THE NEW YORK CITY JAZZ RECORD | OCTOBER 2016 33

Protean drummer Allison Miller, like contemporary Brian Blade, has impressive jazz credentials (Kenny Barron, Dr. Lonnie Smith, Ben Allison, Patricia Barber) and substantial cred in the indie rock and singer/songwriter spheres (Natalie Merchant, Ani DiFranco, Toshi Reagon). Here are two saxophone-trio sessions featuring her, both embodying the getting of copious sounds and variety from a comparative few players with a combination of acoustic and electronic instruments. Of the two, Lean is more atmospheric, the accent being on somewhat ethereal textures, moods and soundscapes. Opener “Spotswood Drive” is at first soothing, with ghostly moans and undulating phrases, until gradually Jerome Sabbagh’s plaintive tenor saxophone enters, growing more effusive while electric bassist Simon Jermyn plucks high, slightly Spanish flamenco-like tones and Miller grows crisply restless. The piece then melds the two seemingly disparate approaches, as if parallel dramas were playing out. “Electric Sun” is a near-waltz featuring pliant, sinewy basslines and pensively swinging Sonny Rollins-esque tenor waxing romantic, telling you all you need to know about loves/regrets-gone-by. The aptly named “Ghost” features eerie electronically-generated tones evoking movies with underwater scenes and the sounds of sonar therein, soulful yet unsentimental tenor navigating its way through the depths. While sounding complete, it’s as if the listener is eavesdropping on a dream/nightmare or viewing a chapter of a mysterious journey. Throughout, Miller is as self-effacing as Paul Motian, playing in an impressionistic manner. But she has a harder, rock-flavored attack and draws deeper, heavier sounds from her kit. Honey Ear Trio’s Swivel is a different matter entirely—the trio of Jeff Lederer, Rene Hart and Miller serve up a set of penetrating, at times confrontational mutant jazz fusion. With its menacing, surly lurching riffs via distorted Hart’s bass and apocalyptic drum bashing, opener “Arby” sounds like a melding of postbop with Black Sabbath until Lederer plays some lilting bebop, then wails over the glorious din with a

touch of Albert Ayler-like over-blowing. Like fellow travelers Painkiller and Last Exit, Honey Ear Trio conjoins the single-minded focus of metal with the squall of free jazz and it works (assuming you like both styles). “Lullaby” finds the threesome becoming a quartet with the addition of Kirk Knuffke’s buttery cornet—it’s an elegant, mournful ballad, which avoids becoming a dirge, thanks in no small part to Miller ’s kinetic but understated drumming and Knuffke’s occasionally bright phrasing. “Stanley’s Package” is a midtempo swinger melding surging, thrust-and-parry hardbop tenor with tight, pert, West Coast cool. Lederer’s muscular tenor is a joy, Hart gets a rippling, buoyant solo and Miller peels out a focused, snare-drum-led solo, somewhat evocative of Ed Blackwell in his prime. On top of all this, there’s a nifty take on Monk’s “Evidence” with Lederer’s snaking soprano and some brilliantly subtle tempo changes. When too many jazz albums can be (too) easily summed-up in one full listen (or less), these cooperative trios keep you guessing with their range, veritable gusts of fresh troposphere.

For more information, visit lean2.bandcamp.com and honeyeartrio.com. Honey Ear Trio is at Cornelia Street Café Oct. 27th. See Calendar.

It is said that the color red signifies power. If so, then singer René Marie’s new CD is aptly titled. She is accompanied by John Chin (piano), Elias Bailey (bass) and Quentin Baxter (drums) with guest appearances by Romero Lubambo (guitar), Sherman Irby (alto saxophone), Etienne Charles (trumpet and horn arrangements) and Shayna Steele (background vocals). Other personnel on various tracks include Michael Dease (trombone), Diego Rivera (tenor saxophone) and Theo De Brock (guitar). Marie reveals herself as a quadruple threat as singer, songwriter (composing all of the selections), arranger and co-producer (along with Baxter). As a singer, she has a remarkable range and vocal texture, enabling her as a storyteller. Those stories have a very personal ring to them and cover a large portion of the human condition: love found (as in “Colorado River Song” and “If You Were Mine”); love lost; nostalgia (“Many Years Ago”); message songs; songs of joy and despair. Marie’s tunes, written in different styles from Latin to gospel and even country, are melodious, have a conversational lyric approach and are sung directly to the listener. Each track is different enough so as to keep a listener’s interest. “Go Home”—told from the standpoint of the ‘other woman’—packs an emotional punch. “This Is (Not) A Protest Song” is one, of course, but not with anger thrown in your face. Then there is a song of praise entitled “The Joy Of Jazz”, which tells of a visit to the Johannesburg, South Africa jazz festival. Closer “Blessings” is a laundry list of all the things you would wish for the people you love. This album is a keeper and one that can and should be listened to time and time again. It is also a giant step in the evolving career of the multi-talented Marie.

For more information, visit motema.com. This project is at Jazz Standard Oct. 27th-30th. See Calendar.

ARTURO O’FARRILL

& The Afro LATin JAzz orchesTrA

TICKETS $20www.yorkpac.com

718.262.2840

OCTOBER 15, 7pm

Lean Jerome Sabbagh/Simon Jermyn/Allison Miller

(Music Wizards) Swivel

Honey Ear Trio (Little (i) Music)by Mark Keresman

Sound of Red

René Marie (Motéma Music)by Marcia Hillman