Bass CDs
Bassist/Composer Ben Wolfe Dedicates Introspective New Album to His Late Father Fatherhood
Stalwart bassist Ben Wolfe is proud to announce the August 30th release of his new album, Fatherhood – a heartfelt body of work which pays tribute to the bassist’s father, Dan Wolfe who passed away in 2018.
This ten-track collection of nine originals and one cover also serves as a meditation on what it means for Ben to be a father to his own son, Milo. With Fatherhood, the bassist and composer made a conscious decision to step off the fast lane for a moment and make music of introspection and mourning. “I made this record in ways I knew my father would have encouraged” – that meant choosing the best studio, the best musicians, self-funding the entire project, and making wise decisions throughout. Ben is thrilled to have this record brought to fruition by a collection of both familiar collaborators and young phenoms – the bassist is joined by trumper Giveton Gelin, saxophonists Immanuel Wilkins, Ruben Fox, JD Allen, trombonist Steve Davis, pianists Luis Perdomo and Orrin Evans, vibraphonist Joel Ross and drummer Donald Edwards. As on two previous recording sessions, Ben drafted the Grammy-nominated violinist Jesse Mills to put together a stellar string quartet, which features Mills alongside Goergy Valtchev on violin, Kenji Bunch on viola and Wolfram Koessel on cello. Mindful of his father’s judicious approach to performance, Ben surmises that “this record is about the overall sound of the ensemble.” The Ben Wolfe Quintet will play four nights at Dizzy’s at Jazz at Lincoln Center, NYC from August 1st-4th.
Ben and his dad experienced the customary roller coaster ride typical of father-son relationships, but in music they forged their deepest bonds. A former violinist who spent a season with the San Antonio Symphony, Dan Wolfe raised his son to love all sorts of music. “He introduced me to jazz,” Wolfe explains. “He loved Monk. He loved Lester Young and Billie Holiday. And he taught me a lot about music…he was not into showing off or playing extra notes for no apparent reason”.
Wolfe’s use of strings on seven of the ten tracks beautifully unites the jazz and classical worlds that father and son revelled in. This is not the first time the Baltimore-native augmented his ensemble with a quartet of strings, but as a tribute to his father it takes on a new significance. During the recording process of Fatherhood, Wolfe made the unorthodox decision to record without headphones and insisted that the band play together in the same room. As a result, the recording sounds rich and warm.
Fatherhood opens with “Blind Seven,” a track which features two brilliant young cats barely in their ‘20s—Immanuel Wilkins on alto saxophone and Joel Ross on vibraphone. Rounding out the rhythm section is Venezuelan pianist/composer Luis Perdomo and drummer Donald Edwards, who has been a regular collaborating partner of Wolfe’s for at least 25 years now. “Blind Seven,” (a reference to the card game “spades,”) is a classic from the Ben Wolfe songbook first recorded in 1996. This arrangement only bears a passing resemblance to its earlier bopp-ish version – the melody doesn’t come in until two minutes into the tune, as Wilkins and Ross trade complex angular phrases against the string quartet, which plays contrapuntally against the uptempo rhythm section and horn lines. The composition then moves into a short, unaccompanied piece based on an eleven-note motive. This “Blind Seven” diverges so radically from the original that fans may think of it is as a new composition.
The album moves forward with “Gone Now” – a ballad which reflects on what is lost when relationships end. While the lush string arrangement conjures a sense of nostalgia, young British tenor player, Ruben Fox, channels Lester Young with his light airy tone, slight vibrato, and elegant lyricism. Another stand-out track from the album is “Uncle Leslie,” which pays tribute to the composer’s son Milo and to the people that have become significant figures in the youngster’s life. Ben introduced everyone around Milo, especially fellow musicians, as “uncle,” and the circle included a female neighbor of theirs named Leslie whom he dubbed “Uncle Leslie.” This tune is an exquisite slow-medium waltz featuring Gelin, Ross, Evans, and a solo by Wolfe. “The Kora La” is a mesmerizing piece of music. Kora La refers to the mountain pass through the Himalayas linking China and Nepal. The piece was originally commissioned by the National Jazz Museum in Harlem for the Harlem in the Himalayas Jazz Series and premiered at the Rubin Museum of Art. The string quartet’s opening reminded Wolfe of mountains, and the grooves that follow as the road through those mountains. However the real inspiration for the music can be traced back to Alex Ross’s The Rest Is Noise: Listening to the Twentieth Century – a book which tells the history of modern and experimental music.
“First Things First” slows down the tempo to the kind of fox trot cadence, reminiscent of those penned by Thelonious Monk. Trombonist Steve Davis joins Ross on the front line, backed by Perdomo, Edwards, Wolfe, and strings. Fatherhood closes with “What’s New” – the album’s sole cover track. On this 1939 standard composed by fellow bassist Bob Haggart with lyrics by Johnny Burke, while Wolfe remains loyal to the song’s roots as a slow, romantic ballad, he succeeds in re-harmonizing and rearranging the song in ways consistent with his generation. Wolfe knows his father would have loved the band’s reinterpretation of this classic gem, and so its position as album closer truly encompasses the thoughtful homage Ben envisioned Fatherhood achieving.
Derived from liner notes by Robin D. G. Kelley
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.
ALBERTO RIGONI’s New Project NEMESIS CALL Announce “Kingdom of Shred” Album, Feat. Super Talented Guests Such as Mike Terrana, Alexandra Zerner + Many Others
Worldwide known Italian bassist and composer ALBERTO RIGONI (soloist, BAD As, Kim Bingham, Vivaldi Metal Project, etc.) announces the new album “Kingdom of Shred” of his new project NEMESIS CALL.
Alberto says:
“Even if my latest album “Unexpected Lullabies”, dedicated to my newborn Vittoria Parini Rigoni, was released on June 4th 2024, I felt the need to compose new music (yes, I really can’t stop!). This time will be quite challenging because I’m willing to release an instrumental shred/prog/rock/metal/melodic album, that will feature many talented top-notch musicians such as drummer Mike Terrana, Alexandra Zerner, Alexandra Lioness, Aanika Pai (11 years old!), Keiji by Zero (19 years old!), SAKI and many others TBA/TBC). It won’t be easy to manage all such great musicians but I will make it! Are you ready to face a new prog experience? The album will be released in Digipack CD and in high-quality digital format approximately at the beginning of 2025 or maybe for Christmas!.”
As an independent artist, Alberto Rigoni has launched a fundraising campaign to support the project. Support at www.albertorigoni.net/nemesiscall. 20% of the income will be donated to Lega del Filo d’Oro (www.legadelfilodoro.it/it), an Italian association that helps deaf and blind children!
Visit online at www.albertorigoni.net | albertorigoni.bandcamp.com | facebook.com/albertorigonimusic | www.badas.rocks
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