Carol Liebowitz and Bill Payne's Spiderwebmandala

Difficult and dissonant, Carol Liebowitz and Bill Payne's new album Spiderwebmandala is not the type of easy jazz you want to reserve for a rainy day. Liebowitz plays the piano and Payne plays the clarinet, and this series of duets was improvised on the fly during a live performance at the Output Performance Space in Albuquerque. Poet Mark Weber presided over the two-day event, and he punctuates these duets with his ethereal poetry. The overall effect provides many of the same challenges as much of free jazz, even when Liebowitz and Payne occasionally wander into somewhat recognizable melody structures that ease these songs into a more lyrical and softened state.

The simple fact that this is just a piano and a clarinet in a live, open space helps to avoid the cacophony that free jazz sometimes creates. The simplicity of this ensemble allows you to climb into the notes from each instrument, and you'll start to hear both the sophistication in Liebowitz's style and the unique jazz timbre in Payne's clarinet. It's intriguing how the clarinet, through a seemingly spare progression of notes, can establish jazz themes and provide a firm foundation for the rest of the improvisation--it almost serves as the rhythm section and establishes the musical structures while the churning piano provides all of the dense and troubled emotions.

The duo has been performing together since 2010, and their first release featured a trio ensemble that included violinist Eva Lindal--hence the eponymous title Payne Lindal Liebowitz. That 2015 release generated a lot of buzz for the three musicians and was actually voted one of the Top Ten Jazz CDs of the year in an NPR poll. This release is a tad more esoteric, perhaps because the violin might serve as a middle ground for the other two. Your appreciation for it might just depend on your personal relationship to the piano and the clarinet. In addition, both musicians are skilled at coaxing unique phrases that often mimic sounds in nature, and the rapid shifts in theme suggest animal behavior--which reminds me, of course, of Diane Moser's Birdsongs.

What makes a pure improvisation like this so special is the fact that it can't be replicated. It can't be taken out on tour. It is a fleeting, one-time occurrence that would have only been heard by the 150 people present in Albuquerque if it had not been recorded. I've been hearing more and more recordings like this lately, the flowing uncharted improvisations, the kind of music Keith Jarrett used to put out regularly. This type of music is daunting to novices, but the joy comes from deeply knowing the physical characteristics of these instruments and how musicians are inspired by them to produce something that's truly one-of-a-kind.

The South Florida Jazz Orchestra's The Music of Gary Lindsay: Are We Still Dreaming

If you've already read my big band jazz article in Part-Time Audiophile already, "Deep Into Jazz in Texas," this new release from The South Florida Jazz Orchestra is very evocative of the work being done at the University of North Texas. (On a side note, a few minutes ago I received the latest release from UNT's One O'Clock Band, so I'm not through with them yet.) The Music of Gary Lindsay: Are We Still Dreaming, isn't directly tethered to a university jazz program, although a similar spirit exists in this project. The SFJO "includes some of the best jazz and studio musicians, as well as jazz educators, in the southeastern part of the United States." The orchestra is directed by founder Chuck Bergeron, and the tracks here are composed and/or arranged, of course, by Gary Lindsay--it's noteworthy that the two are educators in the jazz studies programs associated with the University of Miami and their Frost School of Music.

There are subtle differences as well, stemming from the fact that this CD features performances from professionals instead of students. (They were all once students, right?) That's not meant to impugn the talent of those wonderful students in jazz programs all over the world, but there is a sense of a bigger budget at play. The sound quality of Are We Still Dreaming is just a notch above most of the UNT recordings, which are already said to be among the finest in the United States. In addition, we are treated to performances from vocalists Nicole Yarling and Julia Dollison--they possess beautiful and strong jazz voices that are quite dazzling. Again, I hate to sound like I'm drawing a line between jazz programs at universities and the rest of the jazz world. It's just that this album is a bit of a hybrid, borne from an outstanding academic program yet swirling around in the so-called professional realm with steady authenticity and just a bit of that splendid and seasoned jazz swagger.

If this big band recording is remarkable for one thing, it's the ease in which the scope of the music expands and contracts. Many of the songs, such as the opening "Moment in Time" and Pat Metheny's "Better Days Ahead," open with a solo instrument so lovingly presented and so intimate that it's almost a shock when the rest of the band suddenly joins in. This is a dynamic program, as most big band recordings are, but those quieter moments are presented in a very original manner, something that's a bit of a novelty in big band circles. Usually these types of bands occupy large stages in large venues and a solo performer can get lost in all that space. It's a testament to Bergeron and Lindsay's production skills that they can still make a smaller ensemble sound small, even if it's a part of something much bigger.

The focus of this album is, of course, Lindsay's original compositions as well as his arrangements of such standards as "Spring Is Here," "'Round Midnight" and Billy Strayhorn's "UMMG." Lindsay, who also plays the alto sax, has been described as easy and accessible in his approach to arrangements. So much of this music represents that dedication to smooth, fertile beauty. Lindsay isn't consumed with expressing the power of his big band and most of the prerequisite dynamics occur in waves rather than sudden peaks and valleys. Bergeron shares the credit for that sense of gentle flow, obviously, but it's the sheer audacity of quiet moments in a big band setting, engineered by Lindsay, that makes this recording so unique.

James Austin Jr.'s Songs in the Key of Wonder

I was all set to begin this review with a discussion of the novelty of jazz covers of Stevie Wonder songs. But after a cursory Google search, I discovered that many, many performers have come up with jazz arrangements for Mr. Wonder, everything from organ trios to big bands and everything in between. It shouldn't be a surprise that Wonder's songs lend themselves so easily to straightforward jazz genres, considering the original renditions were filled with jazz, funk, fusion, R&B and rock influences. It also helps that most of Stevie Wonder's biggest hits were marked by their one-of-a-kind melodies, the kind of melodies that are instantly recognizable no matter the context of the genre. Record a grindcore version of "My Cherie Amour" or "You Are the Sunshine of My Life" and chances are most people will figure it out by the first chorus.

James Austin Jr., a jazz keyboard player from Chicago, hasn't come up with any wild angles on Wonder's biggest hits. He simply approaches them with the same sense of reverence as anything from the Great American Songbook, which is where they probably belong in the first place. His ensemble is smallish yet heavy with Latin jazz accents, so the playing is tight and controlled but varied enough to keep things interesting. He's the type of bandleader who has probably figured this out many years ago--Wonder's melodies are so strong, we merely have to trust our own instincts and play our way. Songs such as "Isn't She Lovely," "Part-Time Lover" and "Golden Lady" already have great bones, to butcher a real estate term, and the roadmap is quite simple when it comes to improvisation.

That's not to say music like this is easy. Each one of Austin's cohorts--sax player Jarrard Harris, trumpeter Joe Magnarelli, bassist Ben Rubens, drummer Kobie Watkins, percussionist Samuel Torres and guests guitarist Bobby Broom and bassist David Williams are all consummate pros, polished and professional when they need to be and also able to take off when the spotlight hits. Austin maintains such an easy, friendly tone in his band and he seems to guide them all equally with his economical piano playing, which is gentle and precise and anchored to those incredible melodies.

What comes through on this debut album most clearly is Austin's love and respect for Stevie Wonder, something that I share as well. "James regards Stevie Wonder as one of the greatest composers of our time," it says on the liner notes, and it's hard to dispute that. I came to Stevie Wonder relatively late in life, around the same time I also discovered my love for Marvin Gaye. As I said in the Mark Winkler and Cheryl Bentyne review from earlier today, I was a Southern California rock and roll kid and it took many years to break free and discover new, wonderful things like the Stevie Wonder songbook. Austin seems like the kind of man who was already there from an early age, knowing these special melodies that were probably passed down to him by family. This music lives deep in his soul, and his respect for this material is beyond reproach.

Mark Winkler and Cheryl Bentyne's Eastern Standard Time

The first time I heard The Manhattan Transfer, I was so young that I had no idea what kind of music it was. Maybe it was an early appearance on Saturday Night Live, or maybe it had to be before that since SNL started in 1975, when I was in the eighth grade. I certainly had to know this kind of jazz already, right? But I was raised in Southern California in the '60s and '70s--my 56th birthday was yesterday, by the way--and I grew up on a steady diet of rock and roll and the ultra-tame stuff my parents liked, everything from Eddy Arnold to Johnny Mathis. The Manhattan Transfer was so different, I didn't know how to process it. Now I understand and appreciate this type of dazzling urbane jazz, and after all these years it seems surprising that Cheryl Bentyne, one of the long-time members of TMT, is still out there making the same music--and doing it well.

Maybe I was initially surprised because she still looks great, and her voice is just as strong and beautiful as ever. But she's not one of the original members. This singing ensemble first appeared in 1969, which made me expect someone much older after doing the math. Cheryl didn't join until 1979 (which means she wasn't one of the four singers I witnessed back when I was young), but she's still an active member of that group and she's also released a dozen solo albums over the years. As it turns out, she's only a little older than me, which is why she sounds so vibrant--because she is...er, we are. For the last eight years, however, she's been performing with singer/lyricist/producer Mark Winkler, and as the promotional material states they go together like "champagne and caviar." That statement alone foreshadows what you'll hear on their new album, Eastern Standard Time. It's the kind of music you might hear at an event that might be referred to as "black tie." This is jazz that lives and breathes the island of Manhattan.

This is their second album together. Their first, West Coast Cool, was released in 2013 and recaptured the classic '50s "West Coast sound" represented by tunes such as "Talk of the Town" and "Route 66." This follow-up obviously takes place on the other coast, expanding beyond the watery borders of Manhattan, and features music that reflects Bentyne's adventurous past with the Transfer, everything from "The Best Is Yet to Come," "The Gentleman Is a Dope" and even "Walk on the Wild Side"--even though the duo censors themselves on that famous line about Candy. While the magic is centered on the two and how they interact as a team--they do have an undeniable chemistry on every track--this album also boasts some of the greatest jazz musicians on the scene such as drummer Dave Tull, pianist Rich Eames, bassist Gabe Davis, sax player Bob Sheppard, percussionist Kevin Winard and guitarist Grant Geissman. (Guest stars include cellist Stephanie Fife and guitarist Pat Kelley.) In other words, every aspect of this album oozes class.

Circling back to that chemistry between Winkler and Bentyne, it's clear that they really like each other--they've reportedly become great friends over the last few years. You can hear that in the music, their delivery, the way they sing as if they're having a real conversation and just not taking turns at singing. Bentyne's voice is perfectly calibrated and coated with honey, while Winkler is more playful and whimsical. Every word they sing is a projection of their vivacious personalities, and by the end of the album you'll feel like you've made a couple of new friends. If you're already a fan on TMT, this album will provide you with everything you crave. You already know this music, and now it's time to dig in.

Tom Hook's 62 Now Live at Positive Feedback

My review of Tom Hook's 62, an exceptionally fun and lively jazz revue, is now live at Positive Feedback. You can read it here.

Zoho Rising: New Column at Part-Time Audiophile

My new column for Part-Time Audiophile, The Deep End, is now live. In this column I explore Zoho Records, one of the most fascinating jazz labels around. You can read it here.

Samuel Martinelli's Crossing Paths

This new release from drummer Samuel Martinelli touches on two phenomena in contemporary jazz that I personally enjoy. First, as I've mentioned repeatedly, I love it when a drummer leads a band and can use rhythm in order to inspire his fellow performers when it comes to taking up the melody that's on the page. In this case it's Martinelli's debut recording, so it's doubly exciting that he can take the reins and guide this exciting and talented quartet through a recording that contains mostly his original compositions. (The lone standard is Dizzy Gillespie's "Birk's Works.") Second, I've been discussing how Brazilian jazz often follows exact rules, and it's fascinating when someone ventures past the boundaries and offers something that's only tangentially a part of that genre. Martinelli is actually from Brazil, so he has that unique perspective that is borne from a lifetime in the midst of these distinctive rhythms and how to place them in a greater context for the rest of the world.

This is, therefore, Brazilian jazz performed by a straightforward quartet--Martinelli has chosen veteran horn player Claudio Roditi, bassist Marcus McLaurine and pianist Tomoko Ohno to accompany him on this ride. First impressions are of a straightforward quartet playing fabulous jazz, not necessarily brimming with the prerequisite polyrhythms and angelic voices but with a warm simplicity that immediately plugs in the right connections. Each one of these four musicians have that razor-sharp feel for their instruments and how the percussive sounds they create can somehow lock horns with the drummer, who also happens to be the boss. McLaurine is particularly adept at this with his expressive bass runs, which is no surprise since he's played with both Count Basie and was Clark Terry's bassist for more than a couple of decades.

Martinelli, however, has such a comprehensive knowledge about jazz drumming that the Brazilian influences are just one small part of his signature. He's committed to educating the public about Brazilian music since he has created a music school, Brazilian Clef, which serves that exact purpose. The jazz here is so straight, so universal, that it takes someone very familiar with South American innovations to spot them. Crossing Paths doesn't have an overriding theme like so many contemporary jazz releases. This is a calling card, and the fine print suggests that whatever you throw at Martinelli, he can through it back at you and make you nod approvingly. The icing on the cake, of course, is that he composed and arranged seven out of eight tracks. So it's not so much about arranging and interpreting as it's merely showing you what he possesses in his heart. It's real and genuine.

That all goes back to the first point, that drummer-bandleaders are usually fascinating when it comes to arrangements. Contemporary jazz has long eschewed the Buddy Rich-Gene Krupa model of having an amazing drummer show off and then dare the others on stage to keep up. Like many of his contemporaries, he is unusually kind to the others here. Maybe that's because he's surrounded by three incredible musicians with a daunting ledger of experience, and he doesn't want to step on anyone's toes. I think that's a cop out--jazz quartets are all about synergy, and these four musicians give the listener so much to think on. If there's one obviously Brazilian point to all of this, it's the beauty in which they play as a group.