Bass CDs
New Album: Matt Ulery, Mannerist
Bassist, composer, bandleader, and Woolgathering Records label founder Matt Ulery is proud to announce the May 5, 2023 release of his new undecet album Mannerist on said label.
As Chicago Reader put it in a glowing review of his previous album, Become Giant, “[He’s] in so many projects that he sometimes seems omnipresent. Unsurprisingly, Ulery’s output as a composer and bandleader is just as multivalent.” Indeed, Mannerist is Ulery’s 14th album as a leader, but this is an artist who deals not only in quantity, but a spectacular degree of quality.
Manneristrepresents something of a synthesis of three musical components. The first is Ulery’s trio — himself, pianist Paul Bedal, and drummer Jon Deitemyer. The next component is a triage of horn players — tenor saxophonist Dustin Laurenzi, trumpeter James Davis, and trombonist Chris Shuttleworth.
Rounding out the 11-piece group on woodwind and brass are clarinetist Zachary Good, oboist Andrew Nogal, bassoonist Ben Roidl-Ward, flutist Constance Volk, and French hornist Matthew Oliphant — all members of the acclaimed new-music collective Ensemble Dal Niente.
A rapprochement between jazz and chamber music, Mannerist was the result of Ulery’s bestowance of an Esteemed Artist Award, a generous grant from the city of Chicago. Ulery applied the funds to three albums: Become Giant, Mannerist, and another to be announced.
“At the time, I was thinking: I want to make a string record, and I want to make a brass-winds record,” Ulery explains regarding the contrasts between Become Giant — which contains a string sextet plus drums — and Mannerist. The throughline? “The music on both albums is mostly through-composed with improvisation in just the right places to help shape the energies built into the forms.”
At their compositional core, these six pieces are imbued with mystery, longing and philosophical intrigue.
“I’ve found myself in all kinds of musical situations,” Ulery says, and he’s correct — he’s played in ensembles large and small, alongside luminaries from Kurt Rosenwinkel to Howard Levy to Makaya McCraven and beyond. “Then, when it’s time to put my name on something that I want to write and present,” he adds, “it’s easier for me to distill out what I don’t want to do with a new project.”
As such, he honed the underlying concept of Mannerist. “I love playing music that’s elegant in a larger ensemble,” he continues. “Not a huge orchestra that needs a conductor, because I don’t find that as intimate.”
Another component of the aesthetic is the chemical reaction between big-band jazz and contemporary classical musicians. Ulery is no stranger to either sphere, having worked with groups like Eighth Blackbird and Axiom Brass, all while inhaling a multiplicity of forms, including American, South American, Balkan, and assorted European idioms.
This also goes for his own ensembles, which straddle both spheres: orchestral art songs as per Sifting Stars Orchestra, jazz big band Loom Large, jazz quintets Loom and Delicate Charms, jazz brass band Pollinator, and chamber jazz nonet By a Little Light Ensemble.
As for Mannerist, a rapprochement between both worlds? “I’ll leave it up to the critics to call that what they want to call it,” he says wryly.
The shimmering pening track “Bridges” stemmed from a commission from the Carmine Curuso jazz trumpet competition held in Chicago in 2019. “I usually write music that could potentially work for any instrument then nurture the composition until it becomes apparent how the orchestration will take shape,” Ulery notes. “This is one of those tunes that’s exploring some new kind of bright harmony.”
Ulery characterizes “The Brink of What” as “a multi-movement type of piece” that “unfolds into different tempos and sections and moods,” starting with a dynamic ballad inspired by the spirit of Duke Ellington’s music. Again, those uber-bright harmonies manifest — some usually out of the bounds of jazz tradition.
“There’s this super light, bright and super-dark thing happening at the same time, and some of the melodies are choosing notes that are sort of theoretically wrong,” Ulery says. “I’m deep into some music theories, but my reasons are purely emotional.”
As for the harmonically luxurious “Another Book of Ornaments,” Ulery lifted the title from a drawing he viewed at the Art Institute of Chicago.
“I didn’t know this would end up in this 11-piece brass, wind, piano, bass, drums ensemble when the music was first coming out,” he admits. “But it kind of went with my vibe of this elegant thing, this fancy sophistication, and that gilded design resonated with me as a visual for this.”
Ulery wrote the luminescent “Left Window” in one of his favorite meters: 3/4. “If one has ever listened to my collection of music over the years, they know that I can waltz the night away,” he says. Therein, Ulery employs an Elliott Smith-inspired time feel; as the tune rolls on, the swinging waltz dreamily blurs into an Afro-Latin 9/8 feel dance.
Most or all of these ideas roll together into the hustling “Under a Dusken Crown: the harmony and phrasing, the jazz-band rhythm section, the feel of the solos, the “super-bright, wrong notes in there.” After this track-length summation of the album’s concepts, Manneristconcludes stunningly with the magisterial “The Prairie is a Rolling Ocean,” which Ulery originally recorded and released on 2018’s Sifting Stars.
“Instead of having two altos, two tenors, and bari, I decided to use the classical winds,” Ulery says. “I did a fresh arrangement, and I thought it was even better than the original I recorded.”
As per Ulery’s vision, heart and estimable compositional skill, the music on Mannerist speaks for itself — and that’s by design. “It’s abstract art,” he says. “There are no words.”
But as such, this caliber of contemporary music is bound to kick up a duststorm of associations and emotional responses — harmonies, timbres and rhythms that bypass the language centers and perforate the heart.
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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