Tuesday, September 13, 2016

Playlist summary for Tom Ossana – The Thin Edge – September 14, 2016 MST 7:00 to 9:00p.m.

http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.

It's fascinating that 1940s "How High The Moon," a very popular song of its time - and eventually modern jazz's national anthem - has spawned several contrafacts (new work based on a pre-existing structure) including, among many others, Miles' "Ornithology", Lee Konitz's "Lennie Bird," Coltrane's "Satellite" and "How High The Bird" by Steve Williamson for melodic and rhythmic comparisons. When he finished the chart, Morgan Lewis could not have known the impact his tune would have on the jazz idiom throughout its seventy-two year history. With that in mind, tonight's show begins with a remastered copy of Charlie Parker's Dial Records' 1947 "Ornithology" featuring Miles, Lucky Thompson, Dodo Marmarosa, guitarist Arvin Garrison and Max Roach. Yes, we've heard this outing several times over the years and Charlie's solo, one that may be the best ever. It's the perfect setup for Joshua Redman and Brad Mehldau's cover from their Nonesuch September 9, 2016 release Nearness. In it they improvise simultaneously and briefly mention part of Parker's solo. Joshua and Brad's improvisation is much like the artists in Lennie Tristano's 1949 "Digression" - credited as being one of the first freely improvised jazz recordings. Lupa Santiago 4teto's + Ed Neumeister's 2016 Sound Finger Ubuntu follows with Santiago's "Probably Maybe" featuring the leader's guitar, Leandro Cabral's piano and Neumeister's trombone. The Cookers (Eddie Henderson - trumpet David Weiss - trumpet Donald Harrison - alto saxophone Billy Harper - tenor saxophone George Cables - piano Cecil McBee - bass Billy Hart - drums) close this half with a performance of Cables' "Beyond Forever" from Smoke Sessions Records 2016 release, The Call of the Wild and Peaceful Heart.

From John Coltrane's famed A Love Supreme we'll hear, for the first time, "Part 2 - Resolution" featuring pianist McCoy Tyner, who demonstrates amazing growth compared to his performance in Coltrane's 1960 Coltrane Jazz heard in the August 31 program. KA MA Quartet (Katharina Maschmeyer Quartet) - A Love Supreme / Universal Tone (BAUER STUDIOS 2016) follows with their treatment of Coltrane's tune. Katharina's reeds are complimented by the stunning guitar of Nils Pollheide. J. D. Moffat's favorite guitarist, John Abercrombie closes this half-hour with bassist Marc Johnson's "Furs on Ice" from John's 1987 ECM Getting There featuring the late Michael Brecker on tenor and Peter Erskine's drums.

Canada's Grammy-nominated Saxophonist Ben Wendel kicks off the third half with a cover of Miles' "Solar" from his new MOTÉMA RECORDS What We Bring with help from Gérald Clayton (p), Joe Sanders (db) and Henry Cole (d). We think of Andrew Cyrille as an American avant-garde jazz drummer. Throughout his career he has performed both as a leader and as a sideman in the bands of Walt Dickerson and Cecil Taylor, both instrumental in the free-jazz movement of the 60s and beyond. From his 2016 unusually mainstream effort for Manfred Eicher's ECM: The Declaration of Musical Independence, we get Bill Frisell's "song for andrew no.1" with Frisell on guitar, Ben Street's bass and Richard Teitelbaum's keyboards. Steve Turre returns with a cover of Jobim/Lees' "Corcovado" - a mountain in central Rio Janeiro, also translated to "hunchback" - from his Smoke Sessions Records Colors for the Masters featuring Steve's trombone, Kenny Barron (p), Ron Carter (b), Jimmy Cobb (d) and Javon Jackson's tenor. Bringing this half to a close comes Eo Simon's Trio, making their first appearance on this show with a sensitive Bill Evans-type take on Bill and Miles' "Blue in Green" from his Youkali Music Mayan.

The late Charlie Haden gets us passionate with a cover of Deitz and Schwartz's "Haunted Heart" from his Quartet West - Haunted Heart recorded in France in 1991. Ernie Watts', the unparalleled romantic tenor saxophonist, joins the bassist with Alan Broadbent's piano and Larance Marable's drums. Toward the end, Charlie patches in Jo Stafford's vocal with the Paul Weston Orchestra from a 1950 Capitol recording. New from Impulse Records we get a Jacky Terrasson & Stéphane Belmondo (trumpet/piano) duet of Dave Brubeck's "In Your Own Sweet Way" from Mother. From a request from Holladay Farms' Jules we get Scott Morgan's interpretation of Kurt Weil's "Lost in the Stars" from his 2016 Miranda Music cd Song of Life. Pianist Fred Hersch arranged the project and provides backup. Jane Monheit is absolutely spellbinding in a cover of Ray Gilbert/Marcos Valle/Paula Valle's "If You Went Away" from her 2007 Concord Surrender, a concept widely embraced in Wonder Valley. Way back in 1949, George Shearing got together with the most famous male vocalist of the time, Billy Eckstine, in a cover of Walter Donaldson's "You're Driving Me Crazy (What Did I Do)?" The single was released on MGM shellac, but the remastered version is flawless. My heart is pounding just thinking of all these romantic feelings expressed musically! Am I right, ladies?

Let's have some fun!

Thanks to Music Director Serah and friends around the world for the program's content.

Jay Azzolina / Dino Govoni / Adam Nussbaum / Dave Zinno - Chance Meeting (2016) WHALING CITY SOUND


Four powerful jazz artists in mid-career, all with New England roots and impressive experience, come together in one explosion of brilliant light, to produce ten originals, full of purposeful playing and sublime solos. Chance meeting indeed! Perhaps though it’s not a coincidence that drummer Adam Nussbaum, bassist Dave Zinno, guitarist Jay Azzolina, and saxophonist Dino Govoni met at all. Together, the first-call quartet fuses beautifully on their debut play date together. Presiding over the session seems to be the musical spirit of Michael Brecker, Govoni and the band’s collective inspiration and the launching pad for much of the work on Chance Meeting. With Brecker in mind, the four musicians—educators, bandleaders, conductors and original artists—form a single dynamic enterprise, playing with the confidence of visionaries that have the same elevated goal: to reach a new level not as individuals, but as a team, as an exhilarating ensemble with multiple talents but a single mind.

01. Problem Child
02. N.T.I.
03. Lament for Michael Brecker
04. 1 of 3
05. My Maia
06. Asha
07. Jimmy's Blues
08. 14
09. Meatsauce
10. Insight, Enlight

Jay Azzolina - guitars
Dino Govoni - tenor saxophone
Adam Nussbaum - drums
Dave Zinno- double bass


Dylan Taylor with Larry Coryell & Mike Clark - One in Mind (2016)

"We will be playing music from my new CD "One In Mind" which features Larry and Mike, including new music by Larry and myself. " Dylan Taylor

01. The One or the Nine 04:25
02. Loft Funk 06:59
03. Jumbo Liar 05:15
04. Song for Dennis 05:03
05. War and Peace 05:24
06. John's Abbey 09:16
07. Hittin' and Missin' 07:35
08. Alabama Rhap Corollary 05:21
09. Jem'N'Eye'N 08:26
10.The Dragon Gate 06:42

Larry Coryell, guitar
Mike Clark, drums

Released August 30, 2016 

Recorded at Forge Recording in 
Oreland, PA 
mixed by Ron DiSilvestro 
additional engineering by 
Brendan McGeehan 
mastered by Brian Boland at 
Rittenhouse Soundworks 
produced by Dylan Taylor 
& Brendan McGeehan 
artwork by Jimmy Raiford 
(inspired by Bonnie MacLean)

Rale Micic - Night Music (2016) WHALING CITY SOUND


Last we heard from tasty Serbian-born guitar player Rale Micic (pronounced Rah-lay Mee-cheech) he had recorded the sweet trio disc “3.” The work vaulted him to prominence, and he enjoyed enthusiastic followers at prestigious gigs. On his fourth disc as bandleader, Rale looks closer to home for his inspiration. 

The sublime new Night Music is a rei-magining of the work of Hungarian composer Bela Bartok. Helped in his vision mission by Jonathan Blake and his ad-renalized drum ‘n’ bass pulse, Corcoran Holt’s heavy groove on upright bass, and Danny Grissett’s Fender Rhodes, all of which provide an evocative and colorful bed for Micic’s flowing single note lines and double-time flurries. While Bartok fused Hungarian folk music with more a tradition-al classical essence to create work of incredible national pride, Micic attempts to do something similar by creating a blend of ethnic tinged playing and more conventional jazz. Bartok lived his last few years in New York City, near Micic’s home in Riverdale, where he transcribed Serbian folk music at Columbia University. 

Motivated by the inspiration and closeness he felt to the spirit of Bartok, Micic created Night Music, a heartfelt tribute of extraordinary beauty, and an immense accomplishment from an imposing talent.


“Micic is bringing an intriguing new perspective to the jazz guitar.” – LA TIMES

”Micic is subtle, intelligent player who echoes the likes of Jim Hall.” – DOWNBEAT

“The New York jazz scene, and by extension jazz’s modern mainstream, has Rale Micic to thank for a portion of its continued growth.” – ALL ABOUT JAZZ


“Rale Micic is one of my favorite guitar players on the scene today. He has a beautiful sound and lyricism that truly set him apart.” – PETER BERNSTEIN

“Rale is a soulful and thoughtful player” – TOM HARRELL

“Rale Micic has firmly established himself as one of the top guitarists in jazz today. I’ve enjoyed his playing both while sharing the bandstand with him and as a fan. He’s got great melodic awareness, a strong rhythmic concept, and a feeling for the blues that show he has studied the greats on his instrument while forging a singular style of his own. I’m excited to hear this new recording! “ – ERIC ALEXANDER


“Micic is bringing an intriguing new perspective to the jazz guitar.”   LA TIMES

Born and raised in Belgrade, Serbia, guitarist and composer Rale Micic (pron. Rah-Leh Mee-chee-ch) skillfully fuses culture with timeless jazz.

Rale Micic is a CTA Records recording artist and has been featured in numerous publications including Downbeat, JazzTimes, LA Times, San Diego Tribune, Boston Globe, etc. He has performed at prominent jazz clubs and music festivals in US and Europe including Catalina Jazz Club, Blues Alley, Village Vanguard, Scullers Jazz Club, Dizzy’s, San Jose Jazz Festival, Hartford International Jazz Festival, etc.

Rale Micic recently signed an endorsement deal with D’Addario strings, joining the likes of guitarists Pat Metheny, John Scofield and Lenny Kravitz.

01. Hotel Insomnia
02. Jane
03. Melody in a Mist
04. Late Call
05. Blue
06. Nocturne
07. Night MUsic
08. Nocturne (reprise)
09. Afterparty
10. Sunrise
11. Color of the Sun

Danny Grissett - piano
Corcoran Holt - bass
Johnathan Blake - drums


Shachar Elnatan - One World (2016) SUNNYSIDE RECORDS

Shachar Elnatan’s debut album titled One World. This release features compositions assembled over the past six years and emphasises his musical journey as a jazz musician growing up in Israel and living in New York. Shachar’s ability to combine sounds from different cultural backgrounds, brings something fresh, new and exciting to the table; the opening track ‘At Distance’ showcases his take on an 11/8 Moroccan groove, highlighting electronic and modern sounds; the title track ‘One World’ strongly resonates with Middle Eastern and Yemenite music, yet features a triplet oriented melody and rhythm, highly influenced by Irish music.

01. At Distance - 4:29
02. One World - 3:58
03. Josa - 6:02
04. Sheva - 4:17
05. Singing Through The Night - 5:27
06. Doira - 5:53
07. A Wish - 6:05
08. Pachuki - 3:58

Gadi Lehavi - piano
Avri Borochov - bass percussion electronics
Ofri Nehemya - drums
Avishai Cohen - bass
Daniel Dor - drums
Dana Herz - vocals
Itay Morchi - drums
Shachar Elnatan - guitars vocals percussion electronics
Gadi Lehavi - piano
Avri Borochov - bass percussion electronics
Ofri Nehemya - drums
Avishai Cohen - bass
Daniel Dor - drums
Dana Herz - vocals
Itay Morchi - drums


Harold López-Nussa - El Viaje (2016) MACK AVENUE RECORDS

Nacido en La Habana en 1983, el pianista Harold López-Nussa ha tenido una muy fructífera carrera musical en su natal Cuba y en otros escenarios del mundo, siempre del lado de lo tradicional y del jazz. A pesar de su corta edad, ha sabido sobresalir en el exigente mundo de los pianistas, destacándose por sus exigentes trabajos con giros armónicos, rarezas melódicas y una fuerte influencia de los grandes maestros de lo afrocubano, como Chucho Valdés, David Sánchez, Horacio "El Negro" Hernández, Christian Scott, Stefon Harris, Bobby Carcassés, Elmer Ferrer y Alejandro Marrón. 

Entre 2008 y 2011, luego de recorrer diversas conformaciones, se hizo muy visible al ser parte del acompañamiento de la maestra Omara Portuondo y formar parte también de la banda del genial flautista 'Maraca' Valle. Es a partir de este momento en que, aparte de formar su propia agrupación, logra varios reconocimientos por su trabajo y apuesta por producciones propias más vanguardistas, más personales, entre los que se incluye la composición de bandas sonoras para películas. 

La alegoría encerrada en su nueva producción, "El Viaje" (2016) para el sello Mack Avenue Records, deja ver su experiencia adquirida en estos años de trabajo continuo al frente de su piano, con influencias musicales y aportes a un estilo que ya se reconoce como propio. Es más, transmite la idea de un suave equilibrio en medio de las ondas de la mar que luego del viaje, or más lejano que este sea, siempre llevan al viajero de vuelta a casa. Ese eterno retornar a las esencias del hogar es la marca de calidad de la idea musical tras este nuevo disco, una exploración de resultado, de consecuencia, a través del espíritu del mundo, sin que ello signifique perder o sacrificar las raíces fundacionales de su música más íntima. 

El trabajo de "El Viaje" ha hecho posible que se construya una formación de trío, en el que interviene su hermano menor, Ruy Adrián López-Nussa, en batería y percusión, y el contrabajista y voz senegalés Alune Wade. Además, persenta como invitados a su padre, Francisco Ruy López Nussa en la batería, Mayquel González en la trompeta y fliscorno, y Dreiser Durruthy y Adel González a la percusión.

López-Nussa, que colaboró ​​con Wade en el 2015 en el álbum "La Habana-Paris-Dakar", observó: "Tener un músico no cubano en esta grabación habla a nuestro contacto con otras culturas, especialmente con la cultura africana, que está tan lejos de la nuestra geográficamente y sin embargo tan cerca. Cada vez que tocamos, creo que entramos en un viaje que estamos creando", dice, hablando desde su casa en La Habana. 

"Desde que era un niño, desde que empecé a estudiar piano, música, he tratado, he buscado ese viaje de la mente, siempre viajando con la música. Recuerdo que empecé a tocar "El Viaje" durante la gira, como una forma de sentirme más cerca de casa, y cuando estoy aquí, es también una manera en la que mi mente viaja", afirma Harold.

As with all the previous albums of Harold López-Nussa, this Mack Avenue recording El Viaje attests to the young pianist’s remarkable technical polish and command, as well as his cultivated, highly creative interpretations of music. A case in point concerns ‘Me Voy Pa’ Cuba’ – both the opening version and the improvised chart at the end of the album. Here the brilliant young pianist’s more direct ebb and flow, detached articulations and subtle harmonic stresses are conveyed with admirable economy. While the improv tapered phrase endings tiny breath pauses and occasional note elongations, together with suave and more rounded phrases, make for a more angular, free-spirited sound.

Harold López-Nussa manipulates his gorgeously-tuned concert to magical effect. Treating the keyboard with utmost respect he luxuriates in the stylish timbre and tonally rich resources of an instrument that seems to have been prepared for his lithe fingers. The pianist’s scrupulous voice-leading and balances between the hands are present throughout the variations in the African themed music. The polyrhymic evocations on ‘Mozambique En Mi B’ are animated and spontaneous. However, the petulant arpeggios on ‘Africa’ inspire greater dynamism and thrust. ‘El Viaje’ engages in gentle yet shapely dialogues between hands and of the other compositions by the pianist, ‘Oriente’ manages to be rhythmically assertive and debonair at the same time. For darker, dynamic touch and octave transpositions try ‘D’ Una Fábula’. And ‘Inspiración En Connecticut’ is more understated and transversal, with a solid left-hand underpinning ends up providing a lilting anchor to its melody-oriented reading.

Harold López-Nussa’s telepathic relationship with his brother and drummer Ruy Adrián López-Nussa has been the highlight of all of the music he has made so far. Most times they appear joined at the hip, with the drummer echoing in rhythmic terms what the pianist proposes in melodic ones. And just when you thing they might get too comfortable, they switch roles, with Harold López-Nussa striking a percussive pose and Adrián López-Nussa slipping into a masterful, melodic one. On his last album, Habana Paris-Dakar the pianist first teamed up with the Senegalese bassist and heavenly-voiced falsetto, Alune Wade. The trio worked so successfully that Wade has reappeared on El Viaje raising their musicianship to an altogether rarefied realm. They have also brought in star guests: drummer and the brothers’ father Ruy Francisco López-Nussa, trumpeter Mayquel González and percussionists Dreiser Durruthy and Adel González, and this album is now in pianophile heaven.

01. Me Voy pa Cuba (5:35)
02. Africa (5:07)
03. Feria (3:55)
04. Lobo's Cha (5:25)
05. Bacalao con Pan (3:39)
06. El Viaje (5:13)
07. Mozambique en Mi B (3:51)
08. D'una Fabula (6:20)
09. Inspiración en Connecticut (6:05)
10. Oriente (5:36)

11. Improv (Me Voy pa Cuba) (3:22)