One of the reasons for the success of this outing goes beyond Lovano to his big band cohorts who offer impeccable support throughout. “Alexander the Great” not only showcases Lovano’s wiley tenor but introduces altoist Karolina Strassmayer to a wider audience. After a playful opening, Lovano charges in with a hard-hitting bebop sensibility, tossing off slithery phrases that corkscrew from the deepest to highest notes of the horn. Strassmayer offers her retort on alto before duking it out with Joe, the two saxes trading back and forth, then joining together in an exuberant collaboration. Lovano demonstrates the combination of raw power and melodic intent that has pushed him repeatedly to the top of critics’ and readers’ polls over the past decade, while Strassmayer clearly announces her presence as a horn voice to watch. (The unnamed trumpeter on “His Dream” deserves identification and similar consideration.) 

Charles Lloyd Quartet, Rabo de Nube (ECM). Understandably on many “top ten” lists for the year, this live performance at Theater Basel (Switzerland) from 2007 may conjure Llody’s great ensembles of the 60s with Keith Jarrett, Cecil McBee and Jack DeJohnette. After recent ECM releases with and without pianist Geri Allen and focusing on horn/percussion interaction with Zakir Hussein and Eric Harland (e.g, 2007’s live Sangam), Lloyd takes a more standard approach to instrumentation with modern master Jason Moran on piano, Reuben Rogers on bass and Harland, his continuing choice for drums since the passing of Billy Higgins. Nothing else about Rabo de Nube is standard, from the all-original list of compositions to their stunning, spirit-raising execution. Pairing Moran and Lloyd is sheer musical genius, the complexities of harmony and motion of the pianist countering the hymnal grace and slippery phrasing of the elder artist, producing a most enjoyable debate on the Monk collage, “La Colline de Monk.” Moran struts his stuff throughout, going full tilt on “Sweet Georgia Bright.” 

Several tracks approach symphonic status in length and orchestral elegance. Such is “Booker’s Garden,” a musical eulogy for Lloyd’s friend Booker Little. Initially a solo incantation on alto flute, Lloyd’s ethereal beginning is followed by sweetly lyrical piano from Moran, a steady deep pulse from Rogers and delicately percussive timekeeping from Harland. Like a Latin scherzo inserted in a new world symphony, a new direction is fueled by a rhythmic bass vamp, more assertive percussion and a brisk tempo. Lloyd varies the phrasing and rhythm to give this section an upbeat drive, and one can imagine Lloyd dancing across the stage, the live audience rising to its feet. It’s a blend of African ceremony, Brazilian folk dance and Cuban bembé (party).  In full, Rabo de Nube highlights Lloyd’s global appetite, spanning hemispheres and continents from Europe to Africa to South America and the Caribbean, and simultaneously feeling wholly American in the process. 

Dave Holland Sextet, Pass It On (Dare2 Records). For years, the Dave Holland Quintet, a piano-less ensemble with vibes, topped the best-of-the-year charts as performers and recording artists. Looks like the new configuration with piano and trumpet is heading in the same direction. The sextet includes only Holland and trombonist Robin Eubanks from the quintet, adding Antonio Hart on alto sax, Alex Sipiagin on trumpet, Mulgrew Miller on piano, and Eric Harland on drums. Each musician has a well-established reputation, and each shines on Pass It On. The playlist includes eight compositions from Holland and one from Eubanks, but it is the collaborative artistry that places this recording among the top releases of 2008. Tracks like “Double Vision” explode with energy; “Rivers’ Run,” dedicated to Sam Rivers, flows like an incantation (Hart in Coltrane mode), supported by one of the best rhythm sections on the planet. 

The leader/composer initiates “Lazy Snake” with a softly winding solo—a lazy snake of deep tones and off-quadrant chords. The rhythm shifts after two minutes, piano and drums join in, followed by the horns in unison. Eubanks takes a brief interlude, then Sipiagin explores more thoroughly, the full horn section again offering a unison break to set up Hart’s soul-searching. Throughout it all, Harland and Holland manage the propulsion; Miller embellishes and fills, not as much in the spotlight as on several other tracks, but making his presence essential. 
 

Roy Hargrove Quintet, Ear Food (Groovin’ High). Roy Hargrove has been regarded as one of the key trumpet voices of his generation for over a decade, and in live performance there are surely few that match his range and energy. His recent recordings, however, pale in comparison to live shows and his latest quintet release, which is truly Ear Food, not merely ear candy. Having seen this ensemble perform twice in the past few months, I didn’t expect a recording to do their earnest spontaneity justice. As well as any recording can, this one succeeds. This may be Hargrove’s most cohesive group yet, with the wide-ranging Justin Robinson on saxophones, elegant Danton Boller on bass, the nuclear-charged Montez Coleman on drums, and new rising star Gerald Clayton on piano. Hargrove wrote seven of the thirteen tunes, which also include selections from Cedar Walton, Lou Martini, Sam Cooke and Kurt Weill. Some tracks like “The Singer” swing and sway; some exude irrepressible joy like “Strasbourg/St. Denis,” and the cover of Sam Cooke’s “Bring It on Home to Me” really cooks as a glorious closer.

 

The most beautiful “Joy Is Sorrow Unmasked” features Hargrove on flugelhorn, his hollowed tone creating a European ambience above Boller’s deep-end comping, Clayton is majestic and contemplative, the interplay among Hargrove and the rhythm section an interweaving of fine lace. Robinson brings in his own brand of introspection with more rapid firing of musical neurons, giving way to a brief piano passage, before the two horns braid their phrases into one strand, Hargrove closing with a graceful coda. 

Saxophone Summit, Seraphic Light (Joe Lovano, Dave Liebman, Ravi Coltrane, Tealrc). A follow-up of the Summit’s A Gathering of Spirits, the new Seraphic Light (e.g., light of angels) is dedicated to the late Michael Brecker, one of the Summit’s original hornmen. Brother Randy Brecker guests on two tracks including his own “Message to Mike.” But this recording also pays tribute to John Coltrane with three compositions including the title track and indirectly to the passing of Alice Coltrane, with son Ravi joining Joe Lovano and David Liebman in the front line. Pianist Phil Markowitz, bassist Cecil McBee, and drummer Billy Hart provide the canvas for the Summit’s explorations, which also include original compositions from each of the musicians. The title track, with its majestic flow, serves not only as a fitting epitaph to composer, but to Alice and Michael as well, and provides a rare opportunity to hear Lovano on the aulochrome, a double soprano sax. Lovano and Liebman are also heard on assorted flutes throughout the recording.

On Randy Brecker’s“Message to Mike,” the rhythm section sets up the harmonically quirky, catchy piece with a three-tone vamp. An underlying Latin funkiness (much thanks to Billy Hart’s thumping) supports a cacophony of birds (two tenors, one soprano plus trumpet) engaged in animated conversation. Liebman on soprano directs traffic but every horn delivers a message of joy.  

David Sanchez, Cultural Survival (Concord Picante). In addition to leading his own bands, tenor saxophonist David Sanchez spent part of the past few years touring with guitar legend Pat Metheny. Apparently he liked the format, as he brings legend-in-the-making Lage Lund into the ensemble as the primary chordal instrument on Cultural Survival. Pianists Danilo Perez (2 tracks) and Robert Rodriguez (1 track) are “special guests” as is bassist Hans Glawischnig on one track. The remaining bass tracks are filled by Ben Street, with Henry Cole and Adam Cruz splitting the drum duties, and Pernell Saturnino adding additional percussion to two tracks. Cultural Survival highlights Sanchez as composer as much as performer, with the only cover here “Monk’s Mood.” The tracks vary in length from the New Orleans tribute, “The Forgotten Ones,” at under 5 minutes to the mini-symphony, “La Leyenda del Canaveral” that fills over 20 minutes. Echoes of Africa, Latin America and tropical islands permeate the set. 

Yet it is the more northerly presentation that grabs me the most, the cover of “Monk’s Mood.” The guitar introduction suggests a tropical bent, but the soprano sax sings in American bop. For all the meaty horn playing on much of the recording, here Sanchez is songful, wistful as he weaves around Lund’s lush chords. A good analogy to Monk himself--for all his quirky up-and-down rhythms and twists, he also wrote some of the most beautiful ballads in the jazz canon. Bass and percussion (Street and Cole) are subtle yet expressive. 

Jaleel Shaw, Optimism (Changu Records). Like mentor and employer Roy Haynes, Jaleel Shaw knows how to surround himself with copasetic cohorts that stand well on their own while also giving the leader ample support. Receiving plenty of kudos while attending Berklee College of Music and through graduate studies at Manhattan School of Music, Shaw has more than lived up to the promise, reflected in his long-standing gigs with the Mingus Big Band and Haynes’ Fountain of Youth quartet as well as in the role of leader and composer. His second recording, Optimism launched his own Changu label, and offers mostly original music that easily lives up to its title. In no small part, this is the result of the collaborative spirit that fuels Robert Glasper on piano and Fender Rhodes, Lage Lund on guitar, Joe Martin on bass, Jonathan Blake on drums, and guest Jeremy Pelt on trumpet, as well as Shaw’s skill in composing and arranging tunes that are modern, accessible, and individual. 

The individual voice is apparent on his chosen standards as well as original compositions. “If I’m Lucky” is surely one of the prettiest sax/guitar tracks of the year, Shaw’s balladry on alto an elegant spiritual journey, Lund’s delicate accompaniment as exquisite as a spider’s web, and Joe Martin ever-so-subtle at the deep end of the pool. Throughout the recording, and particularly on Shaw’s “In 3,” Robert Glasper reinvents the Fender Rhodes as a purveyor of ambient post bop savvy and pianistic voicings.  
 

Al Foster Quartet, Love, Peace and Jazz (Jazz Eyes). The veteran drummer brought his long-standing band into the Village Vanguard for this live session. An alum of Miles Davis bands of the 70s and 80s, Foster pays homage to Davis and another early employer, Blue Mitchell, as well as cohort Wayne Shorter; the remaining three (of six) tracks are Foster originals. All but one track exceeds ten minutes, the band stretching out in the improvisation-friendly setting of the Vanguard. The longevity of their collaboration shines throughout, with pianist Kevin Hayes, bassist Douglas Weiss and saxophonist Eli Degibri showing reverence, not deference, to their esteemed leader. 

Foster’s “The Chief” opens the set with fireworks. After a brief and majestic intro from Hayes, Degibri brings the swaying theme to the forefront on soprano. It’s catchy, almost danceable. Although Hayes takes the first turn in the spotlight, the support of bass and drums is barely below the surface. A monster of post bop, Hayes develops his ideas in spiraling, concentric circles of phrases that burst with energy, perfectly setting up Degibri whose own solo swirls, ebbs and flows. His searing phrases at the horn’s high end prompt a shout of encouragement from the leader--Degibri surely is one of the most low-profile among accomplished sax players on the scene! Foster explodes in quick bursts as it all resolves in tandem flutters from piano and sax. It’s a pleasure to have “The Chief” surrounded by a younger generation of firepower. 

Amina Figarova, Above the Clouds (Munich Records). Originally from Azerbaijan and now living in The Netherlands, pianist/composer/arranger Amina Figarova has been gaining more attention on this side of the Atlantic for her imaginative compositions and big band textures that she culls from her sextets and septets. Displaying a disarming balance of European delicacy and good ol’ Amercan swing and bop, Figarova notes, “That’s the beauty of jazz, it is such an international language. It’s born in America, but it has such different roots.” Two trumpets, tenor sax and flutes (all European musicians) give a multicultural groove atop a rhythm section led by Figarova’s articulate and powerful piano.  Extra firepower is enlisted for two tracks via alto sax and trombone, while Jeroen Vierdag (bass) and Chris Strik (drums) stoke the engine aggressively throughout. The set includes a dozen Figarova originals, all falling under 7 minutes—themes are delivered, explored, and resolved efficiently but fully. 

“Sharp Corners” as the title suggests is an angular composition with quick turns. Tenor saxophonist Kurt van Herck hopefully has a large following among Dutch jazz fans, as he dazzles here on a Parker-like roller coaster. Bart Platteau’s array of flutes puts an indelible print on all tracks, here providing a melodic bridge from the bouncy horn segment to a more gently assertive piano, Figarova’s fleet attack bringing everyone back together for a final statement.  

Seven More 

James Carter, Present Tense (EmArcy). Maybe the multi-reed, monstrously talented Carter’s best recorded outing yet. See full review! 

Marty Ehrlich/Myra Melford, Spark (Palmetto). Two free improvisers with a strong history of collaboration combust across 9 tracks of mostly original material, with one composition each from Robin Holcomb and Andrew Hill. Ehrlich on alto or clarinet weaves around pianist Melford... or vice versa, the partnership always paramount. There’s sweet touches of blues (Melford’s “Night”) charming fractured phrases (Ehrlich’s “Hymn”), and hints of eastern folk melodies (“Blue Delhi”), and it all adds up to one of the most harmonically interesting dates of the year. There’s plenty of “spark” between the artists! 

Drew Gress Quintet, Irrational Numbers (Koch). Drew Gress’ second quintet recording is aptly titled. The ten compositions are not “irrational” –most have an accessible logic--but offer infinite interpretative possibilities, particularly when the music is expressed by a team of like-minded explorers pushing the (mostly acoustic) boundaries in all directions. Of particular interest is the opportunity to hear Craig Taborn on acoustic piano and saxophonist Tim Berne serving up melodic aperitifs in the midst of his more expected maniacal journeys. See full review! 

Francisco Mela, Cirio (Half Note). The second release for this young Cuban drummer brings together a formidable cast—Jason Moran on piano, Larry Grenadier on bass, Lionel Loueke on guitar and Mark Turner on tenor sax. Often in the company of Kenny Barron or Joe Lovano, Mela proves to be equally up to the task of bandleader and composer, contributing six of the eight tracks. Family and tradition figure heavily on Cirio; the title tune honors his late father, an ardent advocate of the arts, while “Maria” honors his mother and “Urick Mela” his infant son. The set shows the quintet’s range, from almost sacred ballad (“Maria”) to the percussive fireworks of “Channel 2.”  Recorded live at the Blue Note for some added zip. 

James Moody/Hank Jones Quartet, Our Delight (IPO). Our delight is having two legends on one recording while both show no signs of slowing down. Largely the set belongs to Moody who is usually in the driver’s seat, but Jones is patient and quite magnificent throughout. See full review! 
 

Christian Scott, Live at Newport (Concord). This young trumpeter seems to hit the mark each time. A sextet of fellow young stars of the not too distant future, Scott is joined by guitarist Matt Stevens, pianist Aaron Parks, bassist Joe Sanders, and drummer Jamire Williams on all tracks, with tenor saxophonist Walter Smith III on six of the eight. To enhance the live experience of the 2008 JVC Festival at Newport, Concord includes a DVD in the package. The beauty of Scott’s “Isadora” is reason enough to grab hold of this recording, with the angst of Miles with a more angelic tone. Jamire Williams contributes a dazzling percussion intro on Steven’s “Rumor” which ultimately displays Scott’s risk-taking range and Parks’ dazzling chops. 

Woody Witt, Willows (Apria Records). The official release might be this month but having reviewed it in 2008, I’ll count it among the best sax efforts of the year.... and it was a good year for sax! The Houston-based tenorman leads a two-sax quintet, with Tim Armacost sharing horn duties, along with bassist Lynn Seaton and long-time Witt cohort, Joe LoCascio, on piano. See full review! 
 

This review first posted on www.jazzink.com