Category: Reviews

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All About Jazz covers Ben Wolfe “The Whisperer”…

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allaboutjazz.com

You can always gauge a bassist-led recording by the players he attracts on the bandstand or in the studio. Proof of this premise isBen Wolfe‘s latest, The Whisperer. Just like Charles Mingus had his Jaki Byard, Booker Ervin, and Dannie Richmond, andDave Holland his Craig Taborn, Kevin Eubanks, and Eric Harland, Wolfe is also a magnet for talent. His past recordings featuredNed Goold and Joe Magnarelli on Murray’s Cadillac (Amosaya Music, 2000), Branford Marsalis and Terell Stafford on No Strangers Here (MaxJazz, 2008). His previous release From Here I See (MaxJazz, 2013) featured pianist Orrin Evans, drummer Donald Edwards and saxophonist JD Allen. With the exception of Stacy Dillard replacing Allan, the same lineup returns here. Each of Wolfe’s sidemen are distinguished band leaders themselves, and each has released noteworthy music recently.

Wolfe’s quartet shines navigating the twelve tracks here, which include eleven original compositions by the bassist, and Jerome Kern’s now-jazz standard “All The Things You Are.” Wolfe favors ballads, and Dillard’s saxophone abides throughout. He delivers the most gentle touch on “Hat In Hand” with a luscious soprano take that is echoed by Orrin Evan’s piano. “Love Is Near” conveys a sensual message via Dillard’s tenor, the wee small hours brushwork of Edwards, and a reserved piano and bass. If their approach was less than honest, the melancholy mood of “If Only” wouldn’t work. Clearly it does. Wolfe is a patient storyteller.

When the band does turn up the burners on tracks like “Chronos,” a complex funky swinger and the devilishly hip title track, the cohesion of the quartet is evident. Same for “S.T.F.U.” where trumpeter Josh Evans joins the quartet. Their controlled zeal conjures a vision of the players in Brooks Brothers suits, ties now appropriately undone.

Track Listing: Heroist; Hat In Hand; Community; Love Is Near; S.T.F.U.; Camelot’s Lean; Chronos; All The Things You Are; The Whisperer; Becoming Brothers; The Balcony; If Only.

Personnel: Ben Wolfe: bass; Orrin Evans: piano; Donald Edwards; drums; Stacy Dillard: soprano saxophone, tenor saxophone; Josh Evans: trumpet (trk 5).

— Mark Corroto

 

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Ken Franckling writes up Jon Davis “Moving Right Along”…

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jazznotes.com

Jon Davis, Moving Right Along (Posi-Tone)

New York-based pianist Jon Davis has an adventurous CD in his second Posi-Tone project, Moving Right Along. Favorites include his original, “Beauty and the Blues,” and his interesting interpretations of John Coltrane’s “Moment’s Notice” and the Beatles (Lennon/McCartney) classic “She’s Leaving Home.” The blend of originals and covers also includes “Portrait of Tracy” and “Dania,” which were written by his 1980s boss, Jaco Pastorius. Davis has fine support throughout from bassist Yasushi Nakamura and drummer Shinnosuke Takahashi.

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SomethingElse Reviews Ben Wolfe “The Whisperer”….

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SomethingElse.com

Ben Wolfe is a bassist who some of the biggest stars in jazz call upon. Star vocalists Harry Connick, Jr., Dianne Reeves and Diana Krall have worked extensively with him, and he’s also performed and recorded with Wynton & Branford Marsalis, Joe Henderson, Billy Higgins and Doc Cheatham.

Since 1997 Wolfe has made a number of records of his own, where as a leader he has uses those occasions to present his own compositions, sophisticated numbers in the mainstream jazz realm. His eighth one, The Whisperer, (out on February 17, 2015) marks his first one for Posi-Tone Records, and it’s a perfect match of artist and label.

That’s because Ben Wolfe leads sessions with top-flight personnel such as JD Allen, Marcus Strickland, and Jeff “Tain” Watts and executes with precision, grace and looseness, all Posi-Tone hallmarks. For The Whisperer, he carries over a couple of aces in pianist Orrin Evans and drummer Don Edwards from the prior 2013 offering From Here I See. The quartet is rounded out by Stacy Dillard on saxophones.

A bluesy mood permeates these performances and on a lot of them, the swing is supple and strong. That’s certainly the case for “Heroist,” where Evans delivers a taut solo and Edwards’ rhythms are deceptively complex, as Wolfe leads the rollicking head. He begins “S.T.F.U.” with a bass spotlight recalling Paul Chambers and then firmly anchors this post-bop tune that includes guest trumpet player Josh Evans playing with cool confidence as Orrin Evans sits this one out.

Dillard, though, gets the most opportunities to star on this record and makes the most of it. On the ballad “Love Is Near,” his large, sultry tenor is a welcome throwback to the Coleman Hawkins school of moody saxophone. On the waltzing “Community,” he blows a soprano sax with a spring in his step, injecting cheerfulness into the song. He brings out the melancholy qualities of the horn on the slow numbers “Camelot’s Lean” and “If Only,” and is wistful on the soprano on Ben Wolfe’s lone cover selection “All The Things You Are,” which is transformed simply by being slowed down.

“Chronos” stands out for its irresistibly funky gait that’s made possible by the syncopated simpatico between Wolfe and Edwards. More great interplay is found on “The Balcony” where Evans and Dillard (on tenor sax) come in together after Wolfe’s walking bass intro and solo on parallel planes.

Ben Wolfe’s Posi-Tone label debut The Whisperer is quality straight-ahead jazz because Wolfe and his crew do everything the right way. It’s little wonder why he’s a trusted collaborator and sideman for some of jazz’s biggest names.

 

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Bird is the Worm recommends Art Hirahara’s new CD…

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birdistheworm.com

There’s two things in play here for whyLibations & Meditations is such a strong album.  First off, Art Hirahara situates his melodies at the center of each song’s universe.  Those melodies are expertly crafted and supremely radiant… a melodic beauty that resonates strongly at any speed.  And that leads into the second quality of this album’s success:  The trio of pianist Hirahara, bassist Linda Oh and drummer John Davisare a seamless rhythmic unit, their intentions spread out like a map so that no matter how far and wide they travel, it’s simple to follow along.  This, in addition to the North Star quality of each song’s melody is what makes this such a winning album.

The bubbling personality of up-tempo tunes is hard not to fall for.  Hirahara leads out with the quirky “With Two Ice Cubes” and the speedy “D.A.Y.” is adorned with a series of missives and asides to keep the ear on its toes even as its attention stays riveted on the tightly focused stream of melody.  The jaunty “Only Child” has a cadence made for a Sunday afternoon stroll through the park and is just as affecting as the melodically headstrong “Be Bim Bop” and “Bop Bim Be,” which offers up a rare instance of free, random motion before it transforms into something structurally straight-ahead.

However, the most striking album tracks are those where the trio eases off the gas pedal.  The surging “Father’s Song” wears its heart on its sleeve, and it’s why the dramatics that mark the song ring with sincerity.  It’s a similar effect with “Big Country,” but here, the melodic drama is paired with just the right amount of restraint, pulling it back in for a graceful landing.  There’s also the graceful elegance of “Karatachi No Hana,” a quiet solo piece.  “Dead Man Posed” exudes those same qualities, but gets expressed with greater emotion.

The album ends with “Nereids and Naiads,” a song that smolders with a magnetic quality, its embers growing brighter as the song approaches its conclusion.  But even when the trio lights the song up bright in the home stretch, the melody never loses its comforting glow, radiating the strong beauty and powerful dialog that reflect the album in its entirety.

 

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Richard Kamins reviews Ben Wolfe “The Whisperer”…

steptempest.com
 For his 2013 MaxJazz CD, “From Here I See“, bassist and composer Ben Wolfeworked with a core quartet ofOrrin Evans (piano), Donald Edwards (drums) and JD Allen (saxophone) plus guest artists and a string quartet. Messrs. Evans and Edwards return on his new release, “The Whisperer” (Posi-Tone Records) while Stacy Dillard(soprano and tenor saxophones) replaces Allen.  Trumpeter Josh Evans (no relation to the pianist) is the only guest and appears on 1 track. The unique painting on the cover is the work of Colorado-based Ron Fundingsland and is titled “Sanctuary.”

Wolfe, who has worked with a slew of well-known artists ranging from Diana Krall to Wynton Marsalis to James Moody to Harry Connick Jr., clearly loves melody and writes pieces that have solid tunes yet leave space for solos. Only 2 of the 12 tracks are over 6 minutes and 5 are under 5 minutes.  The program opens with “Heroist“, an up-tempo romp that starts with a McCoy Tyner-groove before galloping into the piano. Dillard flies over the opening groove on his soprano with Edwards urging him on.  The soprano takes the lead on “Hat In Hand“, the first of several heartfelt ballads that are musically and emotionally satisfying.  “Love Is Near” is another, this time with Dillard on tenor saxophone, his breathy tone reminiscent of Ben Webster and Coleman Hawkins. Listen to how Wolfe makes each note count and Edwards barely brushing the snare and his cymbals as well as Evans’s soft touch on the piano. Dillard returns to soprano for Jerome Kern’s “All The Things You Are“, the only piece not composed by the bassist.  The piano lines are so well-placed, with a blend of straight-forward phrases and “impressionistic” chords.  Josh Evans takes the place of Orrin Evans on the bopping “S.T.F.U“, his exuberant playing pushing Dillard to a frisky soprano solo.

Edwards opens the longest track, “Chronos” (7:15) with a high-stepping drum solo before the band enters on a funky groove.  The piece is spiced by the various interactions, especially between Evans and Dillard (tenor) and then Dillard with Edwards.  The angular piano solo over Wolfe’s rapid walking lines and Edwards’ hop-scotch drums fills is a treat.  The drummer’s cymbal work throughout the CD is perfectly captured by engineer Nick O’Toole, filling the sound spectrum with clicking sticks, the gentle touch on the ride and splash cymbals plus the occasional storms Edwards produces in support of the soloists.  He can sound so “free” at times; Wolfe’s rock-solid foundation allows Edwards the opportunity to play (you can really hear him listening and reacting to the pianist and saxophonist.)

Ben Wolfe doesn’t feel the need to solo on every track but he sets the table for bandmates to pay their best.  His mature compositions give “The Whisperer” a timeless quality; this is music that builds upon the sounds that Herbie Hancock, McCoy Tyner, Andrew Hill, Charles Mingus and Wayne Shorter discovered in the 1960s.  Mr. Wolfe and his cadre of excellent musicians do not copy any of those mentioned above, making his pieces sound fresh and alive.  For more information, go towww.posi-tone.com/whisperer/whisperer.html.

 

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Wonderful feature on Art Hirahara and his new CD…

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Seijaku.com

Art Hirahara’s new album: a spiritual journey to Japan

After having moved from San Francisco Bay Area to New York in 2003, jazz pianist and composer Art Hirahara challenged the city’s prominent jazz scene, and its pool of world-class musicians by performing at historic venues such as Smalls, Birdland, Jazz Standard and 55 bar.  He has been privileged to work alongside Stacey Kent, Freddy Cole and Akira Tana to name a few. It was a matter of time that the musician would immerse his talent and conquer the jazz world, where his success and talent has been lavishly recognized for an on-going decade.

Art-Hirahara-Libations-And-Meditations

His recent album release Libations and Meditations (Jan. 6th) features eleven pieces of storytelling that journeyed into musical notes shortly after his father’s death. It was during this time that Art became involved in yoga, which eventually transcended into his music. He was able to harness the relaxation and mediation through the practice, and portray that inspiration into the new album title, ‘meditations’, and incorporate that into all the tracks within. Yoga has not only expanded his perspective of musical space, but also allowed him to find comfort in taking time and developing a larger sense of density or emptiness. “Dead Man Posed” is a musical representation of his yoga exploration that adroitly expresses the feelings of suspension and resolution that one tends to experience at the end of every yoga practice in Savasana (“corpse pose”).

“With Two Ice Cubes”, although written on a last minute whim of inspiration, is everything if not a savor of fulfillment. It reflects on the ‘libations’ of the album title, where it thoughtfully focuses on the musician’s liquor enthusiasm on fine cocktails and whiskey. Recently, the artist has been traveling frequently to Japan, exposing himself to an extensive selection of Japanese whiskeys (Nikka is his favorite). Aside from that being benignly lenient, the meaning of the album title also seeks a deeper sentiment that correlates to pouring an offering to elders, deity or those who have passed. For Art, this album has become an offering to his father who passed away recently, as well as a stretch in time for his ancestors who where in Hiroshima and Saga.

In perspective of Art’s Japanese heritage, his cultural upbringing shaped his musical perspective, where as a child, he attended various festivals such as Nikkei Matsuri and San Jose Taiko. During this time, he acquainted himself to the art of Japanese Folk, and its powerful traditional folk drumming. His first taste of rhythm was evoked at that time, which cultivated his passion for jazz and swing. His new album includes a constructive jazz piece titled ”Karatachi No Hana (K. Yamada)”,  a Japanese song originally introduced by his mother. This piece tends to differentiate from the rest of the track list because it journeys into his heritage and reconnects with that part of his past. The course of development for this traditional Japanese piece was specifically produced for the 50th Anniversary of the Northern California chapter of Ikenobo Ikebana (a Buddhist floral offering, referring to the name of the buildings associated with the Shiunzan Chohojo or Rokkakudo Temple in Kyoto, as well as the name of the members who served generations as head priests of the temple). His aunt was president of the chapter, and requested that he perform traditional Japanese pieces with an American jazz perspective.

Other notable pieces on the album include one titled “D.A.Y”, which represents the initials of his previous trio, Dan Aran and Yoshi Waki. It also stands as the in-between of his past and new record albums. “Only Child” was a track written by the great pianist, Bill Evans who has heavily influenced Art with his concept of interplay between members in the piano trio setting, deeply shaping Art’s approach to playing and writing.

The artist has taken his carefully anticipated musical stories to countries like Europe, Asia, South America, the Middle East and the United States. He has also exposed himself to handfuls of experience to challenge his musicality by teaching at the Brooklyn-Queens Conservatory, being the Musical Director of an Off-Broadway show, and experimenting with world music like West African drumming and dance.Libations and Meditations has compiled all these musical experiences achieved by Art, and gathered them into a piano bebop bliss one song after another.

 

 

 

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D4M goes “Boom!” for David Gibson….

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d4m.com

I’ve just heard David Gibson and his trombone on his latest effort “Boom!” and it’s been a lot to take in. He and four other extremely talented musicians have made a memorable jazz album for the modern jazz enthusiast, but whether or not its magic holds up against the upcoming albums of this year depends on much more than your first impression. Let me introduce you to your first impression, the only publicly available single, The High Road. It’s a quick bebop-y single with erratic displays of talent from all of the quintet, especially the trombone. The piano will ease you in but the pace is quick to escalate and drag you along with it. The beauty is in how subtle the transitions are. Beautiful progressions and shared spotlights make this a very fluid single. You can’t feel an ego, and you can barely taste the chemistry because they’re all so well tuned into each other. My only problem is how completely different The High Road is to the rest of the album. In that case its name makes a lot of sense, because everything else takes a much lower, slower, and smoother route. The only other song that livens up as much as today’s feature is probably The Cup Bearers. If you’re enjoying The High Road, be sure to check that other one out somehow. Otherwise, expect slower tempo with equally erratic melodies on the rest of Boom!. 

Very strong, sound bass lines, together with David’s zig-zagging trombone, make the brunt of the effort. The keys are top quality, the percussion is versatile, and the accompanying trumpet will add intricate details one rarely encounters on such an album. It’s a real shame more of the release can’t be admired without committing to it entirely. Despite this, I recommend it. If jazz brass is usually to your liking, I’m sure this effort will fit snug with your collection. Expect no one to step across overpowered lines except for David, occasionally, as he strengthens his presence. It’s all ends quite beautifully, really.

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StepTempest covers Jon Davis “Moving Right Along”…

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steptempest.com

Pianist-composer Jon Davishas been an active participant on the contemporary music scene since the 1980s, first coming to critical attention for his work with bassist Jaco Pastorius.  He’s also worked with Beatle Jazz, with the Bill Mobley Big Band, with saxophonist Ilhan Ershahan and a long list of other great players.

For “Moving Right Along“, his 6th recording as a leader (and second for Posi-Tone Records), he leads a trio that features drummer Shinnosuke Takahashi (who appeared on that first CD) and bassist Yashushi Nakamura through a smart program of originals, standards, and covers.  He pays tribute to Pastorius with a lovely version of “Portrait of Tracy” (one of the late bassist’s must enduring melodies) as well as a blazing take of “Dania” (originally composed for big band).  The quiet yet active percussion of Takahashi stands out on the former track (as does the wonderful “dancing” piano solo) while the latter tools along atop the strong walking bass lines.  The arrangement for John Coltrane’s “Moment’s Notice” opens on a lovely, lilting, Caribbean rhythm and moves forward with glee.  The interaction of the drums and piano on Davis’s solo is delightful, really the essence of what creative music can be. There’s also a great take on The Beatle’s “She’s Leaving Home“, one that illuminates the bluesier side of the song. Takahashi’s splendid cymbal work on the opening choruses of Frank Loesser’s “I’ve Never Been in Love Before” sets up a tension that is relieved and revived all through the solo section. Nakamura’s bass lines explore counterpoint, weaving through the showers of piano notes and cymbal splashes.

Davis takes 2 pieces for solo piano, Thelonious Monk’s “Reflections” and Harold Arlen’s “I Gotta Right to Sing The Blues.”  The pianist caresses Monk’s handsome melody, not rushing the pace, and keeping the reflective quality of the music. The Arlen composition, from 1932, is also quite reflective, an appropriate song to close the CD.

The album includes 5 Davis originals including the McCoy Tyner-like title track that opens the program and the blues-drenched “Under The Stairway” that follows. It’s really quite a pleasure to hear a rhythm section so tuned in to the movement of the leader; though there are few bass or drums solos (and those are much closer to the end of the recording), one can hear just how involved and important Nakamura and Takahashi are to the success of the trio “sound”.  There’s a touch of Horace Silver’s sound in the medium-tempo of “Pensive Puff” (bass line, at times, echoes “Song For My Father“) and a hint of Abbey Lincoln’s classic “Throw It Away” in the bluesy melody of “Just In Case.” The familiar touches serve to draw the listener closer and truly make the piece more enjoyable.

“Moving Right Along” does just that – for 66 minutes, Jon Davis, Yasushi Nakamura, and Shinnosuke Takahashi move the listener through a panoply of musical styles and emotions. You can listen early in the morning as you prepare for the day or late in the evening with a glass of wine.  With the typical clean Posi-Tone sound (Nick O’Toole must love drummers), this album is a welcome addition to lovers of piano trio music…and lovers of good music anywhere.

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Ben Wolfe is WBGO’s Radar….

BEN WOLFE: “THE WHISPERER”

cover of the whisperer

Ben Wolfe’s “The Whisperer” strongly shows the group aesthetic means much more to the bassist than singular satisfaction.

“I write most of my music first on piano, with the thought of who is playing, letting them be free to do what they do,” Wolfe says.

The Posi-Tone CD reunites him with longtime collaborators Orrin Evans on piano and drummer Donald Edwards.

“Playing with Orrin and Donald is like having one brain,” says Wolfe. “There’s a trust that is evident throughout the record.”

Stacey Dillard weighs in on soprano and tenor sax to express an admirable musical community.

Eleven out of twelve tracks on the disc are originals, which show Wolfe is as much of a writer as he is a player.

The opener, “Heroist,” starts with a Lee Morgan “You Go To My Head” feel, then the foursome moves it up to get to your head.

“Hat In Hand” goes hand-in-hand with a late night tryst or early morning mist, a gorgeous ballad where piano, bass and drums allow for Dillard’s soprano to open you up for a 20-question session with yourself.

“Community” is the aesthetic on which the entire recording is based. It’s a four-four exchange that allows the soul of the space, and these four, to move about with the comfort that comes wherever good friends meet.

With “S.T.F.U.,” Wolfe sets an up-tempo pace for the group. Guest trumpeter Josh Evans adds spirit when he gets out front. Dillard’s expressive soprano answers him, and together they create a unison, communal end.

The one non-original on the disc is Jerome Kern’s “All The Things You Are,” drenched in quietude – a whispered reminder that you need not yell to make a strong statement.

In his article “The Bass in Jazz,” bassist Bill Crow says, “The string bass has been called the heartbeat of jazz for good reason… with notes that thread through the harmony in an interesting way, bringing the music to life.”

On “The Whisperer,” Wolfe rides this thread – which over the years has connected him with Wynton Marsalis, Diana Krall, James Moody and many others – straight into our hearts.

The album comes out February 17th on Posi-Tone Records. He celebrates the release with the band at Ginny’s Supper Club in Harlem on Feb. 26.

   – Gary Walker, WBGO music director

 

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Jazz Junction Review: DAVID GIBSON – BOOM!

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kios.org

Trombonist David Gibson delivers a solid post-bop session that adds further affirmation to the vibrancy of the current jazz scene on his sixth release as a leader. This is no-nonsense, straight ahead music in a program of mostly original compositions. The instrumental setting is a quintet with the fine trumpet player Josh Evans and rhythm section comprised of Theo Hill playing piano, Alex Claffy at the bass and Kush Abadey at the drums. The group has been performing in NYC clubs and exhibits the mature spark of innovative players with exhilarating interplay and solo efforts.

A Thelonious Monk International Trombone Competition finalist (2003), Gibson has performed with Slide Hampton, Jimmy Heath and James Moody among other jazz greats. He possesses a sound reminiscent of J.J. Johnson with a clear, euphonious tone whether burning on up-tempo numbers or upon more laid back settings. Trumpeter Evans, as with Joshua Bruneau, is one of the remarkable up-and-comers on the instrument with a bright sound and formidable chops. The rhythm section is integral to the proceedings with pianist Hill’s exciting solos, bassist Claffy’s crisp notes and drummer Abadey’s resourceful drum set work providing substantive embellishments throughout.

Gibson’s compositions are all engaging: “The High Road” with its modal feel and tight contrast of trombone and trumpet, the groove oriented number “Grass Fed” that has Hill rendering an entrancing solo at the electric piano followed by probing solos from the horns, the unrestrained burner “Eyes of Argus” that leaves a trail of smoke in its wake and the pensive “Empathy” that has the group working in a more subdued setting. As with the other albums we’ve explored, these sessions are not indulgent star trips for a leader, rather interactive ensembles that display immense talents in uniquely fabricated and remarkably cohesive contexts.