Mark Egan's “About”

Bassist Mark Egan is a well known commodity in the world of jazz, and first came to my attention in those halcyon days with guitarist Pat Matheny’s earliest group, featuring keyboardist Lyle Mays and drummer Danny Gottlieb. Egan returns anew with his longtime bandmate Gottlieb and keyboardist Mitchel Forman, (last seen at Yoshi’s in SF, backing up vocalist Sussan Deyhim), and well known for their work with the legendary guitarist John McLaughlin. “About Now” is is Egan’s latest effort on the Wavetone Record label, and another fine addition to his ever growing catalog.


Abstract Logix describes the new album, stating that “Over the past 30 years, Mark Egan’s ability to groove, perfectly complement the music in any situation and solo expressively has made him one of the most in-demand bass players on the international music scene. While racking up credits with the likes of the Pat Metheny Group, saxophonists Steve Grossman, Dave Liebman, Stan Getz, Sonny Fortune and Bill Evans, vocalist Michael Franks, guitarists Pat Martino, Larry Coryell, John McLaughlin, Alex De Grassi, John Abercrombie, Chuck Loeb and Vic Juris, the Duran Duran off-shoot group Arcadia, the Gil Evans Orchestra as well as pop stars Sting, Joan Osborne, Sophie B. Hawkins, Marc Cohn and Roger Daltry, Egan also went about documenting his singular fretless bass guitar voice in a series of recordings as a leader beginning with his 1985 bass manifesto, Mosaic.


Following on the heels of 2010’s Truth Be Told (his quartet recording with saxophonist Bill Evans, keyboardist Mitch Forman and drummer Vinnie Colaiuta) and 2013’s trio offering Unit 1 (with guitarist John Hart and drummer Karl Latham), Egan reconnects with his Pat Metheny Group/Elements bandmate, drummer Danny Gottlieb, and keyboardist Forman for an invigorating program that highlights the bassist’s signature singing fretless 5-string tones in both funk and impressionistic settings. The 20th album on his own Wavetone label, About Now is a stunning trio outing that has Forman alternating between piano and Fender Rhodes and the telepathic rhythm tandem of Egan and Gottlieb holding down the fort while also contributing potent solos and highly interactive playing throughout.


“I wanted to do an intimate trio project that used both electric and acoustic piano with both groove and open playing that would feature the interplay between us,” says Egan in describing the highly interactive nature of this trio project. “So there’s a few open and impressionistic compositions, and others that are groove tunes that allow us all to really experiment. This recording features my fretless playing in an intimate trio setting in a different way than any of my other recordings.”


The title track, which has Gottlieb underscoring on brushes, features the trio playing at a interactive dynamic while Egan sings away on the 5-string fretless. “On this album I wanted to feature the sound of the 5-string fretless Pedulla bass. On some of the melodies I also overdubbed with the 8-string fretless, as on ‘Sailing,’ using harmonics on my double-neck. It’s been a while since I’ve recorded with the double-neck and it felt great to be playing it again.”


Egan calls the About Now session an exposed open trio feel, which prevails on the groove-oriented “Slinky,” and carries a dark Miles Davis kind of “Tutu” vibe. “Graceful Branch” is a seductive ballad with singing fretless lines while “Little Pagoda” is cast in the vein of Hermeto Pascoal’s “Little Church” (which appears on Miles Davis’ Live-Evil). “Danny is playing double time on the cymbals and Mitch and I are playing a free tone poem. I wanted to create a trance like vibe on this song and was picturing a pagoda somewhere in Bali with a drummer playing a hypnotic cymbal rhythm and musicians playing a meditative tone poem around it. Essentially, it’s a free ballad that Mitchel embellishes with his beautiful statements.”


“McKenzie Portage” is a groove-oriented number that Egan wrote about the fishing expeditions that he’s made in the remote sections of Ontario, Canada with saxophonist Bill Evans. “My first expedition was in 1989,” says the bassist, “and it was the most fantastic and rigorous trip that I had ever made in my life. We had to portage for 30 miles with full packs and canoes en route to a pristine and virgin lake where we eventually had amazing fishing. I always wanted to name a tune after that adventure and this song describes the impressions from that trip 25 years ago.”


Elsewhere on About Now, Egan has based the composition “Tea in Tiananmen Square,” on a tour he made to China with the George Gruntz concert band in 2000. His tune “Cabarete” is named for a town in the Dominican Republic that has become identified as an international wind surfing capitol. “We played a New Year’s concert there with Elements and the Latin tune ‘Cabarete seemed to fit the feeling.” “Puerto Plata,” named for a town near Cabarete, where the airport is located, and is a companion piece that closes out the collection.


Born in Brockton, Massachusetts, Egan began his musical studies on trumpet at the age of 10, mainly through the influence of his father who was an avid player in the Navy Band. He continued to play the trumpet through high school in jazz bands, R&B groups and the high school orchestra before picking up the electric bass at age 16. Mark subsequently enrolled at the University of Miami School of Music, under the direction of Jerry Coker, and studied privately with the late, great Jaco Pastorius, whose influence remains with him to this day. “When I heard Jaco play it made me aware of what could be done on the electric bass,” says Egan. “Jaco was an innovator and to be in his presence was uplifting and inspiring during those early years.”


While in Florida, Mark formed a band with fellow University of Miami students Clifford Carter (keyboards), Hiram Bullock (guitar), Billy Bowker (drums) and Phyllis Hyman (vocals). They came to New York in 1976 and soon afterward Egan hooked up with the Pointer Sisters, Deodato and David Sanborn before joining Pat Metheny in 1977 along with drummer Danny Gottlieb and Lyle Mays. Together they recorded the influential Metheny albums Pat Metheny Group (1978) and American Garage (1980). It was through this association that Mark would later team up with Gottlieb to form the band Elements, an uncompromising, genre-bending group that has 10 recordings to date and has toured in over 27 countries. “This is a reunion of the spirits to get back together with Danny and Mitchel and record some fresh music,” says Egan.


These days, Danny Gottlieb lives in Nashville and teaches at the University of Florida at Jacksonville. Keyboardist Mitchel Forman is currently living in Los Angeles. And Egan lives in New Canaan, Connecticut, where this recording was made in his home studio that was recently designed by Francis Manzella from FM Design. “This is the first recording from the new studio, Electric Fields, and it’s been a real labor of love,” says Mark. “Sonically, it has a master quality control room. The drum room has great acoustics and the main studio room has a gorgeous Steinway B from 1920 that was recently rebuilt. We also have a fine collection of vintage studio electronics and microphones. I feel that this studio design and recording was ‘mission accomplished.’ I love recording in the fine studios in New York City as well as having the luxury and creativity of being at home.”


Egan intends to use Electric Fields studio for a follow up recording by his Unit 1 trio and also another recording with his longstanding colleagues Gottlieb and Forman. Until then, enjoy their appealing and versatile chemistry on About Now…”

Tohpati's "Tribal Dance"

Tohpati is one of most exciting guitarists to emerge from Indonesia, and for his third release on the MoonJune Record label, (following 2010's "Ethnomission, "Save The Planet", and 2012's "Bertiga", and "Riot", Tohpati is joined by two other renowned maestros; bassist Jimmy Haslip and drummer Chad Wackerman who appeared together on the Allan Holdsworth- Alan Pasqua "Blues For Tony" project. The result is an album of "brilliantly conceived and executed music, evidenced by a wellspring of inspired interplay, a delightful chemistry and bursts of intense, spontaneous genius."

"On Tribal Dance, there's no shortage of Tohpati's trademark breathtaking, acrobatic axe-wielding. Towering power chords, distorted spare-note lead lines, unexpected machine gun-blasting sonic assaults, chugging rhythmic grooves, and even a host of elegantly-nuanced jazz phrasings, are all in attendance -- summoned at will, and in omnipotent fashion.His explosive fretwork often appears as the musical equivalent of a cobra, coiled and ready to strike, yet it is his intuitive, prescient interplay with this formidable world-class rhythm section that emerges victorious on this stage. A powerful synergy prevails, as Tohpati locks in with Haslip’s dubmaster basslines and the rubber-limbed, imaginative kitwork of Wackerman. The trio generate wave upon wave of infectious syncopations and robust grooves, gloriously decorating a very special session.

Topati's Wikipedia bio recounts his interest in becoming a musician as a youngster, and "often played on many shows around Jakarta, although it was not as a professional career. As a result of his effort, he had won the title "Best Guitarist" at a band festival in Jakarta when he was 14 years old. Four years after that, in 1989, he won another notable award of the best guitarist in Java, also was given at a band festival. This award then contributed a major part in Tohpati's music experience as his name began to be noticed because in the same year, he won the another best guitarist title at a "Yamaha Band Explosion" show, which was a national show.

After winning a series of awards, Tohpati decided to begin his professional career. His professional career began in 1993 when he joined a band called Simak Dialog with Riza Arshad, Arie Ayunir and Indro. Indro is a bassist who played the "Bass Heroes" show in Jakarta. Later, Indro often played with Tohpati in many different shows. With Simak Dialog, Tohpati had released 3 albums, which were "Lukisan", "Bauk" and "Trance/Madison".

In the late 1990s, Tohpati decided to start a solo career and released his first solo album in 1998. The album also included a collaboration with Shakila and Glenn Fredly, both pop singers. Gaining more popularity, he released two video clips of one of his songs on the album, the song titled "Lukisan Pagi", in a collaboration with Shakila. The video clip was a success and the song made the charts in Indonesia.

His second album, "Serampang Samba" offered more instrumental hits. Quite different with the last album, Tohpati only included one song with vocals on the album, titled "Jejak Langkah Yang Kau Tinggal". This was also the only song with a video clip. Serampang Samba also consists of more traditional Indonesian music with more acoustic guitars and Balinese elements. It's been said that this album was considered more idealist and progressive compared to his previous album.

In 2007, Tohpati signed with the New York based progressive/fusion label Moonjune Records and released internationally three albums so far, namely "Patahan" (live), "Demi Masa" and "The 6th Story". Tohpati also released two albums on Moonjune as a bandleader. Tohpati Ethnomission's Save The Planet is his yet further exploration of the experimental jazz fusion, while his power trio Tohpati Bertiga mixes that with a touch of progressive metal."

Tohpati has also been a longtime fan of the legendary guitarist Allan Holdsworth and his music; so the addition of the Holdsworth alum Wackerman and Haslip was no coincidence, however Tohpati has found his own voice and unique sound, making Tribal Dance one of his best solo efforts to date. Here is a video of one of Tohpati's tunes, "Rahwana"…

Lords of Outland 20th Anniversary

The Lords of Outland will release The Proceedings of Dr. Ké on April 22, 2014 the group’s 12th recording. To celebrate the release and their 20th Anniversary, Lords of Outland will perform at the Outsound’s Flagship SIMM Series at the Musicians Union Hall in San Francisco, starting at 7:30pm on Sunday, April 27. Tickets are $10, and will be available at the Door the night of the concert.

Saxophonist, composer Rent Romus started the Lords of Outland in 1994 a collective of like-minded musicians focusing on exploring improvisation, melody, noise, and sound art while acknowledging their jazz, rock, and blues roots. Under Romus’ direction the collective has developed original music ranging from unhinged guttural free improvisation to thematic suites inspired by abstract and socio-political prose, poetry, science fiction, and horror. Performing artists will include a cross section of past and current roster members:
Dave Mihaly - drums, Bill Noertker - bass, Philip Everett - drums, Ray Scheaffer - bass, Joshua Marshall – tenor saxophone, Collette McCaslin - trumpet, Joshua Allen – tenor saxophone, Darren Johnston - trumpet, Jim Ryan – tenor/alto saxophones, Rent Romus – alto/soprano saxophones

The Proceedings of Dr. Ké is inspired by the essays and fiction of experimental psychologist Dr. Charles Ponce on what he termed “Blade Runner Psychology”, as well as the mythical figure in Dr. Ponce’s fiction Dr. Ke. The writings of Dr Ponce straddle the fence between science and science fiction expanding Jungian psychology into the modern world by introducing futurist elements. It’s these elements that define the parameters of Romus' Compositions, which are meant to be invoking of both the futurist theme of Dr. Ponce’s work as well as his mystic interpretations of the words set to music.

Glenn Astarita, from All About Jazz says of Romus’ work with the Lords of Outland, "Romus' fiery romp is a no-holds barred exposition. He slices through steel with accuracy and ease, equating to a jovial soundscape, scraped with intensifying solos and Everett's colorific cymbals hits. They galvanize your neural system from start to finish, while projecting a take no prisoners approach throughout."

About the Musicians

Rent Romus “swings like death and hell” according to the late Danish writer and producer Jack Lind. Born in the great north of upper Michigan and growing up in the San Francisco Bay Area, Romus' work on the saxophone has been dubbed “ferocious” by the San Francisco Weekly and “central to the creative music world of the West Coast” by writer jazz critic Frank Rubolino.  He has recorded exploring improvisation and composition in a wide variety of musical settings on over 35 albums both as a leader and sideman which have included Chico Freeman, John Tchiai, Vinny Golia, Thollem McDonas, Stefan Pasborg, Dave Mihaly, James Zitro, Kash Killion, Jon Bridsong, and Ernesto Diaz-Infante.

Collette McCaslin formally known as CJ Borosque, bay area based improviser, noise and modern visual artist. Her art is a blending of genres pulling from abstract and avant-garde traditions. She plays coronet and analog FX boxes configured in a “no-input” design which allows for the creation of sonic feedback and feedback sounds without the use of a typical sound source... her noise projects are currently created using the electrical signal that is within her gear.

Ray Scheaffer performs on fretless 6 strings, fretted 4 and 8 string basses using a host of electronic effects that are incorporated to be part of the instrument. After studying music theory and upright bass in high school and junior college, Ray has performed in a diverse array of ensembles from full orchestra to folk rock bands, and experimental improv groups going back to the 70s.

Philip Everett began music at the age of 9 on clarinet shortly there after moving on the drums when he was 13 where he began his studies in junior high school with Warren George from the Stan Kenton band. Warren believed in trial by fire and stuck Phillip in a room alone for an hour a day, told him to learn drum rudiments, and put him in advanced orchestra & marching band the following semester. That trial led him directly to Bartok, Debussy, and Gershwin as well as New Orleans style 2nd line marches. Furthering his studies he sought after George Marsh and Eddie Moore where he was taught the finer subtleties of the drums.

After studying drums with Andrew Cyril in New Jersey, Dave Mihaly this tall mantis-like creative master of the drums can be heard with countless groups and artists such as, Bando, Victoria Williams, and Eartha Kitt. He is however known in the Bay Area for his work with the Kalideophone Big Band, and After the End of the World Cortet. Mihaly can be heard on After the End of the World Cortet CD 13, Rent Romus' Lords of Outland, and Nortker's Moxie.

Bassist/composer Bill Noertker has been active in the Bay Area jazz and avant-garde scene since the late 1980s. Since 2001, he has lead his own ensemble, Noertker's Moxie, as a forum for his compositions inspired by visual artists such as Paul Klee, Wassily Kandinsky, Franz Marc, Salvador Dalí, and Joan Miró, architect Antoni Gaudí, poet Rainer Maria Rilke, sculptor David Beck, and others. Noertker has composed over 150 pieces of music for this group and has released eight CDs, including three CDs of his extended suite Sketches of Catalonia, and two volumes of his extended Blue Rider Suite. He has also composed music for three films that showcase the intimately-scaled sculptures of David Beck, and composed the score for a Nikos Koumoundouros film, The Commandments or the Nostril of Ektor Kaknavatos, that was selected for the Short Film Corner at the prestigious Festival de Cannes 2010. He is now at work scoring the upcoming Olympia Stone film “Curious Worlds: the Art and Imagination of David Beck.”

Joshua Marshall is a performer, composer, and improviser living in Oakland, CA. His work involves abstract narratives in musical form, systematic extensions of improvisatory practice, advanced studies in saxophone technique, and interactive performance with digital media. He has studied with Roscoe Mitchell, Fred Frith, Pauline Oliveros, Evan Parker, Zeena Parkins. His playing has been featured in festivals and conferences nationwide, including Providence Pixilerations events and the 2010 International Computer Music Conference. Joshua graduated from Brown University, earning a B.A. through the nationally renowned MEME program, and has an MFA in Music at Mills College.

Joshua Allen has created his own personal language on the tenor saxophone, with an emphasis on polytonal and asymmetrical phrasing, as well as extending the range and sonic ability of the instrument. He does this with constant emphasis and study of the overtone series, and the generation of multiphonics from the application of this process. He is currently teaching Fellowship students at the Brubeck Institute at the University of Pacific. His association with saxophonist Marco Eneidi led to working relationships with musicians such as Glen Spearmann, Matthew Goodheart, Damon Smith, and Cecil Taylor.

Poet, writer, philosopher and musician, Jim Ryan is an original member of the exploratory family of artists of the 20th century. His powerful playing style and truly original voice permeates the San Francisco Bay Area with vibrant spirit. He was born in St. Paul, Minnesota and began listening to bebop at age 15. In 1958 after obtaining a degree in philosophy from the University of Minnesota, Jim was drafted into the army and sent to Europe. After serving for 21 months, Jim found himself attending the Sorbonne in Paris France. After a short time he discovered he was infected with the writing bug and became involved with the beat poet community that was blossoming in France and throughout the world, rubbing elbows with such poets as Boroughs, and Ginsberg.

In 1975 he returned to the United States in search of a fresh start and settled in Washington, D.C. where he formed the Art Performance Group performing throughout the area. In 1987 he moved California and lived in Marin County until 1993 when he moved to Oakland and became part of the San Francisco Bay Area improv and jazz scene. After a long hiatus, in 1997, he launched one of his current groups Forward Energy featuring stellar artists like trumpet player Eddie Gale and drummer Donald Robinson. You can hear this pivotal Bay Area saxophonist presently with Forward Energy and the Jordan Glenn's Mindless Thing.

Since settling in San Francisco in 1997, Canada-born trumpeter/composer/songwriter Darren Johnston has collaborated and recorded with an extremely diverse cross-section of artists.  His interests rotate around composing instrumental music, writing songs, and performing all styles of jazz, experimental and purely improvised music, as well as traditional music of the Balkans, Greece, Macedonia, Turkey, and the Arab world.  These interests have coalesced into his primary ensemble of late, The Broken Shadows Family Band.  He has also performed with luminaries such as Hamid Drake, Fred Frith, ROVA Sax Quartet, Rumen Shopov, Myra Melford, Ben Goldberg, Matt Wilson, and others.


Who: Rent Romus’ Lords of Outland
Where: Musicians Union Hall, 116 9th Street San Francisco, CA
When: Sunday, April 27, 2014, 7:30pm
Cost: $10 general $8 sen/stu
For information and tickets: http://www.outsound.org
Rent Romus: www.romus.net

Wayne Shorter Quartet Comes to SF Jazz

In a legendary career spanning more than half a century, saxophonist Wayne Shorter just keeps getting better and bolder. Indeed, his longevity as a creative force isn’t as astounding as the fact that he’s spent the past decade leading his most prodigious and consequential band. At 80, Shorter often appears as the calm center of a roiling maelstrom, a mystical presence exulting in the improvisational lightning strikes emanating from pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade, all virtuosos and bandleaders in their own right. Of course, the quartet is fueled by music from jazz’s most influential composer after Thelonious Monk, still keen to venture into uncharted territory. Shorter’s new Blue Note album, Without a Net, is his first for the label in over four decades and is an astounding document of an artist reaching and exploring, still very much at the peak of his powers. The session netted Shorter 2013 DownBeat magazine Critics Poll wins for Jazz Album, Jazz Group, Soprano Saxophone and Jazz Artist of the Year, as well as a GRAMMY for Best Improvised Solo on "Orbits."Shorter and his quartet return to the Bay Area tonight for several sold out shows.

Shorter's website noted that he'll will be entering his 81st year in 2014—first recorded for Blue Note in 1959 as the precocious 26-year-old tenor saxophonist (and prolific composer) in Art Blakey’s Jazz Messengers, which brought him to the attention of label founder Alfred Lion who eventually signed him to his own recording deal. Shorter went on to make a spectacular run of classic albums for Blue Note between 1964-1970 including Night Dreamer, Juju, Speak No Evil, Adam’s Apple, Schizophrenia, and Super Nova during a period of time that also paralleled Shorter’s years with Miles Davis, first as a member of the trumpeter’s trailblazing quintet, and later as a part of Davis’ early fusion masterpieces.

“Wayne Shorter is one of the greatest musicians and composers of our time,” said Don Was, President of Blue Note Records. “At age 80, we witness him at the height of his powers and performing with one of the most incredible bands he's ever assembled. Although welcoming him back to Blue Note Records after 43 years is a romantic notion, Wayne's enduring appeal is rooted in his steadfast refusal to trade in such nostalgia. In fact, it is Mr. Shorter's determination to constantly move forward that makes his new album, Without A Net, such an essential listening experience.”

Reflecting upon his perpetual path of musical discovery, Shorter expounded that The challenge we as artists face today is to create a ‘singularity’ or an ‘event horizon’ so that as human beings we will break the cycle of ego dominated actions which through repetition keep us bound to stagnation which denies us entrance to the Portal of Life's Ultimate Adventure!

Without A Net is a 9-track musical thrill ride that consists of live recordings from the Wayne Shorter Quartet’s European tour in late 2011, the one exception being the 23-minute tone poem “Pegasus” which features the quartet with The Imani Winds recorded at Walt Disney Concert Hall in Los Angeles. The album features six new Shorter compositions, as well as new versions of his tunes “Orbits” (from Miles Davis’ Miles Smiles album) and “Plaza Real” (from the Weather Report album Procession). The quartet also reinvents the title song from the 1933 musical film Flying Down To Rio, which film buffs (such as Shorter) know as the first on-screen pairing of Fred Astaire and Ginger Rogers."

Wayne Shorter Quartet at SF Jazz Center, March 27-30; (sold out, however turnback tickets may be available)
Wayne Shorter tenor and soprano saxophones
Danilo Perez piano
John Patitucci bass
Brian Blade drums

Simon Phillips Comes to SF Jazz and Yoshi's

One of the world's best percussionists is the Englishman Simon Phillips; an ambidextrous drummer who follows in the footsteps of jazz greats Billy Cobham and Lenny White who helped to popularize that musical approach. Phillip's first came to this writer's attention via his work with Brian Eno and Phil Mazenera's group "801", and later, Peter Townsend and the Who. Phillips has continued to perform and record with a who's who of the musical world; he makes his return to the Bay area later this month, supporting Hiromi and Anthony Jackson in a sold out show at the SF Jazz Center of Franklin, before returning to Yoshi's in Oakland on April 1st with his own group, "Protocol II"- a sequel to his first solo group of the same name.

Readers of my previous column will recall Hiromi's spectacular show at the newly minted SF Jazz Center last year; her return on March with Jackson and Phillips shouldn't disappoint fans either. Fourteen years ago, Phillips released the first Protocol album, and he deemed it was the "right time to record something new..." 

"I had been writing and recording some material over the last few years but was not excited enough with the outcome. I wanted to do something very live and organic so as the NAMM show was coming up in January I was hoping that perhaps Andy Timmons would be attending. I called him and put my idea to him and he was way up for it and changed his plans to stay in LA a few more days. My next call was to Steve Weingart as, having worked with him on his last two solo CDs, I had formed a wonderful working relationship with him. He was also very excited by the project. Next was the question of who should take the seat of holding down those low notes. I had heard a lot about Ernest Tibbs and had spoken to him a few years earlier about some live shows, which he could not make. I gave him a call and he was also way up for it. So I booked time at Phantom Recordings – a week after the NAMM show – to see what we could do..."


"I had a bunch of demos ranging from ideas to complete compositions that I was not totally sure they were the direction I wanted to go in so I compiled those and sent MP3s to Andy, Steve and Ernest. My concept was that we would write in the studio and if any parts of these tunes worked we could use them. I was curious and eager to get playing to see how the chemistry of the four of us would work. The first tune we recorded was “Moments of Fortune” and I knew immediately this was a great band – great chemistry – a deep pocket and a relentless supply of musicality..."

"As it turned out most of the compositions were usable and only a few sections were omitted. We arranged the tunes on the fly and everyone contributed and it made for some very organic and vibe-y music. The days were long and tiring but the energy and creativity were amazing. We played live and only a few repairs, punches and overdubs were done.

As we were recording this felt to me as though the Protocol concept was coming full circle and it was also 25 years since I released my first solo effort so it seemed perfect to be titled Protocol II. This project was a joy to work on and I want to thank Andy, Steve and Ernest for their wonderful energy, groove and improvisation captured on this recording...."


Here are two clips of Phillips with Hiromi and Protocol II...

"Taming the Dragon" - Mehliana's Debut Album

After several recent tours around the U.S. and Europe, the musical duo of keyboardist Brad Mehldau and drummer Mark Guiliana, aka "Mehliana", have at long last released and album of their improvisational and inspiring music. Their debut effort is entitled, "Taming the Dragon", a collection of some of their best forays that will be familiar to fans of their live shows, as well as some material not heard or seen live. Mehliana's use of vintage synthesizers, and their incredible grasp of both jazz and modern electronica is a joy to witness live, (They performed at both SF Jazz and the Independant recently); happily, their new album captures those moments and more.

Released on the Nonesuch Record label, Taming the Dragon's origins were revealed, "Mehldau and Guiliana have been performing for several years, with Mehldau playing Fender Rhodes and synthesizers and Guiliana on drums and effects, as they are on the record. Mehliana comprises 12 original tunes—six written by the duo and six written by Mehldau—and was engineered and mixed by Greg Koller (Jon Brion, Kanye West). The vinyl edition of the album, due March 18, includes two 140-gram LPs pressed at Pallas MFG in Diepholz, Germany, and a CD of the album."

The reviews so far have been favorable: "Mehliana: Taming the Dragon is "astonishing," exclaims Jazzwise magazine, "one of the best albums of 2014." Mehliana earned four stars from the Guardian and from MusicOMH, which calls the album "wholly absorbing, as Mehldau’s playfulness and Guiliana’s taut, interwoven grooves create an inescapable tension. Pieces such as the delightful, slow building 'Hungry Ghost even seem to draw from the approaches of post rock acts such as Sigur Rós or Tortoise." The album, concludes MusicOMH reviewer Daniel Paton, offers "an intuitive, compelling dialogue between the two musicians, and between the musicians and their machines..." "Ranging from lush dreamscapes to febrile urban funk workouts," says MOJO, "the album resonates like an imaginary '80s film score..."

Having seen and heard Mehliana both live and online, I was extremely pleased to see some of my favorite pieces from those live performances appear on the album; the haunting "Elegy for Amelia Earhardt"; "London Gloaming", (Mehldau would often quote John Coltrane's "My Favorite Things" live on this tune); the rollicking "Sassyassed Sassafrass", "Just call me Nige", and "Sleeping Giant"; "Swimming", a great tune where Guiliana is in his percussive element; and perhaps my favorite, "Hungry Ghost", a beautifully eerie vamp that both grooves you and rattles your chains. Those tunes were incredible live and sound simply fantastic on this recording.

There are other interesting tunes on the album as well; "Taming the Dragon", the spoken word piece title piece, conjured memories of Adrian Belew's dialogue in King Crimson's "Thela Hun Jingeet"; and "Luxe", a pierce borne from an improvisational idea right before their performance in Luxenbourg.

I have been a huge fan of the great keyboard and drum duo's; from the world music of the late, great Joe Zawinul and Trilok Gurtu; Patrick Moraz and Bill Bruford, (who incidentally considered Guiliana one of the most refreshing drummers he'd heard in years); and Marco Benevento and Joe Russo's "Duo". Mehliana is the real deal, and "Taming the Dragon" is a worthy addition to the pantheon of those previous men.

The Music of "OoN"

Two of the Bay Area's best musicians have joined forces in a most fabulous duet, quite unlike any I have ever heard. A fantastic bassoonist, Paul Hanson first came to my attention while touring with Bela Fleck and the Flecktones, and performing alongside the legendary Paul McCandless of Oregon and saxophonist Jeff Coffin; their work as a trio simply had to be seen to be believed. No one plays the bassoon like Hanson; his dexterity and marvelous use of effects was nothing short of brilliant. Bassist Ariane Cap is of course no stranger to this writer; as she's honed her skills at the elbows of such bass luminaries as the virtuoso Victor Wooten of the aforementioned Flecktones, the incomparable Kai Eckhardt, and one of the founders of the Bay Area's solo bass scene, the one and only Michael Manring. Together, Hanson and Cap have created the duo known as "OoN, a unique blend of fresh sounds at times meditative and peaceful at times passionate, raging and distorted; always groovy always melodic…" Their new album, "Polaris" is an amazing romp that defies categorization, and is guaranteed to both soothe and groove you.

OoN's website states that "People often say they don't know what to expect from a bass and bassoon duo. Well, think melodic and groovy music. OoN with its unlikely combination of bass and bassoon creates beautiful melodic Chamber Jazz. Sometimes peaceful and meditative, at other times passionate, raging or groovy, the musical bandwidth these two instrumentalists cover on their respective 'tools' is surprising. Utilizing virtuosic and unusual playing techniques as well as effects and harmonizers, the musicians put the song first and musicality front and center.

When Hanson and Cap met they found they had a lot in common: both had just returned from tours from outside the country and found themselves in new and unexpected life situations. They got together initially to 'just jam' but were immediately struck by the compatibility of their instruments as well as their similar approaches to playing. Both fans of unusual playing techniques and the use of effects they were both at home taking on various responsibilities of playing, be it accompanying, grooving, soloing or playing melodies. More than anything, however, they found kinship in loving a wide variety of styles of music, from Classical to Jazz, to Rock, Pop, Funk, and Fusion, and for being most concerned with beautiful melodies and accessible and moving grooves. On Polaris, the two do many of their own compositions, but also a Beatles cover and their favorite Jazz standard. They even go on some Jimi Hendrix infused adventures. A fresh and exciting sound that will delight, entertain and uplift you, make sure to expect the unexpected.

As a bassoonist over the last 20 years, Paul has been one of a select few setting new standards for what is possible on this most classical of woodwind instruments. As one reviewer puts it, “But he simply transcends technique to a point where the listener no longer has in mind that it’s a BASSOON that he’s playing.” From his roots as an award-winning classical bassoonist and jazz saxophonist-Paul has enjoyed a truly diverse musical career.

As an improvising bassoonist, Paul has recorded and/or performed with Bela Fleck and the Flecktones, Wayne Shorter, Peter Erskine, Cirque Du Soleil, David Binney, Dennis Chambers, Zenith Patrol, Billy Childs, Billy Higgins, Ray Charles, Charlie Hunter, Patrice Rushen, Alex Acuna, Abraham Laboriel, Medeski Martin & Wood, Bob Weir’s RATDOG, T. Lavitz from Dixie Dregs, Jeff Coffin, Jeff Sipe, Jonas Hellborg, Afro/Cuban pianist Omar Sosa, Bob Moses, Kai Eckhardt. Paul has lent his bassoon playing to The Klezmorim, St. Josephs Ballet, soloist with Napa Symphony, jazz bassoon soloist with Oakland East Bay Symphony, DAVKA.

As a saxophonist, Hanson has recorded and/or performed with Eddie Money (tenor sax soloist on the 1985 hit song “Take Me Home Tonight”), Boz Scagg, The Temptations, Tower of Power, Steve Smith, Tom Coster, Randy Jackson (pre-American Idol), What It Is, Omar Sosa, dobroist Rob Ickes, Bobby Blue Bland and others.

Cap is an Austrian multi instrumentalist, composer, music educator and bassist (upright, electric, fretless, mini bass), pianist, vocalist and flutist. She has turned out compositions for Karney Music and Sound, Somatone and Wolftrack audio, regularly teaches at the Berkeley Jazz School, The Wyoming Rock Camp Experience (10 years in residence), the Berkeley Jazz Workshop and her own Music School, Step Up Music.

Performing credits include the Celtic Rock Band Tempest, The Kid-punk rock band The Sippy Cups, the African Band The Palmwine Boys, the Guitar Virtuoso Muriel Anderson, the Austrian funk band The Mozart Band and Cirque du Soleil as well as many local Jazz, Wold and Rock/Funk artists. Recently Ariane recorded for star producer Keith Olsen. Current bands include Lara Price's Girls Got the Blues, an all-star female cast of Bay Area musicians including Janice Maxie-Reid, Pam Hawkins and Annie Sampson, as well as the platinum winning band Generation Esmeralda with Jimmy Goings, who she recently toured Brazil with. Cap is also working on a series of books and educational materials (audio and video) to bring her bass and music theory methods to a wider audience.

Here is a video of one of their most recent performances at Berkeley's Frieght & Salvage.