Marty Ehrlich - News On The Rail

Mike Schwartz · September-29th-2005, 08:08 PM

Marty Ehrlich Sextet
News on the Rail
(Palmetto)
The only real problem an artist like Marty Ehrlich presents to the
reviewer is, how do you generate fresh encomiums for output of such
dependable richness? At 50, Ehrlich ranks among the most
consistently inventive composers and bandleaders in modern jazz. His
technical command on saxophones, clarinets and flute is matched by a
palpable emotionalism that renders his playing irresistibly distinctive
and soulful.
Ehrlich avails himself of a larger band than his usual quartet on
News on the Rail, scoring deftly for a sextet that offers more variety
than it might first appear to. Howard Johnson doubles on baritone
saxophone and tuba, while pianist James Weidman also blows a funky
Melodica on a pair of tracks. Factor in James Zollar, whose trumpet
sometimes dips to a trombonelike heft, and the pallette broadens wider
still-check out "Seeker's Delight" for some of the most sublime chord
voicings since David Murray's great '80s octets.
Throughout the disc, Ehrlich makes similarly masterful use of his
assets. Over Allison Miller's rock-steady backbeat on "Here You Say,"
the leader plays with his textures, mixing alto with tuba, then trumpet
with Melodica and Greg Cohen's bass. The title tune, something of a
12-tone blues, comes off as naturally as the 12-bar variety. Closing
track "Keeper of the Flame" memorializes saxophonist Sam Furnace
with a Ducal procession of gorgeous solos, each plucking a heartstring
as it passes. - Steve Smith----Time Out-New York

Pretty sure this is from JC participant Other Steve, yes? Nice review!

I haven't spent much time with this CD yet, as will in the upcoming weeks, but it's a knockout from my initial impressions. Ehrlich the scheduled guest on the weekly program 10/23 [see Jazz News]

Gary Sisco · October-3rd-2005, 08:57 AM

It's on my gotta-get list.

Other Steve · October-3rd-2005, 10:47 AM

Ha! That's mine, yes, and not what I expected to see when I opened the thread. Thanks for sharing that, Mike.

Oddly enough, you got hold of a copy I sent to the publicist prior to publication; in the version that saw print, copy editors saw to it that "accolades" was substituted for the stuffier "encomiums" in the first line. But I wouldn't let 'em touch "Ducal" in the final line.

Mike Schwartz · October-3rd-2005, 02:13 PM

Quote:

Originally Posted by Other Steve

Ha! That's mine, yes, and not what I expected to see when I opened the thread. Thanks for sharing that, Mike.

Oddly enough, you got hold of a copy I sent to the publicist prior to publication; in the version that saw print, copy editors saw to it that "accolades" was substituted for the stuffier "encomiums" in the first line. But I wouldn't let 'em touch "Ducal" in the final line.

That's funny...I had no idea as to the timing.
I got it from the publicist...

It did make me pick up the dictionary to learn a new word;-)

Ennis Snavely · October-4th-2005, 09:54 PM

Clay Fink just bought this off of iTunes and has been playing it for me in the car (we've been car pooling).

Nice to hear Ehrlich with a larger group. I like Zollar and Johnson's work on here a lot.

Mike Schwartz · October-29th-2005, 12:13 PM

Gary Sisco
Registered User

Join Date: Mar 2003
Posts: 10,004 Marty Ehrlich -- News On The Rail

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Marty Ehrlich scores with a very nice record on Palmetto, featuring the lineup:

Marty Ehrlich – alto sax, clarinet
James Zollar – trumpet, flugelhorn
Howard Johnson – tuba, baritone sax, bass clarinet
James Weidman – piano, melodica
Greg Cohen – bass
Allison Miller – drums

What makes it most attractive to me, aside from the great playing we've come to expect, is the stellar voicing of the horns. Especially with Howard Johnson holding down the bottom with enormous power, the front line often sounds like a much bigger band. When I first put this one on, I had things to do and thought I'd just give it a spin while doing them, but the opening moments sounded so huge, I held off to give it a real listen and to check the credits again.

I was also entirely unfamiliar but pleased with hearing two new names (new to me) in James Weidman and Allison Miller, both of whom more than hold down their end of things. Weidman adds some nice touches, also, with the melodica -- an unusual choice of instrument in jazz but a sound made very familiar to reggae fans (like myself) by Augustus Pablo, on many great records.

For those interested, I'll not give a blow by blow review. I don't like reading them, so I'll not write one, either. Suffice to say that Ehrlich and Palmetto have given us "just" another very fine jazz record -- nothing revolutionary, but very fine playing throughout and an excellent listen for jazz people. They go "out" somewhat here and there but never so far as to be "inaccessible" to anyone who listens to a lot of current jazz records -- and when they do, the music stays melodic throughout. Most everyone here at JC who hasn't abandoned jazz jazz will be very pleased with it.

Another example of how the mainstream has shifted over the course of the 90s and into the present decade.

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Last edited by Gary Sisco : October-29th-2005 at 06:27 AM.

Mike Schwartz · October-29th-2005, 12:22 PM

I've had bits and pieces of Weidman's work here and there, don't think I've seen him in concert.

In Allison Miller's case, I've seen her hit on a number of situations in concert and on recordings, and was very pleased with the results. What has always struck me about Allison's playing, which translates extremely well on Ehrlich's CD is that Miller always supplies a feeling of 'forward propulsion' to everything she does, and was a fantastic choice for this band!

Captain Hate · October-29th-2005, 03:49 PM

Just picked this up myself and gave it an initial listen on a picture-perfect autumn day (is it just here that the leaves are about 2-3 weeks behind schedule; usually they're all off the trees by the last weekend in October). Hard to say where this falls in the substantial body of Ehrlich's work; prolly not as good as New York Child or The Traveller's Tale but that's pretty select company. But this one's plenty good.

I agree that Howard Johnson adds a certain X factor on all three instruments. I wasn't as taken by the melodica as Sisco but that's just me; otherwise Weidman's playing is fine. Cohen and Zollar are fine. Songs that stood out for me were "Light in the Morning" (perfect for driving down a winding road through a park), "Keeper of the Flame" and the title cut.

Ehrlich reminds me of Phil Woods in having such a smooth tone and fluid lines on alto. I don't think I've ever heard him play an uninteresting solo.

Gary Sisco · October-30th-2005, 07:16 AM

I think Ehrlich is one of those guys taken too much for granted.

Clay Fink · October-30th-2005, 10:31 AM

Quote:

Originally Posted by Gary Sisco

I think Ehrlich is one of those guys taken too much for granted.

Kind of like you, twinkletoes.

Mike Schwartz · October-30th-2005, 09:43 PM

[QUOTE=
Ehrlich reminds me of Phil Woods in having such a smooth tone and fluid lines on alto. I don't think I've ever heard him play an uninteresting solo.[/QUOTE]

He doesn't remind me so much of Phil, and certainly is very much his own man with a distinctive sound, but when he plays extended notes and widens his vibrato a bit, sounds quite similar in those moments to the great Arthur Blythe.

Nate Dorward · November-3rd-2005, 07:36 PM

Haven't heard this one yet but just thought I'd mention another recent release, Lindsey Horner's lovely Don't Count on Glory, which features Ehrlich & Allison Miller again (plus Uri Caine, Brian Lynch, Bobby Previte, &c). -- I'd previously heard Miller on Virginia Mayhew's Phantoms, which I found a bit of a sleepy disc but the drumming is very good indeed.

Tanager · November-17th-2005, 08:34 AM

Quote:

Originally Posted by Gary Sisco

I think Ehrlich is one of those guys taken too much for granted.

I tend to agree. I haven't bought a new CD in nearly a year, but this one goes right to the top of the queue (I love Ehrlich's playing - I agree with CH as well, no wasted notes or pointless meandering). But for some reason, Ehrlich seems to fly under the radar.

Gary Sisco · November-17th-2005, 08:40 AM

I didn't dig him with Myra Melford when I heard them (live), nor did anyone else in the VT crew that night, as I recall, but with that exception, I've dug every record of his I have (most of the Enja and all of the Palmetto) and every live performance. I'm also a fan of his Julius Hemphill Sextet recordings. I really can't understand why his name and status isn't larger than it is. But there are a lot of things I don't understand ....

Xavier · November-19th-2005, 09:29 PM

I agree. Some of his CDs I consider classics - especially the ones with Strickland and Previte. He's consistent, intelligent, innovative, and soulful what more could anyone want?

Tanager · January-10th-2006, 02:22 PM

I just got this one. I'm not sure what to add at this point, other than that it doesn't wow me on first listen quite as much as Line on Love did, but then I really like Ehrlich in sparser settings (I've been enjoying Light at the Crossroads a good bit of late). The bigger front line gives this a "swingier" feel than I'm used to hearing on Ehrlich's dates, but that's not a minus - I'm always surprised by just how soulful a player Ehrlich can be, and he fits into the larger ensemble nicely. It's a fine album, and one I'll listen to several times, but it's not at the very top of my Marty Ehrlich heap based on an initial (and partial) listen. Maybe that'll change, maybe not.

Darryl G. Thomas · January-10th-2006, 03:20 PM

I'm kind of with Tanager on this one. I bought the CD because of this thread. The only thing I can say for now is that I haven't really given it a serious listening to. I had a lot of new CDs piling up in the crib and listened to them in a bunch.

gnhrtg · February-2nd-2006, 08:20 AM

I agree with Gary that "the front line often sounds like a much bigger band", well also with the rest of his review, actually. It's just that I'm sure I like the disc less than he does and a good deal of this is because of the solos - they're not bad but rather too relaxed, where it's fine if they're the background to some other activity but nothing special in themselves. I'd give this 3.5 stars (with 4.5 for Line on Love, for comparison).

Anyone with a few words on the more recent Julius Hemphill Sextet recordings: At Dr. King's Table and Hard Blues?

Tanager · February-2nd-2006, 11:21 AM

Quote:

Originally Posted by gnhrtg

I'd give this 3.5 stars (with 4.5 for Line on Love, for comparison).

That's about my take as well.

Xavier · February-25th-2006, 12:18 PM

That's about my take too. Good Ehrlich, good band, good CD. Glad I picked it up, but there are other Ehrlich CDs that I think are better with more intense rapport and solo work. This CD would be a career highlight of an awful lot of the biggest name jazz musicians out there - that's how good Ehrlich is and how underrated.