inspired by A.A. Milne’s poetry, saxophonist Patrick on “Love is a Place (v2)” is celebratory. As Montessorian Cornelius has come back to basics in various formats, as this is, Gottlieb maintains control with her choice of from a with his long-standing musical partner programming and superb voice. Nick Vayenas on trombone on half of the numbers to Where I Carry Your Heart is joyful, Who Has Seen and duo settings. The remainder of the group The Wind? is a globally-informed emotional panoply. includes the well-integrated rhythm section of Ben Joining Gottlieb are clarinetists James Falzone, François Allison’s deep bass sound and Mark Ferber’s nimble Houle and Michael Winograd for an examination of drumming. Last, but certainly not least, the CD the wind’s many guises. Gottlieb and the woodwinds showcases John Escreet on piano, who in spite of the are surprisingly complementary for a gorgeous hymn- Bright Idea challenging task of filling the shoes of Gerald Clayton like backdrop and soulful delivery of James Joyce’s Greg Murphy Trio (Whaling City Sound) and Frank Kimbrough (who appeared on Cornelius’ poem “Alone” and blend beautifully on the title cut by Russ Musto two previous albums, respectively), clears the bar but are a cacophonous chorus on “Neither I Nor You”, brilliantly. the beginning of a six-part song cycle. Gottlieb prays Despite impressive releases as a leader and a 20-year The music could be categorized as modern over an electronic elegy on “Trembling/Light” and tenure with Rashied Ali, Greg Murphy remains largely postbop, although such a label is somewhat reductive uses Winograd’s klezmer facility as a touchingly overlooked outside of the New York scene. This of the wide span of inspiration and originality. The mournful entrée into “Passing Through/Lament for exceptional effort, on which the Chicago-born pianist 1960 Blue Note sound comes to mind in a number of Harry”. Each piece is composed of two distinct is joined by bassist Eric Wheeler and drummer Jeff tunes—most specifically in the funky-ish title track sections, with the first gracefully setting up the second. “Tain” Watts, should go a long way in exposing his and blues-infused “One Shy”. Cornelius opts for a Moving homage to a friend, a poignant recitation of abilities, both as a skilled instrumentalist and melodic approach both in his compositions and Iranian poetry and an emotional blending of voices imaginative composer/arranger, to a wider audience. particularly in his solos, which are very consequential, that builds to a screaming climax on “The Wind Will Murphy opens things up with a swinging rendition leaving no room for preconstrued patterns. Vayenas Take Us” complete the sequence. of Sigmund Romberg-Oscar Hammerstein jam session and Escreet follow Cornelius’ lead in their solos, taking A second suite of four short pieces from Falzone staple “Softly, as in a Morning Sunrise”, interjecting their time in building their musical phrases. are tone poems highlighting the exquisite nature of McCoy Tyner-ish flights and inflections propelled by Cornelius is particularly inspired on what sounds Gottlieb’s musical approach and places her voice on the driving rhythms of Wheeler and Watts, both of like dedication dirges: “Precious Souls” in duo with an equal footing with her instrumentation. Houle’s whom share the spotlight with solos of their own. The equally inspired Allison; “Like Kenny” with its shifting delicate arrangement of Tom Waits’ “The Last Rose of pianist’s mambo-fied arrangement of the Pharrell tempos; and slowly-evolving “For Morgan”, featuring Summer” closes out the session. Williams mega-hit “Happy”, featuring layered Escreet’s exquisite runs and culminating in Cornelius’ These simultaneous offerings from Gottlieb electronic keyboard work, is an infectiously danceable a cappella statement. “Dissolution” by Vayenas—the highlight differing personal spaces but she continues affair on which he alternates the melodic line and only tune not composed by Cornelius—is a melancholic, to interpret carefully selected themes in open settings clave-undergirded montuno choruses (with a quote suspenseful ballad presenting Cornelius’ more supple with judiciously chosen musicians. from Horace Silver’s “Filthy McNasty”). tone, nicely complemented by rounded trombone. Murphy’s compositional abilities come to light on “Restless Willow” is a joyful tune executed in quartet For more information, visit ridesymbol.com and songlines.com. the title track, which features fleet-fingered piano and and featuring bouncing piano. The I Carry Your Heart project is at Pomegranate Gallery Jun. bass improvisations and an explosive drum solo on top This is a gem of a CD, full of memorable tunes and 26th. See Calendar. of the tenacious piano vamp emerging from the inspired solos executed by top-notch musicians. swinging . He shows his more sensitive side lithely waltzing on Joe Ford’s beautiful “Earthlings”, For more information, visit posi-tone.com. This project is at then jumps back into the pop world with a funky The Cell Jun. 22nd. See Calendar. arrangement of Bruno Mars’ “24 K Magic”, swinging piano complemented by keyboard flourishes nodding to Earth, Wind & Fire. The trio moves outside on Murphy’s “Street Cats”, ethereally ambling out of tempo, then gradually easing into a racing middle section on which the pianist demonstrates a credible affinity for the avant garde while his soulful “Finer Things” and rhapsodic “For My Mom” both demonstrate an appealing lyricism. The uptempo “Straight No Blues” serves as a platform for I Carry Your Heart: A Tribute to Arnie Lawrence swinging solos, after which the once again Ayelet Rose Gottlieb (Ride Symbol) displays its ability to take things out on Murphy’s Who Has Seen the Wind? Pneuma (Songlines) frenetic “Moving Violation”, bringing it back in on the by Elliott Simon appealing waltz “Well, of All Things”. The band charges towards the finish on the recently discovered Coltrane With a voice that can lovingly caress, erotically tune “Untitled Original 11383” before closing out with entreat and sorrowfully lament Ayelet Rose Gottlieb “Juneteenth Notes”, Murphy’s homage to the African- has explored weighty concepts such as grief (Shiva’a, American holiday on which the date was recorded. 482 Music, 2016) and biblical eroticism (Mayim Rabim, Tzadik, 2006). I Carry Your Heart documents her For more information, visit whalingcitysound.com. Murphy parenting style using the late saxophonist Arnie is at Mezzrow Jun. 5th and Tea House Garden Jun. 20th. Lawrence’s Inside An Hour Glass (Embryo, 1970) as See Calendar. context while a trio of clarinetists joins her to answer the poetic question, Who Has Seen the Wind?

Gottlieb studied with Lawrence in Israel and this two-CD tribute includes saxophonist/flutist Erik Lawrence, who appeared on his father’s release as an eight-year-old, and Gottlieb’s regular collaborator pianist Anat Fort. Gottlieb’s toddler twins Ma’or and Yasmin as well as infant Maia organically participate (that is, of course, the point) in the parent/child improvisational dynamic and a breast pump serves as the basis for a group improv on the aptly titled “Mama’s Beat”. This Should Be Fun Patrick Cornelius (Posi-Tone) The interactions among the musicians and the by Marco Cangiano children are sensational. Maia expertly riffs off her mother’s voice, piano and flute while Gottlieb’s Following his celebrated and exquisitely arranged presentation of E. E. Cummings’ title poem includes suite While We Are Still Young, which was a tender children’s coda and the aye-yai-yai repartée

24 JUNE 2019 | THE NEW YORK CITY JAZZ RECORD