Chie Imaizumi

Chie Imaizumi (composer, arranger)
A Time Of New Beginnings (Capri Records)

In jazz, you don't seem to get many composer specific artists anymore. At least not in the mold of a Quincy Jones, Duke Ellington, Billy Stayhorn, Betty Carter or Marian McPartland. That's not to say that Japanese composer, Chie Imaizumi is in the same ballpark but she does present a new spin on the foundation and themes built by the aforementioned legends.

Chie Imaizumi has quickly established herself as an up and coming force on the composer scene in just under a decade. Building on her critically acclaimed debut, Unfailing Kindness (Capri), Chie returned to the studio with some wonderful new pieces and a stellar line up of musicians to interpret her vision on A Time Of New Beginnings (Capri).

New Beginnings for me is a lovely body of work that lends itself more to jazz new comers than those of you who may what something more cerebral or avant garde in nature. But dig deep and you will see that Imaizumi has the talent to continue produces exquisite compositions for years to come.

Where Unfailing Kindness was more a bebop/bluesy affair say in the realm of Ellington or Basie--New Beginnings stay in more of well crafted concept than spread of genres. The album delivers multiple layers of detailed structure as evident on "Information Overload"--a nice balance of big band implications and bebop traditions.

As I mentioned the musicians are stellar and really bring out the shining quality in Imaizumi's writing. On "Information Overload", Randy Brecker sounds fantastic. I'm not a big fan of Brecker either so I was really surprised when I looked at the liner notes for this record and noticed he was the spotlight on this track.

Another highpoint for me is "Many Happy Days Ahead" in which Steve Davis and Gary Smulyan dominate the piece with some starling affect. It's a lovely romantic piece in the style of the most intimate recordings of Dave Brubeck. The title track is another moment where you could easily hear Chie Imaizumi sound on jazz radio or at one of the many jazz festivals around the world. It's a bold piece with some magnificent playing by drummer Jeff Hamilton and Tamir Hendelman.

A Time Of New Beginnings is one of those warm additions that I think you sometimes need to break up the more intense, rough hues you may listen to on a daily basis. I definitely do. Trust me its not everyone's cup of tea but as I said if you listen closely and let it sink in--you hear a young artist painting a new picture on traditional canvas. Good stuff.

George Coleman

George Coleman (sax; b. 1935)

The illustrious career of George Coleman includes seminal recordings with greats such as Booker Little, Harold Mabern, Miles Davis (the albums My Funny Valentine and Seven Steps To Heaven), Chet Baker and Herbie Hancock (the legendary album Maiden Voyage). It is almost travesty that he doesn't get the recognition he deserves. Early in his career he spent time on Blues and Soul scene in bands with B.B. King and Ray Charles. The Memphis born native has also recorded under his own leadership with legends; Billy Higgins, Hilton Ruiz and fellow Memphis native, Harold Mabern.

Coleman is sound is big and powerful but with very smooth concentrated undertones of beauty. The musicians he surrounds himself with are always excellent additions to his lyrical structure and his interpretations of standards. One of the surprising things that is always the case with under appreciated artists like George Coleman is his short discography. He has recorded so much as a sideman that he owns albums are few and far between. So I recommend that if you see even just one record by George Coleman--pick it up. Two records that would definitely recommend that give a good picture of George Coleman's style are live recordings from Ronnie Scott's Club in London.

Playing Changes (Ronnie Scott Jazz House Records; 1988) is a magnificent live recording original recorded in 1979 and not released until '88. Coleman is working with one of his most consistent quartets including the aforementioned Higgins (drums), Ruiz (piano) and Ray Drummond (bass). Playing Changes includes three lengthy tracks but it is sheer masterclass. Coleman was in strong form during this period. He had just finished recording material with Charles Mingus in addition to sessions with Charles Earland. The opener "Laura", a Johnny Mercer standard is a lovely moment of nightclub jazz. The majority of the piece leans on the strength of Ruiz and Higgins with Coleman and Drummond adding the nice full-bodied exterior touches. Coleman's own number, "Ceora" delivers some lovely phrasing and harmonic structures that really demonstrate why he can be bold and beautiful inside the same piece.

Blues Inside Out (Ronnie Scott Jazz House Records; 1997) was a return performance to the world famous jazz club in 1995. This time he with a set of now famous British performers including Peter King (sax), Julian Joseph (piano) as well as Mark Taylor (drums) and Dave Green (bass). King's voice and Joseph mastery add a little more bite and to the is session. It's a long evening. All six tracks are over 10 minutes each. The quartet sizzles with pieces from Miles Davis ("Tune Up") and Sonny Rollins ("Oleo") as well Coleman's own "Blues Inside Out" and "Venus Fly Trap (Waltz)". "Venus Fly Trap" is delivers a lovely melody and some flawless musicianship from the big tenor man. "Blues Inside Out" while set in a blues mode is a real firecracker of a tune that should convince anyone of the greatness George Coleman possess.

The unfortunate part of the story is that both Playing Changes and Blues Inside Out are very hard to find. I have seen them as twofer on Amazon. They are also available for download. Either way there definitely worth a purchase.

Sometimes jazz fans (myself included) forget that sometimes people don't necessarily need to be turned on to the major artists like Coltrane, Mingus, Ellington, Brubeck, etc to enjoy jazz. Sometimes its the lesser known ones that can really have a greater impact on people. If you have a chance and really want to be turned on to some great heat, George Coleman is great place to start.

Undiscovered Masterpiece: James Finn

James Finn (sax; b. 1956)

Opening The Gates (Cadence Records; 2003)

Dominic Duval (bass)
Whit Dickey (drums)

James Finn is the surprise gem you find when you least expect it. When you think you're comfortable with the music you have and that you're going to settle in and focus on what you've got. Then a friend, an article, a record store clerk or just plain old intuition forces you take that extra step forward. This is what happened to me when I was given a copy of Opening The Gates (Cadence).

Opening The Gates is an amazing piece of work. It is bold statement from an artist who got a late start in recording under his own name but you would never know it by the muscle and inventiveness of this recording. The album was originally meant as a demo but record companies were so impressed with the power and strength of the recordings that there was a fight to sign him. Each track on the album is the first and only take (excluding one where they recorded it twice). And lucky for the listener the album remains intact as wonderful document of Free Jazz and a real masterpiece that should be heard by more people. So I'm telling everyone.

Finn's phrasing on the opening number "Stone Birds' Northward Helix" resembles the current beauty of David S. Ware (bold statement I know but you have to hear this record). Dickey and Duval play pivotal roles in shaping the undercurrent of Finn's messages. "Opening The Gates" Finn and Dicky fire through chord changes like buzz saws all the while keeping the number extremely tight and interesting.

On "Starlight Extensions" the trio wrap some complex structures in with what seems like some playful rhythms and it works well. Elsewhere, Duval really shines on "Spinning Pyramids Propelled" where his opening lines are almost Reggie Workman-esque. The spectre of Coltrane hovers throughout Opening The Gates but more so on "Spinning Pyramids Propelled" with Finn's playing becomes right in line with the latter period of the great legend.

"Prayer For The Dead" closes out the album with melodic style with some sparse pacing by Duval and beauty swathes of the drum kit by Dickey, while Finn adds the harder edge on the top. It's almost the counter argument to the album's opener.

Opening The Gates has hallmarks of great records by Coltrane, Pharoah Sanders, Archie Shepp and aforementioned David S. Ware. The sound grows right of the NY Underground scene and is definitely one of those rare finds and a magnificent debut from an dynamic new voice that continues to recorded albeit slowly. Opening The Gates is destined to become one legendary masterpiece in years to come.

Celebrating Ray Anderson

Ray Anderson (trombone; b, 1952)
Ray Anderson / Marty Ehrlich Quartet
Hear You Say: Live In Willisau (Challenge Records; 2010)

Marty Ehrlich (sax; clarinet)
Matt Wilson (drums)
Brad Jones (bass)

This weekend was trombonist and Chicago native, Ray Anderson's birthday. A technically proficient and highly original performer, he gained wide recognition with Anthony Braxton and Barry Altschul in the late 70s and 80s. His ability to meld both free form and bebop to me makes him combination some of his contemporaries like Steve Davis and Jeb Bishop. In addition, to celebrating his birthday, Ray Anderson has just released Hear You Say: Live In Willisau (Challenge Records), a collaboration with another versatile performer, saxophonist, Marty Ehlrich, whom both met while playing with Anthony Braxton.

The fun, humorous opener, "Portrait of Leroy Jenkins" with New Orleans aesthetics includes great back and forth dialog between Anderson and Ehrlich. It is sometimes surprising to realize they have not recorded together before yet playing in the same music circles for years. "Hot Crab Pot" is a scorcher with Anderson showing exquisite versatility along with crisp time keeping from Matt Wilson and some brilliant movement on bass by Brad Jones. Ehrlich joins in for a magnificent and extended solo midway that really tears up the scales.

"My Wish" is beautifully paced ballad which Anderson almost sounds like saxophone. Another example of his truly brilliant artistry. But the union of Ehrlich and Anderson cannot be overstated. Both men are the leaders here. They standout on each piece but for completely different reasons. There is a real camaraderie between all the musicians that gives the listener a feeling that this group has been performing for years but in actuality its only been two years. Truly amazing.

There's allot of post bop and improvisation moving throughout this live performance. It's a real jumpin' affair. "The Lion's Tanz" is a great piece that delivers an improvisational forum for all the members. It's a short piece but delivers a memorable punch. "Alligatory Rhumba" and "The Git Go" both bouncing numbers which Ehrlich and Anderson battle muscle, verve and polytechnic rhythms that also settle into a nice funky beat at times.

This funk leads into the closing number and title track is both gospel influenced as it is funkdified. "Hear You Say" has deep New Orleans-Dirty Dozen vibe but with even more true grit. Some excellent phrasing between the two lead musicians highlights this closer. Superb stuff.

Hear You Say: Live In Willisau is wonderful recording of a quartet that hopefully will continue record of the next few years. Each of the members has there own bands but this an excellent outlet for their creative forces that should be heard whenever possible.