Enrico Pieranunzi - Seaward (Soul Note, 1994)

Enrico Pieranunzi, piano
Hein Van de Geyn, bass
André Ceccarelli, drums

Recorded March 3 & 4, 1994

Mu Rec Studio, Milano

Engineer: Paolo Falascone

During the 1990s, my music-shopping trips were often rewarded by finding cutout CDs at used record stores. The CDs were new and not inferior artistically. I asked the owner of one shop why a $17.99 CD was selling for $6.00. His answer was that distributors view CDs as "product" and dump surplus to reduce inventory. I've found many wonderful CDs and LPs sold as promos and cutouts.

Seaward came to me via that route. I was not sure who Enrico Pieranunzi was, other than an Italian pianist recording on an Italian label. I consulted the Penguin Guide and found enthusiastic reviews of Pieranunzi's Soul Note albums. I now have 25 of his albums in my collection.

Pieranunzi does not sound like any other jazz pianist. Although he was influenced by European classical traditions, stereotyping him as "classical" for an occasional hint of Chopin or Schubert would understate his originality. Everything I've heard from him sounds fresh and invigorating. 

On the three standards programmed for Seaward ("Footprints," "Yesterdays," and "But Not for Me"), Pieranunzi playfully modifies the familiar melodies and their tempi. For example, "But Not for Me" is ordered as the second half of a medley, preceded by Pieranunzi's "This Is for You." The wordplay hints that "This Is for You" is the solo he might have played following the Gershwin standard. (This is for you but not for me. Get it?) 

Pieranunzi's original compositions have a vaguely nocturnal feel but are neither doleful nor bluesy. "The Memory of this Night," for example, is full of restless mystery. Most pieces contain novel chord progressions that appear to be improvised, and Pieranunzi switches between minor and major keys effortlessly.  

Throughout Seaward, Dutch bassist Hein Van de Geyn's bass solos sound like extensions of the pianist's thought process. His obvious affinity for Pieranunzi's conceptions is acknowledged by featuring bass on almost every tune. By contrast, drummer André Ceccarelli solos on only one track. 

Investigating Pieranunzi's recordings over 50 years is a rewarding endeavor. Whichever decade I choose to sample, multiple instances of excellent recordings are available. Seaward is my choice among many deserving albums in the 1990s. Further exploration of his vast discography is encouraged. 

My posts on two other Pieranunzi trio albums from the 1980s can be found at:

Post: Edit No Man's Land

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Reggie Workman - Summit Conference (Postcards, 1993)

Reggie Workman, bass
Sam Rivers, tenor & soprano sax, flute
Julian Priester, trombone
Andrew Hill, piano
Pheeroan akLaff, drums

Recorded December 5 & 6, 1993
Kampo Audio, NYC
Engineer: Joe Babaria

I mentioned earlier that Postcards was one of the most interesting new jazz labels to appear in the early 1990s. My two favorite albums in the label's short life are Reggie Workman's Summit Conference and Cerebral Caverns. These works, along with Synthesis (Leo, 1986), are radically different from Workman's dozens of recording sessions for Blue Note during the 1960s. 

The program for Summit Conference consists of two original compositions by Workman, two by Sam Rivers, one by Julian Priester, one by Andrew Hill, and one each by John Carter and Sonelius Smith. They range from high energy workouts to quiet meditations.

Carter's "Encounter" begins the program with a rather mysterious repeated bass figure. Rivers and Priester engage in what sounds like simultaneous solos over Hill's and Pheeroan akLaff's backing. The dark, urgent intensity mounts until Workman's bass solo takes the tune out. 

The second track, Workman's "Estelle's Theme," has an angular melody that sounds like an Andrew Hill piece. In Workman's words, "Estelle" is "a waltz with an ironic contemporary rhythm." Just the right challenge for Hill and the other musicians on this date.

The title track continues the sense of mystery sustained throughout most of the album. It does so without obvious chord changes, as Workman maintains a vamp throughout the roiling interplay between the horns. The following piece, Priester's "Breath," is the most difficult piece, according to Workman, due to its "contrapuntal melodies" and "unfolding rhythmic variations." 

As if to simplify the musical program, the closing track, Hill's "Gone," is a set of meditations on a beautiful tone poem, played repeatedly by different combinations of band members. In sequence, the melody is played by bass, piano and flute; piano alone; and finishes with the whole band minus drums. It's not monotonous because Hill's melodies often contain enough variety to remove the need for improvised solos. It's a lovely way to end a brilliant summit conference with these adventurous artists.

For my review of Workman's Synthesis album, go to:

Post: Edit Synthesis

McCoy Tyner & Bobby Hutcherson - Manhattan Moods (Blue Note, 1993)

McCoy Tyner, piano
Bobby Hutcherson, vibes & marimba

Recorded December 3 & 4, 1993

Sound on Sound, NYC
Engineer: David Baker

If your reference point for piano-vibes duets is Chick Corea and Gary Burton, you're familiar with their dazzling displays of virtuosity as they seem to interlock as one. Corea and Burton have perfected a tight sound through decades of playing together. I have collected much of their output and admire the chemistry between them.

I also admire McCoy Tyner and Bobby Hutcherson, who team up on Manhattan Moods for their own vibes-piano duet. Tyner and Hutcherson also enjoyed decades of playing together, but mostly in larger groups instead of duets. Their duets here don't sound at all like Corea and Burton. Rather, Manhattan Moods is a soulful stroll through familiar and new material. It portrays a laid-back form of virtuosity that evokes nostalgic memories of the musicians' lives and their contributions to jazz. 

That's not to say that it's dull. Hutcherson's "Isn't This My Sound Around Me?" is a rousing workout on marimba, and Tyner's "Travelin' Blues" engages the pair in a lively down-home blues. Close attention reveals precious details as they craft new insights from familiar material such as "Monk's Dream," which is played as a marimba-piano duet, and "For Heaven's Sake," which closes the album. 

Many of the musicians I'm writing about in this blog are no longer alive. Tyner and Hutcherson are two that I miss the most. They were both born in 1941. Hutcherson died in 2016 and Tyner in 2020. 

Billy Harper - Somalia (Omagatoki, 1993)

Billy Harper, tenor sax
Eddie Henderson, trumpet
Francesca Tanksley, piano
Louis Spears, bass
Horacee Arnold, drums
Newman Taylor Baker, drums

Madeleine Yayodele Nelson, shekere

Recorded October 16 & 21, 1993
Power Station, NYC
Engineer: Richard Applegate

Billy Harper's Somalia first appeared in 1994 on the Japanese Omagatoki label, an imprint I had never heard of before researching the albums for this blog. It was recorded in New York in 1993, but difficult for American collectors to find. Fortunately, Evidence released the album in 1995 with slightly modified artwork. Omagatoki then reissued the album in 1996.

 

I am glad that Somalia survived the distribution maze because it is the second appearance of Billy Harper's quintet following the release of Destiny Is Yours in 1990 on SteepleChase. Francesca Tanksley, Eddie Henderson, Louis Spears, and Newman Taylor Baker would become a durable unit, capable of fulfilling Harper's spiritual vision. Somalia augments the quintet with a second drummer and a shekere player.

The title track commences with chanting from the band members and friends, singing in a language I cannot identify. The words don't matter, and it's a nice touch that helps to add some exotic solemnity. "Somalia" does not revisit the chant but rather works though one epic solo after another. "Thy Will Be Done" follows and removes any doubts about where Harper's spirituality lies. Both opening tracks are lengthy with "Somalia" lasting 13:26 and "Thy Will Be Done" 21:48.

"Quest," the album's third track, is one of my favorite Harper compositions. It begins with a short fanfare by Harper, Henderson, and one (or both?) of the drummers. The tenor solo comes first and packs an emotional wallop. Henderson follows with an equally profound solo on open horn. 

"Light Within" is another of my favorites, due to its attractive, hummable melody. It's a soul-searching exercise but an approachable one. Henderson's solo precedes Harper's best solo on the album. Tanksley then takes a fantastic solo - she is such a marvelous member of this group. The rhythm section is key to sustaining the tune through its 8 minutes. 

I was pleased to see a new album by Mark Masters that honors Harper's music and includes him as the featured soloist in a larger group (Dance, Eternal Spirits, Dance, Capri, 2025). The 81-year-old Harper is still in great form and gratefully not forgotten. Tanksley also plays piano on all tracks. Thank you, Mark Masters!

For my review of Harper's Destiny Is Yours, go to:

Post: Edit Destiny Is Yours

Alan Pasqua - Milagro (Postcards, 1993)

 

Alan Pasqua, piano
Dave Holland, bass
Jack DeJohnette, drums
Michael Brecker, tenor sax

Dave Tofani, bass clarinet

Roger Rosenberg, flute

Jack Schatz, trombone

Willie Oleneck, trumpet & flugelhorn

Recorded October 10 & 11, 1993
Sound on Sound
Engineer: Joe Barbaria

The health of jazz in the early 1990s was robust, with new labels and artists making their debuts. One of the most welcome new releases was Alan Pasqua's Milagro on Ralph Simon's upstart Postcards label. The music on Milagro is played by a core trio of Pasqua, Dave Holland, and Jack DeJohnette. Various combinations of the horns appear on 6 of the 10 cuts, nicely balancing out the trio pieces. Two standards, "All of You" and "I'll Take You Home Again, Kathleen" are included along with Pasqua's 8 original compositions.    

Milagro's soulful sophistication pleases the ears, touches the heart, and engages the mind. The opening track, "Acoma," employs unusual chord changes and a melody that is both simple and intriguing. When the horns kick in on Milagro's second track, "Rio Grande," we feel Michael Brecker's energy over the ensemble anchored by DeJohnette and Holland. The pace varies across the album, as the players in the ensemble change. New colors are introduced on almost every track, sustaining attention and enjoyment. 

Brecker is the most prominent guest artist, featured on "Rio Grande," "The Law of Diminishing Returns," and "L'Inverno." Brecker is in fine form, sounding more focused than on some of his own albums. 

After 17 diverse releases between 1994 and 1997, Postcards was turned over to Arkadia, which reissued some of the existing catalog. Thankfully, Milagro remains available in both CD and download formats.

John Hicks - Beyond Expectations (Reservoir, 1993)

John Hicks, piano
Ray Drummond, bass
Marvin "Smitty" Smith, drums

Recorded September 1, 1993

Van Gelder Studio

Engineer: Rudy Van Gelder

I include John Hicks in my unofficial list of pianists who never play wrong notes. The best place to validate this claim is on his trio albums. On Beyond Expectations, Hicks assembled a sympathetic rhythm section to create an undisputed masterpiece, albeit one that might fly under the radar as a 1990s jazz CD with little hope of a vinyl release. 

The program consists of one original, "Expectations," and 9 jazz standards or show tunes. Each is developed at length, allowing Hicks to display his boundless imagination on even the most familiar material. For example, on Tom Jobim's bossa nova, "Once I Loved," Hicks improvises energetically while never neglecting the melody. I've never heard this song played this way before. Likewise, Cole Porter's "Every Time We Say Goodbye" includes a 6-minute piano solo that never becomes tiring or repetitive. Another highlight is the almost 10-minute version of Freddie Hubbard's "Up Jumped Spring."

Hicks ramps up the intensity for "There Is No Greater Love," which includes a rousing 90 seconds of trading fours with drummer Marvin "Smitty" Smith. Smith lacks the reputation as a top five drummer in the 90s, depending on whose judging. He's certainly less present in my collection than, say, Jack DeJohnette, Billy Hart, or John Christensen. Listening to him on Beyond Expectations reveals an active, yet sensitive touch that adds character to the trio. His bossa beat on "Once I Loved" builds in intensity as Hicks' spectacular solo develops. 

Ray Drummond's contributions display his sonorous tone and deft fretwork throughout. He gets the assignment to play the melody on "There Is No Greater Love," and plays his other solos more like a horn player than a bassist.

As an aside, about 30 years ago I shared an elevator ride with Ray Drummond during the Pittsburgh Jazz Festival. I was in town for other reasons, but as I boarded the elevator in my hotel, there was Drummond standing in the back. I was too shy to say something stupid like "Hey, you're Ray Drummond," but I wish I had said something instead of pivoting and staring ahead awestruck. It may seem foolish, but I am truly humbled by the mere sight of artists whose music is the soundtrack of my life. 

For my review of a favorite Hicks album of the 1980s, go to:

Post: Edit I'll Give You Something to Remember Me By

Ben Riley - Weaver of Dreams (Joken, 1993)

Ben Riley, drums
Ralph Moore, tenor sax
Buster Williams, bass

Recorded August 6, 1993
Systems Two, Brooklyn
Engineer: Joe Marciano

I have a short "brushes with fame" story to tell. I usually play jazz at home throughout the day, so when workers come to deliver appliances or fix them, they sometimes ask about the music. One of those gentlemen obviously appreciated the sounds he was hearing, and he shared that his father was a drummer who had worked with Thelonious Monk. I quickly asked if he was Ben Riley's son, and he said he was. I told him I had lots of albums his father played on, including Weaver of Dreams. Turns out that was the son's favorite of his dad's albums.

Weaver of Dreams programs eight well-known numbers, all ranging between 6 and 8 minutes in length, plus an exotic 3:39 minute drum solo at the end. The group pieces allow for solos by all members. "Solar" is the most energetic, but each selection is dynamic in its own right. Riley's solos are lyrical, traversing the entire kit from kick bass to toms and snares to cymbals. He prefers sticks to brushes, and his solos all sound complete. 

Ralph Moore's unique tone is in top form on Weaver of Dreams, as is his "inside" approach to soloing. I've always admired players like Moore, Warne Marsh, Stan Getz, and others who never seem to run out of ideas that can be expressed by varying progressions and phrasing within an octave or two.

Buster Williams exemplifies jazz artistry at its best. Here, he holds everything together while Riley and Moore occupy most of the solo space. Williams seems to be everywhere during the 1990s. He's still recording as he approaches his 84th birthday (April 17).

Joken Records existed briefly in the 1990s and has left little trace of its recording activity. I know of two other releases: Bill Barron's Higher Ground (1993) and Sumi Tonooka's Secret Places (1999). For Weaver of Dreams, producer Joanne Klein collaborated with Kenny Barron and Joe Marciano at Systems Two to create a neglected artistic and sonic gem. 

Ben Riley's last recording as a leader was Grown Folks' Music (Sunnyside, 2012). He died in 2017 at age 84.

Nils Lindberg - Melody in Blue (Dragon, 1993)

Nils Lindberg, piano
Johan Hörlén, alto sax
Charlie Malmberg, baritone sax
Anders Paulsson, soprano sax
Joakim Milder, tenor sax
Krister Andersson, tenor sax
Jan Adefelt, bass
Bengt Stark, drums

Recorded May 27 & 28, 1993

Studio Sami, Stockholm

Engineers: Peder af Ugglas & Janne Wibäck

Writing and arranging for reed sections is a revered jazz tradition, harkening back to the bands of Woody Herman, Duke Ellington, and Benny Carter. Between 1960 and 2000, Swede Nils Lindberg pursued his passion for arranging with his series of "Saxes Galore" recordings. Melody in Blue sits fourth in the series. 

Melody in Blue presents three of Lindberg's musical interests. As the title suggests, the blues are featured in three original compositions: "Melody in Blue," "Blues in Tempo Presto," and "Blue Bop." Two other tracks are drawn from jazz repertory: "Little Willie Leaps" and "Cottontail." The ensemble work in each of these numbers shapes familiar chord changes into multi-part harmonic shades of blue. 

One of the blues ("Blue Bop") reverses the common practice of ordering solos after the ensemble's melody statement. It instead begins with a sequence of solos (bass, piano, baritone, alto) and ends with a single chorus of melody played by the ensemble. The other blues are more conventionally structured with emphasis on the ensembles.

Lindberg's second interest is folk music, expressed in a beautiful suite of three short songs that sound like traditional folk melodies but are all composed by Lindberg. The dance-like "Polska with All My Love" features soprano sax, piano, and added horns.

 

The third, and most beautiful, interest is idyllic elegies and lullabies. "For Absent Friends" somberly leads off the album. "Shall I Compare Thee to a Summer's Day" is the most gorgeous track on the album and is positioned between two of the blues. "Vaggvisa-Lullabye" precedes the rousing version of Duke Ellington's "Cottontail," which closes the album.

Lindberg's contributions to music are summarized in a biography published in 2002 following his death:

"With roots in Swedish folk music and jazz, and using the forms of classical music, he developed a unique musical language, independent of trends and prevailing ideals, achieving great success both in Sweden and internationally. He was a boundary-crossing artist, equally appreciated by jazz musicians, symphony orchestras, and choirs." Nils Lindberg

I'm glad that I discovered Saxes Galore and Swedish jazz in general. All jazz lovers should expose their ears to the wonderful music on this recording.

Saxes Galore albums by Nils Lindberg:

Sax Appeal (Barben, 1960)

Trisection (Capitol, 1962)

Saxes Galore (Bluebell, 1979)

Melody in Blue (Dragon,1993)

Third Saxes Galore (Prophone, 2000)

For my review of Lindberg's Brass Galore, go to:

Post: Edit Brass Galore