Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Purist Guitarist Ed Cherry Brings His Soulful Organ Trio to Smalls

Guitarist Ed Cherry’s new album Soul Tree is both trad and unorthodox. When’s the last time you heard of a guitarist leading a B3 organ jazz trio? Usually it’s the organist – Jimmy Smith set the precedent with Jim Hall on guitar, right? But Cherry’s done this before, and his elegant, no-nonsense, chordal-and-blues approach works especially well in this configuration. As usual, he plays with a clean, purist 60s tone with a generous amount of reverb, looking back to Wes Montgomery more on this album than he has in the recent past. He’s playing the release show with his trio – Kyle Koehler on the organ and the Captain Black Big Band’s Anwar Marshall on drums – at Smalls on March 30 at 10 PM. Cover is $20 and includes a drink. With its dusky ambience, Smalls is a good place to see organ jazz, and the sound there is a lot better than it would have been at the gutbucket venues that were home to this stuff a half-century ago.

The album opens on a wry note with a cover of Kool & the Gang’s Let The Music Take Your Mind, reinvented as a swinging New Orleans second line-tinged groove. Aside from the originals here, the other tracks are often hardly what you would expect from an an organ trio. The three do Jimmy Heath’s A New Blue with a spacious midtempo swing: Marshall benefits from an imaginative and similarly vast production which pans cymbals right and left, maxing out the room’s natural reverb along with his vividly misty attack. The first of the Cherry originals, Rachel’s Step, is a latin-inflected shuffle that hits a peak with the guitarist’s jaunty cha-cha of a solo midway through.

The trio do Mal Waldron’s. Soul Eyes as a clave ballad; Cherry’s almost impeceptible drive upwards to a delicious and all-too-brief series of jabs draws on a background that goes back decades, with Dizzy Gillespie and other major figures. Freddie Hubbard’s Little Sunflower vamps along on carefree soul-jazz groove, Cherry building a Wes vibe with his octaves. The other Cherry original here, Little Girl Big Girl works similar territory over laid-back swing, giving Koehler a chance to cut loose.

Marshall builds the Trane classic Central Park West with a nimbly tumbling attack as Cherry bobs and weaves gradefull,, Koehler maintaining a low-key bluesiness as he does throughout the album. Harold Land’s Ode to Angela blends Marshall’s masterful, whispery clave with Cherry’s lingering, summery lines; Koehler’s lyrical solo might be the best one on the whole album. The classic Dave Brubeck ballad In Your Own Sweet Way gets the most hubristic treatment here: it’s barely recognizable. The album winds up with Horace Silver’s Peace, another showcase for Marshall’s meticulous brushwork and the band’s friendly chemistry. Most B3 groove albums are party records; counterintuitively, this one is more spare and reflective. Big up to Cherry for taking the style to a new place. Posi-Tone, home to more good postbop than any other record label still extant, gets credit for putting this one out. It hasn’t officially hit yet, but there’s a track up at their Soundcloud page.

March 26, 2016 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment

Mighty Majestic Brilliance from Orrin Evans’ Captain Black Big Band

Big band jazz is not the most lucrative style of music: after paying twenty guys for the gig, you’re lucky if there’s anything left over for you. But some of the most exciting composers in jazz persist in writing and recording large-ensemble pieces. Darcy James Argue is probably the most cutting-edge. Of all the purist, oldschool, blues-based big bands playing original material, pianist Orrin Evans‘ Captain Black Big Band is without a doubt the most powerful and entertaining. For those who don’t know his music, Evans is a vigorously cerebral tunesmith and one of this era’s most distinctive pianists: think of a young Kenny Barron with more stylistically diverse influences and you’re on the right track. Evans’ initial recording with this band was a roller-coaster ride through lively and often explosive, majestically blues-infused tunes. His new one, Mother’s Touch, is arguably even better, and has a broader emotional scope. Evans and this mighty crew play the album release show at Smoke jazz club uptown (Broadway between 105th and 106th) with sets at 7 and 9 PM on April 28. Get there early if you’re going (a seat a the bar is your best bet) because this will probably sell out.

The album’s slow, torchy first track, In My Soul, is amazing. It’s the most lavishly orchestrated oldschool soul song without words you’ll ever hear. Evans’ gentle, gospel-infused piano, Marcus Strickland’s searching tenor sax solo, and an artfully arranged conversation between groups of horns lead up to a joyously brass-fueled peak. By contrast, Explain It to Me is an enigmatic, pinpoint, Monk-ish latin groove, guest drummer Ralph Peterson doing a good impersonation of a salsa rhythm section on his big kit.

The album’s title track is a relatively brief two-parter: it’s basically an intro, guest pianist Zaccai Curtis spiraling around majestically on the first and then leapfrogging on the second over a dense wall of sound and Anwar Marshall’s tumbling drums.The best song on the album – and maybe the best single song that’s come over the transom here this year – is Dita. Throughout its long, impressionistic crescendos, elegant solo voices peeking in through the Gil Evans-like lustre and gracefully acrobatic outro, the pianist has a great time alluding to both the rhythm and the blues.

Tickle, written by Donald Edwards, works variations on a series of big, whirling riffs echoed by Stacy Dillard’s clustering tenor solo and then some wryly energetic call-and-response among the orchestra. An Eric Revis song, Maestra builds off a trickily rhythmic, circular riff underpinning a casually funky groove and a tersely jaunty Fabio Morgera trumpet solo. The band has a blast with the droll, bubbly bursts of Wayne Shorter’s Water Babies, a long trumpet solo giving voice to the most boisterous of the toddlers in the pool. The album ends with the epic Prayer for Columbine, an unexpectedly optimistic, cinematic theme grounded in unease – it has the feel of a longscale Quincy Jones soundtrack piece from the mid 60s. Pensive trombone over a similarly brooding vamp eventually gives way to a massive funk groove with a long, vividly animated conversation between aggravated baritone sax and a cooler-headed counterpart on tenor. It’s not always clear just who is soloing, but the whole thing is a sweeping, passionate performance from a big crew which also includes trumpeters Tanya Darby, Duane Eubanks, Tatum Greenblatt and Brian Kilpatrick; saxophonists Mark Allen, Doug Dehays, Stacy Dillard, Tim Green and Victor North, trombonists Dave Gibson, Conrad Herwig, Stafford Hunter, Andy Hunter and Brent White, with Luques Curtis on bass.

April 25, 2014 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Orrin Evans Makes a Party Record for Smart People

Pianist Orrin Evans has been on some kind of a roll lately, as a solo artist, in his mighty Captain Black Big Band,and also the impossibly eclectic, brilliant trio Tarbaby with Eric Revis and Nasheet Waits. His latest album, Freedom, which has been out about a month on Posi-Tone, was recorded about a year ago (right before the Tarbaby record came out), capturing Evans in slightly more relaxed mode. Emphasis on “slightly” – there’s still plenty of his trademark restless intensity here. But it’s also a party record, mostly a trio session with Dwayne Burno on bass and Byron Landham (from Evans’ original 90s trio) on drums, with Anwar Marshall from the big band taking over behind the kit on three tracks, plus tenor saxophonist Larry McKenna guesting on a couple more. Thematically, it’s a tribute to Evans’ friends and mentors – which makes a lot of sense when you hear it.

Charles Fambrough’s One for Honor kicks it off, brisky, catchy, almost scurrying. Essentially, it’s a cleverly ornamented two-chord modal theme, Evans working a lively call-and-response between contrasting two-bar pairs. A simple, memorable blues, Gray’s Ferry, by Burno provides a canvas for soulful McKenna inflections and a typically cerebral Evans solo, with the drums bringing the party atmosphere up. The uninhibited joy of Evans firing off ripples following a particularly inspiring sax motif, and the spirited crash of Landham’s cymbals, is just plain irresistible. The third track, Shades of Green, begins with a gorgeous series of turnaround that defiantly refuse to resolve, Landham’s rumble beneath Evans’ judicious, ringing chords evoking a genuine majesty. That’s a signature style for Evans, one he evokes even more potently on the album’s seventh cut, Oasis, which shifts from samba-inflected soul to rippling restlessness to an electrifying modal intensity, which sadly fades out too soon – it would be awfully nice to see what destination this crew might have been able to find for it.

Evans’ sole original here, Dita, is an expansive, slow ballad with understated grandeur and an apt Burno solo. Hodge Podge features a cool piano/drum interchange over a devious 12/8 beat, and then a heated Marshall solo spot where he still manages to keep the rhythm absolutely front and center. They also romp through Time After Time, with a clever bass-and-drum conversation, give Duane Eubanks’ As Is a bright swing treatment and close with Herbie Hancock’s Just Enough, Evans and the rest of the band letting its quiet gravitas speak for itself. If melodic jazz is your thing and you don’t know this guy, you’re missing out.

August 15, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Orrin Evans’ Captain Black Big Band Is Everything You’d Expect

In some ways, what Pink Floyd, Nektar, Supertramp and all the rest of the orchestrated rock bands were to the “classic rock” era, new big band jazz is to the decade of the teens. It’s where you get your epic grandeur fix. Towering, intense angst; full-blown exhilaration. There’s a lot more of the latter than the former on pianist Orrin Evans’ brand-new Captain Black Big Band album, but there’s still gravitas and intensity as you would expect from him. Like the Mingus repertory bands, Evans employs a rotating cast for this group, in this case an A-list mostly from New York and Philadelphia, in a live concert recording. Also like Mingus, the compositions blend an impatient urban bustle with an irrepressible joie de vivre. The compositions are pretty oldschool, closer to Mingus or Ellington than, say, than Jim McNeely.

The album gets started on a trad note with Art of War, a brisk bluesy swing tune by drummer Ralph Peterson. Rob Landham’s alto solo goes squalling quickly and spirals out neatly with a blaze as the brass rises – it’s sort of a warmup for what’s to come.Here’s the Captain, by bassist Gianluca Renzi opens with Evans’ murky distant piano grandeur – it’s a Cuban son montuno groove led by the trombone, an incisively simmering Victor North tenor solo followed by Evans who stays on course with a couple of cloudbursts thrown in for good measure. Inheritance, by bass clarinetist and big band leader Todd Marcus is swinging and exuberant with New Orleans tinges and a modified Diddleybeat. The first of Evans’ compositions, Big Jimmy is a soaring swing number with some deftly concealed rhythmic trickiness, trumpeter Walter White faking a start and then moving it up to some blissed-out glissandos, followed by tenor player Ralph Bowen who jumps in spinning out wild spirals – it’s adrenalizing to the extreme.

Buoyantly memorable in a late 50s Miles kind of way, Captain Black maxes out a long, fiery ensemble passage into solos by pianist Jim Holton (Evans has moved to the podium to conduct), Bowen shifting from shuffle to sustain followed by trombonist Stafford Hunter shadowboxing with the band. They save the best for last with the final two tunes. Easy Now is absolutely gorgeous, a study in dark/light contrasts with an ominous, dramatic low brass-driven intro lit up by drummer Anwar Marshall’s blazing cymbals. Trumpeter Tatum Greenblatt and then baritone saxophonist Mark Allen go from pensive to assured and playful over Evans’ wary, wounded gospel-tinged lines; it winds up on a roaring, powerful note. The album concludes with the rich sepia tones of Jena 6, a track that also appears on Evans’ superb Tarbaby album from last year, referencing the Arkansas students persecuted in the wake of a 2007 attack by white racists. A lyrical Neil Podgurski piano intro begins the harrowing narrative with an ominous series of slow, portentous gospel-tinged crescendos. As Jaleel Shaw’s alto moves from genial swing to unhinged cadenzas and anguished overtones while the orchestra cooks behind him and then leaves him out to wail all alone, the effect is viscerally stunning. Count this among the most richly satisfying albums of 2010 so far. Evans will be interviewed on NPR’s A Blog Supreme this Friday the 25th; the album is just out on Posi-Tone.

March 21, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | 2 Comments