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Putting together a big band in these dicey economic times is a tough proposition at best, but pianist and composer Orin Evans is bucking the odds with this large ensemble that features tight ensemble playing and fine soloing. It is a particularly large band and this allows them to play several distinct textures and work them into the bands overall sound. The ensemble meshes nicely like a finely woven garment and everybody is on the same page throughout the album. Recorded live in New York City and Philadelphia, the band plays with considerable panache, with a crisp brashness to the horns and subtle intricate playing from the rhythm section. Ralph Peterson’s “Act of War” shows the band honoring the big band tradition of the past, while bringing it at warp speed into the present. The arrangement is very effective and frames Rob Landham’s alto saxophone solo quite nicely. “Here’s the Captain” keeps the tempo moving briskly, with Evans in particular taking a rippling piano solo the fits in well with the overall motif of the music. The crowd responds the music heartily, urging the soloists on and providing hearty applause to the musicians. Several Orrin Evan originals conclude the album, and this is a good thing as he has a bold and thoughtful ear and writes some fine tunes including “Jena 6” a protest piece that retains the nature of social commentary while swinging quite nicely. There are precious few big bands left on the jazz scene, so this group is an exciting addition to their ranks. The overall musicianship is excellent and the music remains exciting and compelling throughout.
Category: Reviews
SomethingElse! coverage for Art Hirahara “Noble Path”….
On May 3rd, Posi-Tone Records will deliver a rare new album by NYC-based pianist Art Hirahara, called Noble Path. “Lyrical” is an adjective I’ve seen ascribed to pianist Art Hirahara, and it’s one he lives up to on this trio date for his first Posi-Tone record. Though he hadn’t been very prolific leading sessions, Hirahara has been busy on the club circuit since arriving in New York in 2002, and done some sideman dates, including this one for Sarah Manning. For Noble Path, he brought in his working trio with him: Dan Aran on drums and Yoshi Waki on bass. This record tends to be pastoral more often than not, but it has its share of unpredictable moments: “Change Your Look” ambles along slowly when right in the middle of it, the band brings up the pace to a funky, snappy gait, and “Nocturne” flirts with free jazz. The stirring “Peace Unknown” leverages the heavy classical training of Hirahara’s youth. No matter what the leader throws out, the band is able to stay with it, a clear benefit of all those club dates together. With Noble Path, Hirahara has found a nice home at Posi-Tone and hopefully this signals the beginning of a long-overdue burst of recording activity.
Ken Blanchard weighs in on Noah Haidu “Slipstream”….
The Joyful Jazz of Noah Haidu
As spring slowly and tentatively emerges from under a long winter, your South Dakota jazz fan dearly needs something to cheer him up. I am listening to Noah Haidu’s Slipstream. It is doing the trick.
Haidu is a New York pianist and member of the group Native Soul. He is a student of Kenny Baron and Barry Harris. The personnel on Slipstream include Jeremy Pelt on trumpet, whom I have been keeping an ear to. Jon Irabagon plays a fine alto saxophone. Chris Haney plays bass like he means it. John Davis and Willie Jones III alternate on drums.
This is a very tight and well-conducted band. The music is energetic, straight ahead jazz joy. I especially like Haidu’s style of playing behind his horns: leading by commenting with one phrase after another. His solos are gorgeous. Maybe the best cut on the album ‘Float’, which is a trio piece with Haney’s bass and Davis on drums. Pelt shines on ‘Take Your Time’. Or maybe the best cut is the opening ‘Soulstep’. That I can’t make up my mind is a good sign.
All I can tell you for sure is that I liked Slipstream, and you will too. Buy it. Support your friendly neighborhood jazz man. You can hear a couple of cuts on my Live365 station.
A nice review for Noah Haidu “Slipstream”….
Noah Haidu is a pianist who endows his debut, “Slipstream” (Posi-Tone) with a no-nonsense, straight-ahead groove, and it’s some of the best group jazz you can hear in 2011, thanks to a line-up of boffo contemporary players — trumpeter Jeremy Pelt and saxophonist Jon Irabagon, two neo-traditionalists who always blow hot and cool; bassist Chris Haney and drummer John Davis keep things tight and tuneful, and the great stickman, Willie Jones III, kicks it out on drums for three tracks. Haidu boldly demonstrates his affection for the great acoustic jazz groups of the 50’s and 60’s, but his charts and adroit technique (“Break Tune”) shout modern jazz. The pianist proves that he’s an enterprising improviser, from the jaunty “Soulstep” and the trippy ballad, “Float,” to the romp and circumstance of “Just One Of Those Things.” It’s affirming to hear a pianist who’s chock full of ideas, with a stand out quintet that never outshines the leader. (8 tracks; 49:19 minutes)
A new review for Art Hirahara “Noble Path”…
For his trio CD, “Noble Path” (Posi-Tone) the Bay area pianist Art Hirahara goes pleasurably old school, with an abundance of catchy, melodic originals. It’s a successful foray into the kind of music that one associates with leaders like Kenny Barron, Cedar Walton or John Hicks, and it’s clear that Hirahara holds a deep respect for musicians that ply the jazz trio tradition. Bassist Yoshi Waki and drummer Dan Aran, both rhythm masters in their own right, provide exemplary support on inspired originals (“Stood Down”) and dazzling covers (“All Or Nothing At All,” Dizzy Gillespie’s “Con Alma.”) Hirahara has a deft technique that memorably crowns his originals and his fleet finger play positively shines on the title track. But you can sense this working group’s own satisfaction when bopping through the changes on Billy Strayhorn’s “Isfahan” or feeling the love from the music on Cole Porter’s “Ev’ry Time We Say Goodbye.” (12 tracks; 63:16 minutes)
Another review for Dave Juarez “Round Red Light”….
A Barcelona native, guitarist Dave Juarez wins major points on his debut for Positone Records, an LA based independent label with a dazzling roster of young jazz lions, mostly due to his deep commitment to the band concept and a playbook of super strong compositions. He pulls together a like-minded team – tenor saxophonist Seamus Blake, pianist John Escreet, bassist Lauren Falls and drummer Bastian Weinhold – on a collection of fresh tracks that highlight the strengths of each. Blake is the veteran here, having a host of solo recordings and dozens of sideman gigs to his credit, and he gives the album a boost with his scintillating solos. Escreet is an especially communicative player, full of surprise and brilliance, and he doesn’t disappoint whether applying his staccato intensity on “Lonely Brooklyn” or applying a glossy lyricism to “Belleza Anonima.” As the leader, Juarez runs his lines with grace and poetic humility (“The Echo Of Your Smile”) and takes a clever stab at the harmonics on Monk’s “Round Midnight (see title tune). If there’s any criticism, it’s that Juarez is a touch shy, giving too much space to Blake. But all is forgiven listening to Juarez on the moon-kissed “Luna De Barcelona,” a tune that inspires peak performances from his copacetic quintet and features a blissed out solo by the guitarist. (9 tracks; 61:45 minutes)
Bruce Lindsay’s AAJ review for Jared Gold “All Wrapped Up”….
Jared Gold’s fourth album as leader, All Wrapped Up, finds fresh faces joining the organist as he releases his first recording without a guitarist. This is also Gold’s first all-originals album—although he shares the writing credits with his band mates, who each contribute a tune. The new lineup and new tunes ensure that this album, and Gold’s playing, sounds bright and upbeat from the off.
All Wrapped Up is Gold’s follow-up to 2010’s relaxed, almost laidback Out Of Line (Posi-Tone). It’s a much more muscular collection, with its roots in hard bop and its front line of trumpeter Jim Rotondi and tenorist Ralph Bowen both favoring an attacking, energetic, style of playing that Gold and drummer Quincy Davis are happy to match. Indeed, Gold seems less inhibited than on his previous outings, the result perhaps of his increasing confidence as a player as well as the influence of his new partners.
The combination of Rotondi and Bowen gives the music a real spark and intensity. Bowen delivers a nicely languid solo on Gold’s “Saudades,” but for most of the time the horn duo is up for something a bit more lively. The quartet lets loose from track one, “My Sentiments Exactly” moving along with a terrific energy as all four players drive ahead. “Get Out Of My Sandbox” is a little more relaxed, but Rotondi and Bowen have such a rich sound that they seem like an entire horn section.
Davis’ “Piece of Mine” is a mid-tempo swinger marked by one of Rotondi’s best solos, while Bowen’s “Midnight Snack” is underpinned by Gold’s slinky groove. But overall it’s Gold whose compositions have the edge, and make best use of his Hammond sound.
Step Tempest review for Dave Juarez “Round Red Light”…
Posi-Tone Records continues its streak of good new music with this, the debut CD by guitarist/composer Dave Juarez. Juarez, a native of Barcelona, Spain, has created a program that covers much stylistic territory, utilizing an excellent including Seamus Blake (tenor sax), John Escreet (piano), Lauren Falls(acoustic bass) and Bastian Weinhold (drums – he’s got a new CD that will be reviewed in the next few weeks.) While there a slew of fine solos, the first thing one notices is the compositions; all these pieces have well-defined melodies and fine harmonies. A handsome ballad, such as “Belieza Anonima“, not only has a sweet melody but also wonderful coloring from the supporting musicians. Whether it’s a cascading line from the guitar, splashing cymbals or creative piano fills, this portrait is fully developed. The title track, “Round Red Light” (a pleasing take on Mr. Monk’s famous tune), is another lovely ballad, with an excellent tenor solo – listen to how Juarez shadows the tenor on the theme (both in and out of the song) and don’t miss the splendid rhythm section work from Escreet, Ms. Falls and Weinhold. After a rousing guitar solo, Escreet takes over on “Luna de Barcelona” with a hearty solo built upon Juarez’s final lines – he, then, goes off in his own direction, with a rhythmical solo that hints at Flamenco as well as Romantic classical music. “RNP“, the final track, is also the most “open”, starting slowly then “revving up” for the solos – everybody is “smoking” here, from the poly-rhythms created by Weinhold to the active bass lines to the series of fiery solos (Juarez really lets loose at the climax of his spot), culminating in Blake’s tour-de-force.
“Round Red Light” starts out strong and gets better as one moves through the tracks. With nary a false step, Dave Juarez has created a gem of creative music that illustrates his excellent composing skills and the joy of creative interplay. To find out more, go towww.davejuarezmusic.com.
Enjoy the opening track, “Montpellier View“, by clicking on the link below – courtesy of Posi-Tone Records and IODA Promonet.
Montpellier View (mp3)
The first review for Art Hirahara “Noble Path”…
Art Hirahara – Noble Path – Posi-Tone
On Art Hirahara’s new album, Noble Path, the tune is the truth and the truth is tuneful.
Published on April 26, 2011
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Art Hirahara – Noble Path – Posi-Tone PR8074, 63:09 ****:
(Art Hirahara – piano; Dan Aran – drums, percussion; Yoshi Waki – bass)
Pianist Art Hirahara did not start out as a jazz composer and interpreter. During his college years he made progressive music using computers. But two things led him to a desire to play in a jazz combo and converse with like-minded musicians. One was the aspiration to bounce ideas off other music makers and another was listening to Branford Marsalis’s Crazy People Music (1989), the first jazz album Hirahara bought. Being a fellow keyboardist, Hirahara was deeply enticed by Kenny Kirkland’s lyrical energy as well as the quartet’s unity of purpose.
Over the decades, Hirahara has honed his own ability as a melodic performer as well as a group leader who strongly believes in interaction. Those skills can be heard on Hirahara’s first foray on the Posi-Tone label, Noble Path, which also includes drummer/percussionist Dan Aran and bassist Yoshi Waki. Hirahara penned eight of the 12 tracks: the others are two Tin Pan Alley pop tunes and two jazz standards by Dizzy Gillespie and Duke Ellington.
There are several different emotional impressions inherent to Hirahara’s mainstream jazz compositions, from jaunty to melancholy, but they all serve Hirahara’s goal to move to a higher level of musical understanding and truth, similar to Buddhist guidelines. The luminous “Stood Down” is one refined example. The arrangement unfolds bit by bit as the trio displays synchronicity: Hirahara’s lower register keyboard lines merge with Aran’s percussive timekeeping and Waki’s conjoined bass. Hirahara’s beatific ballad “Peace Unknown” is even better, a poetic piece which captures the feel of Ennio Morricone’s gentle-natured nostalgia. No surprise the tune was influenced by Morricone’s score for Cinema Paradiso. Hirahara’s “Vast” is a late-night reverie where listeners can almost see the stars sprinkling the infinite evening sky: while Hirahara’s piano is sublime, Aran’s misty percussion adds just the right degree of humidity.
The mid-tempo cuts all share a lively tempo and allow plenty of room for Hirahara to dance across the keys. The opener “I’m OK” recalls some of the classic trio recordings from the 1950s and 1960s with its combination of ensemble togetherness and crisp soloing as well as a responsive melody. The unpredictable “Change Your Look” – Hirahara’s conception of crazy people music – is particularly well constructed with lots of shifts which provide a candid expression of the threesome’s varied rhythmic and harmonic organization.
On previous outings as a member of The Rhythm Section, Hirahara showed a penchant for translating other artists’ works. Here, Hirahara and his trio put some bounce and rebound on Arthur Altman’s well-known “All or Nothing At All,” which evokes Freddie Hubbard and John Coltrane, who both recorded versions. Dizzy Gillespie’s “Con Alma” is also a highlight and the number has become one of the trio’s live favorites. Billy Strayhorn’s enduring “Isfahan” gets an artful rendition sparked by Hirahara’s wily piano playing. The hour-long program wraps up serenely with a reflective rendering of Cole Porter’s “Ev’ry Time We Say Goodbye,” where the trio genuinely communicates the essence of Porter’s romantic sentiments.
TrackList:
1. I’m OK
2. All or Nothing at All
3. Stood Down
4. Ebb and Flow
5. Noble Path
6. Con Alma
7. Peace Unknown
8. Change Your Look
9. Isfahan
10. Nocturne
11. Vast
12. Ev’ry Time We Say Goodbye
— Doug Simpson
Music and More review for Jared Gold “All Wrapped Up”…
Jared Gold – All Wrapped Up (Posi-Tone, 2011)
Organist Jared Gold builds a fine mainstream outing of hard-bop, blues and ballads on this album in conjunction with Ralph Bowen on tenor saxophone, Jim Rotondi on trumpet and flugelhorn and Quincy Davis on drums. They open the the record fast with a couple of fine cookers, “My Sentiments Exactly” and “Get Out of My Sandbox”, both of which feature fast grooving organ solos and deft bass pedal work, along with fleet work from the horns and drums. The full band as an organic unit is the key to “Midnight Snack”, with the horns raving strongly over organ and drums before Rotundi breaks out with a deep sputtering trumpet solo over bubbling organ and drums. Blues comes to the forefront on “Mama Said”, introduced by strutting horns, they set the stage for a deeply grooved tenor saxophone solo over a rock solid medium boil organ and drums table setting. Ballads are also a part of the album, with “Piece of Mine”, “Dark Blue” and “Saudades” slowing the tempos. These performances allow Gold to play in a more lush, full bodied style, where texture takes precedence over muscularity. The horns play with great patience and style and Davis keeps things moving admirably. This album is accessible and enjoyable for mainstream jazz or B-3 organ aficionados, the music is played with a thoughtful panache that suits the players and compositions well.