Drummer Otis Brown III‘s debut album The Thought of You is a classic Blue Note Records hard bop recording that goes to church regularly and has a hip nephew that can rattle off J Dilla beats on command. The influence of pianist Robert Glasper is felt throughout much of this session, and there are tracks that provide wonderful echoes of Glasper’s groundbreaking 2007 release, In My Element. But this is more than just the influence of one musician on a performance, and Brown III’s background in a variety of jazz settings (w/the likes of Joe Lovano, Somi, Oliver Lake and Esperanza Spalding) has given him a wide expanse from which to project. The shifting tides of sounds on this recording sound natural and effortless, and it’s why it can sound forward-thinking and new while simultaneously echoing the music of the past (both near and far).

The delirious pace of “The Thought of You, Pt.1” is matched by a seriously catchy groove and a tuneful trumpet solo from Keyon Harrold. “Stages of Thought” is another nice example of the old-school/new-school time traveling here with Ben Williams‘ bass casting a long shadow across the song, a reminder of how the instrument can possess a huge presence despite its relative subtlety in comparison to the modern beats and melodicism of Brown III and Glasper’s teamwork on drums and piano.

“The Two Become One (for Paula)” shows the group is just as comfortable at cruising speed. John Ellis‘s tenor sax shapes the melody into something of a delicate beauty, and later, his bass clarinet gives it some soul. Recorded samples from Brown’s wedding are slipped into the stream of the tune to great effect, enhancing the prevailing romanticism while also providing a small charge of electricity that sends sparks along the surface of the tune. It’s a tool Brown III utilizes occasionally on the album, but does so tastefully, and nothing that would be a fatal turn-off for the jazz purists.

Guest vocals from Bilal, Gretchen Parlato and Nikki Ross are smart and precise. They are woven cohesively into the ensemble play and never become an instance of “and now, here is a vocal track.” Sometimes it’s just small contributions, like Bilal’s moments on the first and third parts of “The Thought of You,” and sometimes it comes in the form of an inspired take on Shania Twain’s “You’re Still the One” with Gretchen Parlato’s moodily simmering inflections.

An exciting, auspicious debut album.

Your album personnel: Otis Brown III (drums), Robert Glasper (piano, Fender Rhodes), John Ellis (tenor sax, bass clarinet), Ben Williams (bass), Keyon Harrold (trumpet) and guests: Shedrick Mitchell (Hammond B3 organ), Nir Felder (guitar) and Gretchen Parlato, Nikki Ross, Bilal (vocals).

Released by Blue Note Records and Revive Music.

Available at: Amazon: CD/MP3/Vinyl

*****

Some of this material was used originally in the weekly new jazz releases column I write for eMusic and Wondering Sound, so here’s some language protecting their rights to the reprinted material as the one to hire me to write about new jazz recordings…

“New Arrivals Jazz Picks,” reprints courtesy of eMusic.com, Inc.
© 2014 eMusic.com, Inc.

As always, my sincere thanks to eMusic for the gig.

On his newest release, pianist Danilo Perez views the map of his native country literally, metaphorically and conceptually.  Panama 500 is as much about the history of the republic of Panama as it is the history of its music, and just as the details of a map change in reaction to the events that shape it, so do the album’s music expressions from track to track.  Perez incorporates the indigenous musics of Panama as well as those traceable to the countries who sent explorers into Panama.  It’s where the chanting of Panama’s indigenous natives share the same space on the map as the European, African and Asian musics that trace connections to the land.  Bolstering this effect is the inclusion of percussionists from Panama, Brazil and Cuba.

And it’s not just about historical and geographical markers.  Perez incorporates aspects of cinematic imagery into the compositions.  The contemplative “Reflections on the South Sea” is the embodiment of the ever-present ocean on Panama’s shores and its perspective of the country’s changes over the span of history.  And on “Rediscovery of the South Sea,” Perez includes narrative of Guna Indians as witness to Spanish explorers as well as some free improvisation to represent the frantic explorers losing their way in the forest.

And while mapping out the compositions is a big part of this album’s construction, the three part “Canal Suite,” commemorating the 100-year anniversary of the Panama Canal is the result of on-the-spot improvisation.  And the straight-ahead “Gratitude” gives the sense of swing even as it pulses in a cadence typified by unexpected, tiny bursts of rhythm.

Perhaps most impressive is that Perez tackled the concept of a sprawling epic and molded it into a coherent, fluid work that neatly boils down the expansive scope into concise, flawless images.

A serious work possessing a serious beauty.

Your album personnel:  Danilo Pérez (piano), John Patitucci (electric & acoustic basses), Ben Street (bass), Brian Blade (drums), Adam Cruz (drums), Alex Hargreaves (violin), Sachi Patitucci (cello), Román Díaz (percussion), Rogério Boccato (percussion), Milagros Blades (ripcador, caja, pujador), Ricaurte Villareal (caja, güiro), José Angel Colman (Guna language vocals), Eulogio Olaideginia Benítez (gala bissu, gala ildi), and José Antonio Hayans (gammu burwi).

Released on Mack Avenue Records.

Jazz from the Boston scene.

Available at:  eMusic | Amazon CD/MP3

Jochen Rueckert brings a melodic sensibility to We Make the Rules that is positively magnetic.  Tenor saxophonist Mark Turner and guitarist Lage Lund weave those melodies together, seamlessly and with a compelling linearity, and yet their motion gives the impression of unending cycles, curvatures that zero in on the contrails of their previous notes without ever retracing their steps.  Drummer Rueckert and bassist Matt Penman not only dance within this tight funnel of motion but also skip along the surface of its exterior, and it’s why this quartet is able to sound locked in step while at the same time untethered and free.  The thing of it is, it’s not just about the construction… these melodies are both pretty and unconventionally delivered, as if Rueckert took a straight-forward melody, cut it into pieces and then reassembled the sections in a different order.

“Pretty From Afar” has a nice delayed motion to it, where accelerations forward are balanced by uneven depressions on the brake pedal, imposing an uncertainty that keeps the ear locked in.  “Eggshells,” on the other hand, scoots right along, with each quartet member applying their own loose definition of “scoot” to the tempo.

The smokey “Bess,” moves with deliberation and an abiding lightness, creating some contrast between weighty melodic thoughts and nimble footwork to action.  “The Cook Strait” is the image of swing in a warped mirror.  “Alloplasty” goes through a series of scene changes, making the sudden transitions seem natural, even logical.

And those are just some of the notable highlights on this excellent album.

Your album personnel:  Jochen Rueckert (drums), Mark Turner (tenor sax), Lage Lund (guitar), and Matt Penman (bass).

Released on Whirlwind Recordings.

Jazz from NYC.

Available at:  eMusic | Bandcamp | Amazon CD/MP3

*****

Some of this material was used originally in the weekly new jazz releases column I write for eMusic and Wondering Sound, so here’s some language protecting their rights to the reprinted material as the one to hire me to write about new jazz recordings…

“New Arrivals Jazz Picks,” reprints courtesy of eMusic.com, Inc.
© 2014  eMusic.com, Inc.

As always, my sincere thanks to eMusic for the gig.