Take Five

Take Five: new music by guitarist Pat Martino, pianist Marta Sánchez, trumpeters Dave Douglas and Christian Scott aTunde Adjuah, and drummer Tomas Fujiwara.

Take Five celebrates Monk at 100 with new tracks by Johnny O'Neal, Wadada Leo Smith, Barry Altschul and The 3Dom Factor, John McNeil & Mike Fahie, and Sam Newsome with Jean-Michel Pilc.

Christian McBride doesn’t need a big band to make a big impression, as he’s shown us countless times — on the bass, on the bandstand and in the booth. But when he finally did assemble a big band of his own, he saw  results: The Good Feeling, on Mack Avenue, won the 2011 Grammy for Best Large Jazz Ensemble Album.

David Virelles, “Fitití Ñongo”

Mystery is a great abiding constant in the music of the Cuban pianist David Virelles. Gnosis, his new album on ECM, literalizes that idea: its title alludes to spiritual knowledge of the sort that belongs to the ancients.

Fred Hersch, “Eronel”

Introspection has never been a hurdle for Fred Hersch, but the pianist is reaching new depths in that area lately. His glowing and revelatory memoir, Good Things Happen Slowly, publishes this week. And his gorgeous companion album, a solo effort bearing the perfect title {open book}, is just out on Palmetto.

Gary Peacock Trio, “Rumblin’”

Bassist Gary Peacock has been a model of inuitive equipoise since the 1960s, when he was working in trios led by pianists Clare Fischer, Bill Evans and Paul Bley. Over the last few years — since the dissolution of a marquee unit with Keith Jarrett and Jack DeJohnette — Peacock has led a fine piano trio of his own, which releases its second album, Tangents, Friday on ECM.

Keyon Harrold, “Wayfaring Traveler” (ft. Jermaine Holmes, Georgia Anne Muldrow and Robert Glasper)

If you saw the movie Miles Ahead, you may recall that Keyon Harrold was tasked with ghosting the trumpet playing — which meant not just persuasively invoking Miles Davis, but doing so in perfect sync with Don Cheadle’s embouchure and fingerings. This was an impressive feat, but no more so than The Mugician, Harrold’s forthcoming album, which finds him accountable to no one but himself.

Vijay Iyer Sextet, “Good on the Ground”

Vijay Iyer’s kinetic, convergent musical vision has found expression in almost every conceivable ensemble format, from solo piano to chamber orchestra. But there’s something special, even singular, about the dynamism of his sextet, which releases its debut album, Far From Over, on ECM this Friday. 

Woody Shaw and Louis Hayes, “What’s New?”

A little over 40 years ago, trumpeter Woody Shaw and drummer Louis Hayes formed a band with the stated intention of demonstrating that jazz, as they knew it, was very much alive. Recordings from the group’s European travels have already yielded a fine album on HighNote, The Tour Volume 1, and now we have a sequel.

Mark Guiliana Jazz Quartet, “inter-are”

Would it be fair to say Mark Guiliana has been typecast? He’s a drummer best known for his advances along the axis of groove, most visibly with the surging Donny McCaslin Quartet, which served as David Bowie’s valedictory band. But Guiliana cut his teeth in the acoustic postbop tradition, and in addition to the project he calls Beat Music, he leads the Mark Guiliana Jazz Quartet — an astute, flowing combo with saxophonist Jason Rigby, pianist Fabian Almazan and bassist Chris Morrissey.

Tony Allen, “Wolf Eats Wolf”

Tony Allen, the great Nigerian drummer, made his Blue Note Records debut this spring with A Tribute to Art Blakey, a digital EP. Now Allen, the reigning architect of Afrobeat, has announced a full-length album on the label, The Source. It’s due out on Sept. 8, and you can listen now to a hypnotic lead single, “Wolf Eats Wolf.”

Whatever else you have going on, you should hear some live music this week.

Roscoe Mitchell, “EP 7849”

The composer, multi-instrumentalist and educator Roscoe Mitchell has been a profound force in American experimental music for more than half a century – since the earliest stirrings of the Association for the Advancement of Creative Musicians, in the mid-1960s. His new double album is Bells For the South Side, recorded at the Museum of Contemporary Art in Chicago and just out on ECM.

First up in Take Five this week is a track from a notable left-of-center debut. You’ll also hear a John Coltrane classic played by two of his spiritual heirs, and a Mal Waldron standard finessed by a sturdy working band. Rounding out the lineup: a Cuban pianist in a meditative mood, and a self-described Timorese-Taiwanese-American vocalist and multi-instrumentalist transforming folk tales from around the world.

What’s on your agenda toward the end of this week? If you live within reach of New York City, Take Five has some fantastic options for you — three competing shows on Friday night, and another one at lunchtime on Thursday. But even if you’re already booked (or situated out of range), you can hear some of the music we’re talking about, right this second.

Two brilliant pianists. Two ebullient Cubans. Two intrepid young Englishmen. Two lovable standards, in new colors. The math may not seem to add up in this edition of Take Five, but the music — five winning tracks from as many different acts — most certainly does. (But who's counting, anyway?)

The tracks in Take Five this week cover a range from heartsick to hopeful, from resigned to anything but. One track was recorded almost 80 years ago, but sounds as fresh as anything you’re likely to hear. Another has a political thrust clearly aligned with current events. That’s enough preamble for this week; let’s dive right in.

The essence of jazz is improvisation, it's often said. But there should also be a special clause for collaboration or communion — the magic that can happen when two or more are gathered to a creative end. Take Five celebrates that ideal this week, with results all over the stylistic map. Start with a fresh take on a tricky bebop head, and keep it moving.

It’s the middle of May, on the nose. There’s an old tune that begins with that premise, but we’re not going to revisit it here. Instead, Take Five brings you “Whatever Lola Wants,” as performed by Bria Skonberg — along with tracks by two Cohens and a Barber. We’ll also hear from a saxophonist who has been out on tour with Taylor Swift. And now, as he would have it: Onward!

Our latest installment of Take Five draws from several big new releases, including what will likely be a blockbuster, Diana Krall's Turn Up the Quiet. But you should also take note of the other offerings, including a brisk new samba by guitarist Romero Lubambo and a teaser for this week's Village Vanguard debut by the Vijay Iyer Trio.

This week in Take Five: two boss tenors, in tracks both old and new. A free-thinking trumpeter with her dynamic debut. A veteran hard-bop drummer revisiting the music that helped make his name. And a track from a hyper-literate band that blends many styles into a seamless fabric. 

This week, Take Five is all about duos: from all-star summit meetings, like the one pictured above, to collaborative new partnerships like the Upstate Project, jointly led by singer-songwriter Rebecca Martin and pianist-composer Guillermo Klein. The unifying thread is deep colloquy bound by mutual respect — along with the sheer quality of the music.

Take Five this week turns out to be a celebration of working bands — from the Bandwagon, led for more than a dozen years by pianist Jason Moran, to Natural Information Society, which bassist Joshua Abrams established not quite a decade ago. We'll also hear brand-new tracks by the Tomasz Stanko New York Quartet, a new-breed organ trio called Hearing Things, and the agile group led by bassist Linda May Han Oh.

What’s in a name? You could pose that question to Jazzmeia Horn, whose grandmother envisioned a destiny for her, or the Jazz Passengers, whose founders had designs both tongue-in-cheek and sincere. Or ask Supersilent, which is often anything but silent. Or Sexmob, which... actually, never mind. Here are five great tracks from all of the above, plus Roxy Coss, whose name you should know by now.