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Poetry, History, and MusicOver his career, now wellinto its 3rd decade, BenGoldberg (clarinets) hascreated music has takenlisteners many places, fromthe experimental side ofklezmer to evocations ofSteve Lacy. His work withTin Hat has explored andexpanded upon modernchamber music as well as

the poetry of e.e. cummings. He has worked with guitaristNels Cline exploring the music of Andrew Hill and is amember of Myra Melford's Be Bread.

All of his associations and influences are in evidence on"Orphic Machine" (BAG), a multi-layered program of originalmusic built upon the words of the late poet Allen Grossman(1932-2014). The poet's "lyrics" do not come from a poem butfrom a treatise/reflection on poetry, "Summa Lyrica" fromthe 1991 book "The Sighted Singer ." The project,commissioned by Chamber Music America/New Jazz Works,features a nonet composed of Goldberg's associates past andpresent including Ms. Melford (piano), Mr. Cline, CarlaKihlstedt (violin, voice), Ron Miles (trumpet), Rob Sudduth(tenor saxophone), Kenny Wollesen (vibraphone, chimes,drums on "Bongoloid Lens"), Ches Smith (drums,vibraphone on "Bongoloid Lens"), and Greg Cohen(acoustic bass). The music has influences, ranging from TheBeatles to Kurt Weill to the blues to swing to several sectionsthat remind this listener of the music that Dick Connettecreated for his Last Forever projects.

What stands out from thisprogram is how Goldbergutilizes the different voicesat his disposal. This musicrarely sounds cluttered(although the final track, thetitle cut, does "roar" for thefinal few minutes), each

voice stands out. Ms. Kihlstedt has a soft voice and, rarely, ifever, is she lost in the mix. Most of the time, the words setthe tone of the music for the piece. "Care", for instance, andthe repetition of the line "I find myself in the act of care "(an ear worm of the highest order) helps to open the music,leading the nonet to a great guitar solo that really kicks hard.

There are several strictly instrumental pieces including the"cool jazz"-inspired "What Was Tha t", the short and sweet"How To Do Things With Tears " (great muted trumpetinteraction with piano, clarinet and bass) and the Kansas City

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blues of "Bongoloid Lens" (sounds like a Frank Zappa title).These pieces do not act as after-thoughts or interludes butserve to illustrate the poet and the composer's approach tohow they create. Poetry and music can certainly beimpressionistic but can also cut to the quick, exposingemotions in a visceral manner (think Allen Ginsberg's "Howl"or John Coltrane's "Birmingham"). Yes, there is a "cool" feelat times in the music found on "Orphic Machine" (check outthe vibes solo on "Immortality" and the funky work beneathit by Cline, Cohen and Smith but then listen to how the bandkicks into high gear as the clarinet wails and the guitarbellows) but the solos often are the fire that illuminate theheart of the artist's intent.

"Orphic Machine" is a lot to take in one sitting (nearly 76minutes) yet if you approach it slowly (perhaps 2 or 3 cuts at atime), chances are good you'll fall under its spell. Time willallow for the words to take hold, helping you understand theintent of the poet as well as how the composer illustrates thevocal lines. Ben Goldberg has created a project that ranksamong his best work, music that will resonate for years tocome.

For more information, go to www.bengoldberg.net. To learnmore about this project, click on the following link:youtu.be/WFbFioqojxs.

The intelligence of MyraMelford's music is found inthe details, such as the wayshe combines disparatevoices into coherent yet far-ranging musical statements. "Snowy Egret" is both thetitle of her new ENJA albumand the quintet that playsits brilliant program. Blending the laconic yetpiercing tones of Ron Miles

(trumpet), the often gentle phrases of Liberty Ellman(guitar), the thick active lines of Stomu Takeishi (bassguitar) and the multi-faceted attack of Tyshawn Sorey (drums), this music looks forward yet has its antecedents inher earlier work. In the mid-to late 1990s, Ms. Melfordrecorded 2 albums ("The Same River Twice" and "AlmostTwice") with the quintet of Dave Douglas, Erik Friedlander,Chris Speed and Michael Sarin, music as contemporary nowas it was then. The lineup also refers back to Be Bread, anensemble also with guitar, trumpet, piano, bass and drumswith the addition of the clarinet of Ben Goldberg.

In the liner notes, Ms.Melford writes that "themusic on this recordingcomposed for the "new"quintet is inspiredby Eduardo Galeano 's"Memory of Fire " trilogy,his history of the Americas."

Throughout the program, the composer stitches musicalphrases from South America with blues and jazz strains of theUnited States. There are moments that explode with furiousabandon and others that are so quiet one has to lean into thespeakers. "The Kitchen" open on a fiery drum solo, movinginto a short riff, then quick duo or trio interactions until aslinky melody line ignites the band, now powered byTakeishi's percussive bass lines and Sorey's propulsiveapproach into Ms. Melford's expansive solo. The interplay

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between the piano, bass and drums reaches a thunderousconclusion. The rhythmic drive of "Promised Land" is builtupon a short piano figure that is turned every which way bythe quintet then listen to the interplay of bass and guitar aswell as the drums and piano beneath Miles's fascinating solo(there is a very short quote from "The Girl From Ipanema"right near the end). The blend of Ms.Melford's melodica andMiles's muted trumpet at the onset of "Ching Ching/ForLove of Fruit" reminds me of the Gil Evans's arrangedinteractions between Miles Davis and the orchestra on"Sketches of Spain " but soon moves into a funky rhythmthat both Sorey and Takeishi continue to stoke throughEllman's exciting solo. When you go back to listen to this track(and others), notice how much music is packed into under 6minutes. The longest song (8:34), "The Virgin ofGuadalupe", opens with solo trumpet, a deliberate andemotional melody is repeated with the addition of the pianoand repeated again when the rest of the musicians enter.Slowly, the piece begins to move out, like a flower opening insummer sunlight, the trumpet darting atop the martialdrumming, giving way but not totally disappearing as theguitar solo unfolds. The rhythm section begin to interact withthe guitar, taking their cues from the rippling phrases. Whenthe piano re-enters, the gentle circular melody brings thepiece to a soft landing.

Ms. Melford's blues-drenched two-handed solo piano openingto "The Strawberry", the final track, seems to bring themusic home to Chicago. However, when the band enters, therhythm takes on a Brazilian feel during the trumpet solo butsoon becomes "second-line"; so, perhaps, this is a reminderhow New Orleans was the port-of-entry for slaves from Africaand "free" people from South America, how blues and jazz is atrue fusion of all the streams flowing in and out of it and howmodernity is often a fresh coat of paint on a classic structure.Therein lies the brilliance of what Myra Melford has createdwith Snowy Egret, music that can go in so many directionsand still make you feel at home. Like the 2 recordings cited inthe opening paragraph, the avid listener can find new soundseach time he or she returns to the program. And, oneimagines, the journey is even sweeter heard live in concert.

For more information, go to www.myramelford.com.

P O S T E D B Y R I C H A R D B . K A M I N S A T 8 : 5 7 P M N O C O M M E N T S : L A B E L S : B E N G O L D B E R G, C D R E V I E W S, M Y R A M E L F O R D, N E L S C L I N E,R O N M I L E S

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Yes, You Must Believe In SpringMost people I know who are as fanatic about music as I amturn to it at times of sorrow, joy, frustration and, more oftenthan not, to take one out of the often-mechanical routine ofdaily life. The following 2 CDs do just that and, delightfully so,in different manners.

Israeli-born and raised tenorsaxophonist BennySharoni moved to theUnited States nearly 3decades ago. The music hecreates is steeped in thetraditions of the 1950s and60s, especially the soundscreated by Art Blakey's JazzMessengers. Yet, he is noslave to that sound as

attested by the 8 tracks on his new CD, "Slant Signature"(Papaya Records). What one notices on initial listening is thesense of joy that exudes from this music. The swing starts inthe rhythm section of Todd Baker (bass) and SteveLangone (drums), is bolstered by the strong piano workof Joe Barbato and abetted by the hardy guitar playingof Mike Mele. 4 of the cuts feature the bright and bluesytones of trumpeter Jim Rotondi. The album bursts out of thegate with the sextet firing on all cylinders on the Sharonioriginal "Minor City." The rapid-fire melody section and solosrise and fall on the strength of Baker and Langone; solos areshort but each player makes the most of their opportunity. Rotondi and Sharoni show their love of blues on FreddieHubbard's "Down Under" and Ray Bryant's "Tonk", thelatter with a most sprightly beat pushed by the excellent pianosupport and dancing brushes work. Surprisingly, thetrumpeter does not appear on Lee Morgan's sweet ballad"Ceora" - the leader's smooth tones reflect the sound of StanGetz, he doesn't rush his solo, opting to caress the melodyand create a solo that flows easily over the gentle rhythms.

Other highlights include the title track which takes its namefrom a particular hard rubber mouthpiece created forsaxophonists by Otto Link. The song itself celebrates thefluidity of Sharoni's playing and also features a smoking solofrom guitarist Mele. The funky "Bitter Drops" has a grooveout of New Orleans (hard to miss in the snappy drumming ofLangone and the dancing piano work of Barbato) and one hasto dig the slippery melody line played by guitar and sax.

Hard to miss the exuberance in the music of BennySharoni as it jumps out of the speakers into your brain (andfeet as well). His passion for jazz (and, if you have ever methim, for life) is poured into the sounds he creates and leavesno place for anger or frustration - even the blues he plays willmake you smile. This is not music about technique or modernfashions but "Slant Signature" has a boatload of soul. Giveit a whirl. For more information about Mr. Sharoni and hismusic, go to www.bennysharoni.com.

Here's the effervescent "Bodega" featuring Jim Rotondi:

Alto saxophonist AngelaDavis moved to the UnitedStates from her nativeAustralia in 2008 and hassteadily been building acareer as a musician andeducator. Her 2013 debutrecording, the aptly-titled"The Art of The Melody ",displayed a honey-like tone,a softer style akin to LeeKonitz and found her

happily ensconced in a quartet setting. Ms. Davis's secondCD, "Lady Luck" Nicholas Records) actually features 2quartets. There's Dan Tepfer (piano), RichieBarshay (drums) and bassist Linda Oh (who also played onthe first disk) plus a string quartet composed of violinists Sara

Caswell and Joyce Hammann, violist Lois Martin andcellist Noah Hoffield playing arrangements by fellowAustralian transplant Steve Newcomb (the album isproduced by the fine Australian trumpeter Mat Jodrell). Torecord this album, Ms. Davis won the Empire TheatresFoundation Brian Boak Outstanding Performer Bursary, anaward given to performers and artists from south-eastQueensland, Australia.

"Lady Luck", which takes its name from a Thad Jonescomposition, is an album of ballads. Opening with the gentleswing of Jules Styne's "Make Someone Happy", it's plain tohear this is not an ordinary jazz-with-strings date. First andforemost, the rhythm section is extremely active (withoutbeing intrusive) behind the soloist and second, the strings arethere for more than color, actually supplying counterpoint onthe melody section. The dark colors created by the strings setthe tone of the lovely version of Michel Legrand's "You MustBelieve In Spring", providing a cushion for the sweet, clear,tones of the alto saxophone. Brashay's subtle brush work, Ms.Oh's foundational bass lines, and Tepfer's glorious piano solo,all fuse to make this track a highlight of the recording.

3 of the 8 tracks are original works. There's an intensity to thebop rhythms of "A Thousand Feet From Bergen Street "(getting its name from an incident in which the composer wasstuck underground in a New York City subway train) - thestrings are truly incidental as this cut allows Tepfer, Ms.Oh,Barshay and Ms. Davis to stretch out. Swing they do, movingthrough the jaunty melody with great ease and joy (mustcome from the relief of the train finally moving). "Nola'sWaltz", dedicated to the saxophonist's grandmother, alsoswings but gently this time. Newcomb's string arrangementdoes a splendid job of introducing and then ushering out thebass solo, also moving in and out of Ms. Davis's sweet solo.There is a tenderness as well to "Hymn To The Lonely", quite noticeable in Tepfer's fine solo plus a wistful quality tothe alto solo.

The program closes with 2 pieces that have a deep spiritualfeel. Producer Jodrell's "Till We Meet Again" skillfully blendsits handsome melody with a string arrangement that lingersthroughout the piece, like clouds moving across a lateafternoon sky. Go back and listen to how Barshay and Ms.Ohmove the music, how the alto solo has such a positive, joyous,feel and how Tepfer's sparkling solo builds off those feelings.The final track, "Abide With Me", is a hymn by William HenryMonk from the 19th Century. The duo of Ms. Davis and Tepferplay through the melody and then create variations as thesong moves forward (the gentle quality of the alto phrases is afine counterpoint to the flowing lines of the piano) and theclosing minute is simply lovely.

As I intimated at the top of the post, music can and often doestakes out of the mundane. That music need not becomplicated nor thunderous to achieve the goal the listenerdesires (although, for some people, the sheer volume of ahard rock song can be a day-changer). "Lady Luck" illustrateshow saxophonist/composer Angela Davis can, with the helpof gifted collaborators, create a musical environment thatexudes great emotion and, especially, joy.

For more information, go to www.angeladavismsic.com.

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Meet the Musicians + More Live MusicThat's Noah Baerman inthat "serious" pose on theleft. That makes sense ashe is serious about hismusic, about his teaching,and about the ability toreach people through musicand have them lead positive

lives. To that end, Mr. Baerman has started a program atRussell Library in Middletown he calls "Jazz Up Close" - it'sa concert but the musicians talk to and with the audience,explaining what they are attempting to do with their music,why they do what they do and more. Playing jazz is morethan playing the notes; it's about teamwork, aboutcommunication, and about creativity (and much more).

This Saturday at 2 p.m.(March 28), the 2015 seasonof "Jazz Up Close"commences with Mr. B(piano) leading at quartetwith with bassist HenryLugo, drummer WillardDyson and special guest,guitarist Freddie Bryant(pictured left). Besides hisbusy solo career, Mr. Bryanthas worked with the great

vocalist Salif Keita, trumpeter Tom Harrell and the Mingus BigBand. He and drummer Dyson have worked together on anumber of occasions as well as recording together on 2 of his7 CDs. His latest, "Dreamscapes: Solo, Duo & Trio " (self-released), was issued in 2014 and features saxophonist ChrisPotter and bassist Scott Colley.

To find out more about the series, go towww.russelllibrary.org. To find out more about FreddieBryant, go to www.freddiebryant.com. Check out all thegood work of Noah B at www.noahjazz.com.

Bassist/composer KyleEastwood and his"American Quintet" - pianistRichard Germanson,trumpeter Alex Norris,saxophonist Jason Rigby

and drummer Joe Strasser

- are spending the coming weekend in Old Lyme. They will bethe guests of Jan and Ken down at The Side Door Jazz Club .They'll also play 2 sets on Friday and Saturday, probablyfeaturing the majority of pieces from Mr. Eastwood's 7threlease as a leader, "Timepieces", released earlier this monthon the Jazz Village?Harmonia Mundi label. He's anaccomplished musician, composer and arranger, havingscored films for both his father Clint and his sister Alison. He'sgot a crackerjack band of musicians and they play jazz withroots in the 1950s and 60s as well as more contemporarymusic. To find out more, go to www.kyleeastwood.com.

Doors open on both nights at 7:30 p.m. with the musicians"hitting" at 8:30. For tickets and more information aboutupcoming shows, call 860-434-0886 or go tothesidedoorjazz.com.

photo by Emily Bingham

For its second presentation of the2015 Spring Concert Series ,Firehouse 12, 45 Crown Street inNew Haven, welcomes theelectrifying trio of Paul Flaherty(alto saxophone), Chris Corsano(drums) and Steve Baczkowski(soprano, alto, baritonesaxophones, miscellaneous reeds)for an evening of improvisations. Mr. Flaherty, a native of Hartford,has been in the forefront of high-energy "free improvisation" since

the late 1970s while drummer Corsano, who has played innumerous ensembles plus did 2 tours with Bjork, began hisassociation with the saxophonist in 1998. Baczkowski, whoresides in Buffalo, NY, is a new addition to the ensemble.

The trio will play 2 sets - 8:30 and 10 p.m. Go tofirehouse12.com for tickets and information about the seriesor call 203-785-0468.

The Uncertainty Music Seriespresents its 2nd concert in 5 days,this time featuring the MarioPavone Quintet plus a solo set bytrombonist Dan Blacksberg. It'sthe first show at a new location, GCafe, 14 Orange Street in NewHaven. Blacksberg, who is active inthe worlds improvisational jazz,modern classical music and klezmermusic, has worked withguitarist/bassist Joe Morris, pianist

Danilo Perez and Professor Anthony Braxton's Tri-CentricOrchestra. He has an amazing range, an exciting sound and agreat sense of creativity in his playing.

Mario Pavone needs no introduction to readers of this blog.The bassist has been an important member of the creativemusic scene for over 4 decades, continuing to grow as amusician and composer. For this show, he brings a group thatincludes Peter McEachern (trombone), Gary Buttery (tuba),Adam Matlock (accordion) and series curator/bassist CarlTesta. Chances are good the Quintet will play music from Mr.Pavone's latest Playscape release, "Street Songs", acollection of songs that relate back to the bassist's youth inWaterbury, CT (both Matlock and Testa are on that recording).

The music starts at 3 p.m. For more information, go touncertaintymusic.com.

P O S T E D B Y R I C H A R D B . K A M I N S A T 8 : 3 1 A M N O C O M M E N T S : L A B E L S : F I R E H O U S E 1 2, L I V E M U S I C, R U S S E L L L I B R A R Y, T H E S I D ED O O R J A Z Z C L U B

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Gig Talk 3/20-23The snow is melting, thedaffodils are pushing upthrough the puddlesalongside the house, andthe Spring 2015 ConcertSeries at Firehouse 12,45 Crown Street in New

Haven, begins this Friday March 20. Bassist/composer BenWolfe brings his Quartet to the performance venue; his newPosi-Tone recording "The Whisperer" features 3 of the 4musicians on the CD including Wolfe, saxophonist StacyDillard and drummer Donald Edwards. Pianist OrrinEvans, who is celebrating his 40th birthday playing inPhiladelphia, can't make the show but Anthony Wonsey, anequally talented person at the keys, will join the proceedings. The music on the CD is absorbing, with Dillard's soprano saxwork exhilarating at times.

The Ben Wolfe Quartet plays 2 sets - 8:30 and 10 p.m. - forticket information, go to firehouse12.com or call 203-785-0468.

On Friday night, theHartford Jazz Societypresents the duo of EthanIverson (piano) and RonCarter (bass) for anevening of standards, jazzclassics and originals fromthe bassist. Many peopleknow Iverson from his work

with The Bad Plus and his informative blog Do The Mathbut he is also a student of the music he plays with such gusto.The pianist also enjoys working with musicians who have lefttheir mark on contemporary African American as one can hearin the trio he co-leads with drummer Alfred "Tootie" Heathand bassist Ben Street plus his work with drummer Billy Hart.As for Ron Carter, he has been playing for for over 50 years,working with trumpeter Miles Davis's mid-1960s Quintet andappearing on nearly 2,500 recordings! He leads with a Trioand a Big Band and is great demand for workshops andseminars.

The concert takes place at the Polish National Home, 60Charter Oak Avenue in Hartford. Opening the show at 7 p.m.will be the Greater Hartford Academy of the Arts JazzEnsemble. Messrs. Carter and Iverson should begin at 8 p.m. For more information, go towww.hartfordjazzsociety.com/2015-iverson-carter.html.

To call Thana Alexa asinger-songwriter is todiminish her talents. She'salso a vocal instrumentalist,a poet, and an arranger. Herdebut recording "Ode ToHeroes" (JazzVillage/Harmonia Mundi) is

out now (nearly 3 years after the tracks were recorded) andshe will celebrating the release this Friday (3/20) at The SideDoor Jazz Club in Old Lyme. 3 of the musicians on therecording will be supporting her, including drummer/producerAntonio Sanchez, bassist Jorge Roeder and pianist SergioSalvatore; also appearing will be saxophonist Ben Flocks.

Ms. Alexa is a native of New York City yet was raised inCroatia. She earned a Bachelor's Degree in Psychology as wellas a Bachelor's Degree in Jazz and Contemporary Music fromthe New School in New York City. She has recorded withSanchez on his critically-acclaimed "New Life" CD and withguitarist Gene Ess on his "Fractal Attraction" album. Ms.Alexa has also worked with guitarist Julian Lage, pianist JuniorMance, and drummer Brnard "Pretty" Purdie among manyothers. Her new CD is a delightful blend of original pieces,recognizable instrumental tunes that Ms. Alexa had written

photo by Eric LaCour

lyrics for ("The Wanderer" uses the melody of CharlesMingus's "Goodbye Pork-Pie Hat" while "Trace Back YourFootprints" uses Wayne Shorter's "Footprints") and finearrangement of Paul Desmond's "Take Five" with lyrics byDave & Iola Brubeck. Several of the songs are so rhythmicallyexciting, led by the the drummer's super drumming. Hervocals, at times, remind this listener of the work of GretchenParlato. One of the best parts of this music is how Ms. Alexainteracts with the band, especially with Sanchez.

That interaction should be on display at The Side Door. Thedoors open at 7:30 and the first set begins at 8:30 p.m. Formore information, call 860-434-0886 or go tothesidedoorjazz.com.

On Saturday, The Side Doorwelcomes bassist andHartford native DezronDouglas (pictured left - no,it's not Red Sox sluggerDavid Ortiz) and histalented quartet. Douglas,who has appeared onnumerous recordings the

past several years and is a member of the Cyrus ChestnutTrio, is joined by pianist David Bryant, alto saxophonistLummie Spann and drummer Jeremy "Bean" Clemons. One should expect this music to be swinging and fun as Mr.Douglas has a big, thick, tone, the saxophonist a lively soundand Bryant is an exciting young pianist.

As above, the first set commences at 8:30. As I have statedbefore, The Side Door is an intimate space and allows a greatview into the creative process. And, you should take the timeto meet the musicians.

Saxophonist WayneEscoffery, who spent hisformative years in NewHaven, returns home thisSaturday night (3/21) toperform at the 9th Note, 56Orange Street. Mr.Escoffery, who is a memberof the Mingus Big Band and

has been a member of trumpeter Tom Harrell's Quintet, hasbeen celebrating his 40th birthday with a series of gigsthroughout Europe. Not sure who's in the group (he usuallyplays with a quartet) but the music begins at 8 p.m. He's botha lyrical and muscular player plus he writes very involvingmusic. To find out more about the 9th Note, go towww.the9thnote.com. To learn more about WayneEscoffery, go to www.escofferymusic.com.

On Monday March 23, theUncertainty Music Serieswelcomes the trio of JackWright (saxophone),Zachary Darrup (guitar)and Michael Evans(percussion) to NeverEnding Books, 810 StateStreet in New Haven. Mr.

Wright has been involved in improvised music for over 4decades (with time out for a lengthy sabbatical during whichhe painted and wrote) while Mr. Evans leads the SwirlingLotus Blossom Bandits Band, a sextet dedicated to playingKwela music from South Africa as well as the music of Sun Ra

photo by Nada Zgank

and Howlin' Wolf. Zack Darrup has been working with thesaxophonist for several years, blending his amplified guitarsounds with the visceral playing of his mentor.

Opening the show at 8 p.m. will be a solo set featuringclarinetist Matt Ingalls. Not only is he a fine improvisingmusician (having worked with Anthony Braxton, MeredithMonk and a host of San Fransisco Bay Area improvisers, Mr.Ingalls is a noted software designer. To find out more abouthim, go to mattingalls.com.

For more information about the Uncertainty Music Series, goto uncertaintymusic.com.

P O S T E D B Y R I C H A R D B . K A M I N S A T 9 : 5 6 P M N O C O M M E N T S : L A B E L S : F I R E H O U S E 1 2, H A R T F O R D J A Z Z S O C I E T Y, L I V E M U S I C, T H E9 T H N O T E I N N E W H A V E N, T H E S I D E D O O R J A Z Z C L U B, T H EU N C E R T A I N T Y M U S I C S E R I E S

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Saxes Up FrontBassist/composer ChrisLightcap is a busymusician, currently workingin the groups of violinistRegina Carter, guitarist JoeMorris, drummer MattWilson, saxophonist ChrisCheek and pianist CraigTaborn. The last 2mentioned are alsomembers, along with tenorsaxophonist Tony Malaby

and drummer Gerald Cleaver of the bassist's quintet,Bigmouth. He named the group after the title of his 2003Fresh Sound New Talent recording which featured a song ofthe same name. "Epicenter" (Clean Feed Records) is theensemble's new recording, Lightcap's 4th as a leader since2000, all of which feature a 2-saxophone lineup (the 3rd CDadded alto saxophonist Andrew D'Angelo for several tracks). Malaby and Cleaver have been in the group since itsinception with Taborn joining as the 5th member in 2005 andCheek replacing Bill McHenry before 2010's "Deluxe"recording (also on Clean Feed).

The majority of the music onthe new recording is theresult of a commission (andgrant) from Chamber MusicAmerica. The composercreated a suite titled "Lostand Found New York" -it's a musical documentaryof his move to New York and

his experiences over the past 15+ years. The 8-song program(interesting how all 4 of the bassist's recordings have 8 tracks) opens with the forceful "Nine East", its insistent electricpiano figures dancing beneath the whirling saxophones. Asthe soloists step up, Lightcap keeps that musical figure alivewhile Cleaver pushes forward. The bassist then overdubsseveral acoustic guitars for "White Horse", the horns andorgan moaning in the background while the melody movesaround them. The title track opens to reveal a melodyinfluenced by Ornette Coleman then into a muscular bass

solo, an exciting piano solo and then both Malaby and Cheeksolo. There's is only a short ensemble before the piecereaches its conclusion. The evocative "Arthur Avenue"speaks of warm summer nights strolling the streets while"Down East" (and its 1950's style 2-handed piano chords)has the saxophonists wailing like r'n'b players "walking thebar". The rhythm section lays down a seductive rhythm for"Stillwell"; after the electric piano introduces the chordalstructure, the saxes plays a melody that sounds inspired byAdulah Ibrahim's soulful South African music. Slowly, theintensity picks up through the various solos until the drumsbring the listener down to silence. There's tenderness in thequiet figures played by the saxophonists behind the rhythmsection on "Stone By Stone", like a persistent gentle breeze.The music steadily opens up but never loses that tenderquality.

The program closes with a raucous reading of Lou Reed's "AllTomorrow's Parties", a nod to the halcyon days of the late1960s and a city that does not exist anymore. Taborn poundsthe keys of the acoustic piano, the saxophones play theplaintive melody, the bass throbs next to the pounding of thedrums. The music fades on the insistent piano chords,jangling like the composer's guitar often sounded but noddingto the trance-like figures of the early music of Terry Riley.

The music on "Epicenter" is built on the strength of theelemental drum patterns (which open up and settle down soorganically), the strong melodic bass lines, the incrediblemotion of the keyboards and the praying, braying andsoothsaying nature of the 2 tenor saxophones. ChrisLightcap's Bigmouth opens wide, pulling at the listener topay attention and enjoy how his songs describe his adoptedhome. For more information, go to chrislightcap.com.

Here's the title track:

The new CD from tenorsaxophonist Doug Webb,"Tripl3 Play" (Posi-ToneRecords, is a treat from thehandsome opening notes tothe hair-raising riffs thatbring the program to aclose. In between, Webband fellow tenor men WaltWeisskopf and JoelFrahm swing, bluster andcarouse their way through a

set that literally roars out of the speakers. A good portion ofthe excitement can be attributed to how the trio interact andpush each other into a fiendish yet friendly competition. Also,one must give a lot of credit to the rhythm section of BrianCharette (organ) and force-of-nature that is drummer RudyRoyston for how they make sure the fires are always stoked.

There's nary a ballad to be found in the 60-minute run. In fact,the music goes from swinging to burning and beyond. Tunessuch as "Avalon", "Giant Steps" and the title track hit theground running and never let up. There's also a heady dollopof blues on tracks such as Randy Aldcroft's "Your Place orMine" and Lou Donaldson's "Alligator Boogaloo." Try to sitstill listening to Lanny Morgan's "Pail Blues" or Weiskopf's"Three's a Crowd" - impossible! Webb makes sureeverybody gets heard therefore the solos are often short. Yet,the results are not inconsequential. Sure, this is a "blowingsession" yet there is great respect for the music, for thetradition and for keeping the listener satisfied. To find outmore about the saxophonist, go to www.dougwebb.us.

Here's the opening track:

California native JohnO'Gallagher (altosaxophone) is a busymusician, working andrecording with drummersOwen Howard and JeffWilliams, trumpeter RalphAlessi, pianist FrankCarlsberg and a host of bigbands. "The Honeycomb"(Fresh Sound New Talent) is

his 9th as a leader and a return to the trio format, the 4th CDhe has released with just bass and drums. These 8 tracksfeature the magnificent voices of Johannes Weidenmuller(bass) and Mark Ferber (drums); they are equal partners inthis venture, often engaging in conversations as he movesthrough a solo. The opening cut, "Uroboros" (named for themythical serpent that eats its own tail) is one of several piecesthat may remind you of the work that another brilliant altosaxophone, Henry Threadgill, produced with Steve McCall(drums) and Fred Hopkins (bass) in Trio Air. The music twistsand turns, with both the saxophonist and drummer using thebouncing bass lines as a springboard for their inventions. "Petulant Snoot" comes in on quiet bass lines and splashingcymbals with a melody that suggest blues. After several timesthrough that melody, the energy picks up and O'Gallagherrides the fiery drums and the foundational yet freewheelingbass lines. Yet, this is no ordinary "blowing session" in thatevery track has both a well-constructed melody and a well-defined foundation. The fun of the listening experience ishearing how the musicians work within and outside of thestructure. "Kerberos" (named for a computer authenticationprotocol) has an incredibly funky beat, spilling forward on thepower of the drums and alto sax. Even the excellent bass solopicks up on that energy.

"Go Where You Are Watching " is a quiet piece, with finebrush work throughout, plus a saxophone solo section where

Weidenmuller not only sets the pace but also playscounterpoint. O'Gallagher's lines are longer here, tones aresustained and there are delightful moments (just a few) whenthe sax and bass play the same notes. The title track has aslippery rhythm, starts slowly and then takes off like a racecar, the saxophone solo a blizzard of rapid-fire lines that flyover the propulsive rhythm section (Ferber matches theleader's energy!)

By the time one reaches the final track, the powerful"Turducken", the seduction is complete. Those people wholove creative music, enjoy how musicians create a groupsound while maintaining their own "voice", how pieces canhave structure and "freedom" built into its performance,should really enjoy "The Honeycomb." The music created bythe John O'Gallagher Trio absolutely shines and is apowerful reminder that the best recordings are the oneswhere you hear the musicians "play" and not work. To find outmore, go to www.johnogallagher.com.

P O S T E D B Y R I C H A R D B . K A M I N S A T 3 : 2 7 P M N O C O M M E N T S : L A B E L S : C D R E V I E W S, C L E A N F E E D R E C O R D S, F R E S H S O U N D N E WT A L E N T R E C O R D S, P O S I - T O N E R E C O R D S, S A X O P H O N E T R I O,S A X O P H O N E S

W E D N E S D A Y , M A R C H 1 1 , 2 0 1 5

Soul and SearchingComposer, arranger andpianist Ted Howe is anative of Boston,Massachusetts, a graduateof the Berklee School ofMusic (where he alsotaught) and has recorded 3small group CDs for SummitRecords. "Pinnacle" (HotShoe Records) is therecorded debut of the Ted

Howe Jazz Orchestra. The 16-piece ensemble mainlyfeatures musicians from the Atlanta with the exception ofbassist John Patitucci (who has worked with Howe in thepast) and LA-based trombonist Andy Martin. The program isdivided into 4 pieces written between 2011-12 and the 3-part"Suite #1 for Jazz Orchestra ", a work that Howe beganworking on in 1980 within former teacher Herb Pomeroy. The18-minute "Suite.." takes up over 1/3rd of the album and isan exercise in multiple tempos, sound manipulation and avariety of textures from the majority of the musicians (forinstance, alto saxophonist Sam Skelton also doubles sopranosax, flute and clarinet while Geoff Haydon plays bothacoustic piano and Rhodes). What stands about this work(and, for that fact, the rest of the recording) is how Howeconcentrates on melody, harmony and the blending oftextures and not so much on spotlighting soloists. There is a"pop" sensibility to sections of the melody in all 3 parts as wellas how drummer Marlon Patton not only drives the band butalso frames the pieces. Having Patitucci and his thick electricbass tones securing the "bottom" is another plus.

While all the songs have names usually reserved for classicalpieces, there is no doubt this is a jazz album. After a solemnrubato opening to "Presto for Two Trombones ", the rhythmsection kicks into high gear and the reeds share the melodywith trombonists Martin and Francisco Torres. "Impromptufor Trumpet" opens with the composer on piano then movesinto a dialogue with the trumpet of Lester Walker. Soon, therest of the Orchestra enters and the ballad moves in aBrazilian direction. As the trumpeter's solo builds in intensity,

his cohorts move with him. Howe takes the lead again on"Adagio For Piano"; while he is the only soloist (and heshines in this spotlight) on the track, the writing for thevarious sections is colorful, used to move the piece forward. Kudos to the excellent work on acoustic guitar by DanBaraszu. The program closes with the funky and forceful"Etude for Three Clarinets". Patitucci and Patton reallyignite the piece and the clarinet work of Skelton, DonErdman and and Seth Kuehn (on bass clarinet) is engaging.

"Pinnacle" is dedicated to Herb Pomeroy and inspired by themulti-faceted career of Duke Ellington. The music is lively andsmart, the musicians engaged and focussed; what the projectis not is an imitation of the Ellington oeuvre. Ted Howewaited a long time to document this music and the results arecharming. For more information, go towww.hotshoesrecords.com.

For "The Left Side of theMoon" (self-released), her3rd CD as a leader,pianist/composer ChantaleGagné not only returns tothe tried-and-true rhythmsection of her previousreleases - PeterWashington (drums) andLewis Nash (drums) - butalso adds the evocative

sounds of Steve Wilson (soprano and alto saxophones,flute).

It's been 4 years since her sparkling "Wisdom Of TheWater" CD; listening to the new disk alongside the older oneshows that, if anything, Ms. Gagné has matured even more asa composer and as a musician. She has such a lovely touchon ballads such as the title song (which features the lovelysoprano sax work of Wilson) yet is not afraid to let the musicgo in unexpected directions. Halfway through the piece, thetempo doubles, the intensity increase and the rhythm sectiondrives the piece forward. There is a stateliness to the melodyof "A la claire Fontaine " (a duo for soprano and piano) but,once into her solo, the pianist takes a rhythmic approach toher playing, setting the stage for a saxophone solo that soarsover her powerful chords. Wilson's flute adds another sonicdimension to "Up Again", a touch of blues and longing. Thepiano solo is deliberate over the counterpoint of the bass anddancing brush work.

The uptempo pieces have a power in both the rhythm and themelody lines. "Mystère" opens the program and is the onlytrio piece yet it still sets the scene for what follows. Dramaticpiano chords are all one hears until Washington and Nashcome in setting a driving beat. But Ms. Gagné soon changesthe intensity and song ebbs and flows forward. "Your Bluesis My Blues" is just that, a joyful blues romp with delightfuldrums and walking bass laying the foundation for the pianistand alto saxophonist to swing their souls. Another"danceable" work is "Just a Dream", this time a seductivetango, with Nash leading the band through its paces. There isalso a Latin feel to "Moon Gazing" (plus a glorious moment of"swing" now and then) with Wilson's soprano swooping anddiving over the responsive rhythm section. One hears tracesof earlier jazz styles (50s and 60s) on "Echoes", anothervehicle for the vivid soprano sounds plus an expansive pianosolo.

"The Left Side of the Moon " comes to a close with the short

(95 seconds) unaccompanied piano piece, "Roach Rag." It'sa light-hearted sendoff to an album that is the mostemotionally rich recording that Chantale Gagné has madethus far in her relatively short career. She has built such astrong musical relationship with Peter Washington and LewisNash; there are several moments when it seems the 3 breathetogether. Adding Steve Wilson to the mix provided thecomposer several new sounds to work with and the results aresplendid indeed. For more information, go towww.chantalgagne.com.

Here's "After You":

Here's a delightful idea. Conceived in living roomsand small performancespaces, the Susan KrebsChamber Band makesintimate jazz that swings,sways, soars but neverroars. "Simple Gifts"(GreenGig Music) finds Ms.Krebs voice in collaborationwith piano (Rich Eames),

violin/viola (Paul Cartwright), percussion (Scott Breadman)and the many reeds of Rob Lockart (tenor and sopranosaxophones, bass clarinet, flute).

The program starts with the easy loping beat of "Let's Call aHeart a Heart"; the rich vocal gets great support from thebluesy piano, swooping violin, the tenor and bass clarinet andthe percussion. Breadman makes the most of his small trapset (cajon, hand percussion and cymbals), propelling the bandforward with ease and pizazz. The melody and arrangement ofJimmy Rowles' "Looking Back" may remind some of thesound Sting created for his song "Russians" (but without theangst of Brecht/Weill that one hears in the later piece.)Cartwright strums his violin to set the rhythm on SergioMendes's "So Many Stars", working in tandem with the pianoand percussion while the soprano dances around the voice. Agypsy feel permeates the band's interpretation of AbbeyLincoln's "Throw It Away", with Cartwright's rich violin linesflying above the growling bass clarinet and dancing rhythmsof percussion and piano. Eames take a dazzling solo on "ForAll We Know" while Ms. Krebs delivers a dramatic vocal. Attimes, there is a theatrical nature to her approach to thelyrics; that works very well on pieces like "For All We Know"and "Once Upon A Summertime ." The violin also has thatquality on the pieces so the sounds match well.

The CD close with the title track, the Shaker traditional thatAaron Copland used to such great effect in "AppalachianSpring." This version has the feel of a Bruce Hornsby song,most noticeable in the saxophone and piano. Lockart's vibrantsolo reverberates in a similar fashion to what Jan Garbarek

created in "Witchi-Tai-To" in 1970. Again, Breadman's workis exemplary as he not only sets the pace but knows how topush the soloist.

"Simple Gifts" is intimate yet expansive, playful yetemotionally strong, music to lift your spirits. Through thismusic, one can hear how much fun The Susan KrebsChamber Band has when they work together. And it'scontagious. For more information, go towww.susankrebsmusic.com.

P O S T E D B Y R I C H A R D B . K A M I N S A T 1 0 : 1 0 P M N O C O M M E N T S : L A B E L S : B I G B A N D, C D R E V I E W S, C H A M B E R J A Z Z, P I A N O Q U A R T E T

M O N D A Y , M A R C H 9 , 2 0 1 5

3 Trios Live This WeekendBill Charlap, son of vocalistSandy Stewart andcomposer Mark "Moose"Charlap (best known forwriting the music for theBroadway production of"Peter Pan"), is one of themost articulate pianists onthe contemporary jazz

scene. In 1997, he formed a Trio with Kenny Washington(bass) and Peter Washington (drums) and has recorded 6albums with them, everything from the songs of LeonardBernstein to George Gershwin and many standards. (It shouldbe noted that the pianist records for Japan's Venus Recordswith bassist Jay Leonhart and drummer Bill Stewart with asimilar repertoire.) He has also released 2 CDs with hisMother plus 1 with his wife, fellow pianist Renee Rosnes. Hehas such a lovely touch, his ballad work second-to-none, plushe can swing with the best of them.

Bill Charlap and the Washingtons (they are not related byblood but by their mastery) come to The Side Door JazzClub in Old Lyme this Friday (3/13). If you love piano trios, donot miss the opportunity to see and hear this ensemble inaction. Doors open at 7:30 p.m. with the first set at 8:30.For more information, go to thesidedoorjazz.com or call860-434-0886.

On Saturday, The Side Doorwelcomes the BobbyBroom Trio. Broom, anative of New York City, hasperformed withsaxophonists Sonny Rollinsand Stanley Turpentine aswell as with Dr. John but hasbeen touring with his own

group for several decades. He's recorded for Criss Cross andPremonition Records but, since 2007's "Song and Dance",he has been on Seattle's Origin Records (he also created theDeep Blue Organ Trio, an ensemble with 2 recordings onOrigin, but they disbanded 2 years ago).

His Trio includes long-time associate Dennis Carroll on bassand new member Greg Artry on drums. Their materialcovers lots of musical territory; lately, the group has beenfocussing on the work of great guitarists such as KennyBurrell. Call the number above for ticket reservations.

Keyboard artist BrianCharette, who hails fromMeriden, CT, will be close tohome this Saturday night(3/14) when he brings hisMighty Grinders trio to the9th Note Jazz SupperClub, 56 Orange Street inNew Haven. Charette is a

wonderful organist who started out as a pianist but, uponmoving to New York City, discovered he could get more gigsas an organist. So, he bought a Hammond and locked himselfin his apartment until he had figured out the instrument; now,he is one of the most in-demand players on the scene. Besides the Grinders - guitarist Will Bernard and drummerEric Kalb - Charette leads his Organ Sextette, an ensemblewith organ, drums and 4 reed players. His most recent CDsare on Posi-Tone Records (2014's "Square One" is highlyrecommended) and on Steeplechase (there are 2 CDs by theSextette plus a solo date and a Trio CD).

To find out more about the organist and his music, go towww.briancharette.com. For reservations to the gig, callthe 9th Note at 203-691-9918. You can also check them outat www.the9thnote.com.

P O S T E D B Y R I C H A R D B . K A M I N S A T 6 : 2 3 P M N O C O M M E N T S : L A B E L S : L I V E M U S I C, T H E 9 T H N O T E I N N E W H A V E N, T H E S I D E D O O RJ A Z Z C L U B

W E D N E S D A Y , M A R C H 4 , 2 0 1 5

Live Music Can Be So NiceIsraeli-born bassist andcomposer Ehud Ettunbrings his Trio to TheButtonwood Tree, 605Main Street in Middletown,this Friday March 6. Ettun,who has recorded andtoured with guitarist Assaf

Kehati and has several different ensembles, recorded hislatest CD, "Raw Gestures" with pianist DanielSchwarzwald and drummer Matan Assayag in 2013,releasing it on his own Internal Compass label. DrummerNathan Blankett joins the bassist and pianist on this shortNew England tour. There is a grace and beauty to much ofEttun's original music but also an intensity and playfulnessthat comes from the bassist's love of many different styles ofmusic as well as the time he has spent working withsaxophonist George Garzone and pianist Danilo Perez.

The Trio plays its first set at 8 p.m. For more information, goto www.buttonwood.org. To find out more about Mr. Ettun,go to www.ehudettun.com. To get a feel for the Trio'smusic, here is a link to a 2014 concert in Tel Aviv withdrummer Assayag:www.lajsiab.com/QXhHYmZwMV9TanMx.

Burrage is such a greatname for a drummer andRonnie Burrage is one fineplayer of the trap set. He'scoming to The Side DoorJazz Club in Old Lyme thisFriday with one heck of aband including Jim Beard(piano, keyboards), Antoine

photo by Davide Susa

www.peterschaaf.com

Roney (saxophones), and bassist Gerald Veasley. Thisquartet will pay tribute to musicians they have worked withsuch as Josef Zawinul, Michael Brecker, Jaco Pastorius andGeorge Duke. Expect the music to be funk, very rhythmicaland downright exciting. The room is going to shake! Thefoursome hits the stage at 8:30.

The following night, saxophonist GaryBartz returns to the performancevenue with his regular quartet ofBarney McAll (piano, keyboards),Greg Bandy (drums) and JamesKing (bass). The 74-year old altosaxophonist first came to criticalnotice in the mid-1960s playing withdrummer Max Roach then going on towork with Art Blakey's JazzMessengers. He started the decade ofthe 1970s working with Miles Davis aswell as leading his own NTU Troup, an

ensemble that recorded a number of fine Lps for thePrestige/Milestone label. He then made a series of more"commercial" recordings for Capitol Records and the Aristalabel, returning to acoustic music in the 1990s with recordingson Candid, Steeplechase and Atlantic Records. He nowrecords for his own OYO label with his latest CD titled"Coltrane Rules: Tao of a Music Warrior " - that came outin 2012 with "Volume 2" coming soon. Bartz can play withboth great fire and soul, rarely if ever wasting a note. Plus,he's a great historian with an encyclopedic knowledge ofAfrican American music. Doors open at 7:30 p.m. with thefirst set at 8:30. For ticket information, go tothesidedoorjazz.com or call 860-434-0886.

Despite the mountains of snowthroughout the Nutmeg State, springis on the way. It just has to be...Imean, you see Firehouse 12 has justannounced its Spring 2015 Concertsschedule. Fittingly, the 13-Fridayseries begins on March 20 (the firstday of spring) with bassist Ben Wolfeand his Quartet. Bassist and composerWolfe just played a sold-out show atThe Side Door and brings saxophonistStacy Dillard , drummer DonaldEdwards, and pianist Anthony

Wonsey (subbing for Orrin Evans) to the New Havenperformance space. The following week (March 27), the focusturns to freely improvised music with the trio of PaulFlaherty (alto and tenor saxophones), Chris Corsano(drums) and Steve Baczkowski (alto and tenor saxophones).

The series will also include performances by the guitar duo ofJulian Lage & Nels Cline (April 17), the John RaymondQuartet with Dan Tepfer and Billy Hart (May 1), the duo ofTim Berne & Matt Mitchell (May 15) and the RudreshMahanthappa "Bird Calls" Quintet (June 5). You can findout more and buy a season series ticket or single-show ticketsby going to firehouse12.com.

P O S T E D B Y R I C H A R D B . K A M I N S A T 8 : 3 8 P M N O C O M M E N T S : L A B E L S : F I R E H O U S E 1 2, T H E B U T T O N W O O D T R E E, T H E S I D E D O O RJ A Z Z C L U B

S U N D A Y , M A R C H 1 , 2 0 1 5

Swing Into MarchQuietly yet assuredly,pianist Joey Calderazzohas become a force to bereckoned with. Afterreplacing Kenny Kirkland inthe Branford MarsalisQuartet (upon Mr. Kirkland'spassing) in 1998, he hasreleased a number ofalbums as a leader plus alovely duet recording with

Mr. Marsalis. He tours with a trio featuring bassist Orlando leFleming and drummer Donald Edwards who were featuredon his 2013 Sunnyside release titled "Live ". His newSunnyside album, "Going Home", continues in the Trio veinwith the pianist and le Fleming joined by drummer AdamCruz.

Calderazzo creates a program not unlike his previous ones,with a generous helping of original music and severalstandards. Cruz struts like a New Orleans parade drummer on"One Way", which has a melody line reminiscent of a tune byThe Meters. The drummer also leads the way into "Legend"with an out-of-time solo that frames the wistful piano melodyand interjections from the bass. Soon, the rhythm takes shapeand the Trio skips forward on the bouncing bass and activedrums. There is a similar feel on "Mike's Song", an originalthat remind the listener of the influence that McCoy Tyner hashad on Calderazzo's style. That said, the piece leans towardsthe work that Keith Jarrett produced with his EuropeanQuartet in the 1970s. Branford shows up on 1 track, theatmospheric "I Never Knew", his warm tenor soundswrapping around the melodic pain for the melody thenstepping away as the leader explores a number of differentapproaches to his solo. When the saxophonist re-enters, thepiece picks up in intensity with the rhythm section pushing thesoloist forward.

The title song, a solo piano work, is lyrical, wistful, a gentleending to a program that certainly ranks among the best JoeyCalderazzo has produced in his career (now into its 3rddecade.) Orlando le Fleming and Adam Cruz are equalpartners in the success of this music, not only for the supportthey give the pianist but also for their fine interactions."Going Home" is an album you can sit down and listen to allthe way through and then listen once more. It surrounds thelistener with its warmth, its excitement and its melodic joy. The release date is 3/31/15. For more information, go towww.joeycalderazzo.com.

This impressive quartetrecording of a group led bydrummer Jochen Rueckertwas issued in October 2014by Whirlwind Recordingsand managed to fall throughthe cracks (if you've seenmy desk, you would not besurprised.) "We Make TheRules" features MarkTurner (tenor saxophone),

Matt Penman (bass) and Lage Lund (guitar); Lund replacesBrad Shepik who appeared on the drummer's 2011 debut"somewhere, meeting nobody" (Pirouet). Considering thepedigree of the musicians, one will not be surprised at thevarious directions that the music goes in. They certainly can"swing" as one can hear on "Saul Goodman" with Lund'srippling phrases riding the waves of percussion and walkingbass lines. Turner goes from understated to heated and backin the course of one phrase. His melodic yet muscular linesshine on "Alloplasty", a piece that starts rubato then breaksinto a lively rhythm driven by the leader's splendid brush work(especially on the snare drum). Penman is such an inventivebassist, showing a flair for melodic counterpoint (shown togreat advantage on most tracks but especially on themedium-tempo "Pretty From Afar ") as well as a percussiveside (as he displays on "The Cook Strait").

Rueckert's compositions all have strong melodies, none moreimpressive than "Manong Twilight At The WhateverHotel" (although the ballad "Bess" is right up there) - eachmusician moves the piece forward, from the buzzing of thetenor sax to the shimmering brush work to the thick basstones to the spare interjections from the guitar. Thecombination of Turner's thoughtful saxophone phrases withLund's impressionistic guitar riffs over the rhythm sectionserves to draw the listener in, rising and falling as theintensity waxes and wanes.

Jochen Rueckert, who releases electronic music under themonicker Wolff Parkinson White and has written severalebooks of anecdotes on "life on the road as a musician"(complete with self-portraits), has created a mesmerizingcollection of songs - real songs, not just riffs to "blow over" -that get lodged in your mind. You'll want to explore thesemusical trails time and again. For more information, go towww.jochenrueckert.net.

Here's "Eggshells", the opening track on the album:

Trumpeter Alex Norris, anative of Maryland, is abusy session player andteacher. He's got a list ofsideman gigs with the likesof Village VanguardOrchestra, the MariaSchneider Orchestra, theMingus Big Band, and asmusical director of BettyCarter's Jazz Ahead in the

final years of her life. He also plays with a number of groupsthat play Afro-Cuban music. Norris made his debut CD forFresh Sound New Talent in 1999. It took 15 years for his

sophomore album to be recorded and released. "ExtensionDeadline" (BJU Records) finds Norris in the company of life-long friend George Colligan (Hammond A-100 organ), RudyRoyston (drums) and Gary Thomas (tenor saxophone).Thomas, who was a busy musician/bandleader in the 1980sand 90s, is now the head of Jazz Studies at the PeabodyConservatory of Music in Baltimore and Norris is on hisfaculty.

Of the 8 tracks on the album, 6 are originals from the leaderplus Colligan's rousing "Optimism" and a sweet version ofBobby Hutchinson's "Little B's Poem" (sans tenor sax).Norris plays the Hutchinson tune on flugelhorn, his mellowtones rising and falling over the skipping snare work andintense yet quiet organ chords. Colligan, known more for hisextensive work on piano, is a fine player with a strong basspresence and a style that shows the influence of the late LarryYoung. He works well on the front line whether in unison withthe sax and trumpet as he does the title track or splayingchordal fills (nicely illustrated on the uptempo "San Jose").Royston is his usual splendid self, lighting a fire under thesoloists or displaying an easy swing. Check out "Red Flag" tohear him at his most explosive or setting the easy pace for"Night Watchman". On the former track, he and Colligan'sbass lines set a torrid pace; Royston is such an expressivedrummer, whether reacting to the soloists or "trading 4s" nearthe end of the track. There is pure joy in those interactions.

Thomas, who released a series of fine recordings for JMT andWinter & Winter in the 1990s (plus spent several years withJack DeJohnette and later with Herbie Hancock), can say somuch in his solos. On this recording, he displays a sturdytone, never wasting a note, always riding the waves ofsound/rhythm emanating from the drums. Listen to how heand Royston get into it on "Where Angels Fear " and on theraucous "What Happened Here."

Norris has a hearty attack and crisp tone on trumpet. Hedives into his solos with great abandon (check out "San Jose"for how he inspires Royston to provide the fireworks below hisbandmates and "Red Flag" for his romp through the mid-range). Though this is an album filled with impressive solos,the vast majority of the compositions have solid melody lines. Although Alex Norris organized the band for this recording,the results are far from perfunctory, with a "live" feel makesone dream of live gigs in a club setting. In the meantime,"Extension Deadline" is a fiery, funky, and very satisfyinglistening experience. For more information, go towww.alexpopenorris.com.

I had the opportunity to seepianist Steven Feifke inconcert several years ago ina quartet that featuredChad Lefkowitz-Brown(tenor saxophone), RavivMarkovitz (bass) andConnecticut native JimmyMacbride (drums). Thegroup played a heady set oforiginals and jazz standards,each member showing great

promise and none of them yet in his mid-20s. Lefkowitz-Brown has gone on to play in Taylor Swift's touring band,Markowitz works with a number of ensembles including pianistAdam Kromelow's KROM trio, and Macbride is now insaxophonist Jimmy Greene's touring band as well as soon tobe on tour with guitarist Nir Felder. Feifke has organized a Big

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Band and has worked with drummer Dafnis Prieto plus a slewof younger players.

In January of 2014, the pianist brought his 3 musical comradesinto the studio along with Andrew Gould (alto saxophone),Benny Benack (trumpet) and Alex Wintz (guitar), with theresults released as Feifke's debut CD, "Peace In Time". Hecomposed 9 of the 12 cuts and arranged every song,produced and self-released the album. The program openswith a pleasing re-imagination of Thelonious Monk's"Evidence", literally jumping out of the speakers with strongsolos from Feifke, Benack (a member of Michael Dease's BigBand) and Gould (Wallace Roney's band). Lefkowitz-Brownshines during his solo on the ballad "Am I Still There ForYou?" and on the up-tempo "Second Wind." Feifke's hornarrangement stands out on the latter track as well. Throughout the program, the rhythm section really providesthe drive on the faster tracks. The piano, bass and drumsreally lock in on "Wollongong" while the brass and saxeshave the melody. The saxophonists feed on that fire (Macbrideand Feifke really stoke the furnace while Markovitz providesthe rapid walking bass lines.) There are several times duringthe program when guitarist Wintz (Roxy Coss Quintet, EtienneCharles Creole Soul) stands out. He blends his mellow tonewith the horns on "The Coast", which also features himplaying the melody with the pianist. An exciting Latin rhythmpropels "Autumn In New York " forward with the melodypass around to the guitar and piano to the horns and trumpet. The arrangement of Horace Silver's "Nica's Dream" alsofinds the theme moving to different instruments. Macbride'sdrumming and the active bass lines creates an excitingfoundation for Feifke's adventurous solo and Benack's moreboppish turn.

There are several sonic surprises on the program. The reeds,brass and guitar drop out for "Song For Ben And Gidi ", amedium-tempo blues in which all 3 players solo (really enjoyFeifke's 2-handed approach). The slow blues that is "3:23a.m." has a fine melody, muscular bass solo, a tender tenorsolo and an exciting climax with Gould leading the way. Adollop of hip hop in the drums and bass powers the ultra-funky"The Missing Feeling II ", a tune that the horns sit out whilethe guitar and piano share the melody. Watch out for the hard-hitting drama solo -it will rattle your speakers! Wintz switchesto acoustic guitar for the title track, a lovely ballad that closesthe disk. The horns do not show up until close to the end ofthe piece, after the handsome and melodic guitar solo.

"Peace In Time" serves as an introduction to the musicalworld of multi-talented Steven Feifke. He, in turn, makessure that the listener pays attention to his cohorts. Thecreative arrangements feature good section work, smart useof unison melody lines, all powered by the excellent work ofRaviv Markovitz and Jimmy Macbride. There are momentswhere it sounds like 10 or 12 musicians playing instead of 7. But there is no clutter nor filler. Like the recordings above,this music sounds better and better with successive listens.The future looks most certainly bright for young Mr. Feifke. Formore information, go towww.facebook.com/StevenFeifkeMusic.

P O S T E D B Y R I C H A R D B . K A M I N S A T 6 : 2 8 P M N O C O M M E N T S : L A B E L S : B J U R E C O R D S, C D R E V I E W S, P I A N O T R I O, S E L F - R E L E A S E DA L B U M, S U N N Y S I D E R E C O R D S, W H I R L W I N D R E C O R D I N G S

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