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U R B I Solo Album Roundup 2020 Fred Hersch, Songs om Home (Palmetto) Steve Lehman, Xenakis and the Valedictorian (Pi) Jorge Roeder, El Suelo Mío (T - Town) Pasquale Grasso, Solo Bud Powe (Sony Masterworks) Jazz Artistry Now It’s no mystery why the year 2020 would prompt a good number of solo albums. And yet 2020 isn’t unique in that regard: jazz has a legacy of unaccompanied performance stretching back to Jelly Roll Morton, the stride pianists, Art Tatum and so many others. A solo album in 2020, however, calls forth associations and emotions specific to this moment. And musicians who play alone, no matter their instrument, oer a window into their art we might not get otherwise. What follows is a small but representative sampling from a year that hit musicians especially hard. nder the self-explanatory title Songs om Home, the great Fred Hersch ventures a solo piano set ranging in song choice from Duke Ellington to Jimmy Webb and Kenny Wheeler, from Cole Porter to Joni Mitchell and the Beatles. “Wouldn’t It Be Loverly” is the leadotrack, a song less often played but rich in opportunities for Mr. Hersch’s inimitably poetic lyricism. “After You’ve Gone” and “When I’m Sixty Four” conjure the spirits of Earl Hines and Teddy Wilson and remind us that with this pianist, the history runs deep. Apprenticeships with the likes of Sam Jones and Joe Henderson, pivotal gigs coming up on the scene at Bradley’s: the lessons were imprinted on Mr Hersch’s soul long ago, and you hear it in every nuanced phrase and tonal color. It’s worthwhile to pair Songs om Home with Brad Mehldau’s solo entry Suite: April 2020, which oers mainly original music but also “Look for the Silver Lining” and interpretations of Neil Young and Billy Joel. ather than Songs om Home, Steve Lehman’s solo EP Xenakis and the Valedictorian might be aptly subtitled “Songs from My Car,” which is where the alto saxophonist made it: in his Honda CR - V, where he took an hourlong break from parenting and teaching every day to practice during the first month or so of the pandemic. He recorded these solitary car sessions on his iPhone, and when his mother turned 80 while unable to see her son in person, Mr. Lehman culled some selections into an EP as a gift. Xenakis and the Valedictorian buy share by Steve Lehman 1. Ecstatics 00:46 2. 808s 00:38 3. Grandy Twins 00:15 4. 2 Gears | 13 Satellites 01:12 5. Formant vs. Formant 00:38 6. Flutter 00:35 7. Cents & Gradients 00:48 8. Glossolalic 00:35 9. Max 00:12 10. CR-V 03:27 The result, just over seven minutes long, captures something essential about Mr. Lehman’s approach to breath, sound generation and extended technique on the horn. The shortest track (“Max,” also the most sonically extreme) is 12 seconds; the second longest, “2 Gears | 13 Satellites,” is just 1:12 while the finale “CR - V” stretches to 3:27. There’s a distinct progression as Mr. Lehman travels from non-pitched sounds and rhythmic keystrokes to faster, more precise boppish lines and feinting pauses. Some tracks, like “Formant vs. Formant,” sound almost like vocal warmups. Throughout, Mr. Lehman maintains an urgency and expressive reach that marks his more “finished” ensemble albums. assist Jorge Roeder, originally from Lima, Peru, is a vital contributor to bands led by Julian Lage, Ryan Keberle, Sofia Rei, Shai Maestro and many others. On El Suelo Mío he brings his artistry to the fore with an audacious solo bass debut (conceived well before the pandemic, released during it). The album pairs interestingly with The Gleaners, Larry Grenadier’s 2019 solo bass album for ECM, and Mr. Roeder’s South American heritage lends a unique dimension, with pieces like “El Plebeyo” by Peru’s Felipe Pinglo Alva or “Silencio De Um Minuto” by Brazil’s Noel Rosa. The leadotitle track “El Suelo Mío” translates as “land of mine,” but Mr. Roeder has noted it can also mean “ground of mine,” as in “foundation.” And part of Mr. Roeder’s foundation is the music of Chabuca Granda (1920-1983), the Peruvian singer - songwriter and inspiration behind Mr. Roeder’s title tune. “Chabuca Limeña” (“Chabuca from Lima”) references this national artist as well with a tribute by Manuel Alejandro, transformed by Mr. Roeder into something approaching a duet with himself, bass and melody eortlessly intertwined. “Solo Juntos” is a nod to the huayno Andean folk style, while “Patrona” and “Santa Rosita” take inspiration from Julian Lage. And the jazz tradition is strongly present in “I’ll Remember April,” “Thing - Thing” (based on Cole Porter) and Ornette Coleman’s “Lovely Woman.” It’s worth noting that the Coleman piece is the only one Mr. Roeder plays with a bow; his classical training is more than evident in his rock -solid pitch and huge projection of sound. talian-born, New York -based guitarist Pasquale Grasso has developed an uncanny mastery of solo jazz guitar, a challenging discipline exemplified by the likes of Barney Kessel, Bucky Pizzarelli and Joe Pass. But Mr. Grasso has his own way with articulation and harmony, a fully formed language brought about through pick and fingers in ways both technically astounding and supremely swinging and musical. His riveting series of solo albums and EPs was well underway before COVID- 19, but 2020 has seen its continuation, and Solo Bud Powe ranks as one of the finest installments to date. Hearing Bud Powell tunes programmed end to end is always something to rejoice at: bebop’s greatest piano innovator was also one of its essential composers, and numbers like “Dance of the Infidels,” “Bouncing with Bud,” “Celia,” “Hallucinations” and “Oblivion” remind one how Powell belongs right up there with Bird and Monk (the subjects of two earlier Grasso solo outings). Mr. Grasso approaches Powell’s work with dense rubato block - chord passages and subtle inner voice leading, lightning single- note bebop runs and a relaxed, confident time feel that never fails him. His standards, ballads, and holiday releases are equally worth repeated listens. The Jazz Artistry Now article Solo Album Roundup 2020 was written by David R. Adler. Mr. Adler’s work has appeared in JazzTimes, The Village Voice, Stereophile, The New York City Jazz Record, The Philadelphia Inquirer, Philadelphia Weekly, Down Beat, Time Out New York, City Arts, Jazziz, The New York Times, The New Republic, Slate, The Forward, The Sondheim Review, Fairmont Magazine (Canada), La Tempestad (Mexico), GEO (Germany), New Music Box, All Music Guide, Global Rhythm, Signal to Noise, Coda, Jewish Currents and more. He is happy to be a contributor to Jazz Artistry Now. David R. Adler, El Suelo Mío, F35 Jet, Fred Hersch, Jan Solo, Jazz Artistry Now, Jorge Roeder, Palmetto Records, Pasquale Grasso, Pi Recordings, Solo Album Roundup 2020, Solo Albums, Songs from Home, Sony Masterworks, Steve Lehman, TTown, Xenakis and the Valedictorian WINTER JAN COVER STORY Home Magazine Exhibition Writers Recent Posts SOLO JAN WINTER JAN REVIEW The Planets: Reimagined by Jeremy Levy Jazz Orchestra REVIEW Whisper Of The Isolated Ones by Roger Lin 煒翔 Protected: Chelsea Baratz Tate Berry My first gig in NYC Could Live Jazz Learn From Professional Sports Teams in 2020? Stanley Lawrence Crouch December 14, 1945 September 16, 2020 COMMENTARY 2020 Charlie Parker Centennial REVIEW Plays Music By John Coltrane and Pete Seeger by David Berkman REVIEW The Possibility of Change by Fernando Huergo Big Band Freddie Hubbard A Preface On How We Met JAN Best of Jazz 2019 Commentary 12.19.19 REVIEW The Savory Collection 19351940 JAN Vol. 1 Recapitulation REVIEW Electric Miles by Charles Pillow JAN Q&A Michael Leonhart, Part II JAN Q&A Michael Leonhart, Part I Become a patron … has yet to make an unworthy recording … a superb recording on all accounts intriguing piece … well worth a close listen © 2020 Jazz Artistry Now: an arts magazine. JAN began publishing online in 2007 to fill a media coverage void that existed in jazz journalism then. JAN is local and global. MEMBER JAZZ JOURNALISTS ASSOCIATION Powered by WordPress To the top ↑ Article By David R. Adler Songs from Home Fred Hersch PLAY 1 Wouldn't It Be Loverly 2 Wichita Lineman 3 After You've Gone 4 All I Want 5 Get Out Of Town 6 West Virginia Rose / The Water is Wide 7 Sarabande 8 Consolation (A Folk Song) 10 Songs El Suelo Mío Jorge Roeder PLAY 1 El Suelo Mío 2 Chabuca Limeña 3 Solo Juntos 4 El Plebeyo 5 Bounce 6 I'll Remember April 7 Thing-Thing 8 Patrona 13 Songs Solo Bud Powell Pasquale Grasso PLAY 1 Parisian Thoroughfare 2 Bouncing with Bud 3 Glass Enclosure 4 Oblivion 5 Hallucinations 6 Dusk in Sandi 7 Dance of the Infidels 8 So Sorry Please 10 Songs Pasquale Grasso - Tea for Two (O2cial Vi Watch later Share Mr. Adler BEST OF JAZZ EDITORS’ PICKS REVIEW SOLO JAN It’s no mystery why the year 2020 would prompt a good number of solo albums. And yet 2020 isn’t unique in that regard: jazz has a legacy of unaccompanied performance stretching back to Jelly Roll Morton, the stride pianists, Art Tatum and so many others. By Editor November 26, 2020 Sticky post articles, interviews, commentary, photography, and reviews COVER STORY Home Magazine Exhibition Writers Search
Transcript
Page 1: BEST OF JAZZ EDITORS’ PICKS REVIEW SOLO JAN

U

R

B

I

Solo AlbumRoundup 2020

Fred Hersch, Songs from Home (Palmetto)

Steve Lehman, Xenakis and the Valedictorian (Pi)

Jorge Roeder, El Suelo Mío (T-Town)

Pasquale Grasso, Solo Bud Powell (SonyMasterworks)

Jazz Artistry Now – It’s no mystery why the year 2020 wouldprompt a good number of solo albums. And yet 2020 isn’t uniquein that regard: jazz has a legacy of unaccompanied performancestretching back to Jelly Roll Morton, the stride pianists, ArtTatum and so many others. A solo album in 2020, however, callsforth associations and emotions specific to this moment. Andmusicians who play alone, no matter their instrument, offer awindow into their art we might not get otherwise. What followsis a small but representative sampling from a year that hitmusicians especially hard.

nder the self-explanatory title Songs from Home, thegreat Fred Hersch ventures a solo piano set rangingin song choice from Duke Ellington to Jimmy Webb

and Kenny Wheeler, from Cole Porter to Joni Mitchell and theBeatles. “Wouldn’t It Be Loverly” is the leadoff track, a song lessoften played but rich in opportunities for Mr. Hersch’s inimitablypoetic lyricism. “After You’ve Gone” and “When I’m Sixty Four”conjure the spirits of Earl Hines and Teddy Wilson and remindus that with this pianist, the history runs deep.

Apprenticeships with the likes of Sam Jones and Joe Henderson,pivotal gigs coming up on the scene at Bradley’s: the lessons wereimprinted on Mr Hersch’s soul long ago, and you hear it in everynuanced phrase and tonal color. It’s worthwhile to pair Songs fromHome with Brad Mehldau’s solo entry Suite: April 2020, whichoffers mainly original music but also “Look for the Silver Lining”and interpretations of Neil Young and Billy Joel.

ather than Songs from Home, Steve Lehman’s solo EPXenakis and the Valedictorian might be aptly subtitled“Songs from My Car,” which is where the alto

saxophonist made it: in his Honda CR-V, where he took anhourlong break from parenting and teaching every day topractice during the first month or so of the pandemic. Herecorded these solitary car sessions on his iPhone, and when hismother turned 80 while unable to see her son in person, Mr.Lehman culled some selections into an EP as a gift.

Xenakis and the Valedictorian buy shareby Steve Lehman

1. Ecstatics 00:46

2. 808s 00:38

3. Grandy Twins 00:15

4. 2 Gears | 13 Satellites 01:12

5. Formant vs. Formant 00:38

6. Flutter 00:35

7. Cents & Gradients 00:48

8. Glossolalic 00:35

9. Max 00:12

10. CR-V 03:27

The result, just over seven minutes long, captures somethingessential about Mr. Lehman’s approach to breath, soundgeneration and extended technique on the horn. The shortesttrack (“Max,” also the most sonically extreme) is 12 seconds; thesecond longest, “2 Gears | 13 Satellites,” is just 1:12 while the finale“CR-V” stretches to 3:27. There’s a distinct progression as Mr.Lehman travels from non-pitched sounds and rhythmickeystrokes to faster, more precise boppish lines and feintingpauses. Some tracks, like “Formant vs. Formant,” sound almostlike vocal warmups. Throughout, Mr. Lehman maintains anurgency and expressive reach that marks his more “finished”ensemble albums.

assist Jorge Roeder, originally from Lima, Peru, is avital contributor to bands led by Julian Lage, RyanKeberle, Sofia Rei, Shai Maestro and many others. On

El Suelo Mío he brings his artistry to the fore with an audacioussolo bass debut (conceived well before the pandemic, releasedduring it). The album pairs interestingly with The Gleaners, LarryGrenadier’s 2019 solo bass album for ECM, and Mr. Roeder’sSouth American heritage lends a unique dimension, with pieceslike “El Plebeyo” by Peru’s Felipe Pinglo Alva or “Silencio De UmMinuto” by Brazil’s Noel Rosa.

The leadoff title track “El Suelo Mío” translates as “land ofmine,” but Mr. Roeder has noted it can also mean “ground ofmine,” as in “foundation.” And part of Mr. Roeder’s foundation isthe music of Chabuca Granda (1920-1983), the Peruvian singer-songwriter and inspiration behind Mr. Roeder’s title tune.“Chabuca Limeña” (“Chabuca from Lima”) references thisnational artist as well with a tribute by Manuel Alejandro,transformed by Mr. Roeder into something approaching a duetwith himself, bass and melody effortlessly intertwined. “SoloJuntos” is a nod to the huayno Andean folk style, while “Patrona”and “Santa Rosita” take inspiration from Julian Lage. And thejazz tradition is strongly present in “I’ll Remember April,”“Thing-Thing” (based on Cole Porter) and Ornette Coleman’s“Lovely Woman.” It’s worth noting that the Coleman piece is theonly one Mr. Roeder plays with a bow; his classical training ismore than evident in his rock-solid pitch and huge projection ofsound.

talian-born, New York-based guitarist Pasquale Grassohas developed an uncanny mastery of solo jazz guitar, achallenging discipline exemplified by the likes of Barney

Kessel, Bucky Pizzarelli and Joe Pass. But Mr. Grasso has his ownway with articulation and harmony, a fully formed languagebrought about through pick and fingers in ways both technicallyastounding and supremely swinging and musical. His rivetingseries of solo albums and EPs was well underway before COVID-19, but 2020 has seen its continuation, and Solo Bud Powell ranksas one of the finest installments to date.

Hearing Bud Powell tunes programmed end to end is alwayssomething to rejoice at: bebop’s greatest piano innovator wasalso one of its essential composers, and numbers like “Dance ofthe Infidels,” “Bouncing with Bud,” “Celia,” “Hallucinations” and“Oblivion” remind one how Powell belongs right up there withBird and Monk (the subjects of two earlier Grasso solo outings).Mr. Grasso approaches Powell’s work with dense rubato block-chord passages and subtle inner voice leading, lightning single-note bebop runs and a relaxed, confident time feel that neverfails him. His standards, ballads, and holiday releases are equallyworth repeated listens.

The Jazz Artistry Now article Solo Album Roundup 2020 was writtenby David R. Adler. Mr. Adler’s work has appeared in JazzTimes, TheVillage Voice, Stereophile, The New York City Jazz Record, ThePhiladelphia Inquirer, Philadelphia Weekly, Down Beat, Time Out NewYork, City Arts, Jazziz, The New York Times, The New Republic, Slate,The Forward, The Sondheim Review, Fairmont Magazine (Canada), LaTempestad (Mexico), GEO (Germany), New Music Box, All Music Guide,Global Rhythm, Signal to Noise, Coda, Jewish Currents and more. He ishappy to be a contributor to Jazz Artistry Now.

David R. Adler, El Suelo Mío, F35 Jet, Fred Hersch, Jan Solo, Jazz ArtistryNow, Jorge Roeder, Palmetto Records, Pasquale Grasso, Pi Recordings,Solo Album Roundup 2020, Solo Albums, Songs from Home, SonyMasterworks, Steve Lehman, TTown, Xenakis and the Valedictorian

← WINTER JAN

COVER STORY Home Magazine Exhibition Writers

Recent PostsSOLO JAN

WINTER JAN

REVIEW The Planets: Reimagined by Jeremy Levy JazzOrchestra

REVIEW Whisper Of The Isolated Ones by Roger Lin 林煒翔

Protected: Chelsea Baratz

Tate Berry

My first gig in NYC

Could Live Jazz Learn From Professional Sports Teamsin 2020?

Stanley Lawrence Crouch December 14, 1945 September 16, 2020

COMMENTARY 2020 Charlie Parker Centennial

REVIEW Plays Music By John Coltrane and Pete Seegerby David Berkman

REVIEW The Possibility of Change by Fernando HuergoBig Band

Freddie Hubbard A Preface On How We Met

JAN Best of Jazz 2019

Commentary 12.19.19

REVIEW The Savory Collection 19351940

JAN Vol. 1 Recapitulation

REVIEW Electric Miles by Charles Pillow

JAN Q&A Michael Leonhart, Part II

JAN Q&A Michael Leonhart, Part I

Become a patron

… has yet to make an unworthyrecording

… a superb recording on allaccounts

intriguing piece … well worth aclose listen

© 2020 Jazz Artistry Now: an arts magazine. JAN began publishing online in 2007 to fill a media coverage void thatexisted in jazz journalism then. JAN is local and global. MEMBER JAZZ JOURNALISTS ASSOCIATION

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To thetop ↑

Article By David R. Adler

Songs from HomeFred Hersch

PLAY

1 Wouldn't It Be Loverly

2 Wichita Lineman

3 After You've Gone

4 All I Want

5 Get Out Of Town

6 West Virginia Rose / The Water is Wide

7 Sarabande

8 Consolation (A Folk Song)

10 Songs

El Suelo MíoJorge Roeder

PLAY

1 El Suelo Mío

2 Chabuca Limeña

3 Solo Juntos

4 El Plebeyo

5 Bounce

6 I'll Remember April

7 Thing-Thing

8 Patrona

13 Songs

Solo Bud PowellPasquale Grasso

PLAY

1 Parisian Thoroughfare

2 Bouncing with Bud

3 Glass Enclosure

4 Oblivion

5 Hallucinations

6 Dusk in Sandi

7 Dance of the Infidels

8 So Sorry Please

10 Songs

Pasquale Grasso - Tea for Two (O2cial Vi…Watch later Share

Mr. Adler

BEST OF JAZZ EDITORS’ PICKS REVIEW

SOLO JANIt’s no mystery why the year 2020 would prompt a goodnumber of solo albums. And yet 2020 isn’t unique in that

regard: jazz has a legacy of unaccompaniedperformance stretching back to Jelly Roll Morton, the

stride pianists, Art Tatum and so many others.

By Editor November 26, 2020 Sticky post

articles, interviews, commentary, photography, and reviews

COVER STORY Home Magazine ExhibitionWriters

Search

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