Nov 22 2018
The Round-up: Being there
Here is some very good new music
CLT Trio – Every Second is a Blues (Self-Produced)
The CLT Trio come out strong with the minimalist expressions, so that even later when they ramp up the volatility to a boiling point, there remains a sense of a dark, quiet night where the silence is interrupted only by the occasional chirping of crickets. What’s more, double bassist Casper Nyvang Rask, pianist Lars Fiil and drummer Terkel Nørgaard have given seven separate improvisations a remarkable cohesion. The pieces each have their own personality, but the flow from one to the next are like consecutive hours all belonging to the same day. Music from Copenhagen, Denmark.
Artist site | Listen | Buy: Bandcamp
The Marie Goudy 12tet – The Bitter Suite (Self-Produced)
The blast of harmonic warmth generated on this large ensemble session is by itself worth the price of admission, but it’s the subtle ways that Marie Goudy guides musicians to delicately weave their individual sounds into the flow of Jocelyn Barth’s vocals that represents the winning quality of The Bitter Suite. Also, Charlotte Alexander’s contribution bolsters my argument that there’s simply not enough French horn on modern jazz recordings. Music from Toronto, Ontario.
Artist site | Listen | Buy: Bandcamp – Amazon
Adison Evans – Meridian (Self-Produced)
There’s a straightforward expressiveness to the latest from Adison Evans that is seriously refreshing. There’s nothing over the top on Meridian. It’s got some tunes that groove, some that gently sway, others that bop along, and even some classical influence here and there… but all of it falls within the expected range of a modern post-bop recording. But the saxophonist attains a certain feel with each note, the way some orators can make everyday words ring with a greater meaning and force to drive their point home. That’s what Evans, her sextet and guests do on this solid recording. Music from NYC.
Artist site | Buy: Amazon
Noah Preminger & Rob Garcia Dead Composers Club – Chopin Project (Self-Produced)
It’s Frederic Chopin whose name graces the compositions on this session, but it’s not always obvious. That’s a big reason for this album’s charm. Some interpretations move with a solemn tone where others have a casual swing, while some turn the heat way way up. In truth, not knowing the album’s inspiration or source material doesn’t become an obstacle to enjoying this recording simply on its own merits. Tenor saxophonist Noah Preminger, guitarist Nate Radley, bassist Kim Cass and drummer Rob Garcia offer up music that is often subtle, except those sudden moments when its revealed for everything it is. I keep returning to this album throughout the year, and each time it’s a reminder of how affecting it is, like how photographs can return the emotional impact of the original experience. Music from NYC.
Artist site | Listen | Buy: Amazon
John Christensen – Dear Friend (Shifting Paradigm Records)
There’s a real sense that John Christensen was locked into a melodic inspiration on this session. Right from the start and all the way through ’til the end, there’s an implication that every note is just an individual facet of one vision, and the bassist is simply examining it from every angle. Aside from a satisfying sense of cohesion, the end result is music that is absorbing in that same way that staring into the depths of a clear lake can lock the attention endlessly in place. The bassist is joined by pianist Johannes Wallmann, guitarist Dave Miller and drummer Andrew Green. Music from Madison, WI.
Artist site | Listen | Buy: Bandcamp – Amazon
Jan 21 2020
Best of 2019 #57: Chelsea McBride’s Socialist Night School – “Aftermath”
Composer Chelsea McBride has previously received warm words on this site for her modern take on the big band recording. She has deftly shrugged off the gravitational pull of jazz past and how a big band jazz album should sound. Much like counterparts Darcy James Argue, Brian Krock, and Ben Cottrell, McBride incorporates modern influences and approaches, and pretty much annihilates all preconceptions of what the big band medium should be, and, instead, illuminates what could be. Her 2019 release Aftermath is the stronger, cohesive grand vision that previous recordings flirted with. The impression of a running narrative exists throughout, and the eccentric flourishes have settled into the body of the compositions so that their personality shines strong without blinding the listener to all else. Aftermath is one of the best big band recordings of 2019, and a reason to be hopeful that the medium will continue to evolve, and thrive, as we dive into 2020.
Your album personnel: Chelsea McBride (tenor sax, conductor, composer), Colleen Allen (soprano & alto saxophones, piccolo, flute, alto flute), Naomi Higgins (soprano & alto saxophones, flute, alto flute), Alison Young (tenor saxophone, flute, clarinet), Patrick Smith (tenor & soprano saxophones, flute, clarinet), Conrad Gluch (baritone sax, bass clarinet, contrabass clarinet, alto flute), James Rhodes, Justin See, Tom Upjohn, Kaelin Murphy (trumpets, flugelhorns), William Carn, Aidan Sibley, Jill Richards (trombones), Nicholas Sieber (bass trombone, tuba), Alex Samaras (voice), Chris Bruder (piano), David Riddel (guitar), Steven Falk (acoustic & electric basses) and Geoff Bruce (drums).
The album is Self-Produced.
Music from Toronto, Ontario.
I wrote about this album for The Bandcamp Daily.
Cool album cover artwork by Arthur Ikuta.
Listen | Read more | Available at: Amazon – Bandcamp
By davesumner • Recap: Best of 2019 • 0 • Tags: Best Jazz of 2019, Chelsea McBride, Chelsea McBride’s Socialist Night School, Self-Produced, Toronto (Ontario)