Revisiting Saturn: WWUH Jazz
Happenings in 2014
by Chuck Obuchowski
WWUH Jazz Music Director
Has it really been 20 years? On June 1, 1994, I hosted my first Tuesday Morning Jazz show on WWUH - at least I think so; that's the earliest playlist I have on file. Whatever the exact date, I feel blessed to have had the opportunity to share thousands of jazz recordings with our listening audience over the years; to have been able to interview many outstanding musicians - from aspiring students to venerable old-timers; and to have made the acquaintance of some of the finest jazz listeners on the planet. What more could a jazz junkie want? I look forward to continuing these activities for as long as my WWUH colleagues will put up with me.
Overall, 2014 proved to be a good one for jazz programming on WWUH. Our live broadcasts of the Monday Night Jazz Series in Hartford's Bushnell Park went off without a hitch, even when inclement weather forced the music indoors to the Asylum Hill Congregational Church. Thanks to the WWUH volunteers who sold station t-shirts and chatted with concert-goers every week; thanks to our broadcasters and engineers who promoted and presented the shows; thanks to the Hartford Jazz Society for producing the series - and for collaborating with us on the broadcasts; and special thanks to all UH listeners whose contributions at fundraising time made the broadcasts possible.
On a somewhat melancholy note, we retired the WWUH Jazzline in 2014. Longtime listeners may recall hearing recorded announcements which encouraged them to phone "the bop line" for details about upcoming jazz events - the number was often referred to as "768 - 5-B-O-P."
In the pre-internet era, calls were plentiful. It wasn't uncommon to get a busy signal on one's first attempt, especially on Thursdays, when renowned jazz players would come to Hartford to perform with the house rhythm section at the 880 Club. But now much of what used to be listed on the prerecorded phone messages is available at the click of a button or the touch of a screen; with so few people utilizing the service, we could no longer justify the time and effort required to compile the weekly announcements. Mucho gracias to Thursday night jazz announcer Bill Measom for having produced the Jazzline almost every week since 1995!
We bid adieu to Jazz Jayne and extend our gratitude to her for hosting Tuesday Accent on Jazz during much of the past decade; thanks are also in order for her ongoing work in our record libraries. And a hearty "welcome back" to Jazz Officer Spaak, who recently returned to Earth, and to the WWUH airwaves, as host of Friday Morning Jazz.
As for Out Here & Beyond, my weekly jazz program (Tuesdays, 9 a.m. - noon), it was a pleasure to hear from so many of you during my Sun Ra "Sun-tennial," a musical celebration of everyone's favorite Saturnian keyboardist, which aired on May 20. Herman "Sonny" Blount was born - or arrived, some would say - in Birmingham, Alabama on May 22, 1914. The response was even more overwhelming following my remembrance of bass player and vocalist Jack Bruce, who died at 71 on October 25. Three days later, Connecticut bassist David Stoltz joined me in the WWUH studios to reminisce about his association with the Scottish rock star, and to spin some of the great jazz sides on which Bruce had performed.
My Favorite Jazz Recordings of 2014
Although I've always been suspicious of "10-best" lists, I do enjoy looking back at the end of each year to determine which jazz releases have made the greatest impression on me. As a child during the golden era of "top 40" pop music, I perused those charts weekly to see how my favorite songs were faring. At age 11, I began compiling my own lists of favorites, so it was easy to slip back into that habit when I became a radio announcer in my 20s.
Please be aware that the following list is merely an audio snapshot of where I'm at right now. Next month or next year, my tastes and opinions may have shifted. Nonetheless, these 10 recordings are ones which I am confident I'll continue to believe are deserving of attention. They are listed in alphabetical order by artists' surnames, not in order of preference.
Jason Adasiewicz's Sun Rooms - From the Region
(Delmark Records)
Ever since Sun Ra's Arkestra touched down in Chicago over 60 years ago, the Windy City has hosted a fertile avant garde jazz community. Vibraphonist Jason Adasiewicz is part of the latest wave of Chicago improvisers who are committed to exploring new musical directions.
From the Region is actually this trio's third release, and the first to feature bassist Ingebrigt Haker-Flaten. Drummer Mike Reed, a longtime collaborator, keeps things swinging, even during the most abstract moments. Although his compositions may be unfamiliar to the listener, Adasiewicz's distinctive style of playing is sure to captivate.
Jeff Ballard Trio - Time's Tale (Okeh)
Ballard is probably best known for his work with piano giants Chick Corea and Brad Mehldau. Time's Tale, featuring guitarist Lionel Loueke and saxophonist Miguel Zenon, marks the first time the veteran drummer has fronted a group. The lack of a bassist - and the fact that Ballard is using a customized drum kit - set this session apart from anything else in his discography. Add to that Ballard's choice of compositions: a few originals, one each by Bela Bartok and George Gershwin, several free improvisations, and a cover of "Hangin' Tree" by Queens of the Stone Age. On the latter, guitarist Loueke channels his inner Hendrix to amazing effect.
Perhaps this album's greatest strength is its unique blend of cultural influences: Zenon hails from Puerto Rico, Loueke is a native of Benin in West Africa and American Jeff Ballard employs percussion instruments and hand drums from across the globe. The resulting music brims with memorable melodies and rhythmic surprises.
Henry Butler - Steven Bernstein & the Hot 9 - Viper's Drag (Impulse)
This recording captures the joy, the humor and the spirit of jazz as it was played in the early 20th century - all the while liberally incorporating musical insights, techniques and influences of jazz as it is played in 2014. But don't worry: pianist/composer Butler and trumpeter/arranger Bernstein love and respect their Fats Waller and Jelly Roll Morton source material, so they've been careful to retain the essence of these old classics.
It's great to hear New Orleanian Henry Butler returning to jazz music with such gusto; Crescent City comrades Reginald Veal and Herlin Riley, on bass and drums respectively, are ideal accompanists. Most of the others in the Hot 9 are members of Bernstein's Millennial Territory Orchestra, where they're accustomed to wearing many musical hats. Viper's Drag also features a number of brilliant solo "vignettes" from violinist Charlie Burnham and reed player Michael Blake.
Old meets new down at the dance hall - blaring horns, crazy rhythms, and the joint is jumpin'!
Oran Etkin - Gathering Light (Motema)
Gathering Light is a musical travelogue imbued with deep spiritual dimensions. Two years ago, clarinetist Etkin visited his native Israel; a 500-year-old story he heard in Jerusalem inspired this album's title. The story suggests that - in order for us to mend our broken world - we must collect the divine light of ancient times, which has been scattered throughout the world. Etkin embarked on an international tour shortly afterward, "gathering light" in the form of music. He adapted ballads and traditional tunes from several countries while on tour: a lullaby from Japan, a folk song from Indonesia, a Yiddish lament from a Belgian expatriate.
Etkin's cross-cultural sonic journeys are further enhanced by the inclusion of African guitarist Lionel Loueke. Bassist Ben Allison, a New Haven native, and drummer Nasheet Waits offer solid rhythmic support, providing a springboard for some outstanding trombone work by the criminally underrated Curtis Fowlkes. At a time wrought with prejudice and fear, it is heartening to encounter music that celebrates each of the shades of light which combine to form humanity's rainbow.
Jimmy Greene - Beautiful Life (Mack Avenue)
It's impossible for me to discuss this music objectively. I've known Jimmy Greene since he was a teenager. During his Hartt School years, he was a guest in the WWUH studios on numerous occasions. As his career progressed, the budding saxophonist maintained ties with friends and family in the Hartford area. On a summer evening in 2012, I recall chatting with Jimmy at a festival in Bushnell Park; Ana was fast asleep, cradled in his arms. Several months later, she and 19 of her classmates were dead, victims of the Sandy Hook School shooting.
How does a parent bear this kind of loss? Where does one turn for solace? For answers?
Jimmy turned to God ... and then to music. Eventually, with the assistance of compassionate friends and colleagues, he created this recording, a loving dedication to the "beautiful life" of his daughter Ana.
Moreover, Beautiful Life has the capacity to touch almost anyone who is willing to give it at least one close listening. Some may be put off by the Christian prayers and hymns woven into Ana's story. Others might find the children's choir just a little too sweet.
And that's why it's important to listen closely; we are hearing about Ana's life, often from the perspective of a six-year-old. To define our beautiful lives, some of us will prefer a favorite Shakespeare quotation to the Lord's Prayer. Or perhaps a couple verses from an old Elvis Costello song. The point is to acknowledge the uniqueness and the sanctity of each human life. Not particularly religious? You don't need to profess belief in a particular deity in order to join this celebration of Ana's life.
Ana only lived a short time, but thanks to her parents' memories, and to her dad's music, this little girl is still able to impart valuable life lessons to us two years after her death.
Jimmy sought the help of a fair number of A-list improvisers to convey various facets of his daughter's Beautiful Life. But clearly each guest checked his or her ego at the door; yes, there are a number of lovely vocal and instrumental passages on this recording, but you certainly won't hear any flashy solos or cutting contests during these songs.
However, the leader sounds positively euphoric as his tenor sax, soprano sax, and flute - thanks to overdubbing - engage in a playful dance as the last track, "Little Voices," begins to wind down; meanwhile, a choir comprised of Ana's former classmates in Winnipeg, Manitoba are singing the phrase "remember me" over and over. Taken in tandem with the call to loving action which begins the piece, this song serves as testimony that love can indeed win, as the Greenes have been reminding the world since January 2013.
One last observation - while Jimmy Greene's salute to his daughter is certainly a noteworthy achievement, it is not without precedent. In 2010, pianist Kenny Werner issued No Beginning No End on the Half Note label. Werner's daughter Katheryn had been killed in a car accident in 2006. At first, he couldn't write at all, but gradually Werner began channeling his emotions into the creation of a five-part suite for chamber orchestra. Once that was completed, he began work on a string quartet. Although the pianist has been a highly regarded jazz player for decades, this project called for something more structured.
In the end, Werner opted to add several improvising soloists to the lengthy suite, including his friend Joe Lovano, whose contributions brought some jazz elements into the picture. Ultimately, No Beginning No End received the Guggenheim Fellowship Award later in 2010.
Russ Johnson - Still Out to Lunch! (Enja/Yellowbird)
Eric Dolphy's Out to Lunch is acknowledged as one of the most significant jazz recordings of the 1960s. Although most of its compositions have been covered at one time or another, none has entered the standard jazz repertoire. Trumpeter Russ Johnson's decision to reexamine this classic album in its entirety was a bold - some might even say foolish - move, but Still Out to Lunch! proves to be a resounding success.
That's due in large part to the fact that Johnson and his band mates have avoided trying to approximate any of the original solos or arrangements from Dolphy's February 1964 session. [For an example of what can happen when someone performs a note-for-note re-creation of a jazz masterpiece - in this case, the 1959 Miles Davis album Kind of Blue - check out a 2014 release called Blue by the band Mostly Other People Do The Killing.]
No cheap nostalgia here; Johnson's quintet blaze their own circuitous trails through the skeletal framework of the five Dolphy tunes which comprised Out to Lunch. In so doing, they've captured the freewheeling spirit of the original while adding new perspectives and directions .
Pianist Myra Melford covers the territory assigned to Bobby Hutcherson's vibraphone in 1964; her contributions are among this record's finest moments. Reed player Roy Nathanson is no Dolphy clone, nor does he play bass clarinet or flute, yet his creative solos are an integral part of this 21st century Lunch date. Similarly, Johnson generates plenty of trumpet excitement without once resorting to any Freddie Hubbard licks.
As a bonus, this quintet tackles two Dolphy compositions that Eric never got around to recording during his tragically short life. The Russ Johnson Quintet - with Orrin Evans subbing for Melford - performed much of this material during the historic Eric Dolphy: Freedom of Sound celebration/seminar at Montclair State University in New Jersey last May. That two-day event was the uniquivicable highlight of my concert-going experiences in 2014.
Adam Meckler Jazz Orchestra - When the Clouds Look Like This (self released)
Definitely the dark horse of my 2014 favorites list; before this record arrived at WWUH in September, I'd never heard of Meckler's ensemble - and I didn't recognize a single name among the 21 musicians who perform on When the Clouds Look Like This. The band is based in the Minneapolis - St. Paul area. Meckler, a trumpeter, penned all the compositions on this, their debut release.
The AMO is one of a growing number of large ensembles that are not concerned with big band - or even jazz - conventions. Meckler's orchestra delights in blending elements of rock, classical and funk into their expansive sound. Maria Schneider and - more recently - Darcy James Argue have led the way for bands like the AMO, but Meckler and company seem to be carving out a distinct niche for themselves. Many of these pieces unfold like short stories, changing tempos and moods as they progress. From the controlled chaos that launches "Beautiful Beatrice" to the ethereal impressionism of the title piece, the AMO charts a number of intriguing sonic courses - yet never loses its bearings. The attentive listener will find much to appreciate here.
Jim Norton Collective - Time Remembered: Compositions
of Bill Evans (Origin)
For years, multi-reedist Jim Norton has been studying the compositions of Bill Evans, the influencial pianist who pioneered a new trio sound beginning int the late 1950s. Realizing that Evans had produced a fascinating - if neglected - body of work, Norton began formulating the idea for this project two years ago. He assembled a 12-piece ensemble comprised of dedicated Bay Area jazz players.
At first glance, Norton's project seemed destined to fail. After all, Evans clearly preferred small group settings for his work. Furthermore, why would you undertake such a project without using a piano? True, guitarist Scott Sorkin demonstrates harmonic concepts quite similar to Bill's, but really ... But Norton persevered, and eventually, his reworking of this material bore some very tasty fruit.
In fact, Time Remembered turned out to be one of the most alluring releases of 2014. The arrangements are brilliant, especially the variety and creative use of woodwind voicings. And the compositions themselves will probably bring more attention to that aspect of Evans' artistry, since listeners will be exposed to such different settings for the tunes.
Arturo O'Farrill & the Afro Latin Jazz Orchestra -
The Offense of the Drum (Motema)
At a time when there is so much divisiveness in the world, artists like pianist/bandleader Arturo O'Farrill remind us of that if we embrace and celebrate the diversity of our many cultures, everyone will benefit. Our understanding of one another - and our respect for each other - will grow.
For this album, O'Farrill invited an eclectic array of guest artists to take turns collaborating with his Afro Latin Jazz Orchestra. Consequently,we're treated to some unlikely interactions. Notably, during "We Came," DJ Logic's electronic sound effects punctuate Chilo's spoken-word celebration of the Puerto Rican diaspora - while O'Farrill's orchestra provides a dramatic rhythmic backdrop. Elsewhere, Columbian harpist Edmar Castaneda spins euphoric tales of South America; saxophonist Donald Harrison gives props to New Orleans, granddaddy of melting pots, and throws in some Cuban sauce for good measure. Even pianist Vijay Iyer, son of Indian immigrants,is afforded ample time to solo, and to spar playfully with the sax section.
Wilson Quartet + John Medeski - Gathering Call (Palmetto)
It's hard to think of another contemporary jazz drummer who's more versatile - or more energetic - than Matt Wilson. The guy leads three distinctly different ensembles; he's a regular sideman in at least two others; and astonishingly, the 50-year-old "rhythmatist" still manages to squeeze in dozens of guest appearances and studio sessions every year.
Wilson has often exhibited his most daring musical ideas in a quartet format. While Gathering Call is not without moments of edginess and freedom, the vibe here is generally lighter and friendlier than on his past quartet sessions. That may be due in part to the addition of pianist John Medeski, an old buddy from Matt's Boston days. The two really sink their teeth into straightforward swingers like Duke Ellington's "Main Stem" and Charlie Rouse's "Pumpkin's Delight."
The closest this quartet gets to Medeski Martin & Wood territory is its cover of Beyonce's "If I Were a Boy," which pushes the envelope briefly during Jeff Lederer's inspired tenor sax solo. Far more interesting are the Matt Wilson originals, which might well include more outward bound improvisations in a live setting.