It seems that every year there is at least one CD that manages to grab my unsuspecting attention and alert me to a new or at least to-me obscure talent. My candidate for Sleeper of the Year is this highly diverse set from Bay Area bassist Sam Bevan and his quartet with saxophonist/flautist Mas Koga, pianist Grant Levin, and percussionist Bryan Bowman. But of all the CDs in my review pile, why did I even notice Hawkeye? First, there’s the bright red cover with birds—they look more like swallows than hawks.  And I am an Iowa Hawkeye fan from birth. Which truly has nothing to do with this recording. But whatever tilted this one toward my ear, I’m grateful. 

Sam Bevan contributes six compositions to the set; Bowman adds four, Levin two and Koga one. Starting with the title track, composer Bevan’s strong basslines are evident from the first bar, as is the quartet’s mutual empathy and swinging sense of adventure. Bevan follows with a majestic vamp on “Miraje,” Levin and Koga soaring as one voice (Koga here on the bamboo shakuachi flute) before Levin breaks loose on his own lyrical journey. The flute and Bowman’s assertive toms give this one a slightly Latin pulse and keep the listener on edge, in a good way. “Reverance for All Things Small” floats down a bluesy stream, Levin showing a Jarrettish “reverence” for melody and lacey fills around Bevan’s tender solo. “Sneak Attack” suggests a dark thriller soundtrack before Koga enters mournfully on soprano, the quartet now more conversational, even argumentative with splashes of dissonant chords and rhythmic detours. “Ethereal” lives up to its title, Koga (again on soprano) conjuring Charles Lloyd’s prayerful moments, the rhythm section quietly regal. Bevan’s final contribution, “Spontaneous Root Violation,” could be a variation on a Monk theme, each musician doing his part to align jagged crystals into a free-form, Ornettish collage. 

On drumset and tablas, Bryan Bowman proves to be a worthy composer as well.  His “Event Horizon” leans a bit eastward, Koga (on alto) suggesting the influence of Chris Potter, while Levin’s solo takes on a more European elegance, managing to swing while teetering on more free explorations. “Moments to Years” brings it back to American balladry, a showcase for Levin’s exquisite touch; “Wake Me When It’s Over” is a mid-tempo post bopper, while “Perseverance” finds Koga again on flute, Bowman on tablas, everyone upbeat on a track that entices with international flavors, from Rio to Calcutta. Grant Levin’s contributions fall back-to-back, “Middle Ground” bustling with rush hour urgency, while “Different Lamps, Same Light” is the most extended journey of the set, the spotlight on the pianist’s patient and melodic improvisation, with his partners’ sympathetic support. 

Mas Koga’s one composition, “Hanabi,” closes the album, the composer on shakuachi flute, and again suggesting Charles Lloyd as he summons higher powers with high wavering pitches riding above minimalist abstractions from his cohorts.

Hawkeye is ample evidence that some of the most invigorating modern jazz resides outside of the Big Apple. 

“What makes Chestnut the best jazz pianist of his generation is a willingness to abandon notes and play space.” –Josh Tyrangiel, Time Magazine 

For over 20 years, Baltimore native pianist Cyrus Chestnut has been delivering the goods—swinging, gospel/blues inflected, largely original compositions that “keep the faith” of tradition in a modern context. With over a dozen releases and hefty archive of accolades, Chestnut never rests on his laurels, and his latest trio release, Journeys, is arguably his best collection yet. With current touring partners, bassist Dezron Douglas and drummer Neal Smith, Chestnut introduces 9 new compositions and a spirited reading of the Rodgers and Hart classic, “Lover.” Throughout the set, one hears an amalgam of Chestnut’s influences, from Jelly Roll Morton to Oscar Peterson to Tommy Flanagan to Bud Powell to Ahmad Jamal and (maybe most important in recent years), former mentor Betty Carter – Chestnut embodies the history of jazz at every turn. 

The set launches in high spirits with “Smitty’s Joint,” the fast-paced lines and bouncy chords ripe for toe-tapping and full –body swaying; young Dezron Douglas adds a punchy solo and Smith spatters and pops. The one standard, “Lover,” rather than sultry or sentimental, swings casually, Chestnut injecting little spaces that add playful tension and stretching lines with boppish twists and Petersonian flourishes. “Eyes of an Angel” and “New Light” take pages from the thick (and slightly Latinized) voicings of McCoy Tyner; the crystalline musings of “Little Jon” hint at the rhythmic sleight-of-hand of Ahmad Jamal; “Yu’s Blues” has traces of Jarrett, even Moran, with Douglas nearly stealing the show with his deep-throaty basslines; “In the Still Hours” recalls traditional spirituals as much as modern prayer. Perhaps most masterful of all, the closing “Goliath” begins as a gentle hymn, evolving into a boldly delicate incantation with rhythmic variations that sustain the track through its nearly nine minutes; Douglas sends his double-stop filled meditation skyward, with Chestnut unleashing a spate of aggressive lines before returning to a closing verse of solemn restraint. 

Journeys reaffirms Cyrus Chestnut as a major force in mainstream piano jazz, as performer, composer, and bandleader.

Yes, that is a very young Cassandra Wilson on the cover of Silver Pony. The photo came about when she convinced her mother to let her pose on the pony in her Jackson, MS neighborhood, even though “there were certain things young ladies just didn’t do,” Wilson recalls. The photo remains a symbol of Cassandra’s fearless approach to her craft. Like on Silver Pony. The album combines tracks recorded live on a European tour and in the Piety Street Studios, covering jazz and pop classics (“Lover Come Back to Me,” “Blackbird”) and original tunes from Wilson and the band (“A Night in Seville,” “Beneath a Silver Moon” and the snippet title track, “Silver Pony”). Wilson is backed by Jonathan Batiste on piano, Marvin Sewell on guitar, Reginald Veal on bass, Herlin Riley on drums and Lekan Babalola on percussion, with Ravi Coltrane on “Silver Moon” and John Legend (piano and vocals) on “Watch the Sunrise.” A fearless band.

There may be no singer in modern jazz whose voice and style are as instantly identifiable as two-time Grammy winner Cassandra Wilson. Opening with “Lover Come Back to Me,” her deep and perfect intonation and unique phrasing give dark intrigue, bolstered by Batiste, Veal and Riley, who make a formidable trio on their own. Sewell’s guitar whines the introduction to “Went Down to St. James Infirmary” before Cassandra evokes the backstreets of New Orleans with a cloak of blues and rock, the heavy beat of Babalola’s congas driving and bouncing. Wilson gives Stevie Wonder’s “If It’s Magic” jazz ballad sheen, her lush bronze tones honored by Sewell’s graceful accompaniment. Providing a vocal counterpart to Sewell’s haunting electric lines, Wilson makes “A Day in the Life of a Fool” a stunning masterpiece, while she manages to generate a personal vision on the often-interpreted “Blackbird,” riding on the waves of funky percussion and strings.

“Saddle Up My Pony” by Delta blues legend Charlie Patton is the longest track at over nine minutes, giving the band plenty of stretching time which they use to great advantage, particularly Sewell who channels hoofbeats and hoedown. Rhythmically, Wilson’s phrasing shadows Sewell and Batiste; the lyric fits but in some ways is unnecessary given the vocal drama.

Of the original compositions, the sultry “Beneath a Silver Moon” bubbles with electronic melodicism and popping congas, as well as the gently evocative tenor of Ravi Coltrane that luxuriously counters Wilson’s inviting vocal, as well as her turn on synthesizer. “A Night in Seville” and the 37-second title track showcase the ambient instrumental talents of the band, Batiste on Rhodes and Babalola providing essential fuel.

Perhaps the most surprising track is the finale (“Watch the Sunrise”), penned by singer/songwriter John (Stephens) Legend, Luke Laird and Dale Jones, featuring Legend’s smooth folk/rock vocals weaving sweetly with Wilson, with additional guitar and cello – all the makings of a pop hit.

Silver Pony succeeds in part due to Cassandra Wilson’s collaborative effort with a fine cast of musicians, and in large part due to … Cassandra Wilson.

I’ve admired Houston-based saxophonist Woody Witt since first hearing him perform in Minneapolis with Kelly Rossum five or six years ago. He’s released some marvelous recordings in small ensembles and duet format. This new release (technically from 2009 but released in 2010) is the first live recording from Chris Cortez’s Blue Bamboo Music label. First Impressions further refers to the title track as well as the first recording for this ensemble, and likely American audience’s first encounter with French pianist Franck Amsallem. Witt brought Amsallem to his program at Houston Community College in winter 2008, inviting Cortez to record the live performance with bassist David Craig and drummer Sebastian Whittaker. Two tracks here are from that performance, the rest was recorded the following week on the same stage without audience. And with the exception
of Ornette Coleman’s “Chronology,” all are original compositions from Witt, Craig and Amsallem.

It would appear that these musicians bonded instantly, as the result is music that easily suggests a long-standing camaraderie. The opening tracks come from the Houston concert, Woody’s soprano leading the way on his “South of Dallas.” Craig’s “Northern Face” again features Witt’s now mournful soprano, the rhythms and harmonies suggesting something far east of Dallas. Craig’s basslines come from a cave far below the Earth’s surface, while Amsallem’s cleanly articulated lines breathe with a majestic wistfulness and Whittaker’s percussion gently pushes throughout.

Craig opens solo on his “Dear John” before Witt’s tenor takes over the dark melody, which rises and falls as if a ceremonial ritual. “Standard Form Requirement” introduces Amsallem as composer and offers a punchy sequence from Whittaker to set the stage for a bouncy blue-tinted romp, Amsallem’s phrases and harmonies reflecting a deep affinity for American jazz traditions. On tenor, Witt tumbles and swings like a kid on the schoolyard monkey bars, while Whittaker fills one break after another with sparkling drama.

Ornette Coleman’s “Chronology” becomes putty in the hands of Amsallem and company, the pianist playfully navigating the idiosyncrasies of melody and rhythm, bass and drums keeping the fire stoked, Witt taking us on a magic carpet ride before yielding to Whittaker’s riveting solo.

Witt’s title track has a thread of Latin sway, his tenor laying the foundation for Amsallem’s warm journey and then adding another layer himself. Bass and percussion fit into the groove like hand in glove, in supporting or solo roles. The final track is a “Gotham Goodbye” penned by Amsallem, filled with unpredictable anecdotes, his statements ranging from funereal incantations to enthused explorations, while Witt reflects a similar quest for a musical nirvana.

In sum, the ensemble reaches high and wide, and finds its holy grail. These are lasting impressions.