Richard D. Johnson - "First Glance" via Afar Music 2021

Pianist Richard D. Johnson Presents His Expressive New Release, First Glance

via Afar Music

Pianist and composer Richard D. Johnson is proud to announce the release of his latest recording, First Glance, via Afar Music. The product of a spontaneous recording session, this all-original program showcases the Chicago-based pianist and composer at his musical prime. Touching on the overwhelming sensation that the sight of beauty can elicit, First Glance promotes a positive worldview and a melting pot of experiences.

Inspired by a rollover window of studio time, Johnson’s sixth release as a bandleader took form spontaneously after the pianist joined saxophonist Sharel Cassity for her 2020 recording Fearless. The ensemble, comprised of ace bassist Alex Claffy and high-powered drummer Mark Whifield Jr., had just finished recording Fearless on day one out of two booked at Victorian Studios in Chicago. With the spirit of Cassity’s album in mind, the crew seized the remaining studio session to record eight of Johnson’s own tunes, learning them all in one evening. With organist Paul Mutzabaugh added to the lineup, First Glance is a luminous display of individual talents melded into one cohesive whole.

Much of the material on First Glance calls upon Johnson’s time spent traveling and performing in the Midwest and Middle East. The album opener, “The Cut Off,” specifically observes Johnson’s period in Doha, Qatar, amidst a moment where he witnessed the country’s driving spirit to survive at all costs and become self-sufficient.

Photo Courtesy of Richard Johnson

Traversing decades of rich life experience and musical creation, “Soprano Blues” is a song Johnson stumbled upon when convening the album, a tune he wrote at the age of seventeen with a simple ¾ waltz tune. Speaking more to the present, “No WiFi” is a commentary on a distinctly modern sensation that arises when there is no internet to be found. As this expression tends to get repeated over and over, Johnson wrote in a looping part at the end, influenced by the sound of a “broken record” skipping repeatedly on the same part. 

One particular highlight for Johnson is “Last Minute,” a track he wrote as a tribute to his mentor, Mulgrew Miller. This original pays homage to Miller’s track “The Eleventh Hour” and features several musical elements that Johnson learned from his mentor. 

“Sunday Devotion,” closes off the album with a nostalgic tone. Celebrating his upbringing in the Baptist Church, the younger Johnson would play piano alongside his father on organ. Evoking a Sunday morning service, feelings of gratitude and discipline flow alongside the resonant keys of Mutzabaugh’s organ.

“First Glance is really about people who see something and are overwhelmed with the beauty right at first glance,” Johnson shared. “The album is a journey through that first glance and each song is an individual experience translated into music.” 

1. The Cut Off (5:44)

2. First Glance (4:00)

3. Soprano Blues (4:02)

4. No Wifi (3:22)

5. Sunset (6:08)

6. Trapped (5:30)

7. Last Minute (5:08)

8. Sunday Devotion (5:49)

All music composed by Richard Johnson

Richard Johson, piano

Sharel Cassity, alto (1,2,4,7), soprano (3,5,6), tenor (8) saxophone

Alex Claffy, bass

Mark Whitfield Jr., drums

Paul Mutzabaugh, organ

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Kristiana Roemer - House of Mirrors (Sunnyside Records)

Every individual has the opportunity to forge her own path through life making decisions based on internal and external factors. One’s intuitions, lessons learned, relationships and experiences inform the path one takes. Once the course has been taken, there is always reflection on the choices made and on what other choices may have yielded, and what they both may tell about one’s self.

Vocalist/composer Kristiana Roemer likens these wide-ranging deliberations to a disorienting, ever-changing array of looking glasses, thus, the title of her new recording, House of Mirrors. Roemer’s recording debut finds the vocalist at an exciting time in her promising career, navigating her unique path, where she is ready to introduce her fabulously broad musical approach and singular experience to the world.

Born to an American mother and a German father, Roemer grew up in a bi-lingual household in Frankfurt, Germany. Her mother instilled the importance of integrating her American with her German culture, namely through attending their English-speaking church and making long summer visits to North Dakota. Music was an important part of Roemer’s life from early on. She began piano lessons at six and then began singing in church and with a traveling choir; her first efforts at songwriting took place by the age of nine.

Roemer was taking classical voice lessons as a teenager when she met a professional pianist who invited her to sing popular tunes and standards with him at a local lounge, and soon they were performing together regularly. Choosing to continue her music education, Roemer received a scholarship to attend Concordia College in Minnesota for a year before she returned to Germany to care for her mother, who had fallen ill and passed away soon thereafter. During this time, Roemer had enrolled for her bachelor of science at Frankfurt University but soon impulse led her to move to Paris, where she spent three years performing regularly at cabarets and clubs and hosting a jam session, along with studying vocal jazz at the Paris Conservatory and completing her bachelor’s degree from abroad. In Paris, she formed a quartet and began performing her original compositions.

On a summer trip to New York, she fell in love with the City. Though Paris had been instrumental in solidifying her love and pursuit of jazz, the openness of New York’s scene made Roemer feel free to truly spread her musical wings and provided the nurturing ground that allowed her to define her musical voice. While writing music had become second nature to her, she felt that to truly express herself in her storytelling she had to broaden her approach, including her introduction of German lyrics along with English.

Roemer moved to New York soon thereafter and dove directly into the jazz scene there, performing regularly at Rockwood Music Hall, Jazz at Kitano Hotel and Cornelia St. Café, and completing her Master of Music in jazz studies at Queens College. Roemer was anxious to record as soon as she arrived. One of the many musicians she met was bassist Alex Claffy, whose enthusiasm for collaboration motivated Roemer to push through the production of House of Mirrors. Roemer set up recording dates and they brought on pianist Addison Frei and drummer Adam Arruda.

The original pieces on her stylistically diverse and explorative recording were selected with the intention of taking the listener on a journey and telling the story in a direct and honest way. These are compositions that Roemer felt needed to come out so that she could continue her growth and explore new pathways. The pieces span from her time in Paris to her time in New York, many having been written with her ensemble and special guest artists in mind. Many of the lyrics, hers and otherwise, began as poetry.

The story is introduced by the title track, a meditative piece exploring decisions made and paths taken, that’s mood is amplified by guest Gilad Hekselman’s sensitive but spacious guitar. The haunting “Beauty Is a Wound” is a tribute to Roemer’s mother, the music going straight to the heart with stripped-down, minimalist but emotionally charged accompaniment by percussionist Rogerio Boccato. The intrepidly upbeat “Virgin Soil” is an benison given to a sister to go out and find one’s own way; gorgeous solos from Dayna Stephens and Frei emphasize Roemer’s message.

Roemer intentionally includes German language in her music, as there has not been much use of the language in contemporary jazz, which she delivers in a natural, relatable way. In seeking German poetry, she discovered Felice Schragenheim’s “Deine Hände,” an uplifting love poem, written by a courageous woman who knew misfortune and died young at the hands of the Nazis, that Roemer arranged exquisitely for the quartet. The intensely persistent “Dark Night of the Soul” utilizes St. John of the Cross’s poem for content but really shines with Roemer’s brazen recitation of her own writing accompanied by Ben Monder’s guitar exploration. Hermann Hesse’s “Manchmal” is a blue-tinged appeal for humans to see our reflection in nature and mend our relationship with it.

Monder’s shimmering guitar tones provide a gorgeous, enveloping soundscape for Roemer’s “Lullaby for N.,” a thoughtful piece echoing the parting of a friend. Roemer adapted Stanley Turrentine’s “Sugar” into a metrically intriguing arrangement, the paramour’s message of love heightened by Stephens’s brilliant tenor, Frei’s rhapsodic piano and Claffy’s expressive bass. The recording concludes with Charles Mingus’s “Duke Ellington’s Sound of Love,” a tremendous song about the love of music that brings us back to the journey’s true essence and its ultimate goal, the music.

The music of Kristiana Roemer comes from an honest place, a place of appraisals of actions and embracing all potential paths, whether taken or not. Her House of Mirrors is a diverse and brilliantly devised program of music that illustrates where Roemer has been and where she will go in her bright future.

1. House of Mirrors 03:02

2. Beauty Is A Wound 04:14

3. Virgin Soil 04:46

4. Deine Hände 02:01

5. Dark Night of The Soul 04:57

6. Manchmal 03:03

7. Lullaby for N. 03:56

8. Sugar 05:54

9. Duke Ellington's Sound of Love 04:53

Kristiana Roemer - vocals

Addison Frei - piano

Alex Claffy - bass

Adam Arruda - drums

Gilar Hekselman - guitar (1)

Ben Monder - guitar (5, 6, 7)

Dayna Stephens - saxophone (3, 8)

Rogerio Boccato - percussion (2)

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