Sharel Cassity: Gratitude (Sunnyside Records)
As a youngster in Oklahoma, Sharel Cassity’s heart and soul got captured by bassist Christian McBride’s debut studio album Gettin’ To It (Verve Records, 1995). She later earned the chance to play with each of the three musicians from the rhythm section on that record. Now, the alto saxophonist reunites that groovy group for her sixth release as a leader.
Cassity and McBride appear on each tune, alongside pianist Cyrus Chestnut and drummer Lewis Nash. They present eight tracks, including two that welcome trombonist Michael Dease and trumpeter Terell Stafford as guests. The album’s jubilant character suggests those high-profile players were happy to hit the studio together again.
That upbeat mood shines bright from the first notes of the opening track, Magnetism. The visiting horns are on the guestlist for this Cassity-composed party, where everybody gets a chance to solo their socks off over a stop-start but swinging rhythm. It’s a euphoric way to kick off the record.
A more whimsical form of good cheer arrives on the Charlie Chaplin composition, Smile. It’s a quieter number with a chirpy melody. Cassity’s improvising style leans on bebop phrasing without overloading the listener. McBride’s solo is characteristically bouncy and motif-driven – and a perfect fit for the song’s frolicsome atmosphere.
A couple of tracks borrow their beat from 90s R&B. The Promise, for example, saunters along like a teen with spanking-new Reebok pumps. The bandleader starts on saxophone and then switches to clarinet, before a short segment in which she plays both at the same time.
Gratitude gathers an all-star lineup for a high-spirited blowout with seriously good performances. Cassity’s sixth album is a labour of love that bears the stamp of its bright-eyed and aspirational origins and suggests that, sometimes, it’s a good idea to meet your heroes.
Nicole Johänntgen: Labyrinth II (Baco Music)
This is the thirty-second album from German-born Johänntgen and shows she hasn’t tired of constantly expanding her range of extended techniques, beatboxing effects and other party tricks. In fact, more than 200,000 people follow her on Instagram to pick up tongue-in-cheek (sometimes literally) tips for coaxing new noises out of the instrument.
That broad palette adds splashes of colour to this release without becoming gimmicky or overwhelming. Labyrinth II features the funk and soul grooves that pervade much of Johänntgen’s previous work. It brings together an unusual trio instrumentation, with Jon Hansen on tuba and David Stauffacher on percussion. It’s an album of positivity, pleasure and possibilities.
The second track, Elephant Walk, dances in different directions throughout its seven-minute runtime. It begins with plodding steps from tuba until the saxophone arrives with squeaks and scoops, plus plenty of blue notes. Then a quiet section flows into a dark passage, before a danceable segment. It’s a high-definition snapshot of Johänntgen’s versatility.
A tambourine-like Brazilian instrument is the star of Pandeiro, Sing It Baby! Voices yelp and cheer in the background. It’s another upbeat and joyful composition. It’s also typical of Johänntgen to foreground and celebrate such a little-known (and little) percussive implement.
Waves II is the only sad song on the album. The bandleader enunciates a funereal melody over shivery percussion and rumbling long tones from tuba. Her saxophone sound is thinner and more nervous on this track, faltering and falling away from the higher notes.
Nicole Johänntgen has attracted a large online audience for her inquisitive and inventive approach to music – and for the positivity and charm she presents it with. This is a record marked by likeable compositions and good-natured improvisations. Even after 32 albums, Johänntgen still isn’t bored by her alto saxophone. Listeners won’t get bored either.
Rachel Therrien: Mi Hogar II (Lula World Music Records)
Twenty-three musicians accepted the invitation to play on French-Canadian trumpeter Rachel Therrien’s eighth release – and that’s understandable. Mi Hogar II is a festive and varied album that explores different Latin traditions while switching up the instrumentation for each of its seven tracks.
The colossal cast recorded their contributions across three locations. Seven percussionists appear on bongos, batas, congas, tamboras, timbales and a drum set. They join four pianists and four bassists, plus two saxophonists and two vocalists. Therrien also recruited one trombonist and one violinist. Hopefully they all got some lunch.
Everybody seems well-fuelled on Back Home. Therrien’s trumpet sound is full of pep, spice and vigour on this happy and energetic piece. There’s a funk-infused bass passage followed by an elbows-out turn from tenor saxophone that races around invisible corners, corridors and staircases.
Sueños De Cambios is a hesitant bolero ballad with violin present throughout. There’s a slowly unfurling piano solo marked by twinkling glissando patterns before Therrien plays an improvisation that washes over the listener in gentle waves. It’s a daydreamy composition.
Two vocalists show up for the final track, Beauty Free. It’s another bolero but with a jazzier and more energetic spirit, where the male and female voices intertwine and the solos overlap. If you like to boogie around the living room, Therrien and her gang provide plenty of encouragement here.
This is an ambitious project in terms of personnel, stylistic crossovers and rhythmic diversity. It achieves success thanks to Therrien’s sensitive, uplifting compositions and trumpet work. If her music is as much fun to play as it is to hear, she may attract an even bigger crowd into the studio for Mi Hogar III.
