Victor Gould - Clockwork (2016)

Pianist Victor Gould's debut utilizes a variety of large gears, pinions, and regulators to help fashion his own ideas. You just never know who'll be standing in for which of those parts. The high-octane combination of Gould, bassist Ben Williams, and drummer E.J. Strickland is at the center of each scene, but they're joined, at different times, by a variety of other musicians and instruments - saxophones, trumpet, flute, strings, and percussion - which help to create an intricate sonic mesh and add a variety of tonal colors to the mix. It's heady modernistic jazz language and high art rolled into one. The album opens on the title track, a bubbly Latin cauldron fired and forwarded by the aforementioned trio in cahoots with percussionist Pedrito Martinez. The pieces that follow - "Room," a sunny yet contemplative work in three, and "Chaancé," a mellow, strings-enhanced feature that puts the spotlight on Jeremy Pelt's flugelhorn and the composer's piano - stand apart in mood and musical complexion, marking Gould as a composer of great ambition and skill. While shifting focal points, different emotional tides, and the track-to-track addition and subtraction of musicians all allow the listener to indulge in a variety of musical worlds and fantasies, Gould's voice rings true in each and every one. He excels at every turn, regardless of where those turns may lead. He brilliantly works the beautiful-to-brooding range on the prelude to "Apostle John"; he shows patience and restraint over a throbbing base/bass on that tune proper, standing in stark contrast to the raw intensity that comes from his colleagues; and he delivers a scene-stealer statement full of daring and darting maneuvers on "Blue Dales." It's easy to see what his A-list employers - trumpeter Wallace Roney, drummer Ralph Peterson, and saxophonist Donald Harrison, among others - see in Gould. He's got the musical world on a string, in his mind, and at his fingertips. ~ by Dan Bilawsky, AllAboutJazz. 

Fresh Sound New Talent Records, FSNT 502, 2016
Recorded 14th Dec., 2015 & 19th Jan., 2016 At Systems Two Studios, Brooklyn, New York

Musicians:
Victor Gould - Piano, Composer
Jeremy Pelt - Trumpet (#1-3,6-8,11)
Godwin Louis - Alto Saxophone (#1-3,5-8,11)
Myron Walden - Tenor Saxophone (#1-3,6-8,11)
Anne Drummond - Flute (#3,7)
Ben Williams - Bass (#1-5,7,9-11)
E.J. Strickland - Drums (#1-5,7-11)
Pedrito Martinez - Percussion (#1,4,7)
Yoojin Park - Violin (#3,6,7)
Heejin Chang - Viola (#3,6,7)
Veronica Parrales - Cello (#3,6,7) 

Tracks:
01. Clockwork (7:39)
02. Room (7:09)
03. Chaancé (5:22)
04. Blue Dales (5:21)
05. The Return (7:55)
06. Apostle John [Prelude] (3:09)
07. Apostle John (9:00)
08. Sir Carter [Intro] (0:45)
09. Sir Carter (4:52)
10. Nefertiti (5:37)
11. Three Souls (8:06) 

All songs composed & arranged by Victor Gould, except #5 by Wayne Shorter 

Credits:
Co-Producers - Victor Gould, Myron Walden
Executive Producer - Jordi Pujol
Recording Engineer - Max Ross
Mixing & Mastering Engineer - Dave Darlington
Painting - Martel Chapman
Photos - Anne Yatskevich
Liner Notes - David R. Adler

LINK

René Marie - Vertigo (2001)

Rene Marie's second CD for MaxJazz is, for the most part, a very enjoyable CD. This extremely gifted singer has a very appealing voice and is a talented arranger as well. Her playful arrangement of "Them There Eyes," with bassist Robert Hurst and drummer Jeff "Tain" Watts, is very refreshing, with some fine scat singing, too. Her unusually deliberate and rather sexy take of "The Surrey With the Fringe on Top" adds pianist Mulgrew Miller and also has some fine scat singing, too. Her Latin chart for "I Only Have Eyes for You" proves catchy, with some tasty guitar playing from John Hart. "It's All Right With Me" is slowed to a snail's pace with Chris Potter's noodling bass clarinet and Hurst's brooding bass backing her powerful vocal. "Vertigo," another Marie original, is easily the most exciting piece on the session. The only occasion when she follows anything resembling an expected path is her lush treatment of the ballad "Detour Ahead" in a memorable duet with Miller. There are some weak spots. The original "Don't Look at Me Like That" is monotonous filler; while the Beatles' "Blackbird" is drastically rewritten with a tedious vamp that gives the song a somewhat ominous sound, but it grows tiresome quickly. The medley of "Dixie" (a song reviled by most African-Americans) and "Strange Fruit" (with its dramatic description of lynching) invites controversy. She sings "Dixie" a cappella with a possible touch of sarcasm, then the band is added for the shift into the piece that was first put on the map by Billie Holiday, introduced with almost a funeral march-like cadence. Somehow Rene Marie's lovely voice seems inappropriate for this song, as she doesn't reflect the anguish of its lyrics very consistently. Even with these reservations, this is a highly recommended CD. ~ by Ken Dryden, AMG. 

MaxJazz, MXJ 411, 2001
Recorded 22nd & 23rd February, 2001 at Avatar Studios, New York 

Musicians:
René Marie - Vocals, Arranger
Jeremy Pelt - Trumpet (#4,10)
Chris Potter - Bass Clarinet (#6), Tenor Saxophone (#7,9)
Mulgrew Miller - Piano (#2,3,7-10)
John Hart - Guitar (#4,5)
Robert Hurst - Bass (#1-7,9-11)
Jeff "Tain" Watts - Drums (#1-4,7,9-11)
Jeffrey Haynes - Percussion (#4,5,7,11) 

Tracks:
01. Them There Eyes {Doris Tauber, Maceo Pinkard, William Tracey} (5:18)
02. Surrey With The Fringe On Top {Oscar Hammerstein II, Richard Rodgers} (6:25)
03. I'd Rather Talk About You {René Marie} (4:54)
04. Don't Look At Me Like That {René Marie} (5:15)
05. I Only Have Eyes for You {Al Dubin, Harry Warren} (6:38)
06. It's All Right With Me {Cole Porter} (4:01)
07. Vertigo {René Marie} (7:57)
08. Detour Ahead {Herb Ellis, John Frigo, Lou Carter} (5:32)
09. Moonray {Arthur Quenzer, Artie Shaw, Nat Madison} (7:34)
10. Dixie/Strange Fruit (7:00)
11. Blackbird {John Lennon, Paul McCartney} (6:22) 

Total Time: 66:56 

Credits:
Producer - Bruce Barth, Arranger
Executive Producer - MAXJAZZ
Engineer, Mixing & Mastering - Katsuhiko Naito
Mastering - Katsuhiko Naito
Photography - Jimmy & Dena Katz
Liner Notes - Mary Ellen Sullivan

Jeremy Pelt - Make Noise! (2017)

Trumpeter Jeremy Pelt occupies an enviably open-minded space in the modern jazz landscape. A capable traditionalist, Pelt has built his career around making acoustic post-bop, with increasing forays into electrified, electronic-tinged fusion. His mutable choices keep you in suspense as a listener -- you’re never sure what to expect from one album to the next. While there are no such electronic flourishes on Pelt's 2017 effort, the warmly sophisticated Make Noise! It still pops with much of the same cross-genre creativity he's explored in the past. The album follows his similarly inclined 2016 effort #Jiveculture, which also featured an inventive acoustic sound accented by legendary bassist Ron Carter. This time out, Pelt brings along a slightly less-high-profile, if no less talented, ensemble including pianist Victor Gould, bassist Vicente Archer, drummer Jonathan Barber, and percussionist Jacquelene Acevedo. Together, they take an intimate approach to expansive post-bop that straddles the line between Miles Davis' '60s albums and Terence Blanchard's early-'80s work. Pelt has a broad, enveloping trumpet tone and a knack for laying down highly engaging solos that never hold a listener at arm's length. It's a skill he puts to good use throughout Make Noise! and one complemented by his bandmates, especially pianist Gould, who layers these tracks with a sparkling delicacy reminiscent of the late Mulgrew Miller. Similarly, with Acevedo's kinetic percussion filtered throughout, Make Noise! also has a strong Afro-Latin influence, a vibe especially apparent on the roiling title track and frenetic, salsa-infused "Bodega Social." Equally compelling, "Chateau d'Eau" has a languid, R&B-inflected melody set to a midtempo Afro-Latin groove. Elsewhere, Pelt pushes toward harmonically nuanced modalism, offering a fittingly elegiac and noir-ish tribute to the departed pop icon on "Prince," and evincing the angular, classically influenced style of Black Codes-era Wynton Marsalis on "Cry Freedom." While much of Pelt's work fits nicely into the jazz canon, he clearly has an open ear for melody, a gift he exercises on "Your First Touch...", which sounds like a Leonard Cohen song reworked as a sensuous jazz ballad. Ultimately, Make Noise! continues to reveal Pelt's maturation into a confident artist, comfortable enough with his place in the jazz tradition to keep subtly pushing the edges of audience expectation. ~ Matt Collar, AMG. 4.5/5 Stars

This CD is dedicated to Amma Sakyibea Pelt

HighNote Records, HCD 7299, 2017

Recorded 9th September, 2016 At Systems Two Recording Studios, Brooklyn, New York

Musicians:

Jeremy Pelt - Trumpet

Victor Gould - Piano

Vicente Archer - Bass

Jonathan Barber - Drums

Jacquelene Acevedo - Percussion

Tracks:

01. Prologue: Introduction to "Make Noise!" {Jacquelene Acevedo} (0:51)

02. Make Noise! {Jeremy Pelt} (5:23)

03. Prince {Jeremy Pelt} (8:14)

04. Cry Freedom {Jeremy Pelt} (5:24)

05. Digression {Simona Premazzi} (8:35)

06. Introduction to "Evolution" {Jonathan Barber} (2:05)

07. Evolution {Jeremy Pelt} (5:43)

08. Chateau D'Eau {Jeremy Pelt} (5:55)

09. Your First Touch... {Jeremy Pelt} (5:24)

10. Bodega Social {Jeremy Pelt} (5:07)

Credits:

Producer - Jeremy Pelt

Executive Producer - Joe Fields

Recording Engineer - Joe Marciano

Mixing and Mastering Engineer - Katsuhiko Naito

Photography - Ra-Re Valverde

Design - Keiji Obata, Peter Muller, Littlefield & Company

Stan Killian - UNIFIED (2011)

Stan Killian makes an impressive debut as a leader with Unified, featuring the tenor saxophonist with pianist Benito Gonzalez, a rotating cast of bassists (Corcoran Holt or Bryan Copeland), and drummers (Darrell Green or McClenty Hunter), along with a few guests (trumpeters Roy Hargrove and Jeremy Pelt plus alto saxophonist David Binney). The leader, a big-toned player with a versatile sound, wrote six of the CD's seven songs, all of which stand up to repeated hearings. "Twin Dark Mirrors" throws a bit of a curve, with Killian's Coltrane-like sax and Hargrove's soft-spoken trumpet trading licks over Gonzalez's glistening piano in the introduction, then the piece shifts into an upbeat, strolling post-bop mood; it's not surprising to learn that it is Killian's salute to Miles Davis' recordings with Coltrane, Charlie Parker, and Wayne Shorter. Pelt joins Killian for a lively workout in "Center," which is built upon a solid, catchy rhythm. Binney is added for Gonzalez's spry "Elvin's Sight," a boisterous, midtempo cooker with an infectious Latin undercurrent. Both saxophonists shine with their contrasting solos, with Killian being more reserved than the adventurous Binney, while the composer's turn in the spotlight is solid hard bop. The blend of the two saxophonists creates a lush mood in Killian's quiet ballad "Unified." The various combinations of bassists and drummers provide a solid foundation for the soloists throughout the sessions. Recommended. ~ Ken Dryden, AMG.

Sunnyside Records, SSC 1282, 2011

Recorded 8^th April, 2010 At Peter Karl Studios, Brooklyn, New York

Musicians:

Stan Killian - Tenor Saxophone

Roy Hargrove - Trumpet (#1,5)

Jeremy Pelt - Trumpet (#4,7)

David Binney - Alto Saxophone (#2,3,6)

Benito Gonzalez - Piano

Corcoran Holt - Bass (#1,4,5,7)

Bryan Copeland - Bass (#2,3,6)

Darrell Green - Drums (#1-3,5,6)

McClenty Hunter - Drums (#4,7)

Tracks:

1. Twin Dark Mirror {Stan Killian} (7:29)

2. Elvin'S Sight {Benito Gonzalez} (8:14)

3. Unified {Stan Killian} (6:30)

4. Center {Stan Killian} (9:28)

5. Isosceles {Stan Killian} (6:42)

6. Window Of Time {Stan Killian} (7:52)

7. Eternal Return {Stan Killian} (7:00)

Credits:

Producer - Stan Killian

Engineer, Mixing & Mastering - Michael Perez-Cisneros

Assistant - Paul Occhialini

Graphic Design - Christopher Drukker

Photography - Kat Kojic, Wayne Tucker