma dell'arguta Eberhard (il cui senso dell'iperbole non è evidentemente confinato alla sfera esecutiva, e cui il titolare è legato dalla militanza nel dolphyano Potsa Lotsa trio), a sancire la qualità dei materiali abitualmente garantiti dalla vivace etichetta berlinese, dinamica piattaforma dei nomi forti e dei più promettenti talenti non solo della riunificata area germanica.
Una ventata di fresca inventiva che toccherà più fasce di gusto almeno per la corrente dinamica e il senso dell'intelligente paradosso che anima le vedute di cinque dotati esponenti della più giovane generazione adulta di un operoso, ispirato euro-jazz. 



Vinnie Sperrazza / Jacob Sacks / Masa Kamaguchi - Play Tadd Dameron (2016)

Source: Allaboutjazz

Vinnie Sperrazza is a Brooklyn-based jazz drummer. His first album as a bandleader and composer, Apocryphal, was released by Loyal Label on Tuesday, September 9, 2014. Originally from a small town south of Utica, New York, Vin moved to NYC a million years ago, just after the glaciers melted but before Tower Records closed. He's played lots and lots of good music with many amazing musicians, but he feels really self-conscious about dropping names and all that so he's just not going to do it, save mentioning the late great Mr. James Williams, pianist, with whom Vin played many memorable concerts. He feels incredibly lucky to have music in his life, to be able to work with great musicians, and to be able to present his music to an appreciative audience. He's in lots of bands, spent the summer of 2014 as an actor (he played a drummer- not much of a stretch), is on some cool records that have either just come out or will come out this year (Dana Lyn/Vincent D'Onofrio Slim Bone Head Volt, Jacob Garchik Ye Olde), and as of this writing, just got off the road with the band Hearing Things, led by Matt Bauder. They were the opening band for Will Butler from Arcade Fire for a series of dates in the Midwest and Canada. 

01. On a Misty Night 7:12
02. Mating Call 7:17
03. Flossie Lou 6:42
04. Lady Bird 2:40
05. Gnid 9:02
06. Super Jet 5:06
07. If You Could See Me Now 8:13
08. The Chase 3:06
09. Soultrane 6:17
10. Our Delight 6:41
11. Hot House 7:40

Vinnie Sperrazza (d)
Jacob Sacks (p)
Masa Kamaguchi (b)



Omri Ziegele Noisy Minority feat. Ray Anderson - Wrong is Right (2016)

Source & Label: Intakt Records

The Zürich trio Noisy Minority with New York tombone player Ray Anderson: Anderson is the outstanding trombonist of the American jazz scene, and Noisy Minority, Zurich saxophonist Omri Ziegele’s band, is known for its modern jazz with expressive power, drive and buoyancy.
Bandleader Ziegele composed eight new pieces for the album “Wrong Is Right”. It’s a dare-devil ride in uneven grooves and rangy tunes with free improvisation and spontaneous arrangements, approached with a bold understanding of jazz and its tradition.
The music of “Wrong Is Right” is “direct, immediate, surprising, exhilarating,” writes Steff Rohrbach in the linernotes “They take great pains with their powder, doling it out carefully, exploding it only when they want to – which greatly increases its effect and shows how intelligently the four musicians handle their themes.”

1. Late Cats’ Rushing Hour 06:59
2. Where I’m Going To 11:25
3. Faster than the Master 01:00
4. Finally Your Own Voice 05:43
5. Decimal System 05:23
6. Wrong Is Right 08:25
7. Tolck 14:37
8. In the Old Ways 03:41

Omri Ziegele: Saxophone, Voice
Ray Anderson: Trombone
Jan Schlegel: E-Bass
Dieter Ulrich: Drums  



Andy González - Entre Colegas (2016)

Label: Truth Revolution Records
Source: Aca Libre

En una carrera que se extiende por casi 50 años y aproximadamente 1.000 grabaciones como un co-líder, director musical y acompañante, Andy González es sin duda uno de los bajistas más importantes de su generación, siendo a la vez la escuela de muchos bajistas de esta nueva generación salsera.

Su impresionante carrera artística trasciende el tiempo y los géneros, comenzando con el Quinteto de Jazz Latino a la edad de 13 años; seguida de las contribuciones fundamentales a la Fort Apache Band, encabezados por su hermano, Jerry González y el Grupo Folklórico Experimental Nuevayorquino, un colectivo intergeneracional de los latinos (puertorriqueños y cubanos) cuya música se presentó como una alternativa fresca al mundo comercial de la salsa. Andy es también el co-líder y director musical de la una de las orquestas mas agresivas del mundo salsero, El Conjunto Libre de Manny Oquendo.Además, Andy ha tocado y grabado con Dizzy Gillespie, Tito Puente, Kenny Dorham, Machito, Hilton Ruiz, Mc Coy Tyner, Chico O 'Farrill, Ray Barretto, Johnny Pacheco, Papo Vázquez, Arturo O'Farrill, Rubén Blades, Bebo Valdés, Eddie Palmieri, además de los grupos de Deep Rumba, The Conga Kings, Rumba Club y un sinnúmero mas. Esta variedad de participaciones ofrece al oyente una mirada a lo más íntimo de Andy Gonzalez y refleja su diversidad de gusto por la música. A diferencia de la gran mayoría de sus grabaciones, que cuentan con ensambles de vientos, su producción por salir “Entre Colegas”  se centra en guitarras, cuerdas y latin jazz con elementos folclóricos. Andy lo imagina como "Django Reinhardt yendo a Cuba y Puerto Rico."La música de “Entre Colegas” atrapa el sonido y el espíritu de las históricas Cuban Jam Sessions y las improvisadas descargas que tenían como base la casa de los hermanos Gonzalez en el sur del Bronx en New York, donde Andy, Jerry y muchos mudaban de dientes bajo la tutela del historiador de la música latina René López.  Read more...

Ode to Joy
El Mostro’s Mayepes
Inspiracion de Cachao (Estudio En Trompeta)
Sabor A Mi
Dialysis Blues
Conversando Conversa
A Flower is a Lovesome Thing
The Addams Family

Andy González
Luques Curtis
Zaccai Curtis
Nelson González
David Oquendo
Camilo Molina-Gaetan
Carlos Adabie
Nicky Marrero
Ricky Salas
Charlie Santiago
Vincent George
Ben Lapidus
Manuel Alejandro Carro
Roland Guerrero
Orlando “El Mostro De Camao” Santiago 



Jakub Dolezal Quartet - Village Years (2016)

Label: Self Produced

Jakub Dolezal has been active musician since his fifteen, when he joined the folkrock band Kredo. As some of his bandmates were also playing with legendary czech underground group Extempore, Jakub soon found himself gigging all around the Czech Republic, way beyond the borders of small region of Moravske Budejovice, where he comes from. Since 1995 until 1999 he was busy playing in several local bands and studying secondary school altogether. When he was nineteen he moved to Prague to study at Jaroslav Jezek's Conservatory. In 2003 he continued in his studies at Jaroslav Jezek Jazz College, where he graduated in 2006. He studied with S. Markovic, F. Kop, R. Fras, J. Honzak or D. Doruzka, to name a few. Since his arrival to Prague, Jakub was honoured with playing with some of the Czech top musicians and with membership in several closely watched projects. He was a member of a soul jazz organ combo Jan Korinek and Groove (with Czech legend Vladimir Guma Kulhanek on bass), that also served as a backing band for US blues singers. Jakub was also a member of a horn section of pop-funk group Zaha, which opened for James Brown's Prague concert in 2004. Jakub has been also active in rock field, he appears regularly with Czech Pink Floyd tribute shows “The Wall“ and „The Dark Side Of the Moon“ (where he also provides some minor keyboard, guitar and vocal parts). Jakub has been also a teacher of saxophone and improvisation on Summer Rock Workshop in Prachatice. In 2006 Jakub took part on european tour of an international bigband European Youth Jazz Orchestra, with Barry Forgie of BBC Bigband as a conductor. Jakub Dolezal is currently a member of jazz group Work In Progress, world-fusion band Benedikta and Ondrej Pivec's awarded Organic Quartet. Instruments: Tenor sax SML Alto sax SML Super 47 Soprano sax Keilwerth SX 90.

1. Village Years 06:25
2. Remember What The Cowboy Said 05:06
3. Lullaby No. 2 04:37
4. Lullaby No. 3 04:17
5. 70's Flute Song 04:51
6. He The Little Dragon 04:52

Jakub Dolezal - saxophone
Jiri Simek - guitar
Marek Lezdik - bass
Jakub Sindler - drums



Angelika Niescier & Florian Weber - NYC Five (2016)

With their new album, alto player and bandleader Angelica Niescier and pianist and composer Florian Weber both from Cologne, Germany place themselves at the centre of the New York jazz scene. Their quintet NYC FIVE is completed by three jazz musicians in great demand in the “Big Apple”: trumpeter Ralph Alessi, bassplayer Christopher Tordini and drummer Tyshawn Sorey. The quintet plays highly contemporary jazz with original tunes, distinctive arrangments, complex rhythms and expressive improvisations. Laurence Donohue-Greene, editor at «The New York City Jazz Record» writes: "With this new dynamic quintet – Angelika, Florian, Ralph, Chris and Tyshawn present a unique aura of timelessness, as much influenced from decades past as about the present and future state of jazz, from New York and beyond." And: "Angelika’s distinctive tone shoots right through to the listener’s core."

Angelika Niescier: Saxophone 
Ralph Alessi: Trumpet 
Florian Weber: Piano 
Christopher Tordini: Bass 
Tyshawn Sorey: Drums

1. The Barn Thing 08:28
2. And Over 10:20
3. Invaded 06:39
4. The Liquid Stone 07:31
5. Parsifal 06:21
6. Für Krefeld 08:06


Julian Lage - World's Fair (2015)

World’s Fair. Julian Lage’s first solo guitar album, is so spontaneous and intimate in feel it’s as if this prodigious guitarist had just arrived in your living room, picked up his vintage Martin, and simply started to play. 

“I always had a fantasy about doing a solo guitar project, “ Lage explains, “especially one that highlighted various orchestrational aspects of guitar playing and guitar techniques, drawing from the structure of the three to four minute song, pieces that did not depend as much on improvisation but on moods, or musical attitudes. When I started recording, I discovered what a rare opportunity this was for me to recalibrate my senses to one instrument and within that recalibration learn to savor the vast world of intimacy and nuance, both qualities so inherent to the guitar.” 

While conceiving of and recording World’s Fair, Lage was inspired by the orchestral approach to the guitar of the great Andres Segovia and by the music of the early 20th Century, of “jazz before be-bop. He found a similarly unbound spirit in the early seventies work of singer-songwriters like Randy Newman, who managed to incorporate a sophisticated range of ideas into the concise pop-song format. He was drawn, in other words, to sounds that were both challenging and pleasing -- work, much like his own, that defies easy categorization. 

As the New York Times has put it, the 26 year-old Lage is a an artist whose roots are “tangled in jazz, folk, classical and country music.” A child guitar prodigy, he was the subject of the 1997 Oscar-nominated documentary short, Jules at 8.; he made his first recording, with David Grisman, at the age of 11. His first recording as a leader, 2009’s Sounding Point, garnered a Grammy nomination as Best Contemporary Jazz Album. Up to now, collaboration has been essential to Lage’s process; he has toured and/or recorded with such artists as Gary Burton, Nels Cline, Fred Hersch, and Jim Hall, who was a major influence on the young Lage. His most recent project is Room, a live-in-the-studio exchange with experimental guitarist Cline. Earlier this year, he released Avalon, a duo recording with fellow guitarist Chris “Critter” Eldridge (of Punch Brothers) that surveyed the American Songbook with an easygoing virtuosity.

World’s Fair, co-produced by Matt Munisteri and engineered by Armand Hirsch, sets up a new sort of relationship between Lage and his audience, as about as one-on-one as a musician can get without physically being there. Says Lage, “Here are twelve songs that represent this opening into my world, a musical and personal aesthetic I haven’t yet had the opportunity to express in full on record. This music, these explorations, this overarching narrative -- taken together, they represent one of my long times dreams, to create music for one guitar, played by one person, for you.”  - Michael Hill

Released February 3, 2015 

Produced by Matt Munisteri and Julian Lage 
Engineered and Mixed by Armand Hirsch 
Assistant Engineered by Teddy Tuthill 
Mastered by Dan Millice at The Engine Room 
Design: Matt Pfahlert for www.thesilentp.com 

Recorded June 16-17, 2014 at Sear Sound in New York City, with the exception of "Double Stops" and "Where or When" which were recorded March 19, 2014 at Echo Mountain in Asheville, NC with Assistant Engineer, Jon Ashley. Mixed at Sterling Studios in NYC.

Julian Lage: acoustic guitar

01. 40's 03:50
02. Peru 02:54
03. Japan 04:11
04. Ryland 03:16
05. Double Stops 01:50
06. Gardens 03:56b
07. Century 02:55
08. Where or When 02:21
09. Missouri 04:11
10. Red Prairie Dawn 02:51
11. Day and Age 02:41
12. Lullaby 03:00


Clifford Lamb with Cindy Blackman Santana & Buster Williams - Bridges (2016)

At the heart of this admirable collection from pianist Clifford Lamb lies a pertinent question: Do we need another version of “Summertime”?

In general, you’d say “no.” In this case, the answer is “absolutely.”

George Gershwin’s classic American lullaby marries a mournful melody to comforting, slightly rueful lyrics; written in 1935, it has inspired more than 30,000 recordings, ranging across genres from blues to classical, in settings from solo voice to symphonic orchestra, comprising a rainbow of interpretations – which makes it all the more impressive to find a version that provides something different, as Lamb does here. His arrangement nods to the stormwind force of McCoy Tyner (whose music, along with that of Chick Corea and Herbie Hancock, lured Lamb to the jazz piano in the first place). But he has added a unique, juggernaut bass line, doubled by the redoubtable bass master Buster Williams; it finds its equal in Cindy Blackman Santana’s explosive drumming to shape a more urgent anthem for our own time, some 80 years after the song’s debut. The lyrics to “Summertime” contain a measured optimism as well as a lurking unease; Lamb’s arrangement paints both conditions in stark relief.

That bass line underscores Lamb’s approach to the piano, to jazz, and to music as a whole; he has studied the art of arranging since his college years at Berklee College of Music, and perfected it over the last decade, when he rededicated himself to music as a calling and a vocation. Lamb possesses superb technique, and the sure confidence to employ it only as needed on these tracks: no fireworks merely for fireworks’ sake. But it’s the arrangement of each song – the recasting of familiar works, through alterations in tempo, tonal color, and primarily harmony – that most distinguishes his approach, and he dedicates his technical prowess to that end.

The question I mentioned at the start is answered by each of the other standards Lamb has undertaken. Sometimes it manifests itself in the grand scheme of a song, as in “Summertime” as well a couple of the solo-piano tracks here: the rubato “My Funny Valentine,” on which he weaves a two-part invention, and “People,” where the melody gradually coalesces from its pointilistic opening. Elsewhere, the art of arrangement reveals itself in a small but telling detail, such as the closing moments of “O Grande Amor.” Lamb’s rendition of this bossa nova icon brims with lovely subtleties, but to me, one stands out – the glittery right-hand arpeggio at the end. It’s a little flourish of the sort first used by classical composers of the 18th century and later adapted by jazz musicians as a light exclamation point to an arrangement. But where most artists would end the performance right there, Lamb sustains the underlying left-hand chord, allowing it to decay naturally and returning the listener, however briefly, to the song’s trademark mixture of bitter and sweet – what the Brazilians call saudade. What might have been a cute gimmick becomes, instead, a momentary burst of sunlight that brightens the melancholia without dispelling it altogether.

Lamb also displays his sense of context – another aspect of the art of arrangement – on the two compositions he wrote; it shows up in the tempos he chooses, in the way he presents and reiterates his melodies, and in the ways he deploys his top-drawer collaborators. On the ballad “Martita,” named for a long-ago romance that, says Lamb, “taught me a great deal about life,” he splits the theme statement between piano and bass, spotlighting the dimensions of Williams’s lyrical, singing tone to convey the song’s depth of feeling. And the title track would be far the poorer without Blackman Santana’s remarkable balance of pummeling power and saving grace – a quality she also brings to “Smile,” arguably the most fully realized of these tracks in its fusion of all the elements at Lamb’s disposal.

Bridges is the first in a series of what we may call “cameo collections” from Lamb – short albums of a half-dozen or so tunes, constituting a digital-age version of the vinyl era’s EP (Extended Play) releases, which will arrive a few times per year. Under the watchful gaze of veteran producer Jeff Weber, it was recorded live to two-tracks, meaning no post-production tweaks, no “fixes” to what took place in the studio, no splicing or dicing. What you hear is what they played, which is something you’d only undertake with musicians of this caliber.

The title Bridges represents the purpose underlying not only this collection but also Lamb’s goal for his music. In addition to the legendary older artists whose work he absorbed, these tracks “were cultivated by virtue of listening to some of the newer players – players like [pianists] Jason Moran and Gerald Clayton, [bassist] Ben Williams, [trumpeter] Christian Scott. . . . The idea was to take elements from the more traditional sources and connect them to where I saw some of the younger players were heading.” For many artists stuck in their ways, such a transit might be unimaginable. But thanks to Lamb’s well-grounded musicality, this bridge requires no suspension of disbelief.


January 2016

(Neil Teser has written on and broadcast jazz in Chicago for more than forty years, in media ranging from the Chicago READER to USA Today to National Public Radio to the New York Times to Playboy Magazine. He is the author of The Playboy Guide to Jazz (1998) and has authored liner notes for approximately 400 albums, receiving both a Grammy® award and the ASCAP Deems Taylor Award for this work.)

Clifford Lamb - Piano
Cindy Blackman Santana - Drums
Buster Williams - Bass
Produced by: Jeffrey Weber
Associate Producer/Score Supervisor: Michael Clark
Recorded Live To Two Tracks at: United Recording, Hollywood, CA 
Recorded by: Clark Germain
Assistant Engineer: Wesley Seidman
Mastered by: Chris Bellman, Bernie Grundman Mastering, Hollywood, CA
Photography: Barry “Baz” Holmes
Videography: Jeff Mandel (Director, Camera Operator, Editor), Richard Brown (Camera Operator), Tyler Brown (Camera Operator, Editor), Jeff Cawood (Camera Operator)
Art Direction & Design: Bob Wynne
Original Cover Art: Bob Wynne
Cover Concept: Bob Wynne, Clifford Lamb, Jeffrey Weber

Bridges - Clifford Lamb (Clifford Lamb Music - BMI) - 6:06 
Martita - Clifford Lamb (Clifford Lamb Music - BMI) - 4:37 
Summertime - George Gershwin, Ira Gershwin, Heyward Du Bose  (Du Bose & Dorothy Heyward Memorial Fund Publishing, Frankie G. Songs, Nokawi Music, WB Music Corp, Ira Gershwin Music - ASCAP) - 3:39 
Smile - Charles Chaplin, Geoffrey Parsons, James Phillips  (Bourne Co. - ASCAP) - 3:53 
My Funny Valentine - Richard Rodgers, Lorenz Hart (Chappell-Co Inc., Williamson Music Co. - ASCAP) - 4:11 
O Grande Amor – Antonio Carlos Jobim, Vinicius de Moraes (Corcovado Music Corp., VM Enterprises, Inc. - BMI) - 4:04 
People - Jule Styne, Bob Merrill (Chappell-Co Inc. - ASCAP) - 3:29 


Luke Howard Trio - The Electric Night Descends (2016)

01. The Electric Night Descends 03:45
02. Atlases 03:21
03. Interlace 03:34
04. Periphery 04:15
05. Spir 04:01
06. 7:52 05:12
07. 5am Quiet 03:43
08. Passage Through A Dream 03:19
09. Warm Springs 04:03
10. Self Preservation 04:26

The Luke Howard Trio’s minimalist aesthetic blends elements of improvised and popular music, featuring compositions by both Luke and bassist Jonathan Zion. This is their third album.

Released January 14, 2016 

Luke Howard piano 
Jonathan Zion bass 
Daniel Farrugia drums 

Recorded March 2015 
Sing Sing, Melbourne 

Engineered by Hadyn Buxton 
Mixed and mastered by Jan Erik Kongshaug 
Artwork by Luci Everett 

Produced by the Luke Howard Trio