Bass CDs
New Album: Santi Debriano, Ashanti
Santi Debriano, Ashanti…
Propelled by a West African tribal tradition, Santi Debriano & Arkestra Bembe unveil the radiant works on Ashanti, a masterwork activated by pandemic jam sessions, due out on November 18, 2022 via JOJO Records.
Panama-born and New York-based Santi Debriano steers away from simplicity. The bassist-composer, who emigrated to the United States from Panama at the age of four and later obtained an ethnomusicology graduate degree from Wesleyan University, has made a point to transpose Afro-Caribbean tradition onto his compositional work. His latest mark, Ashanti, finds West African language and ritual at its core. Alongside his Arkestra Bembé, Debriano harnessed the power of the Yoruba tribe’s bembé — a celebration involving food, drink, music and dance — and fabricated his own, pandemic-inspired jam session tradition of a similar intimacy. Countless weeks of bembés yielded Ashanti, the stalwart bassist’s eighth release as a leader and first via Jojo Records, due out on November 18, 2022.
Back during the pandemic lockdown, Debriano made a sanctuary for New York area jazz musicians deficient in a communal practice space. In the basement of his Staten Island home, he would organize weekly bembés, creating a musical lifeline, a means of survival, for artists until it was safe to venture into the studio again. “At first, the weekly bembés were loose and unstructured,” Debriano shares. “But as they grew in size, it enticed me to start expanding on my arrangements and experimenting with them.”
These sessions afforded the bandleader the opportunity to fashion compositions for a larger cast while witnessing fantastic interactions between instrumentalists. As weeks went by, Debriano’s compositional imagination stretched in tandem with what would become his Arkestra Bembé. This stellar cast finds Debriano as an anchor on bass with Robby Ameen on drums, TK Blue on alto saxophone, Andrea Brachfeld on flute, Tommy Morimoto on tenor saxophone, Ray Scro on baritone saxophone, Emile Turner on trumpet, Adrian Alvárado on guitar and Mamiko Watanabe on piano.
Wrought by challenging chord developments and sudden variations in tempo, a typical Debriano composition is nuanced and even tricky. Through the routine workshop participation in these bembés, band members found an intimate opportunity to indulge in Debriano’s remarkable writings.
The record opens romantically with “Angel Heart”, a dedication to Debriano’s wife. Pulsing with romance, the composition is also a masterclass in intuitive string interplay, where the Brazilian-born Adrian Alvarádo is heard on his Flamenco guitar adagios while Debriano introduces African and Caribbean phrasing on bass. “At the core of ‘Angel Heart’s a melody that’s been in my head for maybe two or three years. I’d rewritten and rewritten it. I realize now that what it was waiting for was a guitarist like Adrian,” Debriano shares.
The title track “Ashanti” is the most spiritually African in its intentions of all tunes on the record, Coincidentally, this melody rolled off of Debriano’s subconsciousness, “almost completely intact” as he describes, sourcing its name from a conversation he had with a man in the West African nation, Togo, who told Debriano that he was named after the Ashanti tribe. Steeped in the ancestry of its namesake “Ashanti” kicks off with the rumbles of Robby Ameen and includes an extended bass solo from the bandleader.
It’s no surprise that a record assembled under the premise of survival would toy with so much imagination. The back-to-back tracks “Imaginary Guinea” and “Imagined Nation” are mystical and exploratory by nature, the former offering a trance-like, eerie prayer in 6/8 measure; its melody extracted from a Haitian Voodoo folklore belief that when a Haitian dies, his soul follows a river across the Atlantic Ocean to Guinea, where it will reside permanently. Ray Scro distinguishes himself on “Imaginary Guinea” with a resonant, surging solo on bari sax.
Images of water continue to flow across the record; the shapeshifting arrangement of the late, great marimba player Bobby Hutcherson’s “Till Then,” came to fruition when Debriano asked pianist Mamiko Watanabe to create a descendent opening, “like water tumbling down a waterfall.” The results are a testament of her artistry. In succession, “Spunky” turns to a straight-ahead mashup of funk and swing with shining contributions from the horn section, including a taste of New Orleans from the Louisiana-born trumpeter Emile Turner.
“Arkestra Bembé Boogaloo” introduces an upbeat, pulsating Latin rhythm held together by Ameen on drums overdubbed on the Cuban guiro, laying down the foundation for an infectious Afro-Caribbean composition. “Basilar” maintains this Latin American spirit, with soaring solos from Tommy Morimoto on tenor sax and the inimitable Andrea Brachfeld on flute before a parade of rhythm culminates at the hands of Ameen on drums.
A virtuosic collaboration between Debriano and saxophonist Ray Scro yields “Mr. Monk and Mr. Mingus”. Written by Scro and arranged by Debriano, the pair honor both jazz giants’ use of metric modulation and affinities for the flatted fifth. Both musicians had a heightened philosophical sense of what Mingus meant when he famously said “music has to have the beauty and the ugliness.” In his own interpretation of the phrase, Debriano shares: “I think what he meant by that was to combine harmony and disharmony in a pleasing way, but with some element of chaos also.”
The record closes with a two-and-a-half-minute arrangement of Charles Mingus’, “Portrait”, which was written for his wife, Sue, who recently passed. Debriano pays tribute to both on this reflective solo. At its core, Ashanti is the product of commitment, a banner of sympathy and understanding between musicians born from a crossroads. With a shared fixation on this music, this practice of endurance became sacred for the members of Arkestra Bembé, who effortlessly merge their cultural and creative backgrounds onto a plain of spiritual comprehension. “Because of the shared physical space as we worked out the details of this over an extended period, I think we’ve been able to achieve something special that took us all into a deeper place.”
Photo: Dan Balilty
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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