Dennis Gonzalez Yells at Eels, Resurrection and Life, with Alvin Fielder

Legendary drummer AACM founder Alvin Fielder was on the verge of death in Chicago when he miraculously revived, fully recuperated, and joined Dennis Gonzalez in Texas in 2010 to work on the latest Yells at Eels project. The result, appropriately titled Resurrection and Life (Ayler 125), has that special something that perhaps reflects triumph against the odds, revival after near extinction.

This is another beautiful Yells at Eels effort. Fielder on drums and Dennis on trumpet, cornet and fluegel are joined by the latter's two sons Aaron on contrabass, Stefan on vibes and drums, and the trombone of Gaika James.

Fielder and all three of the Gonzalez clan contribute the compositions, and they are sparkling. Alvin has the freetime-swingtime mix in good form, Aaron sounds beautiful on the bass, Stefan's vibes are quite good and add much to the group sound, and Gaika plays an extroverted trombone that goes very well with Dennis's soulfully dexterous brass work.

Fielder triumphs, the band triumphs, and Yells at Eels puts together one of its best ever!

David Arner Trio, "Porgy and Bess, Act 2," with Michael Bisio, Jay Rosen

David Arner does not easily pigeonhole. In a way he's the complete jazz-improv pianist, with his sensibility steeped in jazz history and harmony, capable of evoking references to stylistic periods far flung from ours, then embarking on an outside excursion that expresses his modern avant stance beautifully. He encompasses and transforms.

So when he decided to record his impressions of Gershwin's Porgy and Bess it turned out to make lots of sense. For this project he gathered two of the finest improvisers and most sensitive bandmate interactors to go it with him together. There's Michael Bisio, a bassist of great depth and flexibility, and bandleader in his own right. And there's Jay Rosen, best known perhaps for his drumming with Trio X, a musician's drummer who can be called upon to add his trappist drum Monking to any sort of setting with success and artistry.

We looked at the first volume of the project some time ago (see posting from December 9, 2009). Today it is time for Porgy/Bess, Act 2 (CIMP 377), which is in no way a let down from volume one, but rather just as strong.

As in the first effort the principal themes of Gershwin's standards-chockablock weave in and out of the music with free interpretation, interpolation and freely articulated tangents as commentary and expressive impressions.

It's music that can be very subtle at times, very bold and assertive, others.

There is a good deal of space for Arner's fertile imagination and creative improvs. Michael and Jay play critical roles as well, and not just as accompanying fellow-travelers. There are unaccompanied solos by all as well and two- and three-way dialogues.

It shows the artistry of Mr. Arner in full bloom, and the trio at their creative best.

David Arner is one of those must-hear pianists on the scene. This is a great place to hear him. Very much recommended.

Secret Handshake, A New Quintet On Engine Records

Into the ranks of new outfits out there playing a modern sort of jazz comes Secret Handshake (Engine 041). It's Brian Settles, saxes, Neil Podgurski, piano, Corcoran Holt, bass, Jeremy Carlestedt, drums and Jean Marie Collatin-Faye on percussion.

They run through eight originals, around half with a strongly compositional approach, the other half more "free". Podgurski shows some rooted piano in a bop and beyond camp but just as often takes it out a bit; Settles has a strong avant side but can evoke some history as well. The rhythm team can go into the symmetrical pocket or veer out of time with confidence.

Brian and Neal have their own way and they are presumably still in the process of gelling in their interactions. They sound like they are on the move as artists. The songwriting/compositional element is well in hand already.

This shows a band with promise. It's a great start. This may not be an indispensable release but it is also not at all the same old formulas. They remind me a little of some of the early AACM and ESP units in their gamely experimental, anything-goes approach. It leads to some good results over around half the album, and some interesting refigurations in flux for the rest. That's what we need right now--to forge ahead without fear. Don't you think?

Darren Johnston's Gone to Chicago, "The Big Lift"

Yesterday, Darren Johnston with the Nice Guy Trio.... Today, Darren Johnston with Chicago guys. Darren Johnston's The Big Lift (PFR Porto Franco 031) came out late this past summer (2011) and it's worth tracking down. A great lineup doing some very good music....It's Darren on trumpet, Jeb Bishop on trombone, Jason Adasiewicz, vibes, Nate McBride, bass, and Frank Rosaly, drums. In other words, a kind of all-star Chicago lineup.

The group goes through its paces with Ornette's "Love Call", Duke's "Black and Tan Fantasy" and six Johnston originals, all of which make for fine semi-expanded springboards for these masterful improvisers. Needless to say Darren holds his own and each is an original voice. Jeb and Darren make for a wildly creative front line and Jason is his usual stimulating self with extended harmonic comps as needed and well chosen lines. The rhythm team socks the monkey in ways that make them a hell of a good choice for a freely propulsive set such as this.

Most definitely this is one you should not miss. It's a real feather in Mr. Johnston's cap and the Chicago crew is right there on it!