Michael Feinberg "With Many Hands"

One thing that always frustrates me is how when people talk about "young" or "up and coming" jazz musicians the artist tends to be mid to late 30s and have released 5 or 6 albums not to mention are often professors at prestigious musical schools, these are established artists and have been known to jazz aficionados for close to 10 years. So when I find someone who is actually a young and up and coming jazz musician, I feel the need to announce it loudly and what is even better is when you find a group that is made up of musicians under the age of 25 who have talent beyond their years and even better when they have originality and are not afraid to explore the full spectrum of jazz. That is exactly what has occurred with Michael Feinberg's group (Michael Feinberg: bass; Noah Preminger: tenor saxophone; Godwin Louis: alto saxophone; Julian Shore: piano and keyboards; Alex Wintz: guitar; Daniel Platzman: drums) on "With Many Hands" and what makes the album even more impressive (besides what I shall tell you below) is that all the songs were written by members of the group, most by Feinberg himself. So sit back, and let me tell you about one of the most exciting and talented young jazz groups around today, here it goes.

The piano and sax take the lead on the beginning of "With Many Hands" that quickly grab a hold of you and take you deep into the song. Just as you begin to feel extra warm and comfortable, Feinberg takes over the lead on the bass sucking you in deeper as you are forced to really focus on the music. Julian Shore does a beautiful job of holding the piece together holds this piece together even on solos, as both saxes shine as well. In reality, each musician gets a chance to stand on their own and provide structure for each other before all coming together in their full glory near the end of the track. When that happens, the listener is almost forced to take a step back as the sheer power of the group hits your ears and your soul, you can feel what they have to offer, but that only lasts for a few moments before the song starts to fade back down after its exciting climax.

Each time I hear "Temple Tales" I am blown away by the work of the saxophones (Noah Preminger on tenor saxophone and Godwin Louis on alto saxophone) my ear almost automatically thinks of a young Coltrane (lofty praise I know but the sound is there.) It begins with sax, bass, drums and piano playing in almost perfect harmony, note for note, before the sax begins to go exploring and search for the truth (isn't that what all music is really looking for.) The sax then comes back to meet the others, but it is never quite the same, the sax has learned and is going to keep going off on its own. Then silence as the sax disappears and the keyboard, bass and drum have their own little dance, with the keyboard leading the way, the bass and drum trying to keep it in line but always a step behind (not really they are just holding a steady rhythm while the keyboard goes on its own exploration,) then the guitar, which you barely even realized was there, flies away, while the sax returns this time in the background for a bit, before it takes the spotlight. The song is beautifully done and what surprised me is with all the freedom for the instruments, it was written by the drummer, Daniel Plaztman, one of the two who never really gets to go exploring, the other being the band's leader, Feinberg. It is plain to see that this is not a selfish group by any means, that they are much more interested in the whole group and sound than taking the spotlight for themselves, they are comfortable with each other and pushing each other.

"NBD" begins as a calm conversation between the sax and piano, with the drums and bass conversing along in the background. Problem is that the piano decides it never needs to listen and actually just speaks louder and louder, forcing the sax to do the same, until eventually it gives up and the bass tries to reason with the piano. This time it is an actual discussion, piano listens to the bass, at least for a while. But then piano takes over again, even as the bass continues to speak, the piano over powers everything until it fades as the sax enters and rules the sound space. The piano, not willing to relax starts to answer back and even an epic conversation ensues, almost a screaming match, before they both calm down, only for it to come build to a climax again as the track abruptly ends.

"The Hard Stuff" has a rather ominous feel to it due in large part to the bass and guitar that begin the track, slowly the sax enters in and tries to lighten the mood a bit, it does succeed a bit, it inspires the guitar and bass to change their voice, bringing a much more funk inspired feel to the track. Just as it begins to build to sonic fury, the track drops back into the almost depression fueled state of the beginning, even bringing the sax for the ride, my mind goes to "Live at the Cellar Door" and the levels that exist on that album, each musician is playing their part in almost a fusion sound but as whole it some how comes off as a different feel, bordering on the "avant garde," as they join forces again in a sonic explosion of emotion before cycling through a near manic depressive pattern. The track ends with a great 30 plus second drum solo by Platzman.

Feelings of a cool fall day begin "August" as the band creates a soothing sound, keeping the tempo nice and slow and putting the listener in a dream like state. After the first two minutes you are sure you know how this song will go, it will keep this feeling throughout mainly a duet between bass and guitar, with some piano and drums mixed in. And guess what? You would be correct. While it does not measure up to some of the other more complex composition, "August" shows us that the group can handle a ballad just as well as any other style.

If "August" sent you to a calm and peaceful place, "Fighting Monsters" takes you away from that place from the beginning as the piano comes out quickly along with drums and it isn't long before the sax joins in creating a great toe-tapping bebop song. While the drums, guitar and bass are present on the track, the two saxes and piano steal the show dueling with each other, trying to take the listener's attention away from the others. The song be the shortest on the album (coming in at 4:31) but it is fire from beginning to end, leaving the listener wanting more and the musicians possibly exhausted.

The album ends with "Lost and Found" a track that begins as a regular toe tapping jazz song with sax, drums, and bass, then falls into controlled chaos after about 30 seconds as everyone joins the party, but that only last for about 10 seconds before a much more clear sound takes over again. This battle continues throughout most of the track (hence the title "Lost and Found" chaos mixed with order etc.) But it does change up a bit, when the sax takes the lead for a short burst around the 2 minute mark, only to be met by a piano with growing confidence 30 seconds later and then the battle ensues. The sax cannot be touched on this segment making some incredible runs before eventually giving into the piano so that it can have a moment in the spotlight, again incredible uptempo work is done, before piano fades into a VERY short but very well done, drum and bass moment. But just as you assume that is how the song (and album) will end, everyone joins in for the last 20 seconds leaving you wanting this dance to continue, but sadly it does not.

On "With Many Hands" Michael Feinberg creates a well thought out jazz album, showing the diversity of him and his group, they can go from fiery free flowing compositions, to wonderful ballads, and straight up bebop, without any problems. The group shines both individually and as a whole on the album, showing that they have no problem working together and challenging each other to create great music (have to give Feinberg credit for gathering such a group of musicians, a key trait of a quality bandleader.) The next time someone tells you about some rising star in the jazz world, do not be surprised if you already know their name (especially if you are a regular reader of any half knowledge jazz blogs) but listen nicely to their suggestion and then inform them of a group of remarkable jazz musicians who are not afraid to push boundaries, I am of course talking about Michael Feinberg and his fellow musicians.

You can purchase the album here.