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This Brings Us To, Volume II
Henry Threadgill (Pi)
by Jeff Stockton
Had eight years really passed between recordings
before Henry Threadgill and Zooid released the first
volume of This Brings Us To in 2009? In 2001 Pi
Recordings was formed to release Up Popped the Two
Lips (by Zooid) and Everybody’s Mouth’s a Book (by
Threadgill’s Make a Move). Now 2010 delivers Volume
II and two boxed sets covering the altoist/flutist’s
Novus and Columbia recordings (Mosaic) and Black
Saint albums (CAMJazz) that range from the ‘70s to the
mid ‘90s. Threadgill used to be more prolific, but his
uncompromising dedication to his own voice and
personal conception of improvised music was met
with commercial indifference and until recently the
majority of his older work has been hard to come by.
Therefore, every Threadgill release is an event.
And in this day and age, when average musicians put
out mediocre jazz albums of longer than 65 minutes at
an alarming rate, issuing two CDs timing out at
around 40 minutes apiece seems a bit cynical. Of
course this is high-calorie music and a little goes a long
way. Interestingly, the two discs represent the music
that would have been played in individual live sets by
this band, one which has been together longer than any
other Threadgill unit except perhaps AIR.
Threadgill’s compositions wipe away the
distinctions between what is improvised and what is
written out. “Organized along a series of interval
blocks”, giving each of the musicians the leeway to
move away from chord changes and scales and toward
a more personal method of expression, it sounds as if
the five musicians are soloing individually, yet
somehow it’s all tied together by the skittering drums
of Elliot Humberto Kavee or the arresting acoustic bass
guitar of Stomu Takeishi. It’s mildly surprising that
it’s Liberty Ellman’s guitar that often holds
prominence or secondarily, Jose Davila’s tuba. In fact,
Threadgill lays out more than you’d expect. It all
makes for a fascinating and rewarding listening. An
honest and creative antidote to run-of-the-mill jazz.
For more information, visit pirecordings.com. Threadgill is
at Roulette Nov. 11th-13th with Zooid. See Calendar.
Destinations
Tamir Hendelman (Resonance)
by Marcia Hillman
Tamir Hendelman explores his own musical
destinations in this new CD, taking us on a voyage of
the places and music that influence him. This is also a
journey of his fellow players - bassist Marco Panascia
and drummer Lewis Nash - who seem destined to take
this trip with him. Although they are not a working
trio, the three have achieved a connection with each
other that allows them to speak as one.
The material chosen is appropriately diverse. The
32 November 2010 | ALLABOUTJAZZ-NEW YORK
opening “Wrap Your Troubles In Dreams” is a seldomdone
oldie that gets a rousing treatment with piano,
bass and drums trading fours and establishing an
upbeat feel for the album. Jobim’s “Passarim” (“Little
Bird”) is an exploration that features bass and piano
echoing each other like birds of the Brazilian forests.
Other gems include lightly swinging versions of
Fletcher Henderson’s “Soft Winds” and Frederick
Loewe-Alan Jay Lerner’s “On The Street Where You
Live”, the former featuring Nash’s impeccably melodic
drumwork. Panascia’s lyrical bass is evident on every
track and his arco is featured on Keith Jarrett’s “My
Song”. There are two Hendelman originals - “Israeli
Waltz” and “Babushka” - with lovely haunting
melodies amply demonstrating his writing ability. The
former is also notable for the inclusion of an
enchanting bass solo.
At Dizzy’s Club last month, the group played
most of the material from the CD. On stage,
Hendelman has an engaging personality, charming the
audience with stories about each song. Also palpable
was the chemistry and respect that exists between
these three, especially in the closer (Charlie Parker’s
“Anthropology”) when Hendelman and Panascia took
in Nash’s exciting solo with large grins on their faces.
Hendelman is a brilliant pianist with a suitcase
full of technique, thorough knowledge of dynamics
used to full advantage and a wealth of ideas to
communicate. It is all captured on this enjoyable, wellput-together
offering - a definite bright spot in this
year’s releases. Encore, please.
For more information, visit resonancerecords.org
Water
Gregory Porter (Motéma Music)
by Joel Roberts
Bed-Stuy resident Gregory Porter is a versatile young
singer with a booming baritone voice and a deep
rooting in classic jazz, soul and R&B, as well as an
extensive background in musical theater. But what sets
him apart from the crowd is the raw emotion of his
singing and the beauty and strength of his original
compositions, which range from highly personal love
songs to bold political statements in the vein of
socially conscious artists like Marvin Gaye, Curtis
Mayfield and Gil Scott-Heron.
As a boy in California, Porter developed an
infatuation with Nat King Cole that eventually found
an outlet in the semi-autobiographical theater piece,
“Nat King Cole and Me”. And while Cole’s warm,
elegant vocals are a clear inspiration, one can also hear
the influence of masters like Jon Hendricks, Joe
Williams and even Sammy Davis Jr. on Porter’s
winning debut album, Water.
Self-penned tunes like the intimate opener
“Illusions” and the mournful “Lonely One”, both
featuring fine turns from pianist Chip Crawford,
showcase Porter’s thoughtful, soulful lyrics, as well as
his deft touch singing ballads. While they have jazz
arrangements, these tracks also point to Porter’s
considerable crossover appeal as a pop or R&B artist.
In a more straightahead jazz vein, Porter infuses a pair
of romantic standards, “But Beautiful” and “Skylark”,
with fresh energy and feeling, making these classic
songs entirely his own. He also shows he can handle
uptempo numbers, like a hard-swinging version of
Wayne Shorter’s “Black Nile” and the gospel-tinged
original “Wisdom”, both of which include standout
solos from alto sax great James Spaulding. The most
provocative tune here is “1960 What”, a powerful souljazz
reflection on that decade’s civil unrest, urban riots
and assassinations that recalls Les McCann and Eddie
Harris’ 1969 hit “Compared to What”.
Porter closes the album on a high note, with a
stunning solo vocal version of the soul standard
“Feeling Good”, leaving the listener wanting more
from this extremely impressive new talent.
For more information, visit motema.com. Porter is at Drom
Nov. 2nd, Tribeca Performing Arts Center Nov. 13th with
Randy Weston and Dizzy’s Club Nov. 15th. See Calendar.