Tag: trumpet

CD Review, File Under?, jazz

Ralph Alessi Quartet on ECM (CD Review)

Ralph Alessi Quartet

It’s Always Now

ECM CD

 

Trumpeter Ralph Alessi brought a passel of originals to his latest recording date, his fourth for ECM, It’s Always Now. Most are single-author compositions, but a few are collaborations with pianist Florian Weber. The two are joined on the recording by double bassist Bänz Oester and drummer Gerry Hemingway. It is a formidable lineup, one responsive to and supportive of each others’ playing. 

 

Coauthored with Weber, “Hypnagogic” opens the album, with whole-tone arpeggiations from Weber and repeating notes from Alessi creating a mysterious atmosphere. Alessi’s lines unfurl into passages morphing the scale patterns Weber uses, imitating elements of his intro and exploring upper register sostenuto. It is a beguiling way to begin. “Old Baby’s” loping tempo and bluesy cast alludes to jazz styles past. Still, the player’s keep these tropes within their own modern language. Oester and Hemingway assert themselves on “Residue,” creating a powerful sound and corruscating rhythms. The solos are correspondingly boisterous. 

 

“The Shadow Side” is an appropriately named mysterious ballad with wide ranging solos from both Alessi and Weber. The title tune, coauthored with Weber, features Alessi playing in the upper register with exquisite control. Slow, soft, inside-the-piano work and thick chords create complex textures. “Diagonal Lady” begins with Oester playing a fine solo with terse melodies and glissandos. It concludes with arco low notes. Alessi explores an anapestic cry and Weber ghosts his melodies.

 

“Everything Mirrors Everything” is a nice change of pace, literally. It begins with an uptempo moto perpetuo. The solos maintain a bebop tempo, Alessi using a mute and firing off line after line in fiery fashion. At the tune’s conclusion, he references the moto perpetuo line and Hemingway’s cymbal’s sizzle away. Short and sassy, “Ire” has a duet of its tart tune by Alessi and Weber, which is then taken out of phase by the duo, Weber adding stabbing comping. 

 

Two extended outings, “His Hopes, His Fears, His Tears,” and “Hanging by a Thread” show the capacity of the quartet to develop small pieces of initial material into larger forms. Here as elsewhere, the simpatico interaction between Alessi and Weber is formidable. Likewise, the interactions between Oester and Hemingway never fail to impress. Hemingway has long been a favorite of mine, and hearing Oester’s lines curl around the pulse the drummer sets down, moving into his own line of syncopations to add another rhythmic layer, is a highlight of both tunes. Weber’s solo on “His Hopes… presents virtuosity in full flourish. “Hanging by a Thread” is another tune where a chromatic melody outlines an uptempo pulse. Alessi begins and is joined by Weber in a follow the leader duo. After the intro, the pace slows, and Weber takes a solo set of variations of the tune. Alessi sequences the tune in his solo and overblows stentorian high notes. He is joined by Weber and the tempo picks up to a rapid pace, florid lines breathlessly flowing. Glissandos from the trumpet heralds a new section and the rest of the quartet plays a vigorous ostinato. Alessi locks in with the patterning of the others, Weber returning to with the chromatic tune, and then Alessi repeating it one more time to conclude.

 

The recording’s last cut, “Tumbleweed,” another authorial collaboration with Weber, has a delicate melody built of latticed repeating cells. As in the past, Alessi and Weber trade angular lines, the trumpeter’s tone plummy in contrast to the silvery sound he often evokes. Rather than explore all of the tune’s potential, it finishes after a tantalizing three minutes.

 

It’s Always Now is one of my favorite recordings thus far in 2023. Recommended.

 

-Christian Carey



by Christian Carey
Best of, CDs, Experimental Music, File Under?, jazz

Happy 80th Birthday Wadada Leo Smith!

Best of 2021 – Happy 80th Birthday Wadada Leo Smith!

 

Wadada Leo Smith turns eighty today, and Sequenza 21 wishes him many more years of health, creative improvisation, and composing. Smith has been a driving force as a member of AACM for over five decades, a keen collaborator with jazz and concert musicians, a Pulitzer Prize finalist, and a faculty member at CalArts and elsewhere. 

2021 has been a prolific one in terms of record releases by the trumpeter and composer. He is joined by wind player Douglas Ewart and drummer Mike Reed on the Astral Spirits CD Sun Beams of Shimmering Light. The standout opening movement is a sixteen-minute long suite “Constellations and Conjunctional Spaces” which begins with fragmentary utterances that build into long, florid lines that are succeeded by riotous free play. A short coda sees motives from the top of the piece reexamined in light of what has transpired in between.

TUM has released four recordings by Smith this calendar year, with a seven-CD collection of string quartets on deck for early 2022. The only single CD  among these is A Love  Sonnet for Billie Holiday, which features a trio with his frequent collaborators pianist Vijay Iyer and drummer Jack DeJohnette, marking the first time all three have worked together. It is a winning grouping, as are the two included duos with DeJohnette. As Smith points out in the liner notes, the approach here alludes to his work with Anthony Braxton and Leroy Jenkins on “The Bell,” a piece from his debut album in 1969. This affinity is both in terms of interaction and collaboration, but also in a harmonic language more recognizable in Smith’s earlier music. 

The Great Lakes Quartet, which includes saxophonist Leroy Jenkins (on some tracks Jonathon Haffner), DeJohnette, and bassist Henry Lindberg, is the personnel on the TUM double CD The Chicago Symphonies. There are four pieces here, Gold, Diamond, Pearl, and Sapphire, subtitled “The Presidents Symphony: Their Visions for America; Abraham Lincoln at Gettysburg and Barack Obama at Selma!” How can a quartet play “symphonies,” one might wonder before listening. But upon engaging with these recordings, it is clear that the formal designs, development of thematic material, and use of all of the instruments’ capabilities to the utmost engage with music writ large.

A triple CD of solo trumpet music might seem like a long sit, but Smith’s individual performances on Trumpet are riveting. He recorded these fourteen new pieces, many of them extended, sculpted works, in a single weekend at St. Mary’s Church in the town of Pohja, on the Southern Coast of Finland, which provides a great acoustic for Smith’s luminous sound.  Finally (for now), Sacred Ceremonies, a three disc recording with bassist Bill Laswell and Milford Graves, visionary drummer of the New York “new wave” free jazz scene, who passed away in February, 2021 and to whom the recording is dedicated. The first CD features a duet between Smith and Graves, the second, Smith with Laswell, and the third is a trio. The level of rhythmic layering in the trumpet and drums duos is truly astonishing. Quotation plays a large role, with Smith imitating Graves’ gestures but choosing melodic lines from blues, standards, and even nursery rhymes to cross-pollinate the music. Laswell adds elements of funk and avant-pop to the mix; Smith responds in places by playing through a wah-wah pedal and employing minimal patterning. The trio is a summit of experimental practices, and the polyglot musical language they form together is inimitable and now, sadly, with the passing of Graves, irreplaceable. 

  • Christian Carey

 

by Christian Carey