Pat Metheny
de-Eye III+
(Green Hill)
Pat Metheny, one of the all-time great jazz guitarists and always an original voice on his instrument, has the ability to make nearly every song seem epic. That is certainly true of most of the eight originals that comprise Side-Eye III+.
Metheny had been touring with his Side-Eye III (a trio with keyboardist Chris Fishman and drummer Joe Dyson) for the last couple of years when he decided to expand the group by adding bassist Daryl Johns to the group (thus the + in Side-Eye III+) although Jermaine Paul would become his touring bassist. For this CD, various selections have the group augmented by organist James Francies (prominent on the bluesy “Urban and Western”), harpist Brandee Younger, Vincent Peirani on accordion, percussionist Luis Conte, singer Leonard Patton (who would later join his group on percussion), and a nine-voice choir although the vocalizing is barely noticed.
With Metheny’s guitar lead and his use of guitar synthesizer, the music on this release already sounded orchestral without the guests. The performances continually evolve, particularly “In On It,” the 11-minute “Don’t Look Down,” and the ten minute “Make A New World,” each of which explore several moods and tempos in different sections along the way. Those pieces and most of the others build to a memorable climax with music that is unpredictable yet ultimately logical. Metheny and the very talented Fishman create solos that have them playing creatively over the grooves, taking the music to a passionate level without discarding the themes. For a change of pace, the guitarist plays with tenderness on his nostalgia ballad “Our Old Street” and the closing “So Far So Good.”
Nearly every Pat Metheny recording (and there are dozens) is well worth savoring and exploring. Side-Eye III+ (available from www.amazon.com) is no exception and another highpoint in his very productive career.
Altan Sencalar
Natural Rhythm
(Posi-Tone)
Altan Sencalar has developed into one of the top trombonists around today. Natural Rhythm is at least his seventh album as a leader and in recent times he has appeared on several of the Posi-Tone label’s releases as both a leader and a sideman. Sencalar can play as fast as a saxophonist and, while inspired by J.J. Johnson, has his own sound on the trombone.
Natural Rhythm finds Altan Sencalar leading an octet that includes trumpeter Alex Norris, Sharel Cassity (on alto, soprano and flute), baritonist Michael Dease, pianist Art Hirahara, bassist Boris Kozlov, drummer Gary Kerkezou, and percussionist Alex Acuna. The set includes six Sencalar originals, two songs by J.J. Johnson, and one apiece by Wayne Shorter and John Coltrane.
There is plenty of variety featured on Natural Rhythm within the world of straight ahead jazz. To name a few highlights, Shorter’s “One By One” is given a Latin flavor, the leader contributes some very good trombone playing throughout Johnson’s “In Walked Horace” (a happy runthrough of rhythm changes), the trombone-piano duet on Coltrane’s “Resolution” is
fairly free before the group Latinizes the piece, and Cassity’s alto playing is memorable on “Baila De Plena.” There is an exciting trumpet-trombone tradeoff on “Descarga De Dia” and a trombonist-soprano trade on “Run Away” (an uptempo jazz waltz), J.J. Johnson’s “Lament” (usually performed at a slow tempo) sounds fresh and new during this medium-tempo rendition, and Sencalar’s showcase on his ballad “New Life” is another highpoint. Every selection on Natural Rhythm (available from www.posi-tone.com) is well worth hearing, making this one of Altin Sencalar’s most rewarding recordings to date.
Virginia MacDonald
In Search Of
(Cellar Music)
A relatively new name in jazz outside of New York and her native Toronto, clarinetist Virginia MacDonald (the daughter of the excellent tenor-saxophonist Kirk MacDonald) is quite impressive on her debut recording as a leader. She is joined by pianist Geoffrey Keezer, bassist Ira Coleman, and drummer Curtis Nowosda; two selections have Laura Anglade singing wordlessly in the ensembles.
Ms. MacDonald is quite fluent on the clarinet, sounding almost effortless while playing rapid lines. She performs six originals plus “Stardust” and Charles Mingus’ “Duke Ellington’s Sound Of Love.” Her own melodies are often quirky (as on the opening medium-tempo blues “Last Call At Dimitri’s”) or tongue twisters (such as the uptempo romp “Retrogression”) but apparently no problem for the composer and the masterful Keezer to play. The improvising is adventurous while in the modern mainstream of jazz with plenty of surprising moments along the way. And, as if to show that she is quite familiar with the tradition, her playing on “Stardust,” which starts off with three minutes of unaccompanied clarinet, is quite outstanding.
Acquiring In Search Of allows listeners to discover an important new jazz clarinetist. Virginia MacDonald’s release is available from www.cellarlive.com.
Mike Clark
Time Without Beginning (Kuon Ganjo)
(Wide Hive)
Mike Clark will always be most famous for being the drummer with Herbie Hancock’s funk-oriented Headhunters but, whenever he leads his own projects, he performs straight ahead jazz. Clark loves to swing.
On Time Without Beginning, Mike Clark leads an all-star quintet that also includes trumpeter Eddie Henderson, tenor-saxophonist Craig Handy, pianist-keyboardist Patrice Rushen, and bassist Essiet Okon Essiet. Their performances are concise (nothing over seven minutes long) and include a three-minute version of Sonny Rollins’ “East Broadway Rundown,” “Softly As In A Morning Sunrise,” Thelonious Monk’s “Monk’s Dream.” Herbie Hancock’s “Toys,” Wayne Shorter’s “Beauty and the Beast,” and Jan Hammer’s passionate “Lungs” along with three lesser-known songs (among them Clark’s “Kuon Ganjo”). Drummer Towner Galaher contributes three arrangements including one for his spirited “Austin City Shuffle.”
The music is stirring post-bop. Eddie Henderson (almost 85 at the time) sounds ageless and energetic whenever he plays, and it is good to hear Patrice Rushen playing jazz as opposed to her usual r&b. However, Craig Handy is consistently the solo star, taking one dynamic improvisation after another and sounding quite inspired. Essiet is heard mostly in support of the lead voices while Mike Clark was happy to uplift the music in the background while clearly enjoying the playing of his illustrious sidemen.
Time Without Beginning, which has plenty of bright moments, is available from www.widehiverecords.com.
Tom Teasley and Dave Ballou
Inner Play
(Tomism Records)
Trumpet-percussion/drums duo albums have always been a rarity. A Dizzy Gillespie/Max Roach duet recording was disappointing (the trumpeter’s chops were no longer in their prime) although Don Cherry was in better shape for his three albums with Ed Blackwell. Inner Play, a follow-up to the previous Lunch Break, is a bit different than those albums because Tom Teasley’s utilization and mastery of a wide variety of percussion instruments (along with a bit of electronics) adds color and variety to the music. In addition, there is no doubt that trumpeter Dave Ballou is very much in his prime.
On various selections, Teasley is heard on an electric a-frame drum, woodblocks, a log drum, his electronic RAV drum, riqq, darbuka, and in spots a conventional drum set. The song titles, which include “Electric Embers,” “Woodpecker’s Dilemma” (which has high-toned percussion and the woodblocks), “Elephant Dance,” “Outside Inn” (evolving from free playing to a tighter structure), and “Matador’s Lament,” hints at the moods and grooves to be heard in these improvisations. Whether it is the mournful ballad “Where The Ocean Meets The Sky,” the use of bass melodica on part of “Prelude And Interplay,” the hot trumpet and hand-played drums of “Fingers,” the Mid-Eastern groove of “Memories Of Muscat,” or the celebratory closer “Inner Joy,” the performances never lose one’s interest and are full of subtle surprises.
Tom Teasley and Dave Ballou show throughout Inner Play that any type of instrumentation can work when creative jazz musicians get together and react to each other. This consistently enjoyable set, available from www.tomismrecords.com, is easily recommended.
Ambrose Akinmusire & Mary Halvorson
Slo-Mo Neon Luminate Hoverings
(Nonesuch)
This set of duets by trumpeter Ambrose Akinmusire and guitarist Mary Halvorson is a bit different than one might expect. Since both of the musicians have carved out their own places in avant-garde jazz, it would not be surprising if their musical encounter was full of fire and competitive ideas. However, from the start, when Akinmusire’s unaccompanied trumpet plays an expressive ballad for the first minute of ‘Prelude In the Ash,” a melancholy mood is set that pervades all nine of the performances.
Akinmusire is in the lead throughout most of this album with Halvorson setting repetitive if unpredictable patterns behind him. The music alternates between sections that were clearly
worked out beforehand (including some unisons and dissonant melodies) and free improvisations. The music manages to be both dark and strangely relaxed. While some of the music, particularly the closing “Slo-Mo Neon Luminate Hoverings,” borders on being a bit dreary and mildly disturbing, moving slow with a lot of long tones, the low energy level of this thoughtful and quietly emotional project on a whole has its own appeal. Slo-Mo Neon Luminate Hoverings is available from www.nonesuch.com and www.amazon.com.
Kay Kostopoulos
All This Is Possible
(Black Olive Jazz)
Kay Kostopoulos, who taught at Stanford for quite a few years and has worked as an actress, is a superior jazz singer who in recent times has settled in New York City. All This Is Possible is her fourth recording as a leader following Black Magic, View From Telegraph Hill, and Exotica. The vocalist is joined by pianist John DiMartino, bassist Sean Conly, drummer Vince Cherico and, on various numbers, Peter Brainin and her old friend Noel Jewkes both doubling on tenor and soprano.
The set begins with Ms. Kostopoulos singing “Lover.” The instrumentalists switch the tune to “Diggin’ For Diz” (which has the same chord changes) and the two melodies eventually are played at the same time. The singer displays her beautiful voice on “Never Let Me Go” and the jazz waltz “I’m All Smiles” (which has some fine soprano playing by Brainin). Her superior ballad singing is showcased on “Mad About The Boy” which begins with some brief spoken word. Following are Charlie Parker’s “Segment,” McCoy Tyner’s “Search For Peace,” (the latter two songs feature her lyrics), an ironic rendition of “I Enjoy Being A Girl,” and a tender trio version (with piano and Jewkes’ tenor) of “More Than You Know.” DiMartino is a major asset throughout the program whether as a soloist or a tasteful accompanist, and the two saxophonists have opportunities to take concise solos on several of the numbers.
All in all, this is a worthy effort from Kay Kostopoulos (available from www.blackoliverjazz.com), showing that a great deal is possible whenever she interprets a song.
Gabrielle Cavassa
Diavola
(Blue Note)
Gabrielle Cavassa, who has a fetching and very appealing voice, made a strong impression in 2023 when she toured and recorded with Joshua Redman. Following an earlier self-released record, Diavola is her second recording as a leader and first for Blue Note.
The singer is featured here in a consistently sparse setting, mostly with guitarist Jeff Parker, bassist Larry Grenadier and drummer Brian Blade although three songs (one a duet) include Paul Cornish on piano; Redman has two guest appearances on tenor.
Most of the music is taken at a slow ballad pace and is laidback with a generous use of space. Occasionally Gabrielle Cavassa displays her power and range but in general this is an introspective set of ballads. Included are such numbers as a moody rendition of “Raindrops Keep
Falling On My Head,” a welcome revival of “Prisoner Of Love,” the slowest version ever of “Be My Love,” and “Could It Be Magic”; Redman adds some much needed energy to the latter.
While fine in small doses and sometimes quite haunting, Diavola has no real mood or tempo variations and the singer does not improvise much. While there are some dramatic moments and one enjoys hearing her voice, the recording on a whole (which is available from www.amazon.com) falls a little short of displaying Gabrielle Cavassa’s great potential.
Cento Threeo
Halfway To Mellowtown
(Second Bridge Records)
Cento Threeo is a trio consisting of the Austin-based guitarist Don Cento, bassist Phil Spencer, and drummer Norm Bergeron. Their music on Halfway To Mellowtown (nine Cento originals, one tune by Spencer, and Rosanna Cash’s “Seven Year Ache”) features an intriguing group sound.
Cento’s guitar is in the lead throughout, sometimes sounding Spanish-oriented, usually including a tinge of traditional country music and hints of rock, and swinging in its own way while constantly improvising within the structures of his originals. His tone is quite individual and passionate, giving one the impression that he could cut through any ensemble without necessarily playing loud. Except in spots where they have solos or breaks, much of the time the playing of Spencer and Bergeron is felt as much as heard, allowing Cento to be the dominant voice while they follow his musical directions.
While the performances on Halfway To Mellowtown sometimes take their time with “Make The Silence Louder” being a thoughtful and bluesy waltz, they have a strong forward momentum, danceable tempos, light rhythms, and their own grooves. Halfway To Mellowtown (available from www.centothreeo.com) grows in interest with each listen.
Sam Braysher and Linus Eppinger
A Sinner Kissed An Angel
(Fresh Sound)
If evidence was ever needed that jazz is not strictly an American music, consider that this CD features a British alto-saxophonist (Sam Braysher), a German guitarist based in Amsterdam (Linus Eppinger), an American bassist living in France (Darryl Hall), and a Dutch drummer (Eric Ineke). On A Sinner Kissed An Angel, there are certainly no communication problems for the musicians who show that jazz has long been an international language.
The quartet performs a wide-ranging set of superior standards, most of which are not revived very often. The sweet-sounding alto of Braysher blends in well with Eppinger’s guitar, Hall and Ineke have their spots while keeping the music swinging, and the ensembles display an attractive group sound.
Among the songs that the musicians uplift are a slightly slower than usual rendition of “A Smooth One,” George Cables’ “I Told You So” (which benefits from being given a light Latin rhythm), and an exciting rendition of “Put On A Happy Face.” Among the other highlights are a
jazz version of Dusty Springfield’s “Spooky,” Horace Silver’s beboppish “Room 608,” the warm ballad “That Sunday That Summer,” and Charlie Parker’s “Relaxing At Camarillo.”
Everything works well, making A Sinner Kissed An Angel (available from www.freshsoundrecords.com) easily recommended to all fans of straight ahead jazz, no matter what country their origin!
Joe Lovano
Paramount Quartet
(ECM)
Joe Lovano, best-known for his tenor playing, has amassed quite a body of his work in his career. Since 1985 he has led over 50 albums and that does not include hundreds of sideman sessions that date back to 1975.
For his latest album, he leads a quartet that also includes guitarist Julian Lage, bassist Asante Santi Debriano, and drummer Will Calhoun. Lovano, who plays as much soprano on this set (along with the tarogato) as tenor, performs five of his originals plus a song apiece by Charlie Haden and Wayne Shorter.
Starting with Haden’s always-beautiful “First Song,” most of the selections are taken at a slow pace with sparse accompaniment. Among the performances are the episodic “Amsterdam” which has colorful interplay between Lovano and Lage, the spirited “Fanfare For Unity,” an introspective treatment of Shorter’s “Lady Day,” and the medium-tempo “Congregation.”
Sounding very much like the type of thoughtful recording that one would expect to hear on the ECM label, Paramount Quartet is filled with subtle creativity, high musicianship by the four musicians, and quiet but creative playing. It is available from www.amazon.com
Marion Brown
Live In Europe 1968 & 1972
(NoBusiness)
Bobby Bradford/Mark Dresser/Hafez Modirzadeh
Sonic House Reunion
(NoBusiness)
Although they have never recorded together (and possibly not even been on the same stage), altoist Marion Brown (1931-2010) and trumpeter Bobby Bradfor (who is now 91) have had a few things in common. Both played with relatively mellow tones compared to others in the avant-garde and lyrical styles that made their playing a little more accessible than one would expect considering how free they often played.
Marion Brown, while influenced early on by Charlie Parker, met Ornette Coleman and Archie Shepp shortly after moving to New York in 1962. He worked with Shepp, was on John Coltrane’s groundbreaking Ascension recording, played with Sun Ra and Pharoah Sanders, and began leading his own albums in 1965 (there would be at least 40). He spent 1967-70 living and playing in Europe before returning to the U.S. where he became an educator while still maintaining an active playing career.
Live In Europe 1968 & 1972 consists of two previously unreleased concert appearances. The three numbers from 1968 team Brown with vibraphonist Gunter Hampel, bassist Barre Phillips, and drummer Steve McCall. While the altoist is quite explorative throughout, often contributing emotional outbursts of short phrases that jump between his registers, the sound of Hampel’s vibes (even when he is playing freely) has a calming effect on the music, particularly during “Epiphanie.” The final two selections (including the 22-minute “Djinji’s Corner”) are duets from 1972 with drummer-percussionist Steve McCall. Those performances are much more laidback, making creative use of space. Brown switches to flute for the first half of “Afternoon of a Georgia Faun” before taking one of his better alto solos during the remainder of the intriguing piece.
Sonic House Reunion is of much more recent vintage. The five-selection 50-minute performance features cornetist Bradford in a trio with tenor-saxophonist Hafez Modirzadeh and bassist Mark Dresser that was performed at a house party this past January 25. The selections, which sometimes have worked-out parts, mostly feature free but melodic improvising by the musicians. Even at his advanced age, Bradford still has his distinctive tone and relaxed phrasing, Modirzadeh’s passionate tenor playing complements him well while and Dresser provides a foundation and a third voice, sometimes utilizing a bow. While “Doodle Bug…Doodle Bug” has its intense and spooky moments, the music generally takes its time and does not discard melodic playing even during its freer sections.
Both of these inventive CDs, which are full of inventive performances, are available from www.nobusinessrecords.com.