Tatum Greenblatt
Imprints
Tatum Greenblatt
One of the strongest virtues of trumpeter Tatum Greenblatt’s Imprints is his selection of material. “Paris Is Burning,” written by young electric guitarist singer-songwriter St. Vincent (Annie Clark), makes use of traditional jazz devices applied to a very contemporary composition. Sting’s “Consider Me Gone,” from his recording The Dream of the Blue Turtles, makes good textural use of Adam Birnbaum’s Nord keyboard, giving this 80s piece a 60s Hammond feel for the head, which also features effective interval work from Greenblatt and saxophonist Geoff Vidal. The tour de force of the recording is Greenblatt’s arrangement of Clifford Brown’s “Daahoud,” contrasting odd-meter and driving swing sections, skillfully executed by bassist Boris Kozlov and drummer Donald Edwards. Also on the release: guitarist Simon Kafka and vocalist Sofia Tosello.
While opening track “Frafrito Malenke Bonacci (Diap!)” flirts with over-production – layers of overdubbing – and “Silhouette” may be too trite, Greenblatt has fully harnessed both his education and his influences. Imprints is a well-conceived, well-produced recording by one of jazz’s rising stars.
Educated in Seattle’s Garfield jazz program, New York’s New School and Juilliard, young Greenblatt is a virtuoso in his own right and has adroitly incorporated his primary influences – Wynton Marsalis, Clifford Brown, Lee Morgan and, most audibly, Freddie Hubbard. This third release reflects the virtuosity of a well-schooled musician.
– Fred Kellogg, Free Jazz with Fred, KAOS 89.3 FM, Olympia
Tatum Greenblatt performs at Tula’s on December 27, 7:30pm, with Roxy Coss, tenor saxophone; Drew Pierson, piano; David Dawda, bass; Sean Hutchinson, drums. Admission is $15. Reservations at (206) 443-4221.
Jessica Lurie Ensemble
Megaphone Heart
Zipa! Music
Saxophonist Jessica Lurie’s latest independent release, Megaphone Heart, features the production work of Lurie and bassist Todd Sickafoose on Lurie’s original compositions. Also on the release: Brandon Seabrook, guitar, banjo, tape recorder; Erik Deutsch, pianos, organ; Allison Miller, drums; Marika Hughes, cello.
The opening three pieces of the CD appear linked, as in a suite – “Steady Drum,” “A Million Pieces All in One” and “Bells” – with an angular yet lyrical alto solo on “Bells” exhibiting Lurie’s considerable exposure and experience with traditional world music, such as Balkan and Sephardic-inspired grooves. Lurie makes effective use of improvisation to begin “Same Moon,” a starting point in the development of the total piece, which is otherwise composed and features a strong piano solo by Erik Deutsch over the progression. The release also features some very finely crafted vocals, such as on title track “Megaphone Heart.”
A protean artist, Lurie combines elements of several musical influences in her music. The result is a fine recording of truly original music.
– FK
Brandi Disterheft
Gratitude
Justin Time Records
Vancouver-born bassist Brandi Disterheft’s Gratitude features an accomplished band of colleagues and friends – fellow Canadian Renee Rosnes on piano, alto saxophonist Vincent Herring, flutist Anne Drummond (Garfield alumna), trumpeter Sean Jones and drummer Gregory Hutchinson.
The album is mostly tunes by Disterheft, with opener “Blues for Nelson Mandela” featuring a bowed bass head and pizzicato solo showing a nod to her bass mentors – Canada’s Don Thompson, Rufus Reid, Ron Carter. Disterheft sings in French on “Le Regarder la Rencontrer Encore (Rendez-vous Indésirable),” and elsewhere, in English. The album ends with a solo bass interpretation of the Gershwins’ “The Man I Love” and a funky version of “Compared to What.” Gratitude is a promising and delightful follow up to the bassist’s 2007 Juno Award-winning Debut and 2009’s Second Side.
– Schraepfer Harvey
Please email announcements of new releases to editor@earshot.org, or, for review consideration, mail a copy of the release to Earshot Jazz Reviews, 3429 Fremont Place North, #309, Seattle, WA 98103.
