There’s a deft subtlety to how Ken Schaphorst develops the character of How To Say Goodbye.  At first blush, the album comes off as just a solid straight-ahead big band recording.  Schaphorst’s ensemble of modern jazz all-stars captivates with the harmonic warmth and huge presence that one would expect from this kind of session.  Right from the word ‘go,’ the music swings along, takes some mild detours for a change of pace, but doesn’t stray too far from the middle of the road.  But as the album proceeds along, the balance between the ensemble’s collective presence and the ability of soloists to express their individuality begins to emerge.  There’s the way trumpeter John Carlson mirrors the ensemble’s dancing motion whether they’re joined at the hip or staring at one another from across the dance floor.  There’s the almost delicate harmonies of “Blues For Herb” and the way saxophonist Donny McCaslin’s solo is able to light a fire under things without dispersing the ensemble’s softer touch.  And there’s how the flow of “Descent” is propelled forward and subsides with an upbeat solo by pianist Uri Caine and a more contemplative tone from trumpeter Ralph Alessi… adaptable under any and all conditions.

And it’s when Schaphorst grows the personality of this recording exponentially with pieces like “Mbira 1” and “Mbira 2” that this session vaults into something truly special.  The textures of the African percussion and the dynamic rhythmic approach, and how they both melt into the gentlest sighs of melody from the ensemble, it all comes together in expressions of profound loveliness.  Yes, the compositions are immaculate and the musicianship is superb, but it’s the substantive depth created by the synthesis of those two qualities that marks this album as a true gem.

The foundation of the album’s context is grounded in relationships, both personal and musical.  The emotional impact of the compositions and the sympatico interplay between Schaphorst and his fellow NEC alums is the living proof that Schaphorst’s intent translated to the recorded medium.

Really, just a magnificent recording, and it continues to grow on me with each subsequent listen.  Its effect upon me was subtle.  I’m not sure exactly when I became addicted to How To Say Goodbye, but the result is undeniable… and quite welcome.

Your album personnel:  Ken Schaphorst (trumpet, Fender Rhodes), Brad Shepik (guitar), Michael Thomas (clarinet, soprano & alto saxophones), Brian Landrus (bass clarinet, baritone sax), Jeremy Udden (alto sax), Chris Cheek, Donny McCaslin (tenor saxophones), Dave Ballou, John Carlson, Ralph Alessi, Tony Kadleck (trumpets, flugelhorns), Curtis Hasselbring, Luis Bonilla, Jason Jackson (trombones), Jennifer Wharton (bass trombone), Uri Caine (piano), Matt Wilson (drums), Jay Anderson (bass) and Jerry Leake (percussion).

This Self-Produced album is released under JCA Recordings.

Listen to more of the album on Soundcloud.

Music from Boston.

Available at:  Amazon | CDBaby

The music of Zenophilia bounces off the walls and it sings loud and far and the musicians play with an enthusiasm that sounds like they’ve got the widest grins on their faces for every single exciting note.  The trio of drummer Zeno De Rossi, saxophonist Piero Bittolo Bon and trombonist Filippo Vignato channel their odd melodies with a hyperactivity that gives them a strange allure, warped and reshaped at high speeds.  Most illuminating is “Cats (for Joey Baron)” when the trio deconstructs their winning formula by slowly cracking open the heart of their melodicism in the song’s first third, then isolating their methods for discombobulating a tempo in the song’s middle third, before bringing it all back together at normal speed for the remainder of the song’s duration.

The trio is situated in a modern jazz territory where post-bop edge and indie-rock drive feed into the dual needs for edgy personalities and a fierce melodic perspective.  That said, they bring in other influences, and each with more than a little success.  There’s the gospel overtones of “The Daniel Quinn Theme” and the spirit of New Orleans on “Henry Zeno” and the West Coast groove of “Baboo,” and each of them add wrinkles of personality to a recording that’s got plenty to spare.

Most of the tunes are upbeat and move with a brisk tempo that isn’t made to dawdle.  Thankfully, however, they do switch things up occasionally.  “Theme From Taxi Driver” has a moody presence, and the shadows grow long on “Red Bird (for Sergio Candotti),” but then it’s up bright and early with the sunrise cheerfulness of “Marionette” and the zig-zagging “Catfight.”  And all of it screams fun.

Your album personnel:  Zeno De Rossi (drums, percussion, whistle), Piero Bittolo Bon (alto sax, bass flute) and Filippo Vignato (trombone).

Released by Auand Records and El Gallo Rojo Records.

Listen to more of the album at the artist’s Bandcamp page.

Music from Ferrara, Italy.

Available at:  Bandcamp | Amazon

The thrill of Folklore Imaginaire is seeing how the melody makes it to the end of the story.  Oggy & The Phonics begin each track with a crisp melodic statement designed to get its hooks in ya.  And pretty much across the board, they’re successful in that regard.  But from there, the quintet takes the melody for a ride, like a car chase scene in an action movie, with high speeds and sudden turns and sometimes careening wildly off-road before hitting dead center the next.  Sometimes the melody takes to flight, as on the pulsing opening track “Unknown Force.”  And sometimes it skirts along the edge of a groove as on “La Réthorique du Panda” before breaking into psych-rock territory.  There’s the head full of steam on “L’alchimiste” and how electric guitar edge gives way to the slow unwinding of melodic strands.  Or how fluttering becomes drone becomes tranquility on “Canyon.”

Every track is a different melody and every melody has a different story.  It’s pretty damn fun watching each one of them play out.

Your album personnel:  Louis Billette (saxophones), Gaspard Colin (electric bass), Théo Duboule (electric guitar), Marton Kiss (drums) and Clement Meunier (clarinet).

The album is Self-Produced.

Listen to more of the album at the artist’s Bandcamp page.

Music from Lausanne, Switzerland.

Available at:  Bandcamp