Sonny Clark - My Conception Recording Date: 1957, 1959
Release Date: 1979
Style or Subgenre: Hard Bop
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Andrew Hill - Judgment! Year: 1964
Style or Subgenre: Post Bop, Modal Jazz
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This morning, I decided I wanted to listen to some piano-led sessions. This afternoon, I got to it.
For no reason I could point to, I was feeling a little unsettled as I started my afternoon listen. Sonny Clark was in the queue and I let 'm spin. A few bars in, I felt I needed something with more edge. This just wasn't going to work. But I continued to let it spin and it started to work. Then it became a joy, and the edginess was gone. Great hard bop seems to do the same thing for me in jazz that a Haydn symphony or quartet does in classical; soothing and centering, even as it gets rowdy. The rowdiness comes largely courtesy of trumpeter Donald Byrd, who really livens things up. Kenny Burrell's guitar is a joyous affair, as is Hank Mobley's sax as well. In fact, despite being a pianist-led session, Clark sits comfortably in the rhythm session (where bassist Paul Chambers is absolute perfection) most of the time, letting his front line do most of the talking. While that might have been disappointing given that I was looking for more piano content, they ensemble does what they do so well, that the greatness of the music overcame all preconditions I may have had.
Right from the beginning of the opener, Siete Ocho, pianist Andrew Hill and vibraphonist Bobby Hutcherson are pure magic together. And drummer Elvin Jones is swingin', bangin', and soloin' his post bop butt off. Wow, what a song..... what an album!
Gary Burton - Passengers Recording Date: 1976
Release Date: 1977
Style or Subgenre: Post Bop
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On this 1977 release, The Gary Burton Quartet brings in bassist Eberhard Weber and they quintet drops a spectacular set of six ultra-melodious pieces of hard bop. Right from the start, as they open with a smashing rendition of Chick Corea's "Sea Journey," the group are just captivating with Burton's vibes chief among the captivating factors. In fact, his playing is so wonderfully on point, that it's almost a disappointment how much air time Pat Metheny gets. Not something I ever thought I'd say, but really, Burton is just amazing here. Minor quibbles aside, I still think this is a fantastic album overall and certainly among Burton's best of the 1970s.
Jane Ira Bloom - Art and Aviation Year: 1992
Style or Subgenre: Post Bop, Avant Garde
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Jane Ira Bloom is a name I'd heard but not yet explored, so I decided today was the day. But what album? After looking at the catalog, I chose 'Art and Aviation' for no other reason than I found the title intriguing. However I got here, I'm certainly glad I did as I found this album to be a total delight.
Trumpeter Kenny Wheeler joins Bloom's soprano on the front line and the two often engage in some very intricate, intense, and impossibly fast doubling. It amazes me just how tight they are. They then bob and weave around each others lines, and of course, each gets plenty of solo time as well. Bloom's lines often fascinate me; slightly angular yet elegant at the same time. Wheeler's tone, bright but not overly brassy, is the perfect fit for this music. These are wonderful musical conversations! Kenny Werner appears on piano, but only on two of the nine cuts, and they add welcome variety into the program.
What an intro...... yes, I'll definitely be exploring more of this artist.
Mary Halvorson - Amaryllis Year: 2022
Style or Subgenre: Modern Jazz, Avant Garde
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Mary Halvorson - Belladonna Year: 2022
Style or Subgenre: Classical Jazz, Avant Garde
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After enjoying Jane Ira Bloom so much, I decided it was time to check out Mary Halvorson. But where to start? In checking out her discography, I noticed she had not one, but two releases right here in the current year, so may as well dive in to the most recent work with this twofer!
Bottom line is that these were both fantastic listens.... although they inhabit very different space. Amaryllis, while generally listed as avant garde, is a pretty straightforward ensemble album; bass, drums, trumpet, trombone, vibes, and Halvorson on guitar. There are strings on the last three cuts provided by the Mivros Quartet (standard string quartet configuration) While some of it does range out there a bit, it's all easily digestible, and cuts like "Night Shift" both swing and rock. There is mood to spare along with all that positive motion. Belladonna has Halvorson performing alongside just the Mivros Quartet throughout. While Amaryllis is instantly and always recognizable as jazz, Belladonna is every bit as much a classical album. Halvorson does improv alongside the strings, but the emphasis remains squarely on composition. But hey, I was a classical freak before taking up jazz, and have always loved string quartets in particular, and in the end, Belladonna was a very solid listen as well.
Diane Hubka - Haven't We Met?
Year: 1998
Style or Subgenre: Vocal Jazz
Diane Hubka - You Inspire Me
Year: 2002
Style or Subgenre: Vocal Jazz
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I always seem to end up listening to vocal jazz on Sunday mornings. But it's only Saturday you say? Well, I took yesterday off of work, so today felt like Sunday, and I felt like some checking into some lovely female vocals today. And "lovely" is exactly the word that comes to mind when I listen to Diane Hubka. That is one smooth and soothing voice there. She's also equally adept at holding those long, luxurious notes or blazing through rapid turns of phrase. Whatever she lends her voice to is, well..... just lovely. She really hit me right in my Sunday morning sweet spot this Saturday.
Yuko Mabuchi - Yuko Mabuchi Trio Year: 2017
Style or Subgenre: Standards, Piano Jazz
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Yuko Mabuchi - Yuko Mabuchi Plays Miles Davis Year: 2019
Style or Subgenre: Modal Jazz
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Classical kid turned jazzmaster Yuko Mabuchi's debut is a marvelous live trio album. Despite covering mostly old standards, every note is fresh and full of new vitality. Each and every cut is a winner, but I have to single out Valse Noir for special recognition. The opening bars show her classical roots, and then the song gradually and almost imperceptibly morphs into an emotionally rich smoky jazz lounge lament that will lay the listener bare. The fusion of classical training and jazz style makes for a piece as intense and beautiful as I could hope to find in either genre.
Having enjoyed the trio album so much, I decided to move forward in her catalog. I decided to giver her live tribute to Miles Davis a go. Another wonderful album this is. For this album, she brings in J.J. Kirkpatrick on trumpet, so instrumentation usually mirrors that of the Davis originals. Kirkpatrick brings a brighter tone which sometimes seems a little out of place on the Davis tunes, but at the same time is a perfect match for Mabuchi's piano and arrangements. Their homage is sincere and yet played in their own vernacular. Again all cuts are excellent but for me one stood out; this time a Mabuchi original, "Missing Miles." Contemporary tribute perfection!
Sonny Stitt - Blows the Blues Recording Date: 1959
Release Date: 1960
Style or Subgenre: Bop
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Sonny Rollins - Sonny Rollins, Vol. 2 Year: 1957
Style or Subgenre: Bop, Hard Bop
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Going on 10 straight days of rain and clouds, astonishingly unusual for the American desert southwest, I decided I was ready for something sunny.... or Sonny. And what could be better on a grey day than Sonny Stitt blowin' the blues? Yes, it's a sublime scene sitting with Sonny, looking out the window at the changing clouds, listening to some super sweet blue alto. "Home Free Blues" is a personal favorite and I love the way pianist Lou Levy brings out the gospel in "Hymnal Blues."
Still wanting more Sonny on this cloudy day, I switched to Sonny Rollins and spun his famous Vol. 2.... and what a lineup! J.J. Johnson on the 'bone, Paul Chambers on bass, Art Blakey on drums, and Horace Silver on piano plus an appearance by Thelonious Monk! Now this isn't the easy going blues of the Stitt album.... these guys are going off! They swing.... hard. Blakey is a badass! Actually, they all are. I really love Johnson's trombone here as well. Fantastic album.
Herbie Harper - Herbie Harper Sextet Year: 1957
Style or Subgenre: West Coast Jazz, Cool Jazz
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Some very cool west coast jazz here. Led by trombonist Harper, not surprisingly there's lots of 'bone here, all of which is very enjoyable. Also not surprisingly, I really enjoyed the contributions of guitarist Howard Roberts.
Håkon Kornstad - Out of the Loop Recording Date: 2020
Release Date: 2021
Style or Subgenre: Ambient Jazz, Free Jazz
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Brecker Brothers - Out of the Loop Year: 1994
Style or Subgenre: Crossover Jazz, Jazz-Funk
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Håkon Kornstad - Symphonies In My Head Year: 2011
Style or Subgenre: Ambient Jazz, Free Jazz
Last night, my random selector kicked out Norwegian saxman Håkon Kornstad and I decided to give Out of the Loop a go. The album contains both new and old material. The new material was recorded during the 2019 pandemic lockdown, a great endeavor for a solo musician! The second half of the disc (or second LP) contains music from three of Kornstad's previous albums, with emphasis on the 2011 release, Symphonies in my Head. This was very new to me. The music is usually listed as free jazz, but it's not at all wild; Kornstad free solos, gently, over a substructure of his own making via taped loops of sax, flute, and percussive effects. It is a sort of electronic delivery of acoustic music, all of which is very ambient. I couldn't help but think this could be a gateway to jazz for fans of ambient.... or that it could be my gateway into ambient as a jazz fan!
While reading up on Kornstad's Out of the Loop, I came across an album by the same name from the Brecker Brothers and gave that a go as well. This album is full of groove and hooks, and both Brecker Brothers soloed well, but in songs often suffered from heavy handed repetitive beats and radio friendly smooth jazz style overproduction. If in the mood for that sort of thing, I suppose this album may be an excellent representation of it. There were times when I found the melodic line choices to be downright delightful and enough to overcome my general lack of appreciation for some of the stylistic choices.
This morning, I felt like checking out some more Kornstad to see what else I'd been missing. I found Symphonies in My Head to be mostly redundant after Out of the Loop. Other than "Aire," the best material from the 2011 album had been brought forward and included on the 2021 album. The latter album seems to be a great overview of his oeuvre.
Pearlfisher (from Håkon Kornstad's Out of the loop, originally appearing on Symphonies In My Head, 2011) Link
Bremen (from Håkon Kornstad's Out of the loop, originally appearing on Symphonies In My Head, 2011)
Lafayette Gilchrist - Out of the Loop Year: 1994
Style or Subgenre: You name it, it's in there, Piano Jazz
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Composer/pianist Lafayette Gilchrist give us his megarelease, something along the lines of Kamasi Washington's "The Epic" in length, and similarly built upon African American themes, although Gilchrist's album is more focused specifically on current issues of social justice rather than the totality of the African American experience. With song titles like "Assume the Position," "Enough," and "Can You Speak My Language," it's clear that this is a protest album. But among all the protest is beautiful romantic balladry, and even among the most serious of songs, there's a certain buoyancy in the music that reveals a positive spirit. It's actually rather amazing.
What's also amazing is the blending of myriad influences and styles. There's Stride, New Orleans, Jazz-funk, Soul-Jazz, and the hip hop attitude of Gilchrist's roots, not just within the same song, but even all at the same time. Gilchrist is self taught on the piano and somehow his musical journey has absorbed, and releases, a little bit of everything, even in this classic piano trio setting.
The songs are long, ranging from a short of 6 minutes to over 13 minutes, and more often than not, Gilchrist's compositional chops are up to the task; only occasionally do songs wander or repeat without purpose. Drummer Eric Kennedy plays a simple kit, and reminds the listener the importance of a well placed snare, but also knows when to bring out the toms as well. When playing bowed (or when soloing), bassist Herman Burney is nicely audible, but much of the time he's buried far too deep in the mix and the wonder of what he's doing is lost. Other than that one quibble, the sound on this album is very good.
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