- Adam Nolan Trio “Ancient Mayan Temple” from Prim and Primal (Self Released) 00:00
- Barry Deister Quintet “The Falls” from Crows- The Portland Images Project (Self Released) 11:04
- Gerry Eastman Trio “Trust Me” from Trust Me (Self Released) 18:21
- Ivo Perelman with Angelica Sanchez “Tale Eight – Chapter Four” from Brass and Ivory Tales (Fundacja Słuchaj) 24:52
- John Coltrane “A Love Supreme, Pt. I – Acknowledgement” from A Love Supreme: Live in Seattle (Impulse!) 33:04
- Barry Deister Quintet “Crows” from Crows- The Portland Images Project (Self Released) 55:42
- Gerry Eastman Trio “Just A Matter Of Time” from Trust Me (Self Released) 1:00:29
- Ivo Perelman with Craig Taborn “Tale Seven – Chapter Five” from Brass and Ivory Tales (Fundacja Słuchaj) 1:09:17
- Fran Nava “Rufus” from Umkhonto (ears&eyes) 1:18:36
- Adam Nolan Trio “Kung Fu Master vs The Ape” from Prime and Primal (Self Released) 1:24:47
- Gerry Eastman Trio “Cuban Sunset” from Trust Me (Self Released) 1:33:02
- Ivo Perelman with Vijay Iyer “Tale Nine – Chapter Four” from Brass and Ivory Tales (Fundacja Słuchaj) 1:41:43
- Fran Nava “In The Crease” from Umkhonto (ears&eyes) 1:56:44
Trios, Ivo and Trane
On this weeks show music from trios lead by Adam Nolan, Gerry Eastman and Fran Nava. There’s another track from the newly released live version of a Love Supreme Live in Seattle as well as further exploration of Ivo Perelman’s Brass and Ivory Tales Box Set. Portland, Oregon also features, a city that inspires the music of Barry Deister.
Adam Nolan Trio
Throughout his prolific career, altoist Adam Nolan has been dedicated to creating music that is freely improvised, conversational, and quite honest. He has an attractive tone of his own and, while sometimes hinting at Eric Dolphy and Ornette Coleman, his musical conception is very original. On Prim and Primal, Nolan engages in close interplay with bassist Derek Whyte and drummer Dominic Mullan, two masterful musicians who, like the altoist, are based in Ireland. The six performances on the album emphasize a musical conversation between Nolan and Whyte while Mullan contributes spontaneous commentary. The high-quality free bop performance has a strong forward momentum and puts the spotlight on Nolan’s speech-like alto. “The Modern Jazz Trio” features each of the musicians making concise unaccompanied solo statements before joining together in ensembles that evolve from being lyrical to fiery.
Barry Deister Quintet
This album is a collection of original jazz compositions that are inspired by the beauty and character of Deisters adopted home, Portland Oregon.
Released February 1, 2021
Barry Deister – Saxophone/Flute
Paul Mazzio – Trumpet/Flugelhorn
Randy Porter – Piano
Jon Lakey – Bass
Tim Rap – Drums
Gerry Eastman has long had an original sound and style on the guitar. While there are moments where his tone may briefly recall George Benson or Wes Montgomery, his improvising is always adventurous without losing its bluesiness. On Trust Me, Eastman along with organist Greg Lewis and drummer Taru Alexander provide a fresh spin on the classic jazz organ trio with their individual sounds, solos, and inventive interplay. They perform eight of the guitarist’s originals and, while the music swings and grooves soulfully, it is far from predictable. Eastman provides a variety of rich melodies, his chord changes are original, and each of the musicians contributes to the music’s surprising twists and turns.
Great saxophonist, improviser Ivo Perelman celebrates its 60th birthday this year. Brass & Ivory tales – 9 CDs box-set is a gift for this phenomenal musician, great human being, and marvelous artist. Nine studio sessions with nine top and most creative pianists like Dave Burrell, Marilyn Crispell, Aruan Ortiz, Sylvie Courvoisier, Angelica Sanchez, Aaron Parks, Agusti Fernandez, Craig Taborn, and Vijay Iyer in a beautiful box with liner notes from Grammy Award Winner writer Neil Tesser. I’m featuring all of the release over three weeks.
After nearly six decades, a private recording of a rare, nightclub performance by John Coltrane of his magnum opus, A Love Supreme, has a commercial release. Recorded in late 1965 on the culminating evening of a historic week-long run at The Penthouse in Seattle, A Love Supreme: Live In Seattle is a musical revelation of historic importance, capturing Coltrane as he began to expand his classic quartet—adding Pharoah Sanders on second saxophone and Donald Garrett on second bass—and catapulting him into the intense, spiritually focused final phase of his career. The album A Love Supreme Live in Seattle released on October 8, on Impulse! Records
The significance of A Love Supreme: Live In Seattle is heightened by the fact that Coltrane seldom performed his four-part suite after originally recording it in the studio in 1964. Composed and created as a public declaration of his personal spiritual beliefs and universalist sentiment, it became a best-seller and received a GRAMMY nod the next year. For more than six decades, it seemed the only recorded public performance of A Love Supreme took place at a French festival at Juan-Les-Pains in July 1965 and was released almost twenty years ago. The tape reels containing this performance from October 1965 sat in the private collection of Seattle saxophonist and educator Joe Brazil, heard by a few fortunate musicians and friends—and largely unknown until now.
A Love Supreme: Live In Seattle is a fascinating and rare performance of the full suite, marked by a looser and more improvisational approach, and a overriding sense of communal participation—much like a Sunday church service; the lineup featured John Coltrane and Pharoah Sanders on saxophones, McCoy Tyner on piano, Elvin Jones on drums, and Jimmy Garrison and Donald (Rafael) Garrett on basses. Carlos Ward, then a young saxophonist just getting started on the scene, sat in as well.
As music historian Ashley Kahn puts it in the liner notes, A Love Supreme: Live In Seattle “offers the first evidence of the master of spiritual expression performing his signature work in the close confines of a jazz club…on October 2, 1965, a Saturday, in Seattle, the necessary elements were in alignment: music, players, venue, a spirit of connection, a certain political charge. Coltrane chose to perform it, and significantly, the moment was recorded.”
Kahn’s extensive liner notes tell the story of A Love Supreme: Live In Seattle not only through the words of the musicians themselves, but also through a number of witnesses whose lives were changed by Coltrane’s visit to Seattle in 1965 (his sole visit to the city as a leader), including Brazil, Ward, and bassist David Friesen, who states: “I’ve always pursued the spiritual aspect of the music and I still do. I remember sitting with Coltrane during one break that week and…what touched me was the way he treated other people. He showed mercy and kindness to people from what I could see around me for the week that I was there.”
The music on A Love Supreme: Live In Seattle was recorded with a two-microphone set-up onstage, connected to an Ampex reel-to-reel machine, and the only copies of the tapes were well cared for, yielding a remarkably clear and distortion-free recording. “What’s remarkable is that tapes from this era often suffer over the years from heat or moisture damage, or simply being stacked horizontally,” writes engineer Kevin Reeves who produced this release. “However, these tapes are in excellent condition… and the results are among the best amateur recordings of John Coltrane we’ve had the pleasure to work on.”
The story of the A Love Supreme suite is the story of John Coltrane—his musical journey, and his spiritual path. It has become one of the most celebrated and influential recordings to come out of the jazz canon, revered and studied by musicians far beyond the jazz realm. Rolling Stone magazine consistently lists it among the top albums of all time. “Of his many musical creations, Coltrane looked upon A Love Supreme in a very special light,” Kahn notes in the liner notes to A Love Supreme: Live In Seattle. “He called A Love Supreme a ‘humble offering to the Divine; no other composition or recording was similarly offered nor did he append his signature to any other work. A Love Supreme was as much an individual testament as it was a public statement—a sermon of universalist belief.” A Love Supreme: Live In Seattle now expands the story of both a great musician and a timeless piece of music.
Fran Nava is a bass player and composer from Buenos Aires. He has performed at renowned festivals including Jazz BA in Buenos Aires, Jazz a la Calle in Uruguay, Jazz Festival SF in Santa Fe, and played in many of the most important venues of the city like Virasoro, Thelonious Club, Usina del Arte, among others. Although he has participated in different albums, such as with the nonet Mingunos, and in projects as a session player and as a co-leader, Umkhonto is his first álbum as a leader. The musical concept of the album is tied to intense variations, with high energy levels and strong interaction between the musicians, up tempos and different rhythmic modulations. To deliver this idea, Fran Nava formed thia sax trio with renowned jazz musicians from Buenos
Aires, Patricio Bottcher on tenor and soprano saxophone, and Venezuelan Omar Menéndez on drums. I’m featuring Nava’s “Rufus” and the trio’s take on Branford Marsalis “In The Crease”.