Review: Lenora Zenzalai Helm | For The Love Of Big Band

For those of you who aspire to greatness, who challenge your status quo, and who dare to create something majestic, one must dig deep inside for the temerity. Whether you question the audacity of the idea, it takes confidence to even dare the monumental task of bringing nearly four dozen men and women together, producing a unique and innovative big band sound.

Under the auspicious name of The Tribe Jazz Orchestra, vocalist and bandleader Lenora Zenzalai Helm joins the ranks of Lil Hardin Armstrong, Kit McClure, Blanche Calloway, Valaida Smith, Lovie Austin, Sherrie Maracle, and In Ray Hutton among others.

Helm’s debut orchestra project, For The Love Of Big Band, was recorded live in concert over a two day period on March 26~27, 2019 and released on her own label, Zenzalai Music. This album brings new arrangements showcasing legendary composers and big band leaders ~ Nina Simone, Abbey Lincoln, Mal Waldron, Victor Young, John Coltrane, George & Ira Gershwin, Antonio Carlos Jobim, Clifford Brown, and Duke Ellington to name a few.

This twelve composition compendium of classics illuminates the musical genius of those who charted the big band course, laid the foundation and set the standard for this talented vocalist and bandleader to follow in their footsteps. Choosing Blues For Mama, Bebop, Chega de Saudade/No More Blues, It Could Happen To You, Soul Eyes, Everything But You, I Didn’t Know About You, Sandu, But Not For Me, A Conversation With God (Dear Lord), Mississippi Goddam, and Stella By Starlight, she spans several decades, from the Thirties to the Sixties. The music is a mix of jazz standards, brought swingingly to life at the live concert. Helm guided the band through the new arrangements by Stanley Cowell, Cecil Bridgewater, Maurice Myers and Brian Horton

Lenora’s Tribe Jazz Orchestra is composed of twenty-four musicians that include her voice, piano, guitar, bass,drums, reeds, trumpets,trombones and saxophone and orchestra conductor. Her Tribe Jazz Orchestra Septet, pulls three from the orchestra, adds conductor to her voice, along with cello, tenor saxophone, acoustic bass and the NCCU Vocal Jazz Ensemble as guest artists. Other special guests are pianist Joey Calderazzo, Acoustic bassist Ameen Saleem, and Maurice Myers ~ Vocal Soloist on A Conversation With God.

This is a well thought out and produced program of music that will introduce the novice to big band jazz and delight the aficionado who is seeking to expand his/her horizons and include one more big bandleader to their arsenal, who just so happens to be a vocalist, conductor, bandleader, and educator and all woman. I charge you to engage and listen carefully to the maturity of expression that Lenora Zenzalai Helm has put into and extracted from herself and the talented musicians under her purview. This is a wonderful and soulful performance by all accounts and something you will enjoy for years to come.

carl anthony | notorious jazz | february 15, 2020

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Review: Henry Conerway III | With Pride For Dignity

Smile is what you do when hearing a compelling sound. That is exactly what I did when the first notes of the opening track filled the room. It takes a bassist to arrange a bassist’s composition and make it fresh.

Hailing from the Motor City, Henry Conerway honed his skills in the hallowed halls and practice rooms of Morehouse College as well as the stages of Atlanta clubs. This adroit but ever humble practitioner enlists two of the city’s finest jazz purveyors to accompany him on this sojourn through time – pianist Kenny Banks Jr. and bassist Kevin Smith. His musical acumen is steeped in the history and tradition of jazz, making his choice of compositions from the pantheon not so startling as he ventures through three generations of jazz masters and contemporaries – Ray Brown, Phineas Newborn, Duke Ellington, Jimmy Heath, Marcus Printup and Kenny Banks, Jr..

It is a well known fact that one should not take on a classic if one can bring nothing new to the canon and Ray Brown’s Slippery is one such composition. Conjuring up a myriad of thoughts as to what he may have been thinking when he composed this song, the trio puts its own spin while taking each listener on a personal sojourn with a new arrangement by Smith, raising the tempo ever so slightly to give it a fresh sound.  The title track, With Pride For Dignity, composed by Banks begins quietly with a piano solo, that immediately put me in the revered mood of Danny Boy then quickly sent me to the equally reverent first line of New Orleans before stealthily moves through a series of jazz periods, giving one a sense of the pride and dignity of this recording session. Newborn’s composition Sugar Ray elicits thoughts of the great pugilist named Robinson, illustrating the grace and style with which he fought. Of course, with later generation the song could have meaning for Leonard or even Richard Pryor’s role in Harlem NIghts depending on perspective. His choice of the 1940 Ellington composition Cottontail, written for orchestra, deftly translates the emotion into a trio setting with all the tempo and panache a big band would express. Smith quickly walks the bass as he paces the music leading into the brush work of Conerway. I could have been in the Savoy Ballroom testifying to this performance as Jitterbuggers or Lindyhoppers paraded the floor.

Hopscotch by composer and irrepressible trumpeter Printup is not the stuff of school girls tossing stones and jumping in chalk-lined squares but exhibits a similar humor of adults reminiscing those sidewalks as the trio swings this one. Heath’s Gingerbread Boy proves that jazz is never easy and placing it among such revered company is the epitome of this talented threesome true to their character. Banks follows this with another of his compositions The Feel Goods with a short overture that leads into a hip swing that best exemplifies the best times of our lives. Conerway closes with Carvin’s Agreement, an original composition he penned to pay tribute to one of his teachers, Michael Carvin, showing us just what drums can do.

Conerway’s svelte delivery as a leader keeps him in stride with his compatriots who swing equally gentle or sassy when called upon. An inventive drummer, he carries each song with equal parts to his companions, never overshadowing the others. Having witnessed the growth of these young men over the years, they were satisfied on many an occasion to sit unnoticed in the audience while gleaning pointers from the masters, a practice few young musicians find a need to do in this day and age. Like all great musicians they also realize there is still much to learn, more growth to take place. So it is no surprise their evolution into this cohesive unit affords them the facility to ply their trade as well as they do. They are more than musicians, they are friends who can start, carry and finish each other’s musical conversation when required. However, I beseech you to not overlook the liner notes so eloquently written by esteemed saxophonist and professor Dwight Andrews. Also do not dismiss the cover photography of any album because there is always a story, one deeper that you may surmise. This photograph was decidedly taken upon Henry’s request during a visit to the home of Langston Hughes. Historic on many levels.

Much more cannot be said of this album other than this is not a quick listen to see if you like it. You will. So take note music directors and programmers, it is radio friendly. You don’t need to skip tracks without listening to each one fully. If you must skip tracks it is my hope that you have a favorite song on this project and anticipation of getting to it is unbearable to see the trio’s approach. Whatever you do, this album speaks for itself and is a testament to the volumes of knowledge these industry-respected practitioners have about the music they have given their lives to enjoy performing. This is with pride for dignity and well worth the nod from their peers and a well-deserved Grammy nomination from the Recording Academy. Listen. You will be pleased.

carl anthony | notorious jazz | november 17, 2018

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Review: Kathleen Bertrand | It’s Time To Love

It’s Time To Love is a statement of purpose that is anything but simple. Knowing Kathleen as I do there is more than one layer to everything she does. I found this not only to be a personal message but a global appeal.  On this project she pulls from several different sources and vantage points, distinguished by the cadre of the elite hometown musicians she has invited to have fun with her.

Her approach is unmistakable – pure and filled with joy. There is a clarity in her voice that is immediately recognizable from the first note you hear. Toss into the mix some very creative arrangements and you understand why Ms. Bertrand wholeheartedly believes it is time to love.

Bringing an impressive compilation of nine standards, originals, classic soul and gospel, she kicks off this offering with the title track that she composed with her musical director Phil Davis. Maintaining the groove she seamlessly moves into Diamonds, written for Rihanna’s 8th album, proving that no song is far from jazz with the proper arrangement. Reaching back to the 1946 musical St. Louis Woman she brings into the new millennium the classic Arlen/Mercer tune Come Rain Or Come Shine in an easy rendition that expresses yesterday’s view of today’s ride or die.

Always one to illuminate the talents of young writers she augments Tony Hightower’s Baby I’m Yours with additional lyrics, giving a lyrical homage to that very special person. Heading back to Broadway she juxtaposes the question of love with a 1947 Lerner and Loewe composition Almost Like Being In Love from Brigadoon, that has one understanding the feeling of being alive. Teaming up once again with Davis, their reputation as composers and arrangers firmly established, they pen and deliver another original Walking Through The Door, be it expectation or surprise, the need is the same. Walking us back in time to the Sixties and the music of another renowned team of Bacharach/David with Anyone Who Had A Heart.

Never far from the church, Kathleen chooses to rearrange with the assistance of Tyrone Jackson, the traditional It’s Me (Standing In The Need Of Prayer). As I listen to her rendering me back to my childhood, I am  hearing so much of Mahalia Jackson in this passionate acknowledgement to the higher power. Closing out this recording she moves the message back to the joy of love with the Richard Clay, Carl Clay and Wayne Garfield composition Love From The Sun, made famous by Norman Connors. However, she turns once again to emerging artists, The Dangerfield Newbies, to arrange and produce this classic tune, clearly making this her own, as she inimitably does with every song she touches.

Earlier in this review I mentioned the elite cadre of Atlanta musicians and I would be remiss not to list them and allow you the opportunity to catch them in live performance when their names come across your radar. Order of appearance of the recording: Phil Davis, Rod Harris, Jr., Melvin Jones, Mike Burton, Katy Miner, Tyrone Allen, George Caldwell, Sean Jefferson, RiShon Odel, Russell Gunn, Robert Boone, Frankie Quinones, Joel Powell, Tyrone Jackson, Mace Hibbard, Sam Skelton, Kevin Smith, Chris Burroughs, Nelson Render and Marvin Pryor.

To say Kathleen Bertrand is an original does her a disservice for we are all one of a kind. What sets her apart is her innate ability to select and align songs in a manner that makes you anticipate hearing what comes next and a little saddened when the last song plays out. This album celebrates and laments the many facets of love. It is an enjoyable escape and journey through one’s heart, as we have all been where each songs takes us, that is, at one time or another. The one thing I know to be true, with Kathleen Bertrand, there will always be more and the best is yet to come.

carl anthony | notorious jazz | september 23, 2018

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Review: Dangerus & The Freedom Fighters

Dangerus was born on March 26, 1990 in Uster, Switzerland to a Black American father and a Serbian mother, and the singer, lyricist, composer and bandleader grew up listening to rock, jazz, reggae and classical music that his father played in the house. In grammar school he sang songs in music class and sat at the feet of his father as he composed, often using melodies in his songs that his son would hum. These experiences became the foundation of his musical education and now this multi-faceted singer is adding piano to his musical arsenal.

In 2014 forming his band, The Freedom Fighters, he has brought together a multicultural and international sextet of accomplished musicians featuring Brazilian producer, arranger and keyboardist Julinho Martins, drummer Herby Casseley from Jamaica, jazz bassist Merlin Mathews of Portuguese and Canadian heritage, Chineyem Okolo, a guitarist from Nigeria and Severin Blaser, a Swiss jazz saxophonist.

Why Dangerus, is an often asked question when interviewed. The answer is quite simple. Break down his name to Danger and Us, you will understand his dis-ease. He believes his generation, like every generation before him, is in danger of inheriting a world that will not sustain them and is doing nothing to correct the situation. Poverty, oppression, hunger, genocide, the ecology and their very existence is in danger of implosion. This dynamic group of Freedom Fighters are socially and politically conscious of the destructive system that is ultimately threatening humanity. They also see themselves as one instrument of change and a danger to that very system of oppression and slavery. They are warriors of the light and music is their weapon, operating in the footsteps of Fela Kuti.

Their logo is a lion, known globally as the king of the jungle, the protector of the pride. His job, like the logo, is black and white. There is no grey area, but there are those who seek to undermine humanity for selfish gains, tending to operate in the grey between dawn and sunrise, dusk  and sunset. In those cases, these warriors see themselves as guardians of their urban concrete jungle and the earth that has given them birth.

However, this is much more than a picture of a lion as it has symbolism well beyond. Look closely and one will see the lion’s teeth are his lethal weapons, represented by keyboards and guitars, the tongue is a road, implying the way of one’s journey. The nose and whiskers are two arms chained together, depicting unity, and holding the barb-wires of oppression that are his whiskers. The eyes are fire and they are the force to be unleashed upon the world through their music. The mane let’s all know they are descendants of royalty and their bearing is regal..

Never straying far from his cultural roots or the diaspora, Dangerus delivers his songs with a fervor and passion, inspired by the trials and triumphs of today’s world. If you listen closely you will hear the influences of reggae with jazz, ska, bossa nova and samba, in what can only be described as an homage to Bob Marley, Black Uhuru, Peter Tosh, Jimmy Cliff and others who spoke of love, beauty, strength, politics and freedom. Dangerus and the Freedom Fighters continue this tradition, standing on the shoulders of those musical ancestors.

It is evident that this poet is contemplative and compassionate in his search for answers about an unstable world not of his making that will be left for his generation. Those of us who have marched the decades of unrest and have witnessed the beauty of the world, this is familiar territory celebrating the joy and pain of love and life. We understand, it is their generation’s turn to shout at the consciousness of society the gravity of their situation. Highly recommended listening but only if you are ready to expand your mind and face your convictions.

carl anthony | notorious jazz / november 29, 2017

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Review: Virginia Schenck | Aminata Moseka

Whenever I hear the word ambitious used by critics, I take pause, because it rings of a generosity that references an artist who has made a conscious decision to cover the music of an icon. The artist is often convinced that they have the chops to give a new life to the music; however, they are often the singers who release the adequate. And then there are those vocalists who are the light at the end of the tunnel and successfully walk into posterity. This offering by Virginia Schenck, however, happens to be a case of the latter and this is her moment.

The last time I saw this talented interpreter of lyrics I was amongst a gathering of jazz enthusiast under a beautiful Atlanta evening sky. During her set while singing Caged Bird, providence stepped forward and a small flock of birds answered her call with an appropriate and timely response. I knew a higher power was at work and everyone felt the energy pass throughout the audience. There are very few occasions when I experience a connection with nature in an urban setting as I did that night.

So to choose to pay homage to a poet of Abbey Lincoln stature was not only adventurous but exhibited a resolve that resulted in a highly rewarding experience. As I sat listening to Virginia’s delivery, with each composition hope blossomed again and again into a blissful reality. This was no mere one or two listens to this compendium of songs, but a dozen or more at different times in light and darkness, at different levels of volume and not all songs at the same time. I became engrossed in the conversation between musicians and heard the joy and pain, the laughter and sadness, the troubles and the victories as each song unfolds and began feeling the spirit of Abbey in every word from this messenger.

Though the subtitle states this recording is a tribute, this is so much more. It is a conversation between Abbey and Virginia. If you are familiar with Ms. Lincoln, then you know each vocalist is holding her own tempo and pacing within the understanding of the lyrics. Ms. Schenck’s choice of compositions were well thought out, with a precision that compliments her voice and clearly represents thirteen of Abbey’s best. To be true to the emotion and exhibit every side of the composer, these musicians invite you to be privy to the conversation between poet and vocalist.

Virginia hangs with a few of Atlanta’s best in the recording studio for a session that may appear perfunctory, however, it is the banked talent that makes it look and sound effortless in their execution that allows one to hear the voice until it’s time for the musicians to shine. With Kevin Bales tickling the 88, Rodney Jordan walking the bass, Marlon Patton keeping time on the drums and their special guest on alto saxophone Kebbi Williams, they bring a fresh breath of interpretation to these 13 songs. It is here that we hear the musical dialogue between the rhythm section and Virginia as they playfully emote their understandings. Kebbi’s frenetic improvisation keeps pace, adding complementary emphasis to Schenck’s spoken word of The River.   

The arrangements. Listen but listen most carefully and you will hear the subtleties in the playing of piano, bass and drum that will entice you to desire more. This project goes beyond the borders of convention as collectively and individually each musician contributes their thoughts to each song that will touch, move and inspire each listener differently.

So, suffice it to say, Ms. Schenck has made a joyful noise in honoring one of America’s preeminent lyricists by crossing the borders of time, race and emotion with Aminata Moseka. She has raised the bar a few feet and what she leaves behind is an indelible audible mark on the industry that she loves. I would be remiss if I didn’t compel you to sit and listen, then read the liner notes for context, then listen again to truly hear the magic of Virginia and company talking to the sun.

carl anthony | notorious jazz | august 28, 2017

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