Awakened By Nicole Mitchell's Stunning New Recording

In the past few years Nicole Mitchell has emerged as a major voice in contemporary music. The poll winning flautist (in 2010 won Downbeat’s Critics Poll as both Rising Star and top instrumentalist in the flute category) has performed in a number of contexts and has established herself as an educator, composer, instrumentalist and band leader. Her new Delmark album, The Awakening, which she notes that decided to put her flute more in the forefront. She has worked previously with each of her collaborators here, bassist Harrison Bankhead, guitarist Jeff Parker, and drummer Avreeayl Ra. However this group played the first time together a few days prior to entering the studio for this recording.

Curly Top, the ebullient opening number is written for her daughter and in addition to her flighty solo, Parker especially turns in some bright playing. The suite-like Journey On a Thread, has a bit more free and abstract tenor with Parker’s opening which is followed by Mitchell painting sounds with her flute. Bankhead’s funky ostinato bass pattern provides the anchor for the mesmerizing Center of the Earth and the strong improvisations by Mitchell and Parker (who himself repeats a riff during Mitchell’s solo with her overblowing and use of overtones). Parker also plays with sounds during his interlude here.

Snowflakes is a lovely and brief, delicately played piece followed by Momentum, which has an appealing peppy theme and an engaging, vibrant performance. Parker’s guitar helps instill an indigo mood for the evocative More Than I Can Say. Parker contributed one composition, F.O.C. which features a stunning improvisation by Mitchell who displays such a pure tone, followed by the deliberate and thoughtful guitar of Parker. The title composition was inspired by Mitchell’s association with Steve Coleman and closes this recording on a high level.

The Awakening impresses with the outstanding playing and strong ensemble playing on challenging compositions. This recording is consistently superb. This writer would love to see this band live.
My review copy was provided by Delmark

Sean Nowell's "The Seeker"

Saxophonist, flautist, composer and more, Sean Nowell is among new voices in the New York jazz Scene making an impact. The Birmingham, Alabama native is rooted in swing, blues, gospel and soul, and has studied and earned degrees at Berklee and the Manhattan School of Music. He has composed in a variety of genres including modern classical, big band and ballet, as well as composed and improvised film scores. He has collaborated with actors, poets, dancers, and acrobats from around the world and served as Musical Director for the New York based Bond Street Theater. He has just issued his second CD as a leader, The Seeker,” (Posi-Tone). His saxophone, clarinet and flute is supported by pianist Art Hirahara, bassist Thomas Kneeland, drummer Joe Abbatantuono, cellist Dave Eggar and guitarist Nir Felder on a collection of originals and classic ballads. 


The Seeker opens with Nowell displaying his fervid attack and hard tone on a hard bop original, New York Scene. It is followed by his ballad playing on the standard You Don’t Known What Love Is, where drummer Abbatantuono stands out with his responsive playing. The traditional Oy Matze Matze, has a klezmer flavor evidenced by the vibrato in Nowell’s tenor playing. Nowell’s Dunavski Park, is an atmospheric ballad with some tart playing , while Jaqmie’s Decision, has a dreamy flow to it and more of Nowell’s hard tone. The tempo picks up a bit on For All Intensive Purposes, on which guitarist Felder help state the theme before Nowell digs in. There is also some strong playing by pianist Hirahara. A lovely rendition of Lennon & McCartney’s I Will, with Eggar’s cello adding musical color, follows before Nowell and the band swings out with an imaginative romp through I Remember You, closing this striking recording disc on a energetic note.

Sean’s website is http://www.seannowell.com/ and The Seeker is available from itunes, amazon, emusic and Posi-Tone Records itself.


I believe I received my review copy from Jazz & Blues Report in which publication this review originally ran (the March 1- April 15, 2010 issue (issue 324)).