Lynne Arriale Trio Chimes of Freedom

Lynne Arriale Trio
Chimes of Freedom
Challenge Records International

For her 15th album, pianist Lynne Arriale has put together her reflections on freedom, cultural diversity, and her hope for refugee families to find a safe haven among the world's democratic nations. Arriale is joined on this recording by bassist and co-producer Jasper Somsen, and drummer, E. J. Strickland. Singer-songwriter K.J. Denhart adds vocals to two of the ten tunes, seven of which are Arriale originals.

A stark rendition of the spiritual, "Sometimes I Feel like a Motherless Child," opens this recording. Arriale's simple, lyrical playing of this number is matched by the quiet thunder of Strickland to capture the feelings of children separated from parents attempting to come to the U.S. The next seven selections are Arriale's compositions, trying to capture the hopes and angst of refugees. "Journey" is a swinging performance with her arpeggios matched by dramatic chords as she tries to capture the feel of the allure of sanctuary. Somsen's sinewy bass and Strickland's forceful drumming add to the drama.

The somber "Dreamers" represents an effort to depict the angst of the DACA children in current times. At the same time, "3 Million Steps" addresses the refugees trudging from Central America to the southern U.S. with Arriale again displaying her melodic touch in a heartfelt performance. Then there is the openness of "Hope," the blues-tinged "The Whole Truth," and the hymn-like ballad "Lady Liberty," where she further displays her gentle lyricism.

 The celebratory "Reunion" is infused with a Caribbean groove as she imagines the reunification of families torn apart. It is followed by K.J. Denhart's solemn, haunting interpretations of Bob Dylan's "Chimes of Freedom," and Paul Simon's "American Tune." Denhart's singing about "underdogs soldiering in the night," and the many times being forsaken and confused and while all right, being "weary to my bones," reaches deep into the listener's heart with sympathetic simple, restrained backing. Her rendition of "American Tune" joins John Boutté's version as a personal favorite of this song.

Lynne Arriale plays lyrically throughout with clarity, elegance, and grace while Somsen and Strickland complement her with their empathetic playing. The Lynne Arriale Trio's "Chimes of Freedom" is an excellent, stirring recording.

I received my review copy from a publicist. This review originally appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here the Lynne Arriale Trio perform "Journey."

Oleg Kireyev & Keith Javors The Meeting

Oleg Kireyev & Keith Javors
The Meeting
Inarhyme Records

The title of the new album by Russian saxophonist Oleg Kireyev and American pianist, Keith Javors, "The Meeting," might suggest a first-time pairing of the two. In fact it is their second recorded collaboration after 2010's " Rhyme & Reason." The two here are joined by trumpet icon Tom Harrell and a terrific rhythm duo of bassist Ben Williams and drummer E.J. Strickland (who was on the earlier release by the two). This new recording has four originals by the pair (with two alternate takes) and fresh renderings of three standards.

The album gets off the a breezy start with the easy swing of Kireyev's "April," and the easy, swinging tempo set up by Javors and rhythm is followed by the lyricism of both Harrell and Kireyev. Javors himself establishes his fluidity, deft touch and his melodicism. Javors' lovely ballad "Inwardly" contrasts with his bouncy title track. Bruno Martino's classic samba "Estate," is done just be the rhythm trio and while the opening hints at Herbie Hancock, the performance quickly transitions into a lovely, wistful number. The rendition of "Caravan" opens with a middle-Eastern flavor with Kireyev adding a snatch of Tuvan throat singing before the groove kicks in and their is wonderful interplay between sax and piano over the smoldering rhythm section. Kireyev offers a very appealing, tenor solo (evoking Ben Webster and Chu Berry) on "Body and Soul," made perhaps more striking set against a hip hop-tinged groove of Williams and Strickland. The closing "Fresh Blues" is a brisk hard bop flavored groover with Harrell, and both leaders soloing strongly with Strickland standing out.

The deluxe edition of this includes additional takes of "April" and "Fresh Blues," completing this delightful musical collaboration.

The record company provided my review copy. This review originally appeared in the November-December 2106 Jazz & Blues Report (Issue 369).Here is a promotional video for the recording.

David Weiss Sextet - When Words Fail

Regarding the motivation for When Words Fail, the new Motema Music CD by David Weiss and his Sextet, Weiss explains that: “[T]he last year or so has been a time of profound loss for me and a lot of my close friends and acquaintances. Some of these losses have been very public and horrific. These were the themes that were swimming through my head as I put the final touches on the music for this CD and began to rehearse it. But, ideally, it’s also about lifting one out of that world, so it should also be about rebirth, hope and finding your way back. The music on When Words Fail is about acknowledging your pain but also about finding a way out, or at the very least, providing a temporary escape. I don’t want to say that this is what I strive for or set out to do when composing, but I do hope that this is what the end result of my endeavors will encompass.” 

For this album, Weiss reassembled his “original band,” The David Weiss Sextet, featuring his original band-mates (once fledgling artists themselves and now proven jazz stalwarts), Saxophonists Marcus Strickland (tenor sax) and Myron Walden (alto sax), pianist Xavier Davis, bassist Dwayne Burno, and drummer E.J. Strickland (plus guitarist Ben Eunsen making his recording debut on two tracks). Tragically these were Burno’s final recordings, as he passed away at the early age of 43, a week after these recordings were made. This album is dedicated to him. 
 

The music here will not sound unfamiliar for those who have enjoyed Weiss' work with The Cookers or his other efforts. It suggests some of the classic Shorter and Hancock sessions for Blue Note. The compositions are fresh and interesting and the performances are terrific, starting with the sparkling The Intrepid Hub, that was written for Freddie Hubbard. Burno was impressed by the title track when they first rehearsed it and the rendition here, Weiss states, is for him with a slower tempo. Weiss takes notable solos on both. MJ evokes the classic second Miles Davis Quintet renditions of Wayne Shorter’s compositions. Marcus Strickland standing out on tenor while the leader’s tone is a bit more extroverted than Davis while guitarist Eunsen is heard adding fiery playing. 

Wayward, part of an extended suite, is a feature for Walden’s fervent alto sax with E.J. Strickland energetic playing driving things along, while Davis also takes a solo. Karl Jenkins’ “Lullaby For a Lonely Child” is another sober composition that showcases Walden. The closing number, Passage Into Eternity, is dedicated to Jimmy, Nelba and Isaiah Greene whose daughter (and sister) was one of the victims of the Newtown massacre. Marcus Strickland and Weiss both stand out here, with more kudos to the terrific rhythm section. Burno was an anchor, Davis’ comping was precise and Strickland is among today’s most compelling drummers. This track concludes a terrific recording that is full of heart as well as exquisite playing. 

I received my review copy from Motema Music. This review appeared in slightly different form in the July-August 2014 Jazz & Blues Report (I made some corrections). You can download the issue as a pdf file at www.jazz-blues.com by clicking on that issue (355).  Here is a video of the making of When Words Fail.

David Weiss' Endangered Species: The Music of Wayne Shorter

Wayne Shorter's 80th Birthday (which was two days prior to this review being posted) has led to  world-wide celebrations of Shorter's music. For example, in Washington DC, there have been several groups leading retrospectives of Shorter's compositions from different stages of his career. In a similar vein, trumpeter David Weiss arranged and orchestrated several Shorter compositions and then assembled an All-Star, twelve member big band. This band performed at Jazz at Lincoln Center where they were recorded. Endangered Species: The Music of Wayne Shorter (Motéma Music) is collected from those performances.

Its quite a band that Weiss assembled. The saxophone section included Tim Green on alto sax; Marcus Strickland on tenor and soprano sax; Ravi Coltrane on tenor saxophone and Norbert Stachel on baritone sax and bass clarinet. Diego Urcola and Jeremy Pelt along with Weiss are the trumpet section while Joe Fiedler and Steve Davis are on trombone. The rhythm section has Geri Allen on piano, Dwayne Burno on bass and E.J. Strickland on drums. This large group provides for a different take on these compositions than generally were initially heard when first recorded with smaller groups. Also, it does result with a certain similarity between the performances whereas Shorter's performance of a composition such as Nellie Bly with Art Blakey would have a different flavor than Fall with Miles Davis.

With that in mind, there are plenty of pleasures. Weiss' arrangements provided a rich backdrop along with the marvelous full ensemble playing to set the mood and frame the solos. The rhythm section sparkles with Geri Allen stunning both as part of the rhythm and as soloist . Throughout there are plenty of brilliant playing including trombonist Davis at the beginning of Nellie Bly; trumpeter Pelt and saxophonist Coltrane on Fall; Tim Green on "Mr. Jin"; Marcus Strickland on soprano sax on Weiss' The Turning Gate (the one non-Shorter composition but based on one of Shorter's works); Pelt and Allen on the lovely ballad Eva; and Pelt and Strickland on the closing Prometheus Unbound.

Whether one agrees with annotator Bill Milkowski that Wayne Shorter is jazz's greatest living composer, there is little question that he is amongst the greatest and has produced one of the most significant body of compositions over six decades. By investing the compositions with his own musical vision and assembling a terrific band, David Weiss has produced this substantial salute to Wayne Shorter that shows how fresh and contemporary the music of Wayne Shorter remains as it continues to inspire so many musicians and listeners.

I received my review copy from a publicist for this release.