Ralph Peterson 35th Annual Student Music Awards - Downbeat

Jon gold
Bossa Of Possibility
BLUJAZZ 3386
★★★★1/2
Former Cornell chemist Jon
Gold turned his attention to
music years ago, and it’s our
good fortune in the form of this
sonically rich album. Gold uses
mostly Brazilian devices but
puts an individual jazz stamp on the finished product. His writing is at
least as interesting for the combinations of instruments as it is for the
melodies and compositional arcs. But the instrumental writing always
enhances the pieces, rather than call attention to itself.
He’s assembled fine combinations of players and soloists: Dave
Liebman alternates lyricism and angularity on “Buster”; Howard Levy’s
harmonica has a foro element in his foray on the title cut; Gold himself is
an understated soloist, preferring to add color and nuance to the ensemble,
though he gives a lovely, tender reading of “Impermanence.”
Gold is capable of complex writing. “P’butu” sounds bitonal with its
ongoing dissonance and overlaid linear voices. He also knows when
to give the musicians room to create. The rhythm section—especially
drummer Mauricio Zotarelli—foments beautifully under Howard
Levy’s harmonica feature on the aching ballad “AOC.” —Kirk Silsbee
Bossa Of Possibility: Ora Bolas; Bossa Of Possibility; Bugalu 2-6-3; Theme For Impermanence;
Buster; Caroline Dance; AOC; P’bubu; Mineira; Mainstay; Samba Ballet; Stanley. (46:00)
Personnel: Jon Gold, keyboards; Zack Brock, violin (1, 8, 10); Lauren Riley Rigby, cello (5); Howard
Levy, harmonica (2, 3, 7, 11); Tom Malone, horn; Jackie Coleman, horn (2); Jorge Continentino, flute (1,
3, 8, 9); Dave Liebman, soprano saxophone, tenor saxophone (5, 12); Jon Ibragon, alto saxophone (1,
2, 8, 9); Bryan Murray, tenor saxophone (1, 3, 6, 8, 9); Scott Anderson, guitars; Rob Curto, accordion
(1, 8); Harvie S, bass; Jeff Hanley, electric bass (3, 6); Mauricio Zottarelli, drums; Adriano Santos, percussion
(1, 2, 3, 10); Zé Mauricio, percussion, Bríyana Martin, vocals (6, 8, 9, 11).
ordering info: blujazz.com
Charles gayle trio
Streets
NORTHERN SPY RECORDS 018
★★★1/2
An arresting picture of saxophonist
Charles Gayle, in semiwhiteface
with Pagliacci tears
graces the cover of Streets. This
minstrel alter-ego has been parcel
of Gayle’s persona for years.
Back in the ’90s he said: “When
you live in the street, it isn’t like
you can play at a street corner and then pack up and go home.”
Gayle is also known for his solo piano, and given this self-sufficiency,
it is often a matter of rhythm sections paralleling his whim. “Whim”
doesn’t do justice to Gayle’s sonic onslaught, however, which is a wonderful
ongoing catharsis, much like Albert Ayler with its quavering
vibrato and refracted textures.
The central statement of this session, recorded at the fabulously
named Seizures Palace studio in May 2011, the title track offers breathing
space for bassist Larry Roland to play on his own, since on “Compassion
I” he and Gayle seem poles apart. For a minute Gayle follows Roland
rather than plowing his own furrow, and the two coincide for a demure
decrescendo. A more extended phase of quietude with Roland lowing
and Thompson’s cymbals shimmering concludes “Doxology.” “March
Of April” begins with martial beats and something of an Afro-funk riff
from Roland. Gayle’s head is elsewhere, but there is no misinterpreting
his imploring shriek at the outset of “Tribulations,” which the trio takes
out with a tour de force. —Michael Jackson
Streets: Compassion 1; Compassion II; Glory And Jesus; Streets; March Of April; Doxology; Tribulations.
(59:11)
Personnel: Charles Gayle, tenor saxophone; Larry Roland, bass; Michael TA Thompson, drums.
ordering info: northern-spy.com
JUNE 2012 DoWNBEAt 79