Michael Zilber: Originals for Originals

Origin Records
By Ric Bang
Buy CD: Originals for Originals

Instrumentalist/composer Michael Zilber is better known by fellow musicians than by jazz fans. Born in Vancouver, B.C., he moved to Boston in his late teens, then to New York City about five years later. It didn’t take long for his talents to be recognized by artists who frequented that area. Zilber performed or recorded with giants such as Dizzy Gillespie, Sonny Stitt, the Brecker brothers and Dave Liebman. 

Zilber’s second album as a leader, Stranger in Brooklyn, was included in a 1992 Jazz Fusion list of “The Best 30 Recordings of All Time.” He now works out of the San Francisco area.

He wrote all the tracks on this new album, his 11th, and these compositions are done to acknowledge the reed artists he considered to be masters of their instruments, and whose music strongly influenced his own development. They include Michael Brecker, Sonny Rollins, Dave Liebman, Wayne Shorter, Joe Henderson, John Coltrane and Paul Desmond. 

The track titles are plays on the names: “Breckerfast Club” and “Leaves” are dedicated to Brecker; “Party Sonny” acknowledges Rollins; “Autumn Lieb” and “Lieb Dich” honor Liebman; Shorter gets the nod with “Weather Wayne” and “Pastel Blues”; “Hen House” is a nod toward Henderson; “Late Night Trane” and “Coltraning Days” credit Coltrane; and “St. Paul” is a shout-out toward Desmond.

Zilber alternates between tenor and soprano sax. His supporting rhythm section features  pianists David Kikoski and Matt Clark; bassists James Genus and Peter Barshay; and  drummers Clarence Penn and Akira Tana. Zilber has played with all of them at some point in his career; as a result, each combo configuration “thinks as one.”

This album superbly exemplifies the style used by today’s artists. It’s beyond bop, often using altered chord structures; the mid- and up-tempo charts swing nicely, and the ballads are thoughtful and poignant. This is a smooth, richly enjoyable group.

Ali Ryerson: Game Changer

Capri Records
By Ric Bang
Buy CD: Game Changer

Flutes didn’t become a common jazz instrument until the latter years of the big band era, when members of the reed sections added it to their arsenal of horns. But once the flute appeared, it became essential; the soft, airy sound produced by the various tonal models had a marvelous impact on the way the band sounded. This emergence of flutes also prompted the creation of arrangements that were more complex and interesting, both for the musicians and the audience.

This album’s featured orchestra consists of 16 flautists backed by a rhythm section of piano, bass and drums. Five different flute models are utilized: C and alto, bass, piccolo and contrabass. Most of the musicians are fluent on more than one model. The arrangements replace the usual brass section horns with the reed instruments, producing a softer, less brilliant sound. This results in more balladic, and danceable meters. Don’t be fooled, though; this is jazz, and it swings every bit as much as the bands and combos that use brass horns.

A casual read through the liner notes reveals no indication of artists who use flutes as a “secondary” instrument. This cadre is composed of pure flautists; as a result, only true “flute groupies” are apt to recognize any names. That said, all of these players know and enjoy jazz; just listen to their solos and ensemble phrasing. (Needless to say, Ryerson’s great rhythm section — Mark Levine, Rufus Reid and Akira Tana — doesn’t hurt!) 

But don’t take my word for it; give this album a listen. As the title promises, it’s a true game changer!