Wednesday, July 27, 2011
Wednesday, March 2, 2011
Ambrose Akinmusire Urban Music Scene
Album Review: Ambrose Akinmusire | When The Heart Emerges Glistening
by Brent Faulkner
(Advance Review, Cd to be Released in April, 2011)
Free-jazz’s appearance in the 1960s went right alongside the ‘sentiment’ of the times historically; - the idea of liberation from conformity and the conservative tides of the 1950s was ‘what was in.’ Free-jazz never faded away dramatically like some earlier jazz styles (namely dixieland, swing, etc.), but it’s popularity certainly peaked in the 1960s. But as with most styles, they return, and through exceptional and visionary trumpeter Ambrose Akinmusire, he certainly resurrects a style of jazz that hearkens back to the free-jazz of the 1960s that such greats as Ornette Coleman (saxophone), Cecil Taylor (piano), and even John Coltrane in his later years cultivated. No only does he hearken back, but he pushes the boundaries, making When The Heart Emerges Glistening always the ‘forward-thinking’ listen. Ambrose and his crew of spirited and gifted musicians (Walter Smith III, tenor sax; Gerald Clayton, piano; Harish Ragahvan, bass and Justin Brown, drums) make free-jazz sound as relevant in 2011 as it did in 1960. Even the creative title foreshadows the ‘listening feast’ that is ‘When The Heart Emerges Glistening.’
“Confessions to My Unborn Daughter” opens the album exceptionally, starting off with only Ambrose playing a cappella trumpet. Ambrose’s ideas are prodigious and make you ‘hinge’ onto his every note. Things grow even more ‘epic’ when the whole quintet of musicians is assembled: Smith’s tenor sax playing is extraterrestrial, Clayton’s piano playing spacey and genius, Ragahvan’s bass playing serves as the ‘buttress’, while Brown’s drumming is both melodic and metronomic. Filled with beautiful cacophony - a contradiction - “Confessions to My Unborn Daughter” is a brilliant way to open up an album that is filled with nothing short of thirteen tracks of genius.
“Jaya” keeps up the ‘free-jazz’ revival, keeping the listener’s attention easily. Pianist Gerald Clayton delivers some clever improvisations here, followed by superb alternating solos by Akinmusire and Smith. Much like “Confessions,” Akinmusire knocks this cut out of the park! “Henya Bass Intro,” which coincidently features Harish Raghavan on bass alone, foreshadows the mysteriousness of “Henya,” a track to contrasts the more over tone of the first two cuts. Here, balladry changes the mood of the album, but not without some surprises and unpredictability. “Far But Few Between,” a cut that might be considered more an ‘interlude’ (at just under two minutes) sounds as if it on the edge of ‘frenzy,’ hence contrasting any of the soothing calm of “Henya.”
“Regret (No More)” finds Akinmusire supported by Clayton’s tasteful accompaniments on the piano. Beautiful yet experimental, Akinsmusire incorporates numerous extended techniques to make “Regret” more than just a straight ahead performance. “Regret” may have more of a restrained tinge about it, but it is easily one of the album’s most valedictory performances. “Ayneh (Cora),” more of an interlude, follows. “My Name Is Oscar” is by all means shocking, featuring only drums and voice. Here, drummer Justin Brown is given plenty of space and time to express himself in an unexpected, yet brilliant listen. Vocally, there are interspersed spoken passages, with the most prominent being “my name is Oscar.”
After the percussive nature of “My Name is Oscar,” Ambrose opens up “The Walls of Lechuguilla” with some extraordinary sounds, all accomplished using extended trumpet techniques. After Akinmusire solos, once again a cappella, the cut breaks into one big cacophonous eruption, not completely unlike the opener. It may be hard to follow for those who appreciate more ‘straight-ahead’ jazz, but for the consummate enthusiast, it is nothing short of genius. The soloing is prodigious from both Akinmusire and tenor saxophonist Smith.
“What’s New” once more changes the mood, opting for a slightly more traditional sound, which proves to be a nice break from the more intellectually contrived numbers. “Tear Strained Suicide Manifesto” is powerful by all means, possessing an air of mysteriousness. It proves to be another ‘victory lap’ for the grandly talented musician. The album closes as mysteriously as it opened with interlude “Ayneh (Campbell).”
Essentially, When The Heart Emerges Glistening proves to be one of the most captivating jazz albums in recent times. Ambrose Akinmusire is able to revive free-jazz and transcend the boundaries of jazz on this fine effort. Never lacking in inspiration, When The Heart Emerges Glistening is - well - BRILLIANT!
Brent Faulkner
The Urban Music Scene
Wednesday, February 2, 2011
Luis Bonilla: An Interview Trombone master Luis Bonilla discusses the new CD and what has made him one of the busiest jazz musicians on today's scene.
Steve Caputo
SC – Luis tell us about the new release “Twilight”
LB - First and foremost, I am very proud and honored to work with these amazing musicians.
Always looking for contrast, I felt a need for a different approach from our previous recording, "I Talking Now", which were my original compositions. The collective virtuosity of John, Ivan, Bruce and Andy inspired me to seek a more cohesive and distinct sound as an ensemble. The decision to ask each member to contribute an original composition for the recording was as natural as obvious to me. I feel it allows us the opportunity to share each other's vision of how we see and feel music. The challenge was, as is always, to find common ground and understanding, have fun, take chances and achieve creative music collectively at a high level.
SC - As a composer Luis is there any one thing that inspires you most to compose?
LB - There is no one source of inspiration that drives my overall approach towards composition. Certainly, the muse is never too far away or removed. At times I'm inspired by memories of people in my life or experiences I've had. At times, a more methodical or practical approach draws out melodies, harmonic progressions or form. Most recently, having the same personnel in the group inspires me to write with them in mind. But first and foremost, having these amazing musicians is knowing I have no limitations.
SC - How do you maintain the patience and persistence that is required in today’s crowded jazz recording world?
LB - I was fortunate to have been around much older players when I was young and just starting out. A common topic of conversation was the importance of longevity. Our lives are in constant process of development. Music, for those of us that have chosen this path, is our forum in which to express ourselves. Everybody has something to say and certainly, there's plenty of ability and talent out there, but when you sit back and listen to Frank Wess for example, you quickly realize there's no substitute for experience. He once told me, "It's not how fast you run the race, it's how well you do it." Longevity is key!
SC - Tell us about the title of the recording.. “Twilight”– How did that choice come about?
LB - Twilight is a direct result of having to find balance and explore subtleties within "our" music, as a band. Our previous CD, "I Talking Now" was an all out burst. As a soloist, I've always strived to push the boundaries of dynamics, it's what keeps the performers and listeners alike, interested and engaged. I take that same approach when composing/arranging music, as well producing a recording.
SC - A question I have been asking all jazz artists in this column…. Right now there are two schools of thought when it comes to the question “What is the current state of Jazz” Some believe is very healthy and some believe its worse than ever.. What is your take on this question and what are some of your current views of Jazz music today.
LB - I believe now is a good time for musicians with creative minds looking to produce and perform creative music. I have the fortune of being on the faculty at Manhattan School of Music as well as New England Conservatory of Music. I am constantly surprised at the level of musicianship from these young students. As long as Jazz is a music that represents growth and forward thinking, I believe its presence will firmly continue.
SC - As far as influences on the trombone who would you say influenced you the most?
LB - When I was a youngster in 8th grade at Eagle Rock Jr/Sr High School, my band director, John Rinaldo gave me a cassette of Carl Fontana playing Emily. I was immediately hooked. Shortly thereafter, he gave me another recording of Frank Rosolino, which I loved as much. It's the combination of the smooth and punchy that best explains my approach towards improvising on the trombone.
SC - What do you have planned for the future on the writing and recording side?
LB - I've made a habit of sitting at the piano on a regular basis as part of my practice routine. I either experiment with textures or explore ways to bring life to a melody I've been hearing. In the meantime, I'm focused on performing the recorded music with the quintet. Without a doubt, the more we perform and get to know ourselves as a group, the more it will influence my writing and be reflected in the overall sound. If all goes as planned, expect to see our next release in Spring 2012.
SC - Luis if you had one artist you could record with - who would it be?
LB - I've always been attracted to trumpet players and find myself interested in the music of Enrico Rava, as of late. Spending time performing and recording with such a great master would be an incredible learning experience.
For more information on Luis Bonilla go to: www.trombonilla.com
SC – Luis tell us about the new release “Twilight”
LB - First and foremost, I am very proud and honored to work with these amazing musicians.
Always looking for contrast, I felt a need for a different approach from our previous recording, "I Talking Now", which were my original compositions. The collective virtuosity of John, Ivan, Bruce and Andy inspired me to seek a more cohesive and distinct sound as an ensemble. The decision to ask each member to contribute an original composition for the recording was as natural as obvious to me. I feel it allows us the opportunity to share each other's vision of how we see and feel music. The challenge was, as is always, to find common ground and understanding, have fun, take chances and achieve creative music collectively at a high level.
SC - As a composer Luis is there any one thing that inspires you most to compose?
LB - There is no one source of inspiration that drives my overall approach towards composition. Certainly, the muse is never too far away or removed. At times I'm inspired by memories of people in my life or experiences I've had. At times, a more methodical or practical approach draws out melodies, harmonic progressions or form. Most recently, having the same personnel in the group inspires me to write with them in mind. But first and foremost, having these amazing musicians is knowing I have no limitations.
SC - How do you maintain the patience and persistence that is required in today’s crowded jazz recording world?
LB - I was fortunate to have been around much older players when I was young and just starting out. A common topic of conversation was the importance of longevity. Our lives are in constant process of development. Music, for those of us that have chosen this path, is our forum in which to express ourselves. Everybody has something to say and certainly, there's plenty of ability and talent out there, but when you sit back and listen to Frank Wess for example, you quickly realize there's no substitute for experience. He once told me, "It's not how fast you run the race, it's how well you do it." Longevity is key!
SC - Tell us about the title of the recording.. “Twilight”– How did that choice come about?
LB - Twilight is a direct result of having to find balance and explore subtleties within "our" music, as a band. Our previous CD, "I Talking Now" was an all out burst. As a soloist, I've always strived to push the boundaries of dynamics, it's what keeps the performers and listeners alike, interested and engaged. I take that same approach when composing/arranging music, as well producing a recording.
SC - A question I have been asking all jazz artists in this column…. Right now there are two schools of thought when it comes to the question “What is the current state of Jazz” Some believe is very healthy and some believe its worse than ever.. What is your take on this question and what are some of your current views of Jazz music today.
LB - I believe now is a good time for musicians with creative minds looking to produce and perform creative music. I have the fortune of being on the faculty at Manhattan School of Music as well as New England Conservatory of Music. I am constantly surprised at the level of musicianship from these young students. As long as Jazz is a music that represents growth and forward thinking, I believe its presence will firmly continue.
SC - As far as influences on the trombone who would you say influenced you the most?
LB - When I was a youngster in 8th grade at Eagle Rock Jr/Sr High School, my band director, John Rinaldo gave me a cassette of Carl Fontana playing Emily. I was immediately hooked. Shortly thereafter, he gave me another recording of Frank Rosolino, which I loved as much. It's the combination of the smooth and punchy that best explains my approach towards improvising on the trombone.
SC - What do you have planned for the future on the writing and recording side?
LB - I've made a habit of sitting at the piano on a regular basis as part of my practice routine. I either experiment with textures or explore ways to bring life to a melody I've been hearing. In the meantime, I'm focused on performing the recorded music with the quintet. Without a doubt, the more we perform and get to know ourselves as a group, the more it will influence my writing and be reflected in the overall sound. If all goes as planned, expect to see our next release in Spring 2012.
SC - Luis if you had one artist you could record with - who would it be?
LB - I've always been attracted to trumpet players and find myself interested in the music of Enrico Rava, as of late. Spending time performing and recording with such a great master would be an incredible learning experience.
For more information on Luis Bonilla go to: www.trombonilla.com
Miguel will be back at the Jazz Gallery in NYC this coming Wednesday February 2nd. He'll be focusing on arrangements of songs by five GIANTS of Puerto Rican Song (Silvia Rexach, Tite Curet, Pedro Flores, Rafael Hernandez and Bobby Capo) which he'll be recording next week. With Luis Perdomo on Piano, Hans Glawischnig on Bass and Henry Cole on Drums. Set Times are 9PM and 10:30PM. www.jazzgallery.org
Thursday, January 27, 2011
Luis Bonilla -Twilight Review!
Luis Bonilla is a musician with one big personality. That’s what comes through on the two CDs of his I’ve heard. The last one was I Talking Now, an overpowering trombone assault. It was good, just exhausting. When I saw his new recording, Twilight, I wasn’t sure if I’d be able to endure.
I did. And Twilight is a much different recording than I Talking Now. The defiance and bravado were replaced by precision and even contemplation. The quintet, made up of Luis Bonilla on trombone; Ivan Renta playing tenor saxophone; Bruce Barth doing triple duty with acoustic piano, fender rhodes, hammond C3; Andy McKee handling acoustic bass; John Riley playing drums and Vincent Chancey on french horn, has been together for several years and they each contributed compositions to the recording. This makes it a cohesive, distinctive sound, with Bonilla’s manic energy supporting, but not overwhelming, the project.
It begins with “Twilight.” Barth’s Rhodes gives it a dreamy, ethereal and often hypnotic texture. It’s like a lullaby from a fantasy story and I enjoyed the contrast twixt the trombone and the Rhodes. “Double Trouble” was great and, as the name implies, it’s built around a blues sound, and it’s a slow motion blues. This track is Andy McKee’s contribution. Ivan the saxophonist’s song is “Vertigo”, which weaves and dances, with the piano chilling behind it. “Blind Faith” was Riley the drummer’s composition. It has lots of snare action, rolls galore. The song wanders but stays whole. These were all some excellent tracks, but I think “Let It Be Said” was the heart of the CD. It’s a tender, quiet song. The organ behind the trombone gives it a light religious flavor, very southern, like a late night dance. This song gives depth and reality to the whole record.
Bonilla has a distinct sound and an encompassing musical philosophy. He composes and plays outstanding music. Twilight is well balanced and colorful recording.
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