Mike Nock, Marty Ehrlich - The Waiting Game

Styles: Piano, Clarinet And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 55:39
Size: 129,1 MB
Art: Front

(7:40)  1. The Waiting Game
(5:22)  2. Reconciliations
(5:37)  3. The Duke
(3:31)  4. Break Time
(5:34)  5. El Testamen de Amelia
(5:38)  6. Amhran Pheader Breathnach
(2:09)  7. 3 Postcards: Three Postcards: # 1
(1:50)  8. 3 Postcards: Three Postcards: # 2
(1:52)  9. 3 Postcards: Three Postcards: # 3
(4:29) 10. Like Spring
(3:00) 11. In The Moment
(5:01) 12. Jacanori
(3:51) 13. Snowy Morning Blues

Longtime friends and jammates since the '70s, Mike Nock and Marty Ehrlich finally got together to document their shared values. While Nock's witty notions are clear on the piano, it is Ehrlich who provides the surprises whether on alto or soprano sax, clarinet or bass clarinet. They form a partnership that languishes in subtleties and shaded nuance, well within modern mainstream or creative improvised guidelines, with occasional twists. Of the 13 selections there are two standards: Dave Brubeck's light swinging, clarinet driven evergreen tribute to Duke Ellington, "The Duke," and James P. Johnson's immortal "Snowy Morning Blues," with Ehrlich's potent alto inspiring Nock's classic striding. Two traditional folk melodies are also adapted; the pensive, hymnal, bass clarinet based "El Testamen de Amelia," and "Amhran Pheader Breathnach," with heavy modal piano and soprano waltzing along. Other 3/4 numbers include the spirit waltz for Ehrlich's soprano, "Reconciliations," and the more quiet, spaced notes by provided by alto sax or piano mixed with silence for emphasis in "In the Moment." Their most patient construct is prevalent on the title track a pained, longing soprano/piano duet laced with gut wrenching discourse and a reggae feel midway through, while the lithe alto sax bop of "Like Spring," playful bass clarinet call and response in "Jacanori," and the spontaneous time-shifting and romping improv that takes place during "Break Time" provide interesting contrasts. More cutting edge is the mini-suite "Postcards," with a quiet, long toned clarinet, inside piano string trade-outs, giddy and reckless abandon in the B section, and distinct point/counterpoint for resolution. These two brilliant musicians need little critical comment, their musicianship stands on its own high merit. Recommended. ~ Michael G.Nastos https://www.allmusic.com/album/the-waiting-game-mw0000055099

Personnel: Piano – Mike Nock; Alto Saxophone, Bass Clarinet, Clarinet – Marty Ehrlich.

The Waiting Game

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Marty Ehrlich, Peter Erskine, Michael Formanek - Relativity

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 64:15
Size: 148,2 MB
Art: Front

(6:47)  1. Incident At Harpham Flat
(5:46)  2. Eloi Lament
(9:22)  3. Lucky Life
(6:53)  4. The Pivot
(5:55)  5. Holy Waters
(6:46)  6. Round The Four Corners
(8:36)  7. Jiggle The Handle
(3:43)  8. Relativo
(6:07)  9. Taglioni
(4:16) 10. In A Child's Eyes

You might justifiably expect sparks to fly on this collaborative effort, given the careers of Ehrlich and his compatriots, trio members Michael Formanek and Peter Erskine. Unfortunately, it rarely happens, and while all three are exquisite players individually, this disappointing, often tepid recording stands as an opportunity not fully realized. In part it might be the result of different styles: Ehrlich, of course, is the more adventurous of the group, but Erskine, whose heart is usually in more commercial ventures, seems comfortable with the music. The pieces are all originals by the trio members, but there are times when a certain boredom pervades the music. To be fair, there are some aggressive, exciting moments, too, but they are the exception. Ehrlich continues to show remarkable versatility on alto and tenor saxophones, clarinet, and flute (where he is particularly lyrical). ~ Steve Loewy https://www.allmusic.com/album/relativity-mw0000252729

Personnel:  Alto Saxophone, Tenor Saxophone, Clarinet, Flute – Marty Ehrlich; Double Bass – Michael Formanek; Drums – Peter Erskine

Relativity

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The Marty Ehrlich Quartet - Song

Styles: Saxophone, Clarinet Jazz
Year: 2001
File: MP3@320K/s
Time: 50:26
Size: 116,2 MB
Art: Front

( 5:04)  1. Waltz
( 9:55)  2. The Price of the Ticket
( 5:29)  3. Day of the Dark Bright Light
( 8:20)  4. Blue Boye's Blues
( 6:00)  5. I Pity the Poor Immigrant
(10:20)  6. Fauve
( 5:16)  7. The Falling Rains of Life

Reedsman Marty Ehrlich enlists pianist Uri Caine, bassist Michael Formanek, and drummer Billy Drummond for this lyrical, swinging, accessible set. After opening with Robin Holcomb’s melancholy "Waltz" (a feature for Ehrlich’s brilliant bass clarinet), the quartet embarks on a trilogy of Ehrlich-penned pieces. "The Price of the Ticket," inspired by James Baldwin, begins with a beautifully orchestrated rubato section before breaking into a burning swing tempo, laying a foundation for incisive solos by Ehrlich (on alto), Caine, and Drummond. "Day of the Dark Bright Light" opens with duo ruminations from Caine and Formanek and evolves into a slow and straightforward waltz. And "Blue Boye’s Blues," dedicated to the late Julius Hemphill, is a bout of free jazz featuring special guest Ray Anderson on trombone. Chaotic sounds give way to an unaccompanied trombone passage, then an out-of-left-field, Motown-like progression that carries the piece to the end. Ehrlich then leads the band through a gospel-tinged reading of Bob Dylan’s "I Pity the Poor Immigrant." The song, from 1968’s John Wesley Harding, contains the immortal line, "who passionately hates his life, and likewise fears his death." Sustaining the penultimate chord with intensity before landing softly on the final, conclusive note, the group gets to the heart of Dylan’s bitterly told tale. Next is a ten-minute-plus original called "Fauve," the album’s high point, with the leader on soprano. The piece moves through an impressionistic rubato into fast, bright swing and eventually back again to rubato. Caine then introduces an unexpected 6/8 section, an inspired detour that ultimately concludes the piece. Wrapping up the session is "The Falling Rains of Life," with Ehrlich back on bass clarinet where he started, delighting in the contours of Jaki Byard’s achingly beautiful melody. Song is marred only by the fact that the piano and bass aren’t nearly present enough on the recording. Otherwise, it’s a major statement by Marty Ehrlich. ~ David Adler https://www.allaboutjazz.com/song-marty-ehrlich-enja-records-review-by-david-adler.php

Personnel:  Alto Saxophone, Soprano Saxophone, Bass Clarinet – Marty Ehrlich; Double Bass – Michael Formanek; Drums – Billy Drummond; Piano – Uri Caine

Song

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Marty Ehrlich - Just Before the Dawn

Styles: Clarinet, Saxophone And Flute Jazz
Year: 1995
File: MP3@320K/s
Time: 60:07
Size: 139,4 MB
Art: Front

(2:32)  1. Spirit of JAH
(6:46)  2. Thickets
(8:00)  3. Mudpie Anthem
(6:12)  4. Dance No. 1
(8:27)  5. Flight
(7:16)  6. The Folksinger
(7:04)  7. Side by Side
(7:16)  8. Underground/Overground
(6:32)  9. Eliahu

The second Darkwoods Ensemble recording for multi-woodwind instrumentalist and composer Ehrlich is a true winner, and a progressive jazz icon for the '90s. To paraphrase Ehrlich's own description of his music "Sounds startle the air" birds call across as if the light won't come... these sounds will find a center or the center will change... metal hued breath across strings... birds in the darkness, waiting for no one... open the door, wake these sounds, just before the dawn." Ehrlich is assisted in this quest by French horn player Vincent Chancey, bassist Mark Helias, cellist Erik Friedlander, and percussionist Don Alias. 

At their most free and uninhibited, the group digs in on "Side By Side" with Ehrlich's clarinet setting off some unison lines and a cello-bass-conga groove bridge, or there's the scatter shot improv, prompted by serious bass clarinet and goofy French horn, with terpsichorean tuneful unison during "Dance #1." Elephantine clarion calls from Chancey with other animals chattering on a freely associated "Underground/Overground" is a prelude for swooping bird sounds via the strings and quite soulful unison horns in this segmented piece. Also highly developed is the risky "Flight" starting as a whack waltz, going to multi-faceted lighthouse beam spotted melodies, and an intense, free bridge that suddenly stops, making way for introspective, collective meditations. 

As complexly written is "Thickets," with haunting cello, ethnic percussion, minimalist, repeated clarinet and NYC urgent traffic motifs. A more mournful bass/cello/alto sax informs "Mudpie Anthem" with additional chamber-like counterpoint. The most tuneful asides are the wood flute/percussion Afro-Cuban groove of "Spirit Of J.A.H." (for Julius Hemphill), the heavy bass/bass clarinet ostinato of "Eliahu," and the lilting, beautiful, tuneful flute/plucked cello/shaker percussion beaut "The Folksinger." This music needs to be heard by all who love a good joust from improvising musicians who fully understand shadings, nuance, power and glory. Highly recommended, and a high point in Ehrlich's substantial discography. ~ Michael G.Nastos https://www.allmusic.com/album/just-before-the-dawn-mw0000181959

Personnel:   Marty Ehrlich - clarinet, bass clarinet, alto saxophone, flute; Vincent Chancey - French horn; Erik Friedlander - cello; Mark Helias - bass; Don Alias - percussion

Just Before the Dawn

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Marty Ehrlich - Trio Exaltation

Styles: Saxophone, Clarinet And Flute Jazz
Year: 2018
File: MP3@320K/s
Time: 55:58
Size: 129,5 MB
Art: Front

(8:30)  1. Dusk
(5:11)  2. Yes Yes
(5:06)  3. Senhor P.C
(6:15)  4. Dance No. 5
(4:14)  5. Stone
(7:18)  6. June 11th, 2015-In Memorium: Ornette Coleman
(6:07)  7. Sometimes
(4:25)  8. The Arc of the Oar
(3:31)  9. Spirit of Jah No.2
(5:17) 10. Reading the River

After his previous release, 2013's magnificent big-band disc A Trumpet in the Morning (New World Records), it was unclear whether multi-instrumentalist Marty Ehrlich would continue down the path of large-scale composition or return to the small-to-medium-sized ensembles he's used for most of his recorded output over the years. Well, he's gone small all right: all the way down to a trio, something he's not done since 2000, when he teamed up with Andrew Cyrille and Mark Dresser on C/D/E (Jazz Magnet). This time he's working with bassist John Hébert and drummer Nasheet Waits, and the album's title, Trio Exaltation, is entirely appropriate, given the plenitude of dynamic and joyous music it features. Hébert and Waits have a good deal of intersecting history, found most recently on Michael Attias's Nerve Dance, from 2017 (Clean Feed). But for their shared link to Ehrlich, we can go back to the Andrew Hill Sextet, when all three worked in the early 2000s with that uniquely enigmatic pianist and composer. It's entirely fitting, therefore, that Hill's composition "Dusk" kicks off the album, as the piece's sinuous melody and controlled freedom establish the template for the trio's modus operandi. When Hébert's ostinato locks in with Waits' strolling toms, the groove feels unshakeable, and yet the music still possesses a sense of yearning and a desire to push free of rhythmic constraints due in large part to Ehrlich's soaring alto saxophone, which is perfect in capturing both the mystery and the power of Hill's vision.  

Other tracks bring Ehrlich's tuneful instincts to the fore not to mention his technical facility on a range of instruments, including bass clarinet, shown convincingly on "Dance No. 5," as a sing-able melody (and another engaging ostinato by Hébert) driving the piece with an irresistible momentum. On "Spirit of JAH No. 2" Waits' Caribbean-infused rhythms inspire an infectious duo with Ehrlich, this time on wooden flutes; and the clarion purity of Ehrlich's clarinet on "Reading the River" sustains the record's most swinging track, with a seemingly endless progression of lengthy, flowing lines.  While the music is undeniably appealing when it's rooted in strong rhythm and groove, it is just as affecting when the three move out into less-charted rhythmic territory. Case in point is "Senhor P.C.," dedicated to Clean Feed label impresario Pedro Costa, where Hébert's superb arco playing melds with Ehrlich's freer musings on alto and Waits's gradual ascension of intensity in a gripping five-minute burst of energy. And even more impressive is the album's tribute to Ornette Coleman, "June 11th, 2015 In Memoriam." With an emotional arc that is both haunting and liberating at the same time, the trio expands on a poignant melody with a controlled passion and fury that only find their full release at the piece's cathartic finish. Ehrlich's compositions have always been rich enough to warrant the treatment a larger ensemble can provide. But his improvisational skills as an instrumentalist are also prodigious, so it's a treat to have such a terrific recording on which to hear them. Trio Exaltation is a triumphant release for all three players, and one that should earn abundant accolades. ~ Troy Dostert https://www.allaboutjazz.com/trio-exaltation-marty-ehrlich-clean-feed-records-review-by-troy-dostert.php

Personnel: Marty Ehrlich: alto saxophone, clarinet, bass clarinet, wooden flutes; John Hébert: bass; Nasheet Waits: drums.

Trio Exaltation

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Bobby Previte's Weather Clear Track Fest - Hue And Cry

Styles: Jazz, Post Bop
Year: 1993
File: MP3@320K/s
Time: 57:55
Size: 133,4 MB
Art: Front

( 4:05)  1. Hubbub
( 5:59)  2. Smack-Dab
( 6:04)  3. Move Heaven And Earth
(14:10)  4. 700 Camels
( 7:03)  5. Valerie
(13:16)  6. Hue And Cry
( 7:15)  7. For John Laughlan And All That We Stood For.

Hue and Cry features an eight-strong, all-star version of Bobby Previte's Weather Clear, Track Fast band and results in one of his finest efforts as a leader. Along with Henry Threadgill, Previte, in the late '80s and early '90s, was one of the leading figures of avant-garde jazz, using mid-sized groups to explore complex compositional ideas more than as solo vehicles. He's also extremely adept at tension-and-release structures, often using what might have been an introductory riff for anyone else as an extended phrase, wringing out every bit of melody from it, and leaving the listener in a juicy state of anticipation for the eventual burst into the central theme. Previte uses an interesting pairing up in this band, with Don Byron and Marty Ehrlich often both playing clarinet, Robin Eubanks and Eddie Allen on brass, and, most prominently, Anthony Davis on piano alongside Larry Goldings' organ. Goldings is particularly out front on many of the pieces here, giving the band a very different cast from their earlier recording. 

Only the ambitious "700 Camels" fails to cohere completely; the remainder of the tracks all have both imaginative writing and (at the least) solid playing and soloing. On the other hand, the similarly lengthy title track pulls all the right switches, layering material in a rich fabric and hurtling toward a satisfying climax. The closing number is an unusual dirge, with Previte playing a martial rhythm, Davis trickling out single notes like rainfall, and Ehrlich keening on soprano. Recommended! ~ Brian Olewnick  https://www.cduniverse.com/search/xx/music/pid/1497658/a/hue+and+cry.htm

Personnel: Bobby Previte (drums), Marty Ehrlich (alto & tenor saxophones, clarinet, bass clarinet), Don Byron (baritone saxophone, clarinet), Eddie Allen (trumpet), Robin Eubanks (trombone), Anthony Davis (piano), Larry Goldings (organ), Anthony Cox (bass)

Hue And Cry

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Marty Ehrlich - A Trumpet in the Morning

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 75:05
Size: 172,5 MB
Art: Front

( 3:28)  1. Prelude: Agbekor Translations
(23:20)  2. A Trumpet in the Morning
(11:06)  3. Blues for Peace
(20:21)  4. Rundowns and Turnbacks
(14:01)  5. M Variations (Melody for Madeleine)
( 2:47)  6. Postlude: Agbekor Translations

"The scope of Marty Ehrlich's extraordinary output has now grown exponentially with this stunning recording of exceptional orchestral writing." ~The New York City Jazz Record

This is the most ambitious recording I have done to date as a composer. These compositions, written over a twenty-year period, receive wonderful performances from these A-list musicians, many of whom I have worked with for thirty years and more. Each piece approaches the jazz orchestra in different ways. The music on this recording presents the fullest range yet of my creative passions. ~   Marty Ehrlich

This is the first program devoted entirely to the orchestral music of Marty Ehrlich. It displays the characteristics that have marked his success as an instrumentalist, composer, and bandleader: strong melodic invention and a keen ear for instrumental color, creative curiosity embracing disciplines beyond music, extreme sensitivity to those with whom he collaborates, formal inventiveness that enhances rather than obscures expressive intent, and an unblinking yet ultimately affirmative insistence on connecting his music with realities both historic and contemporary.

While Ehrlich had written earlier pieces for larger ensembles including the New York Composers Orchestra, his most ambitious documented opus prior to the present collection was The Long View (2000). The various movements of that work were scored for between two and fourteen musicians. Here, in contrast, the canvas remains large, though again it is mutable. Most of the 24 musicians involved have extensive histories with Ehrlich, who emphasizes that such personnel choices as the use of two rhythm sections were made "to enlist their individual approaches in giving the recording an even wider palette." He also says that the recording realizes "an inner compulsion to reveal the relationships among the pieces, the majority of which were written in the past decade and are long-form and multi-sectional. They share an intention, and are really my own music." 

~ Editorial Reviews  (Amazon.com)

A Trumpet in the Morning

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