Bass CDs
Bassist Dan Greenspan and Vocalist Mili Bermejo to Release Arte del Dúo
Since first joining forces over a quarter-century ago, vocalist Mili Bermejo and bassist Dan Greenspan have created a recorded library of timeless music with a number of cherished partners. For those fortunate enough to experience them in live performance, however, the lingering memory of this brilliantly skilled and totally compatible couple is likely to be the moments when they stand alone. “We have always wanted to make pure music,” Greenspan explains, “and have always included duo tunes in our sets.” On October 7, 2016 the pair releases their first all-duo program in two decades, Arte de Duo, on Ediciones Pentagrama.
Bermejo, born in Buenos Aires, raised in Mexico City and a professor at Berklee College of Music since 1984, and Greenspan, a New Haven native and classically trained cellist who became one of the Boston area’s leading freelance bassists, have created a unique body of music that applies jazz improvisation to original songs and music from throughout the Americas. Themes of political liberation, environmental responsibility and interpersonal commitment have defined both their music and their career and led them to a major life decison. “The business changed so much post-9/11 that we had to decide whether we should reinvent ourselves,” Bermejo notes. This led to what Greenspan describes as “an entire creative undertaking of another kind” – a move to New Hampshire, where the couple built their own house.
“We decided to live the right way,” Bermejo says of their relocation to a nature reserve. “It has brought us closer and closer to `do it yourself,’ including growing as much of our own food and making as many of our own clothes as possible. It has purified us, and removed many of our frustrations.” But, Greenspan adds, “For a while, the move replaced music. Finding opportunities to rehearse in Boston when everyone we worked with had so many other gigs became hell.” The bassist also turned his attention to baking and has built a growing reputation with his Dan’s Brick Oven Bread, while a construction accident also left him unable to play for several months. The future of their performing partnership became unclear.
“But Mili insisted that we couldn’t let the music go,” Greenspan stresses, and the result is a new focus on the intimate artistry that had previously only been showcased on their 1997 album Duo which was released on Gunther Schuller’s GM Records. “It got us back to the essence of art,” he says, “and provides the best opportunity to use all of the classical information that we have.” Yet the new music, developed over a series of monthly gigs at the Lilypad in Cambridge, Massachusetts, takes the pair beyond their previous achievements. “We didn’t want to repeat ourselves,” Bermejo adds. “Now we reduce. I think of the music like my garden, as being all about beauty after years of work. And nobody told me how to do it.”
The influence of life in New Hampshire is clear in the Bermejo originals “La Casa del Arbol” (“The Tree House”), about “a secret refugeŠamong trees and stars” and “Cosecha” (“Harvest”); but she also contributes two new titles in her string of beautiful love songs, “Los que se Aman” (“Those Who Love”) and “No Dejo de Quererte” (“I Don’t Stop Loving You”). The duo also links Bermejo’s “Décima Muerte I” from their first duo disc and “Décima Muerte II” by the Mexican poet and playwright Xavier Villarrutiga in a medley linked by a powerful Greenspan solo.
Greenspan’s bass also launches “Las Orillas del Mar” (“At the Edge of the Sea”), a 13th Century feminist poem with music by Hafez Modirzadeh, the composer-saxophonist who featured Bermejo extensively on his acclaimed 2011 album In Convergence Liberation (Pi Recordings). “Working with Hafez is the most challenging thing I’ve done,” she notes, “and it has opened both of our minds. Now I’m improvising more, though not `taking a chorus’ in the traditional sense.” This new improvisational freedom is joyously displayed on “Tres Veces Heroica” (“Three Times Heroic”), written by Mexican composer Charlie Dríguez and previously heard on the 2006 live recording De Tierra (Of Earth) (Ediciones Pentagrama), and “End of the Beginning,” written for the duo by the Armenian-born pianist and composer Vardan Ovsepian. “Windmills of Your Mind,” by French composer Michel Legrand with Spanish lyrics by Manuel Gurria, was also arranged by Ovsepian. “Vardan’s arrangement got Dan back in shape after his injury,” Bermejo notes, adding with a laugh, “it also made me get back in shape.”
Two works from Argentina are included, “Equipaje” (“Luggage”) by Juan Quintero and “Cambalache” (“Pawn Shop”) by E. Santos Discépolo. The latter, a classic tango, gives Greenspan the opportunity to display his skill with the bow. “Candombe para Gardel” (“Candombe for Gardel”), a tribute to Argentinian tango master Carlos Gardel from the Afro-Uruguayan perspective of Rubén Rada, completes the program.
Arte del Duo is Bermejo’s fifth release on Mexico’s Ediciones Pentagrama label, which recently received the Independence Award from the Fundación Mediterránea Mar y Tierra in Tarragona, Spain. “We’ve stayed faithful to the vision of [label founder] Modesto López: Independence and 35 years of support to Latin American artists dedicated to progressive social change,” she notes.
The album will be released at the Lilypad on Sunday afternoon, October 23, where a new audio system created especially for the duo by sound engineer Art Steele will enhance the performance. “I asked Art for a minimal system, with just two small speakers, Greenspan explains. “Now my hands are free, just like my mother’s were when she sang,” Bermejo adds.
Creativity, and the magic that ensues, remain at the heart of Mili Bermejo’s and Dan Greenspan’s music; and Arte del Duo is their most creative and magical statement to date.
Visit online at artedelduo.com
In an exciting announcement for Rush fans and rock enthusiasts alike, Anthem Records in Canada and Rhino Records will reissue the first-ever solo albums of Alex Lifeson and Geddy Lee. Lifeson’s 1996 album Victor and Lee’s 2000 offering My Favourite Headache will be re-released on August 9, 2024, in various formats, including a range of vinyl configurations.
My Favourite Headache, Geddy Lee’s only solo album to date, was initially released on November 14, 2000. This reissue marks its first vinyl pressing since a limited-edition Record Store Day exclusive in 2019. The fourth side of the album features two instrumental mixes. Produced by Lee, Ben Mink, and David Leonard, the album includes contributions from Mink and drummers Matt Cameron (Soundgarden/Pearl Jam) and Jeremy Taggart (Our Lady Peace).
Victor, originally released on January 9, 1996, marks Alex Lifeson’s solo debut. Lifeson took on the roles of songwriter, producer, and mixer for this album. For the first time, Victor will be available on vinyl, featuring a complete remix by Lifeson himself to enhance the audio quality. The fourth side of the album includes four instrumental tracks previously exclusive to Lifeson’s website. Guest artists include lead vocalist Edwin from I Mother Earth, Primus bassist Les Claypool, and Canadian powerhouse vocalist Lisa Dalbello. The 15-song collection is paired with striking 2024 reimagined artwork by Fantoons Animation Studios.
For more details on the Geddy Lee reissue and to preorder, https://lnk.to/MyFavouriteHeadache
For more details on the Alex Lifeson reissue and to preorder, https://lnk.to/AlexLifesonVictor
Acclaimed bassist and composer Ben Wolfe is thrilled to announce the August 9, 2024 release of The Understated.
This evocative new album features a collection of new original compositions by Wolfe paired, with re-imaginings of some of the composer’s classic material, with a particular emphasis on the ballad song-form. The album features ten tracks, five of which are ballads – a bold move for any composer – Wolfe creates a cohesive narrative here that challenges the listeners perception of the classic ballad. The Understated features Wolfe alongside artists who make up the very frontline of modern jazz, including pianist Orrin Evans, tenor saxophonist Nicole Glover, drummer Aaron Kimmel, guitarist Russell Malone and pianist Sullivan Fortner.
Wolfe has always been drawn to finding beauty in subtlety. He perceives a certain tranquility and elegance in the Coltrane Quartet, Louis Armstrong’s Hot Fives and Sevens, the legendary Miles Davis bands and rhythm sections, and the music of Charlie Parker. While he, of course, revels at the immense world-building energy of this music, it’s the “other side” – the elusive, magical aspect that endlessly captivates him – the understated. The composer draws inspiration most from the ensemble work of these hallmark jazz ensembles. Despite the individual parts being extraordinarily beautiful on their own, the musicians in these archetypal ensembles play only what is needed to serve the music, paying particular attention to the band-sound more-so than their individual sound. The Understated embodies this ethos with a tremendously impactful ensemble-oriented approach.
Wolfe sought to continue the thread started by “Lullaby in D” from his previous critically acclaimed release Unjust. Wolfe indicates, “Something about that take was so perfect to me. It had been brought to life, and it had that ensemble thing.” Wolfe assembled the quartet who recorded “Lullaby” (including longtime collaborator Orrin Evans, as well as recent frequent collaborators Aaron Kimmel and Nicole Glover) and two very special guests, Russell Malone and Sullivan Fortner. The recording process took place in one room with no headphones or isolation booths, further emphasizing the group’s collective awareness.
This record succeeds in bringing Wolfe’s expansive music to life through extremely conscientious group playing. Nothing is forced or pushed; everything that needs to be stated is stated. The single from the album, “Waltz,” encapsulates the spirit of the project. Wolfe says, “I view albums like a complete painting, so singles have been difficult for me. This song is very much in the spirit of the whole but doesn’t give away the record.” The piece features a sentimental melody delivered with grace by tenor saxophonist Nicole Glover, before Glover and Evans embark on stirring solos dancing in and out of the tune’s harmony.
Other new original compositions featured here include “Ballad in B”, which perhaps best demonstrates the group’s stunning cohesion. This tune is a refreshing diversion as it features a serene repeated melody without overt melodic improvisation. The following track, “Anagram”, begins with Kimmel’s rhythmic refrains and a unison melody played by Glover and Wolfe and is a true ensemble piece. On this track, Wolfe shines with a lyrical solo. The moody short interlude “So Indeed” is a lyrical masterwork that leaves the listener wanting even more. “Beautiful You” features master guitarist Russell Malone on the track’s melody. The emphasis here on restrained lyricism is a prime reminder of the old adage “it’s not the notes you play, it’s the notes you don’t play”. Each pocket of space in between melodic moments leaves room for the listener to breathe deeper and deeper into the song. The driving “Triangle Man” features fantastic improvisation from Glover and Kimmel. The tender “Barely Spoken” concludes the album with a feature for pianist Sullivan Fortner.
The album also weaves in references to Wolfe’s past works, creating a personal musical universe. “The Poet Speaks” is the opening track on his first record, 13 Sketches. “Occam’s Razor” was composed years ago for a collaboration with a choreographer and painter, and was a much different composition in its original form. “Love Is Near” was originally found on The Whisperer. With ballads in particular, Ben uses voicings and sounds that represent certain things to him, intentionally referencing his other compositions to generate connections between his songs.
Wolfe’s tremendous compositions on this album are also influenced by the group of musicians that he assembled for this release. Wolfe remarks “One of the things these five musicians share in common is that not only are they true ensemble players, they will always play something unexpected and special.” Listeners will find calm and beauty within the ensemble performances throughout The Understated.
Visit online at benwolfe.com/
Bassist, band leader, and composer Orlando le Fleming continues to make music that crosses genres as readily as he crosses the Atlantic, with this new album ‘Wandering Talk’, to be released physically on 23rd August via the UK’s premiere jazz label, Whirlwind Recordings.
After 20 years in New York City, he’s back in his native UK, forging new pathways and renewing old partnerships. His love for the acoustic tradition continues unabated alongside his deep affection for the robust, muscular electric fusion that emerged in the 1980s, and he has received critical acclaim from media including The Guardian, Financial Times, Jazzwise, and All About Jazz among others. He has also toured and recorded with some of the world’s greatest jazz musicians including Branford Marsalis, Kurt Rosenwinkel, Antonio Sanchez, Ari Hoenig, and Wayne Krantz.
The Romantic Funk project was born in New York’s legendary 55 Bar to explore that legacy: now the new album ‘Wandering Talk’ builds on the critical acclaim generated by ‘The Unfamiliar’ (2020), building on the framework with a set of collaborators that brings together London and New York, past and present, acoustic, and electric, and merges it all into a spectacular whole.
Following the same principles that served the project in NYC, le Fleming booked four Friday nights at London’s renowned Vortex Club to workshop the music that would become the album, with a rotating cast of players which he honed down into the final line-up. Old London friends Tom Cawley (piano/keys) and James Maddren (drums) completed the rhythm section. New acquaintance Nathaniel Facey was picked from the ranks of the UK’s brightest young saxophone players. NYC stalwart Philip Dizack flew in from the US to play trumpet and reaching back to Orlando’s school days and forward to his own family, one-time classmate Chris Martin (Coldplay) and his own daughter Nadia combined to provide vocals on a special setting of Rumi’s poetry.
As before, the music combines fusion’s flash and fire with a contemporary sensibility. This time, Orlando’s questing spirit sends his superb band forward to investigate fresh areas of creativity in dynamic and texture.
Visit online at orlandolefleming.com
Album: John Entwistle, Rarities Oxhumed – Volume Two
Rarities Oxhumed – Volume Two is the second of the series of posthumous releases coming from John Entwistle.
Rarities Oxhumed – Volume Two is a compilation that was curated by drummer Steve Luongo, who served as John Entwistle’s producer, bandmate, business partner and good friend for many years. As Luongo states, “When I agreed to do two volumes of John Entwistle rarities, I knew volume two had to be even better than volume one. It is!” The collection of songs on Volume Two are from his years with the John Entwistle Band and include re-mastered versions of studio tracks including “Endless Vacation”, alternate mixes of tracks like “Sometimes”, and live tracks including The Who cuts “Real Me”, “Long Live Rock” and an epic version of “Young Man Blues”. The latest preview track to be released is the Who cut “Had Enough.”
Listen to “Had Enough” here: push.fm/ps/hadenough
Rarities Oxhumed – Volume One was quickly embraced by longtime fans as it featured gems like “Bogey Man” featuring Keith Moon, “Where You Going Now” (demo for the Who), and a raw live version of “Trick of the Light” recorded during the John Entwistle Band’s final tour in 2001. Deko Entertainment is thrilled to have been able to bring both volumes of this unearthed music of John Entwistle to the fans and forever solidify him as one of the greatest rock musicians ever.
For more information, visit online at dekoentertainment.com/john-entwistle
Mark Egan, Cross Currents…
It is exciting every time I get a new album from Mark Egan as he is such an amazingly versatile player and I never know what to expect (except for excellent artistry!) In his latest release, Mark has teamed up with Shawn Peyton on drums and Shane Theriot on guitar to bring us “Cross Currents”.
This collection of eleven tracks transports me to the Gulf Coast (New Orleans specifically). Mark’s fretless basses lay down a solid groove and lots of juicy solo work for this rootsy collection of funk, ambient, swamp-rock, second line, ballads, Cajun and even Indian Raga.
This trio is super-tight and the musicianship is flawless as each member has ample opportunity to shine. Even though each player is very talented in their own right, I feel that the collective energy is greater than just the sum of the players on this album. Each musician contributed to composing music for this project but the lion’s share are Mark’s original pieces.
I spent the summer of 1981 in New Orleans and this wonderful music takes me back to those fond memories. I participated in a wacky raft race on Lake Ponchatrain and this opening track elicits images of fun, sunshine, music, and great food.
This is another superb album that everyone will enjoy. Get your copy today! Cross Currents is available online at Amazon.com. Visit Mark online at markegan.com.
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