With Bridgewater at the Helm, Kurt Weill’s Ship Comes In

****

DEE DEE BRIDGEWATER

“This Is New”

Verve

A musical free spirit if ever there was one, Bridgewater always has defied categorization, and her anything-goes brand of vocalizing reinvigorates the music of Kurt Weill. One would be hard-pressed to name another female singer working today who can finesse the theatrical elements of Weill’s songs while also infusing them with comparably brilliant scat singing, propulsive swing rhythm and gorgeously lush tone colors. Like a great cabaret artist, Bridgewater knows how to tell a story in classics such as “The Saga of Jenny” and “Alabama Song,” but she also can spin a soaring, practically operatic vocal line in “Lost in the Stars.” Where lesser singers approach these masterworks with too much reverence, Bridgewater radically reimagines them with sometimes purring, sometimes growling vocal effects. Her sensational band and backup singers, led by the hyper-virtuosic organist Thierry Eliez, add significantly to the power of this recording, which stands as Bridgewater’s best since her 1995 homage to Horace Silver. Like that indispensable disc, “This Is New” (in stores Tuesday) casts familiar music in a glorious new light.

*** 1/2

TROY ANDREWS

“Trombone Shorty’s

Swingin’ Gate”

Louisiana Red Hot Records

Andrews has been performing in his hometown, New Orleans, since he was 5, which may explain why everyone there knows him simply--and affectionately--as Trombone Shorty. At 17, he plays with remarkable poise and musicianship--as he proves on his debut recording as bandleader. Lest its title mislead listeners, this disc is no mere rehash of Crescent City tailgate traditions. Andrews leads a nonet in sophisticated arrangements steeped in unorthodox harmony and voicing. The intricate Latin backbeats he incorporates into “Nora’s Cooking,” an original, and the traditional “St. James Infirmary” underscore an impressive command of Afro-Caribbean rhythms. “Slippin’ & Trippin’ ” emphasizes meticulous ensemble interplay over mere instrumental virtuosity, while “Ooh Poo Pah Doo” explicitly acknowledges the New Orleans parade rhythms that first drew Andrews to music. In each case, it’s the economy of his solos and the polish of Andrews’ ensemble that makes “Swingin’ Gate” a particularly strong debut.

*** 1/2

ROSCOE MITCHELL & THE NOTE FACTORY

“Song for My Sister”

Pi Recordings

Adventurous listeners already revere Mitchell for jazz innovations dating to the 1960s, but this release will inspire new appreciation for his prowess as improviser and composer. Leading the Note Factory--a groundbreaking nonet featuring two pianists, two bassists and two percussionists--Mitchell presides over some of the most lyrical, exquisitely transparent ensemble music of his career. From the first notes of the title track, there’s no question that Mitchell and friends are exploring an unabashedly lyrical vein. Although cuts such as “Sagitta” and “this” do not lack for rhythmic energy, it’s their softly shimmering textures and fantastic instrumental detail that linger in memory. Throughout, one marvels at Mitchell’s work on soprano, alto and tenor saxophones, his penetrating tone still ranking among the most distinctive in jazz.

***

TRIO 3

“Open Ideas”

Palmetto Records

This venturesome recording lives up to its name as it pushes the art of the trio into unabashedly experimental terrain. Imagine saxophonist Oliver Lake, bassist Reggie Workman and drummer Andrew Cyrille improvising freely--with a bit of poetry recitation thrown in for good measure--and you have a rough idea of what their genre-bending ensemble is all about. Although not likely to appeal to conservative tastes, Trio 3 offers several gripping, slow-to-medium improvisations in which each player enters the fray when so inspired. When they play an occasional stretch of mainstream swing, as on “Y2 Chaos,” there’s no doubt that Trio 3 easily could hold its own with the best straight-ahead ensembles of its kind.

*

Howard Reich is jazz critic at the Chicago Tribune, a Tribune company.