Peter Lin New Age Old Ways

Peter Lin
New Age Old Ways
Lintet LLC

I was impressed with Peter Lin's previous album "With Respect," and his new album is is another recording that left a strong impression on me. This is with what he calls his TNT Quartet, TNT referring to 'Trombone N' Tenor." Lin, who has studied with Slide Hampton, Curtis Fuller, Conrad Herwig, and Steve Turre, is joined by a band of which tenor saxophonist JD Allen, one of the most prominent new tenor sax voices, is the most familiar. New Jersey natives bassist Ian Kenselaar and drummer Nic Cacioppo are new to me. The piano-less quartet format as well as the album title (suggestive of Old and New Dreams, the Ornette Coleman alumni band), suggests that his band is heavily influenced by Coleman. Lin states this and also notes the influence of a mid-range timbre of a trombone and tenor frontline (such as Al Grey and Jimmy Forrest). I also note a definite influence of the blues as an anchor to much of this

The performances certainly have the feel of the Atlantic era Ornette Coleman with the bluesy, swing opening with "A Path To Understanding," with Cacioppo especially impressive in supporting the leaders. Lin has a strong expressive range with his steel wool tone while Allen is robust and turbulent. "Celestial Being" in inspired by Lin's love of manga and anime and after the two horns state the theme, Kenselaar takes a swirling solo over which Lin enters in a rambunctious fashion. The track, "New Age, Old Ways," Lin states refers to the musician’s struggle to play an older style of music in a relevant way. It is marvelous to see how they develop this performance over a bluesy motif. The title "Red Label" was inspired by Lin drinking some Johnny Walker at a wedding gig that allowed him to relax. It is an excellent blues, with Kenselaar's opening slow drag bass leading to Lins' rumbling tailgate blues solo and Allen's gutbucket tenor. Lin calls "TNT Theme" an "effort to recreate the excitement of the ‘two tenor blowing sessions’ similar to Sonny Stitt & Gene Ammons." It is a heated blues with an intriguing rhythmic flavor and some inspired fervent playing from Lin and Allen over the percolating groove.

The remainder of this recording is of similar high quality. Peter Lin and his TNT Quartet impresses with the absorbing music on a fabulous recording. Incidentally, there is apparently a manga by Lin available online.

I received my review copy from a publicist. This review appeared in the May-June 2019 Jazz & Blues Report (Issue 384) although there may some minor changes from the review that appeared there. Here is a video of Peter Lin and the TNT Quartet playing "Celestial Being."

Joe Fiedler's Bug Sackbut Does The Sackbut Stomp

Trombonist's Joe Fiedler's Big Sackbut is a quartet of Fiedler and fellow trombonists Ryan Keberle and Luis Bonilla along with the tuba player Marcus Rojas. Inspired by the World Saxophone Quartet, Big Sackbut eschews having a rhythm section and instead the three trombones and the brass bass provided Rojas explores the originals from Fiedler along with three covers. The group has a new recording, "Sackbut Stomp" on Multiphonics Music that continues in the vein of Fieder's prior recording "Big Sackbut." Bonilla replaces Josh Roseman from that earlier recording. Steven Bernstein, on slide trumpet, guests on three of the nine selections here which provides for a a little more variety in the tonal colors of this group.

The opening title track provides an example of the interplay between the four before followed by a slightly  rendition of Roger Miller's "King of the Road" with Bernstein's slide trumpet providing a whimsical feel with the trombones providing a dynamic background before Rojas displays his nimbleness on the tuba. Bennie Wallace's "Eight Page Bible" is built upon a bluesy motif with each trombonist taking a solo that he first introduces unaccompanied before the other two and Rojas provide support. Fielder's own incorporation of Duke Ellington's "Things Ain't What They Used To Be" is particularly delightful. It is followed by a wonderful rendition of the Gil Fuller and Chano Pozo classic "Tin Tin Deo" on which Bernstein is along featured along with Bonilla. Fiedler did all the arrangements and this one particularly stands out. The lovely "Pittsburgh Morning" allows Fielder to showcase the warmth he is quite capable of while Keberle sounds lively and focused on "The Schlep."

Given the limited tonal palette of the instrumentation, this may be a recording that some may wish to sample a few selections at a time. At the same time, listening to the performances several times one hears nuances in the performances that make them continue to sound fresh. There is an audaciousness in a trombone-tuba group playing without a rhythm section. Mixed with excellent playing and arrangements, "Sackbut Stomp" is another fascinating, and often, exhilarating recording.

I received my review copy from a publicist.

Joe Fiedler's Big Sackbut

Trombonist Joe Fiedler's newest recording, Big Sackbut (Yellow Sound Label) features Fiedler, Josh Roseman & Ryan Keberle - trombones, and Marcus Rojas - tuba, was really born in the late 1980s when Fiedler first saw The World Saxophone Quartet (WSQ) live. He explains this revelation: "The drive and energy that they put forth, all without a traditional rhythm section was quite compelling.  In addition, the tunes had a wonderful balance of 'loose-tightness' or 'tight-looseness' that totally sucked me right in.  And this is to say nothing of the four powerhouse solo voices.  I immediately thought of how I might incorporate my image of all of those elements into a trombone driven project of my own.”

The ideas for this had rattled in Fiedler’s mind for about twenty years until on a gig with Ryan Keberle two years ago he mentioned the idea to Keberle and the idea was finally brought to fruition. The intent in this album is to eschew a rhythm section and have a similar self-contained horn group such the WSQ. Included are seven original Fiedler compositions along with interpretations of compositions by Sun Ra; Willie Colon; and Captain Beefheart (Don Van Vliet).

It is fascinating hearing the interplay among the musicians from the opening Mixed Bag, to the closing Urban Groovy. Fielder's Don Pullen is a lovely piece with Keberle playing exquisitely. Fiedler plays particularly expressively and forcefully on his 11, which is followed by Willie Colon’s Calle Luna, Calle Sol, although without a rhythm section they can at best only imply the latin flavor. I am not sure if there are many jazz interpretations of Captain Beefheart. Roseman takes the lead on the Captain’s Blabber and Smoke, a mostly pensive interpretation on which one of the trombones briefly employs a mute adding to the range of sounds heard. The leader does effectively make use of one on his solo on Ging Gong, that also spotlights Rojas’ tuba.

The lack of a rhythm section and the restricting the instrumentation to trombones and tuba does have the effect of limiting the musical palette that can be employed (compared to the WSQ with baritone, alto, tenor and soprano saxophones). It might be best to listen to several selections at one sitting rather than the entire album. Still, there is much to reward listeners of Joe Fiedler’s Big Sackbut with captivating performances. 

I received a review copy from a publicist. Well not with this group, here is Joe Fiedler as part of a group performing Captain Beefheart. 

Steve Turre's Bright Musical Rainbow

Trombonist Steve Turre’s latest album, Rainbow People, is his third under the HighNote imprint and brings the veteran together with pianist Mulgrew Miller and saxophonist Kenny Garrett with whom he performed together with in Woody Shaw’s Band, along with longtime Dizzy Gillespie drummer, Ignacio Berroa (who played with Turre in the United Nation Orchestra); bassist Peter Washington and youngblood trumpeter, Sean Jones, who has toured with Turre. Percussionist Pedro Martinez, a guest here, has played in Turre’s Latin jazz Ensembles and in the Shell Choir.

Six of the nine performances are Turre originals, starting with the title track, a number that recalls some of the late Shaw’s marvelous compositions and opens with some warm trombone by the leader along with marvelous group playing throughout and a nice solo by Garrett. Turre’s tone is sublime, ranging from buttery smooth to a gruff blues bluster, and Turre’s rhythm section is wonderful throughout this date.

Turre is the sole horn on a tribute to Ray Charles, Brother Ray, with a bluesy flavor, followed the funky Groove Blues, with Garrett taking the first solo followed by Miller’s down-in-the alley piano. Midnight in Madrid, which also features trumpeter Jones, is a tone poem which conjures up thoughts of bullfighting and flamenco dancers. McCoy Tyner’s ballad, Search For Peace, may be a special highpoint in terms of not simply displaying Turre’s tone but his fertile musical mind.

Charlie Parker’s Segment, is crisply delivered bebop with crisp playing by him and Garrett. The closing Para el Comandante, is dedicated to Mario Rivera and is the only selection with all of the participants. This Latin jazz number sparkles with Garrett, Jones and Miller providing strong solos before Turre is heard on the shells.

Another excellent addition to Steve Turre’s body of recordings.

The review copy was likely provided by Jazz & Blues Report.

Trombone Shorty's Backatown Keeps Groove Going

Trombone Shorty and Orleans Avenue at 2009 Duke Ellington (now DC) Jazz Festival

Since emerging nationally as a member of Lenny Kravitz’s Band, and his appearance on a nationally televised Hurricane Katrina, Troy ‘Trombone Shorty’ Andrews has emerged as a favorite band on touring and festival circuits with his blend of funk, Brass Band riffs and some hip-hop & soul seasonings. He is a member of a musical family as his older brother James was a founder of the New Birth Brass band and recorded a brassy al;bum that was produced by Allen Toussaint. Another brother, trumpeter James helped mentor him and Troy’s grandfather was the late Jessie Hill who had a major hit with the New Orleans R&B classic “Ooh Poo Pah Doo.” 

Busy beyond his years, Troy has recorded a CD with his brother, and a previous CD with his band Orleans Avenue along with plenty of studio work. Now he has a new release, “Backatown” (Verve Forecast), that seems destined to increase his fan base even more. Also there are recordings available of his New Orleans Jazz & Heritage Festival sets (from 2004 and 2006-2008) that can be found at JazzFestLive.com.

The title of this album refers to the area of New Orleans that includes Tremé, the historic neighborhood where so many great musicians came from and which was devastated by Hurricane Katrina. Produced by Galactic’s Ben Ellman, Troy’s band, Orleans Avenue (Mike Ballard on bass, Pete Murano on guitar, Joey Peebles on drums, Dwayne Williams on percussion and Dan Oestreicher on baritone sax) is the core behind him with special guests that include Allen Toussaint, Kravitz, Marc Broussard and Charles Smith (Orleans Avenue’s original drummer playing synth bass). Troy wrote all except one of the 14 numbers on this.

The tune is set with the opening “ Hurricane Katrina,” with its hip hop rhythm mixed with a funked up brass band sound, followed by Allen Toussaint’s “On Your Way Down,” where the legendary pianist plays as Troy delivers the message the folks you see on the way up are the ones you will pass on the way down. After another funked up instrumental, Kravitz joins on guitar and backing vocal on “Something Beautiful,” as he asks “Can You Show Me Something Beautiful,” which is quite catchy. The title track opens with some dark sounding synth bass from Smith before Troy enters with some buzzing trombone with some ripping baritone from Oestreicher as the horns weave around each other. Broussard adds a vocal to “Right to Complain,” wLith a message about all make a complain but no one wants to do anything. The instrumental “Neph,” has an mesmerizing cowbell-ish groove before Troy on trumpet conjures up a strong spanish tinge with stirring interludes of his trumpet soaring over the percussion. “Suburbia,” opens with some metal-ish guitar before Troy adds some trombone and trumpet playing that suggest a call to arms. The groove of “In the 6th,” with the baritone helping set the funk riff, sounds like a homage to the Dirty Dozen and other modern New Orleans Brass Bands that his music is rooted in. “Where Y’At,” is a composition that originated in some onstage jamming with “new ideas coalescing out of improvised sections of existing pieces.” Troy credits Marvin Gaye as inspiration for the ballad “Fallin’.”

Anyone who has seen Trombone Shorty and Orleans Avenue know how electric the performances can be. A studio recording can only go so far in capturing this aspect of his music, but “Backatown,” is a recording that undoubtedly will increase his growing visibility (his appearances on the HBO series “Tremé,” also contribute to this) and certainly please his many fans.

This review also appeared in the July, 2010 Jazz & Blues Report (issue 327) at page 15 although I have added a few bits like the reference to the availability of his Jazz Fest sets. It should be readily available.

For purposes of FTC regulations, I received a review copy from a publicist for the label.

Blind Pig Signs Big James Montgomery, appearing in Baltimore area August 31

Big James Montgomery IMG_1210.JPG
Originally uploaded by NoVARon

One of the real pleasant surprises of the 2006 Pocono Blues Festival was the performance by Big James and the Chicago Playboys. James Montgomery is a big man and he has a presence as a singer and when playing his trombone as well as is backed by his fine band which adds a heafty dose of soul and funk to his blues stew. At the festival I purchased Now You Know, which was his third CD (self-released and included nice recordings of some of the songs he performed including the title track, "Chicago Is Da' Home 4 Da' Blues", "Hustler's Paradise," and Albert King's "Angel of Mercy." What a nice soulful vocal delivery he has, and his trombone along with the guitarist and other bandmembers play some interesting and funky stuff. More recently he issued Thank God I Got the Blues, that is a similarly fine effort, celebrating the blues with plenty of heart of soul.

Yesterday (August 25), I got an email from Blind Pig announcing they signed Big James. "Blind Pig Records has announced the signing of Big James & the Chicago Playboys, a brass band that combines blues, soul, R&B and funk into a rollicking, horn-drenched stage party.

The bandleader and trombone player, Big James Montgomery, who also serves as singer, songwriter, and producer for the group, sports a voice as big as his girth. This year he received his second Blues Music Award nomination as “Horn Instrumentalist” and the title track from his last solo effort, Thank God I Got The Blues, will be featured in the upcoming movie Cleaner, starring Samuel L. Jackson and Eva Mendes."

The press release also notes that Big James Montgomery is a three time winner of Living Blues magazine’s Critic’s Choice Award for “Most Outstanding Horn Player and that he will start working ona new album in November.

While I would not use the term brass band to describe his sound, I agree his horn-led band mixes blues, soul and funk for a rollicking, horn-drenched stage party that is unique in the blues today. For those in the Baltimore-Washington area he is appearing at the Baltimore Blues Society's Alonzo Memorial Picnic on Sunday August 31 at the Rosedale MD American Legion Hall. For information on that event visit the BBS website. His CDs, Thank God I Got The Blues and Thank God I Got The Blues are available at cdbaby.com.