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Album Reviews ALBUM REVIEWS harmonizes a vocal chorus borrowed from Roy Ayers’ a prog-rock ethos via intense passages and broad “Everybody Loves The Sunshine” with Lacy and then instrumental scope. These contrast with pleasing solos wordlessly and in her native Duala language. The primeval features, as on the ethereal “Rustling Trees”, trio charges straightahead on Murphy’s “Theme For which is a wash of sound standing apart from the fiery Ronnie” and then grooves on his “Friendship”, joined opener. Closer “Dawn” signals a laidback bluesy new by Kikoski and vibraphonist Bill Ware. beginning gathering strength by way of Eric Clapton/ Murphy’s “Free Fur Nina”, a dedication to his Frank Zappa-kindred guitar phrasing. But in the end feline pet, is a flowing free improvisation by the trio and complete resolution is elusive and the session’s angst his “Enkare Nairobi”, inspired by a 2019 trip to Kenya, is the apprehension that, although its music succeeds New Love opens and closes with the recorded voices of the Maasai magnificently, doom may await its subject matter. Charnett Moffett (Motéma Music) women chorus’ greeting song sung upon his United by Alex Henderson Nations-sponsored arrival. In between we hear the For more information, visit jeremycarlstedt.bandcamp.com. buoyant flute of T.K. Blue and vibrant Moulongo singing Nilsson and Carlstedt are at Bushwick Public House Jul. Bassist Charnett Moffett has been making a name for her loosely translated interpretation of the song’s words 12th. See Calendar. himself as early as 1983 when he was featured on in Duala. Stirring arco and lyrical pizzicato bass, along saxophonist Branford Marsalis’ Scenes in the City and with romance-drenched pianisms and finessed brush his first album as a leader, Net Man, was released by work, are featured on the trio’s interpretation of Johnny Blue Note in 1987. Over the years, Moffett has made it Green-Edward Heyman-Robert Sour-Frank Eyton’s abundantly clear that he had no desire to play one type “Body And Soul”, combining John Coltrane and George of jazz exclusively and he effortlessly moves between Coleman’s arrangements of the classic ballad. genres on this diverse recording, which finds him The band, with Lacy on vocals and Marc Cary’s sticking to his originals and the electric bass. Moffett’s synthesizer augmenting Murphy’s keyboards gets accompaniment includes Motéma founder Jana Herzen funky on The Isley Brothers’ “Coolin’ Me Out”, then on guitar, Corey Garcia or Malick Koly on drums and the trio stretches out acoustically on Wayne Shorter’s Irwin Hall on tenor saxophone, soprano saxophone beautiful “Lost” and Murphy’s hard-hitting “Cuttin’ and alto flute. The latter only appears on half of the Trane Corners”, combining melodic segments of selections but has room to stretch out. former boss Rashied Ali’s “Cuttin’ Corners” and New Love gets off to an exuberant, almost giddy Coltrane’s “Miles’ Mode”. Murphy shows his mettle as start with “Swinging in the Realms”, which has a an R&B composer to close: dancing “You Decide” has boppish melody. The album takes a moodier turn with Lacy and Moulongo on respective lead and background “We Remember” and “Today” and Moffett moves into vocals singing his love song lyric. the electric avant garde realm with the dissonant “Higher Dimensions”. The fusion offering “Flying in For more information, visit whalingcitysound.com. Murphy the Air” hints at Weather Report and “ETQ” has an is at Let Love Inn Jul. 8th with Lawrence Clark, Lorenzo’s mood that suggests the music of Ethiopia and Mali. Jul. 10th, 11th, 17th and 24th, Riverbank State Park Jul. New Love includes a vocal-oriented section at the 18th with Ray Blue and Dana Discovery Center Jul. 25th end of the CD: “Rejoice”, “Spirit & Bride Song”, “Love with Harlem Blues & Jazz Band. See Calendar. for the People” and the title track, all with a very • Andreas Kaling/Reinhold Westerheide/ spiritual quality and Moffett showing himself to be a R Karl Godejohann—A.R.K.: Music By capable singer. “Spirit & Bride Song” has a strong Endangered Species (JazzHausMusik) reggae influence while the title track and “Rejoice” e • Bugpowder—Cage Tennis (Trytone) bring jazz overtones to a blend of soul and rock. • Cranes: Matthias Müller/Eve Risser/ Back in 1984-85, some jazz critics were hailing c Christian Marien—Formation < Deviation Moffett as an important contributor to the hardbop/ (Relative Pitch) postbop revival movement known as the Young Lions. o • Hearth (Susana Santos Silva, Mette Rasmussen, But from Net Man on it was evident that Moffett was m Ada Rave, Kaja Draksler)—Melt (Clean Feed) interested in much more than that and his eclectic • Julian Lage—Squint (Blue Note) • Russ Lossing/Gerry Hemingway— nature continues to serve him well on New Love. m ..This Earth Twice (Aqua Piazza) The Why (s/r) e • William Parker—Mayan Space Station For more information, visit motema.com. Moffett live- by Elliott Simon (AUM Fidelity) streams Jun. 30th-Jul. 2nd and Jul. 25th at yoshis.com. n • John Pizzarelli—Better Days Ahead (Solo his is the debut release from The Why, the duo of Guitar Takes on Pat Metheny) T guitarist Anders Nilsson and drummer Jeremy d (Ghostlight Deluxe) Carlstedt. It quickly puts the listener on notice that to • Irène Schweizer/Hamid Drake— save the planet there needs to be a change of epic e Celebration (Intakt) proportion. Similar to the iconic beginning and d • Nina Simone—The Montreux Years (BMG) conclusion of “The End” (The Doors, Elektra, 1967), Laurence Donohue-Greene, Managing Editor a hypnotic pattern with an ancient feel announces and echoes that the “Sunset” of our existence has begun. n However, here the analogous apocalyptic message, • [Ahmed]—Nights on Saturn brilliantly delivered by a slashing psychedelic guitar/ (communication) (Astral Spirits) e • Don Cherry—The Summer House Sessions drums repartée, serves as opener rather than closer. Cool Water (Blank Forms) Carlstedt is both articulate and aggressive, using w Greg Murphy (Whaling City Sound) • Todd Cochran—Then and Again, Here and by Russ Musto textural and timbral nuance to state his opinions boldly Now (Sunnyside) whereas Nilsson’s broader arsenal summons all manner • Harold Danko—Spring Garden The followup to his chart-topping Bright Idea reunites of mind-blowing sounds; together they make for great r (SteepleChase) keyboard player Greg Murphy with bassist Eric conversation. Like all accomplished jazz drummers, • Fire!—Defeat (Rune Grammofon) Wheeler and drummer Jeff “Tain” Watts on a genre- Carlstedt adapts to his surroundings and in this intimate e • Stephan Goldbach—Transit leaping program bolstered by a host of guests. setting he is exceptional. He carries a hefty rhythmic l (JazzHausMusik) The trio kicks things off with an arrangement of load, allowing Nilsson to brandish his chops on several • Johnny Hodges—13 Mars 1961 (Live in “Chim-Chim-Cher-ee”, which clearly identifies Murphy heavy blues/rock-infused cuts. After “Sunset”, Nilsson e Paris) (Fremeaux & Associes) • Masabumi Kikuchi—Hanamichi (The Final as an accomplished McCoy Tyner acolyte while also leans on filthy riffs drenched in acid for a short “Clean”, a Studio Recording) (Red Hook) demonstrating each player’s strength as both soloist which Carlstedt’s steady hand keeps on course. • Joe Lovano—Garden of Expression (ECM) and accompanist. Ku-umba Frank Lacy joins on vocals A very personal statement, the session is a two- s • Michael Wollny, Emile Parisien, for a powerful rendition of Steely Dan hit “Green person journey that explores old patterns while Tim Lefebvre, Christian Lillinger— Earrings”, which also features a rocking David Kikoski discovering new ones as it searches for answers e XXXX (ACT Music) synthesizer solo. Murphy’s soulful “My Life” adds through improvisation. Compact and economical, Andrey Henkin, Editorial Director Cameroonian vocalist Kaïssa Doumbe Moulongo, who short by today’s standards, aspects still engender s 12 JULY 2021 | THE NEW YORK CITY JAZZ RECORD.
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