Avishai Cohen impressed a lot of listeners with his soulful contributions to Mark Turner’s Lathe of Heaven album in 2014. Now the charismatic Tel Aviv-born trumpeter has his ECM leader debut in a programme of expansive and impressionistic compositions for jazz quartet (trumpet, piano, bass, drums), augmented by tenor saxophone on a few pieces. Into The Silence is dedicated to the memory of Avishai’s father David, reflecting upon the last days of his life with grace and restraint. Avishai’s tender muted trumpet sets the emotional tone of the music in the album’s opening moments and his gifted cast of musicians explore its implications. Israeli pianist Yonathan Avishai has played with Cohen in many settings and solos creatively inside the trumpeter’s haunting compositions, sometimes illuminating them with the phraseology of the blues. Cohen and drummer Nasheet Waits have a hypersensitive understanding and their interaction can, from moment to moment, recall the heyday of Miles Davis and Tony Williams or Don Cherry and Billy Higgins. Yet this music, while acknowledging inspirational sources, is very much of our time. Bassist Eric Revis, a cornerstone of the Branford Marsalis quartet for two decades, provides elegant support throughout. And saxophonist Bill McHenry, a subtle modernist who has worked with Paul Motian and Andrew Cyrille, shadows Cohen’s lines with feeling. Into The Silence was recorded at Studios La Buissonne in the South of France in July 2015 and produced by Manfred Eicher.
Vocalist Scott Morgan draws on a lifetime of experience and emotion for his moving debut recording, out September 12 on Miranda Music
Songs of Life features Fred Hersch, Joel Frahm and Janis Siegel
on a stunning set of Songbook and pop classics
“Scott Morgan’s singing is warm and loose. He has taste, heart, and musical intelligence.” —David Hajdu, Music Critic, The New Republic
“Scott Morgan’s voice wafts gently through your ears and heads straight to your heart.”– Janis Siegel, Manhattan Transfer
One advantage to making a belated debut is the depth of life experience that enriches an artist’s work. Scott Morgan may be a name new to listeners outside of New York City, where he’s garnered a devoted following for his moving live performances, but Songs of Life reveals a vocalist with a lifelong passion for and immersion in music. The title reflects both a songbook developed over a lifetime’s listening and performing, but also Morgan’s expressive interpretations, deeply imbued with the loves and losses that accumulate over a life well lived.
The repertoire on Songs of Life (due out September 12 via Miranda Music) span the spectrum from Great American Songbook standards to pop classics by revered songwriters like James Taylor and The Beatles to more recent contributions by pianist/composer Fred Hersch, Morgan’s partner in both life and music. Hersch’s sensitive accompaniment can be heard throughout Songs of Life, along with the singer’s flexible, supportive rhythm section of bassist Matt Aronoff and drummer Ross Pederson. The impeccably eloquent tenor saxophone of Joel Frahm graces three tracks, while Manhattan Transfer’s Janis Siegel is Morgan’s duo partner for the soaring “I’ll Follow,” with lyrics by Morgan to Hersch’s piece “Mandevilla.”
“Every song has its own story,” Morgan says, “and I hope that when people listen to the record they can identify with some if not many of the songs in a personal way. Everybody’s had unrequited love as well as fulfilling relationships. And I imagine most people have suffered existential angst as well - so Songs of Life is a musical photo album of the touchstones in our lives.”
Some of the songs in particular offer snapshots of very vivid memories from Morgan’s past. The breathtaking coupling of Dave Catney’s “Little Prayer” and the Lerner and Loewe standard “Wouldn’t It Be Loverly” is a particular standout. The first half is the work of a jazz pianist/composer who passed away from complications of AIDS, sung by Morgan in memory of a friend lost to the disease in the 1980s. The latter half wistfully captured the imagined dreams of a woman that Morgan met while traveling in Tanzania, widowed by HIV and living in a mud hut. “She took me into her house and fed me though she had nothing at all,” he recalls. “I thought that from her perspective, wouldn't it be lovely to have heat, chocolate, someone to care about.” Morgan brings the same profound humanity and empathy to all of his work. In part, his gift for storytelling and capturing character in song stems from his earliest experiences with music, performing in musical theater productions in his native Sarasota, Florida. “Without my musical theater background I wouldn't be able to tell the stories the way that I’m able to tell them, particularly in live performance,” Morgan says. “It’s very easy for singers to just get up and run through the songs jazz singers are expected to sing, but I try to make every song special and really engage the audience with what’s going on in the story.” After playing piano and singing throughout his time at Florida State University, Morgan took a 15-year break from music while he concentrated on his career in the technology and then in the nonprofit sector, a pursuit that continues to be rewarding off the stage. It was his arrival in New York City in 2001 that led to his reengagement with music, which was only fueled further a few months later when he met Hersch and was ushered into the thriving NYC jazz scene. He studied with influential modern jazz singers like Kate McGarry, Peter Eldridge and Rene Marie, gaining confidence from their encouragement and from the enthusiastic response of audiences as he performed live. Hersch says, “I always knew Scott was a great musician – I am glad that he is now finding that out for himself.” “I’ve always been close to music, and I was looking for a creative outlet to round out my life,” Morgan explains. “I felt like all I was doing was working, working, working, so music started calling me back. I never thought it would turn into anything initially, but I gradually got more serious and my desire to do something more with music than just sing around the house started to grow.”
If the arc of Songs of Life can be seen as the story of a life, then it’s clear that in Morgan’s view love, in its many facets, is central to existence. The album begins with a brisk romp through “It’s You or No One,” a lively ode to fidelity by Sammy Cahn and Jule Styne with a dazzling vocalese lyric by Morgan to a classic Chet Baker solo. New romance is celebrated on “I Just Found About Love” and “This Heart of Mine,” while Dori Caymmi’s bossa nova classic “Like a Lover,” performed in an intimate duo with Hersch, luxuriates in the morning light on a lover’s face. The first of two James Taylor compositions on the album, “Don’t Let Me Be Lonely Tonight,” becomes a poignant plea for connection. The second, “Secret O’ Life,” resonates with Morgan’s Buddhist leanings in its celebration of being present in the moment. The album closes with The Beatles’ “I Will,” rendered in Morgan and Hersch’s duo performance as a tender promise of devotion. Its sentiments are echoed in Morgan’s lyrics to Hersch’s music on “I’ll Follow,” with Morgan and Siegel painting a vivid portrait of two people in love worthy of a Broadway stage. “It’s a story about how when two lives and loves intertwine with each other, things can happen in a beautiful way,” Morgan explains. All of the moments that have inspired Songs of Life are expressed with the same sense of beauty and passion. Like the love stories woven throughout the album, Morgan’s auspicious debut combines the thrill of the new with the wisdom and depth of feeling that can only come from a lifetime of experience.
French saxophone player Faïz Lamouri began the study of saxophone and music at a very early age. After eight years of classical studies, he became interested in jazz through musicians like Paul Desmond, Lester Young, Charlie Parker, Sonny Rollins and John Coltrane.
Faïz received a scholarship in 2008 to attend the prestigious New School for Jazz and Contemporary Music in New York. There he refined his craft with internationally renowned jazz musicians including Mark Tuner, Reggie Workman, Abraham Burton, Joel Frahm, Vincent Herring, Wayne Escoffery and Andy Milne. Faïz graduated with honors in May 2011 from the New School.
In New York, Faïz also performed regularly with his own band in famous Jazz venues. He was notably featured at the Iridium Jazz Club as part of their Rising Stars Series. Faïz moved back to Paris in 2013 and continues to perform in Jazz clubs and Festivals around the world.
Comprised mostly of his original compositions, his debut album transports the listener into a highly captivating and creative musical universe. It also brings together world class musicians such as bassist Vicente Archer and drummer Damion Reid as well as talented Italian pianist Sam Mortellaro.
Vicente and Damion play together since the early 2000's and are an essential part of today's jazz scene. Just like them, Faïz and Sam shared the stage around the world for many years. The recording of this album was thus a true dialogue between musicians who share a deep connection.
Jazz is created in the moment and with great complicity. It is an essential condition for it to convey sincere and intense emotions to the listener. And that’s exactly what Wonders do.
Reaching into the heart of improvised music has become second nature to British tenor saxophonist Tori Freestone and perennial colleagues Dave Manington (double bass) and Tim Giles (drums) on their latest Whirlwind release El Barranco. Following their warmly-received 2014 release In the Chop House and subsequent live appearances, the trio have relished the opportunity to reconvene in the studio to record this collection of intuitive explorations (often first takes) of predominantly original compositions, including a pair of London Jazz Festival commissions.
The challenge of the wide-open chordless format is enthusiastically embraced by this trio, offering an improvisational prospect which constantly evolves, thanks to their innate ability to share ideas and spontaneously flex in new directions. Tori Freestone’s characteristically voluble tenor delivery is a key factor in this artistic process: a continuous channel of flowing, tumbling lines arriving from a seemingly limitless, spring-like source; and the quicksilver responses and diversions of both Manington and Giles are so genuinely realised. All of this combines in creating delightful group unpredictability, via a mutual, carefully crafted musical vocabulary, which happily hovers on the periphery of delineated structure.
Freestone clearly revels in the recording aspect: “Whenever we go back into the studio, it’s so great to have a couple of days enjoying making music together. The more we tour in the UK and internationally the more the new ideas start to flow and develop, taking us up onto another level to where we can’t wait to put this down on a new album.”
The concept of creative spaciality is reflected in the saxophonist’s album title and own sleeve illustrations, referencing the beautiful, mountainous terrain of Tenerife – in particular, El Barranco de Masca – which, for many years, has remained especially close to her heart. Thus, the inspiration for opening title track ‘El Barranco’ arrived almost instantaneously, its airy nonchalance a perfect vehicle for the liquid, intertwined phrasing of tenor and bass, buoyed by an expressive lightness of touch from drummer Tim Giles. The first of two commissions, 'The Press Gang' echoes Freestone's musical roots with a suitably dark interpretation of the gloomy folk-tune tale (reprised as the album's end-piece, in appropriately traditional guise, by way of a haunting vocal-and-violin solo performance); and the full-tilt exuberance of contrasting partner piece 'Identity Protection' further reveals the trio's enthusiastic abandon.
Elsewhere, Dave Manington makes two compositional contributions, the thrummed, ‘60s soul bass riff of his ‘Challenger Deep’ setting up a distinctively alternative groove; and ‘Quetzalcoatlus’ (purportedly the largest prehistoric flying animal that ever lived) becomes increasingly wild, jagged and audaciously airborne. Arthur Attman’s familiar standard, ‘All Or Nothing At All’, is skilfully threaded between the players, Freestone’s mellow tenor fluidity as heartfelt as ever; and the snappy, complex, changeable moods and rhythms of ‘Cross Wired’ speak volumes about a trio whose creative understanding (contrary to its title) is so impressively fine-tuned.
Expounding on their now-established approach, Tori says, “We love that the freedom we enjoy creating in our playing can reach people in so many different ways. At one concert, someone who was new to jazz expressed to me that our music had taken them on a journey they never knew they could experience; so it’s lovely that somehow we have formed a language which, rather than being intellectual or inaccessible, can be both contemporary and relevant – and we really look forward to engaging audiences with the new material on this album.”
Scott Tixier’s new recording, Cosmic Adventure, celebrates the mystical nature of life. There are inconceivably immense and unpredictable experiences that can be realized within one’s lifetime. It is the absorption of material and immaterial influences yielded by these events and relationships that helps one discover new worlds or new ways of navigating in the cosmos of existence. It is about breaking free from the self-imposed isolation of criticism, the pursuit of perfection and the fear of failure. The adventure occurs when you expel the pressures of competition and expectations to truly explore your place in the greater cosmos.
Violinist Scott Tixier has found himself amongst some of the most fantastic individuals and intriguing situations. His journey has been extraordinary, a truly cosmic adventure.
The French born Tixier moved to New York in 2007 with an unparalleled musical pedigree. His violin playing has been lauded by many important and highly respected musicians, including Pat Metheny, Jean Luc Ponty and Mark Feldman. He had already garnered experience in the jazz world playing with Jon Hendricks, Tigran Hamasyan and Lonnie Plaxico.
Since that time, the 30 year-old violinist has found himself in many eclectic musical settings, from Anthony Braxton’s recent opera Trillium J, sideman gigs with Natalie Cole, Christina Aguilera, and Gladys Knight to two years of touring with soul legend Stevie Wonder, not to mention his work in film and television. For the past 10 years, Tixier has been developing a new sound inspired by these collaborations both inside and outside of the jazz world, making him a multidimensional musician with a new voice on jazz violin.
Tixier’s first, well-received, Sunnyside recording Brooklyn Bazaar celebrated his then newly found home. His new recording, Cosmic Adventure, his first as a leader in four years, celebrates the serendipitous nature of life as a spiritual journey, with joy and hope but also sorrow and despair.
It was while appearing at a festival in France in 2012 that Tixier met pianist/composer Donald Brown. The young violinist hit it off immediately with the Art Blakey Jazz Messenger alum, and highly regarded arranger, during a six hour after hours hang. It was during his preparation to record that Tixier decided that having Brown produce the record would be ideal. Furthermore, Tixier’s partnership with engineer Dave Darlington and Brown ensured a well executed recording session.
The electrifying new band that Tixier showcases on his recording is made up of some of the leading lights of this new jazz generation. Having played with Tixier since he and Tixier were teenagers, harmonica virtuoso Yvonnick Prene is the perfect foil for Tixier’s violin. Pianist Glenn Zaleski is a friend and neighbor, not to mention one of the best emerging pianists in New York. The varied and instinctual playing of bassist Luques Curtis matches his tremendous tone, while the incredible ability and maturity of Justin Brown’s drumming is suited perfectly for the ensemble, because he can deliver energy and dynamics without overpowering the violin.
The compositions on Cosmic Adventure follow a trajectory, all having been written one after another. They are meant to mirror events and moods, both good and bad. The outcome is an eclectic and moving collection of originals and two arrangements of well picked standards.
The recording begins with the stirring “Maze Walker,” written as a study on life’s tendency to make one search for meaning, as if finding the end of a maze. The opening track features conga master Pedrito Martinez, as does the optimistically penned “Dig It,” a tribute to Stevie Wonder, with the sound of his harmonica in mind. The insistent “100,000 Hours” is all about drive and commitment to making oneself a better person (or musician, for that matter).
Django Reinhardt’s classic “Troublant Bolero” is performed beautifully as a ballad and for quite possibly the first time with piano and drums. Tixier commissioned the exuberant and swinging “Mr. Tix” from his longtime friend Prene. Next, Tixier re-arranged the classic Erroll Garner chestnut “Misty,” taking a number of chances to make the piece feel more contemporary.
The bouncy “Nil’s Landing” is for Tixier’s young, guitar-rocking brother, so naturally it is an exciting bebop tune with unique rhythm changes. The moving “King of Sorrow” is for his recently passed grandmother, who never recovered from her husband’s death 30 years prior, though Tixier sees a lesson in her pain: Don’t get consumed in sorrow, take a look at the world around you. The grand finale is the joyful “Beam Me To Mars,” an optimistic piece written for people who dream big. The track features saxophone titan Chris Potter, who Tixier connected with on the streets of Brooklyn during a chance encounter.
Performing on an instrument that has become a rarity in contemporary jazz, violinist Scott Tixier has put his individuality to his advantage. There have been ups and downs on the way to where he is, which is natural on all of life’s paths. Overall, he has enjoyed and wants to share the bounty of his Cosmic Adventure.
