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Jazz Articles » Album Review » Carmen Staaf: Sounding Line
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data-original-title=”” title=””>Thelonious Monk (1917 -1982) was often grouped with the bebop pianists of the late 1940s and early 1950s. But he was not bop. He was a pianistic world unto itself. Quirky, dissonant, often playful.
Mary Lou Williams
piano
1910 – 1981
”
data-original-title=”” title=””>Mary Lou Williams (1910 -1981) did not fit the bop category either. She came in before bop’s advent. Her music was stylistically closer to
Duke Ellington
piano
1899 – 1974
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data-original-title=”” title=””>Duke Ellington‘s eloquence, sass and swing.
Bop aside, pianist Carmen Staaf heard a musical kinship between these two 20th-century contemporaries. She puts this on display with her Sounding Line. Bop is mentioned only because the style, under the influence of alto saxophonist
Charlie Parker
saxophone, alto
1920 – 1955
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data-original-title=”” title=””>Charlie Parker, changed the world, and because Monk and Williamsa bit older than the bop pioneerswere not always toeing that line
Going deep into the worlds of these two pioneers, Staaf has conceived and executed an enchanting tribute, covering two of Monk’s tunes, three of William’s compositions and adding a couple of her own that were inspired by what might seem an odd couple, musically, but in whom Staaf found an allegiance of sorts.
“Scorpio,” from Williams’ most famous work, “Zodiac Suite,” opens the show. This is a shuffling line-up set, and trumpeter
Ambrose Akinmusire
trumpet
b.1982
”
data-original-title=”” title=””>Ambrose Akinmusire joins Staaf here. The music sounds like an Ellingtonian warmup in the Cotton Club, circa 1928. Spontaneity reigns here, as it does on the entire set.. Jump over Monk’s “Bye-Ya” and we find Staff with clarinetist
”
data-original-title=”” title=””>Ben Goldberg in the accompanist spot on “Libra,” another piece from the “Zodiac Suite.” Pensive and graceful, the sound has a light-footed, insouciantin the most relaxed sense of the wordvibe.
Back to Monk’s “Bye-Ya”: Staaf is joined by bongo-ist
John Santos
percussion
b.1955
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data-original-title=”” title=””>John Santos (jazz needs more bongo-ists), who makes a case for his instrument with a snappy, crisp sound that fits the playful tune to perfection. Staaf sounds particularly inspired here. She sounds happy and carefree.
“Koolbonga” is taken from Williams’ second most famous work, Black Christ Of The Andes (Folkways, 1964). One of Williams’ sacred works, written after her conversion to Roman Catholicism, the music has a feeling of straight-ahead jazz groove creeping in between the pews, underlain by Goldberg’s bass clarinet and ”
data-original-title=”” title=””>darren johnson‘s fierce muted trumpet work.
Then we have “Monk’s Mood,” Staaf’s otherworldly piano contribution to the recording. Inside the piano string work (a guess), combined with the subtle sustain from
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data-original-title=”” title=””>Dillon Vado‘s vibraphone, gives the sound an eerie, orchestral vibe, making it sound like the backdrop to one of Monk’s dreams.
Sounding Line closes with two Staaf originals, “Boiling Point” and “The Water Wheel.” The former, inspired by Monk’s “Shuffle Boil,” might be tagged, on a blindfold test, as a back-alley slither; the latter ends the album as it began, in a duet with trumpeter Akinmusire. Its nature is celebratory, a celestial nod to Thelonious Monk and Mary Lou Williams.
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Track Listing
Scorpio; Bye-Ya; Libra; Monk’s Mood; Koolbonga; Boiling Point; The Water Wheel.
Personnel
Additional Instrumentation
Ambrose Akinmusire: trumpet (1 & 7); Darren Johnston: trumpet
(5 & 6); Dillon Vado: vibraphone (4), tambourine (5); John Santos: bongo (2); Hamir Atwal: drums.
Album information
Title: Sounding Line
| Year Released: 2025
| Record Label: Sunnyside Records
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