Lynne Arriale

#19 on JazzWeek Radio year-end charts for all airplay in 2022
#2 on Ken Franckling’s Jazz Notes “Favorite Jazz Records of 2022”  
“Sounds Like America” on Ken Franckling’s “Favorite New Compositions from CDs released in 2022”
#6 on Textura’s year end “Top 30 Jazz Releases”
KIOS Best Jazz Recording of 2022
Winner of the SESAC 2022 National Performance Activity Award

“Whether given to introspection or taken by extroversion, she remains a force of nature.”
– Dan Bilawsky, All About Jazz

The Lights Are Always On is pianist/composer Lynne Arriale’s 16th album as leader, and her third recording on Challenge Records International.  Lynne’s original music is a suite of compositions that reflect the world-wide, life-changing events of the past two years. Several of the pieces are named in honor of heroes around the world, including those who served as caregivers on the front lines of the COVID pandemic and as defenders of democracy. 

On this session Lynne is joined by bassist/co-producer Jasper Somsen and drummer E.J. Strickland, both outstanding, in-demand musicians on the international jazz scene. The trio creates the sort of engrossing musical conversation that has become a trademark of Lynne’s groups.

The title of the project was inspired by Dr. Prakash Gatta, an esophageal and robotic surgeon in Tacoma, Washington. Lynne explained, “This collection was inspired by the doctor and all front-line health care workers. For me, Dr. Gatta crystallized the workers’ heroism; each day bearing the risk of personal infection, and enduring the emotional toll of staggering caseloads presented by this global crisis. Nevertheless, the doctor said, ‘Here I am back at work after COVID...I fled Kuwait after the invasion. No matter what happens, no one works at home. The lights are always on. Babies are being born; bones are being set. This hospital, this profession…..we are in a league of our own; we’ll take care of you, I promise. I stand next to the most fearless people I have ever seen.’ ”

“Dr. Gatta’s words deeply moved me and evoked memories of 9/11. In the aftermath of that attack, I remembered the rescue workers who ran into the towers without hesitation or concern for their personal safety, and thought, ‘Who are these angels?’ Clearly, the angels of our time are Dr. Gatta and all health care workers, professionals and volunteers alike, who battle COVID-19.

 “Dr. Gatta’s ‘lights’ illuminate hospitals and emergency care facilities. But there is also spiritual light in the humanity, compassion, and courage of Dr. Gatta and all our angels; shining brightly and eternally, even in the midst of devastation and loss.”  

“There is always reason to believe in that light; the inherent goodness of people. It shines in those leaders who spoke truth to power and stood up for what is right. They changed the world, often jeopardizing their careers, and in some cases, their lives.

“In appreciation of these heroes I offer this musical tribute. It is dedicated to our loved ones, and to our better angels; those who embrace truth, compassion, and inclusivity, and reject selfishness, lies, and hatred. It also acknowledges the marchers, my beautiful sisters worldwide, and the heroes of science and medicine who have sacrificed so much.

"The album also expresses my special admiration for the character of Representative John Lewis, Lt. Colonel Alexander Vindman, Supreme Court Justice Ruth Bader Ginsburg and the patriots of the Capitol Police who stepped into the breach risking their lives to defend our elected representatives and our democracy during the January 6, 2021 Insurrection.”

*****

PRESS FOR “THE LIGHTS ARE ALWAYS ON”

“The American Lynne Arriale has been one of the great poets on the piano for decades.” 
Jazzthing, Rolf Thomas

“An uplifting, original album inspired by these idiotic times, Arriale soldiers on with more drive than almost anybody. Here's the proof a piano trio can change the world, one note at a time. Brilliant listening.”
Midwest Record, Chris Specter

“With her 16th album, jazz pianist/composer/educator Lynne Arriale has once again underscored exactly why she is considered to be one of the most creative, technically skilled and emotionally facile jazz artists on the globe.”
The Whole Note, Lesley Mitchell-Clarke

“On her 16th album, demonstrates that she is clearly one of the best contemporary jazz pianists. “
Jazz Journal, Bruce Crowther

“A brilliant composer whose conceptual brilliance never overpowers the accessibility of her compositions.”Monarch Magazine, Will Walters

“It is a very profound recording.”
Jazz History Online, Thomas Cunniffe

“‘Sounds Like America’ reflects hope, optimism and my feeling about what America is,” …in our darkest hour is when the American people truly show who we are. This song soundtracks my hope.”
Rock&Roll Globe, Ron Hart

“….Indispensable…The perfection of the compositions and that of the artists who interpret this music, as well as the perfectly chiseled arrangements, make it one of the major albums in the field of jazz. 

All the art of this album lies in the imperceptible communication between these three artists. The space between the notes is as much writing as the rhythms on which the notes grow.”
Paris Move, Thierry Docmac 

4 stars: “To create reflective beauty and occasional moments of introspection in a consistently melodic and powerfully emotional way is a rare gift  and this record catches her talent to perfection.”
Jazzwise, Alyn Shipton

“This is the piano maestro’s 16th album as a leader and it is one of her strongest artistic statements to date.”
Aoide magazine, Eric Harabadian

"The Lights Are Always On" (the sixteenth in the rich discography of the pianist) shows Lynne Arriale again as a sensitive composer and a virtuoso jazz pianist.”
Era Jazzu, Dioni Piatkowski (Poland)

“We have long wondered if her music is heart music that speaks to the mind or brain music that speaks to the heart. And we still can't decide. It is likely that the internal alchemy that characterizes her is unspeakable. It's a bit like Bill Evans, you see. Her universe is rich enough for us to listen to it without asking questions. 

Her musicality, filled with a delicately implemented knowledge, alone deserves an in-depth listening…. pay particular attention to the music of this disc because it holds the keys to a pianistic originality which speaks to us skillfully and harmoniously, in veiled words, with deceptive simplicity and genuine sincerity.”
Culture Jazz, Yves Dorison

“With her expansive harmonic vocabulary, her impressionistic approach to chord voicing, and her controlled but intense emotionalism, it would seem like the most obvious stylistic comparison of pianist and composer Lynne Arriale would be Bill Evans. And yet she really sounds nothing like him.

 “The Lights Are Always On is one for the ages, a transcendent album that moves, inspires, and thrills.”Monarch Magazine, Will Walters

“With her expansive harmonic vocabulary, her impressionistic approach to chord voicing, and her controlled but intense emotionalism, it would seem like the most obvious stylistic comparison for pianist and composer Lynne Arriale would be Bill Evans. And yet she really sounds nothing like him.

Arriale is not just a double threat but a quadruple one: a virtuosic pianist and improviser and a brilliant composer whose conceptual brilliance never overpowers the accessibility of her compositions. This has made every one of her albums a must-hear, and The Lights Are Always On is among her best.”
CD Hot List, Rick Anderson

“A new album by pianist and composer Lynne Arriale is always an event in the jazz world, and sure to land on more year-end best-of lists than you can shake a stick at.”
Isthmus, Bob Koch

“Arriale has great emotional pull, and there are whirlpools and whirlwinds in her playing. There is this pattern in Arriale where she begins with darkness, then everything is bathed in light. This is a strong recording, about strength. She has succeeded in putting us in the hero’s shoes, the light of the powerful mind pushing on through protests, and making change. And she has succeeded in putting us back in our shoes, with this invested strength to go on and change.”
The Flash Boston, Sofia Marshall

“This is an album that is drawing on a lot of important messages of solidarity, of resistance, of hope, of joy, and it’s absolutely exquisite… a gorgeous sense of space and melody... This album emotionally, feels very necessary right now… outstanding!” 
Jazz at Lincoln Center, A Closer Listen, Seton Hawkins 

 “The hopefulness beneath it all is the subtle kind, not stomping out in front but glowing with simple everyday persistence. Like an actor who can pack half a dozen emotions into one line, Arriale doesn't need to explain or dramatize. Her playing simply lets us feel the weight of history, old and new, with a grace that seems effortless.”
All About Jazz, Geno Thackara

“..a brilliantly mature pianist and composer whose music has grown and evolved into something profoundly attuned to social and political conditions of our time….
Always a fabulous musician….she has come to realize the confluence of art and life, for its better and worse. 

Her last two albums especially reveal how her vision, insight and passion cohere with her sense of being a fellow human and citizen in America, and of the world in very troubled times. Emotional and musical eloquence radiate from her playing with heartfelt ardor and honesty, and focused intensity. We are hearing a sort of heroism at work, her generous spirit and commitment, her exquisitely pointed and expansive testimonies.”

“I would say she is the best jazz piano artist to emerge from Milwaukee.”   
Culture Currents, Kevin Lynch

“…. A powerful collection of songs performed by a like-minded trio of depth and musicality.”
Jazz Sensibilities, Icrom Bigrad

“A beautiful release.”
Winnipeg Free Press, Keith Black

“Arriale’s tunes are deeply melodic, and her piano touch is pure, swinging, and makes use of “space,” much like Tommy Flanagan, and Hank Jones. It is a heartfelt presentation that is both relaxing and invigorating at the same time.”   
Audiophile Audition, Jeff Krow

“She offers her music, like a beacon of hope.”
Musical Memoirs, Dee Dee McNeil

“I sometimes wonder where the gift comes from that produces music that can communicate from one person to another and touch each other's soul….that inspiration comes from a holy place. Perhaps because inspiration and the art it produces is mysterious and powerful, and can move people in deep and profound ways.” 
WICN Sunday Jazz Brunch with Marty Friedman

“A personal, honest and passionate album.”
Le Soir, Jean Claude Vantroyen

ADDITIONAL RELEASES:

CHIMES OF FREEDOM
LINER NOTES

One evening in March 1965, several thousand people, including both participants and supporters of the final Selma civil rights march led by Dr. Martin Luther King, were encamped on the outskirts of Montgomery, Alabama where Dr. King would lead a demonstration the following day.  The group was treated to a concert by Harry Belafonte and Tony Bennett, along with Peter, Paul and Mary, Sammy Davis, Jr., Joan Baez, Nina Simone and others who performed from a stage improvised atop a flat-bed trailer.  The event endures as a shining example of popular music’s supportive role in social reform movements, notably the civil rights campaign that defied centuries of entrenched racial oppression and would profoundly and forever transform the legal and cultural landscape of the United States.

The Selma musicians and other artists, among them Woody Guthrie, Pete Seeger and Bob Dylan, followed a tradition of song-borne social commentary started by black jazz musicians early in the 20th century.  From the cradle of jazz, America heard racism and the virtual quarantine of black people lyrically called out by Jelly Roll Morton (Kansas City Wild Man Blues), Louis Armstrong (What Did I Do To Be So Black and Blue) and Billie Holliday (Strange Fruit).

Today, more than fifty years after the passage of the Civil Rights Act, America has entered another deeply troubled era; scarred by racial enmity, political discord and stricken by partisan-fueled government paralysis.  Meanwhile, there are alarming indications of a global assault on liberal democracies, ethnic and cultural diversity and the norms that have sustained them.

In a world where basic truths and institutions, once presumed eternal and unchanging, are in grave peril, Lynne Arriale takes a stand and speaks her mind.  This remarkable collection titled Chimes of Freedom features, along with the title track and Paul Simon’s American Tune, seven original, deeply personal works that express Lynne’s solidarity with democratic values and reaffirm her support of cultural diversity and racial equality.  The set features vocalist K. J. Denhert, whose jazz-inflected performances of Chimes and American Tune beautifully illuminate traditional American ideals. This recording, Lynne Arriale’s fifteenth as a leader, follows Give Us These Days; a thematically-related suite that considers the transience of human existence and guides listeners toward a deeper appreciation of their allotted time on this planet.  Regarding Chimes of Freedom, Lynne explained, “The album  expresses my wish for an America that offers hope, not scorn, for immigrants who seek a better life.  It also acknowledges the sacrifices of refugees who have risked and even lost their lives trying to reach our borders. And, I want to share my great admiration for those who defend our right to hear the truth at a time when honesty itself is under assault." 

Chimes set begins with a dark account of the spiritual, Sometimes I Feel Like a Motherless Child; an apt lamentation for the mass abduction and imprisonment of innocent children at the southern border of the U.S.; euphemistically termed “family separation,” all in the name of the United States of America.  Appropriately, the performance evokes a gathering storm, powered by Lynne’s rumbling cadences bundled within Jasper’s sinewy lines, all roiled by the dynamic undulations of E. J.’s cymbals as they quietly growl, then swell to a crash.     

In Lynne’s Journey, we hear the powerful allure of sanctuary distilled and set to music.  From a swinging launch pad, each solo in turn captures the intensity of the tune and builds it to a dramatic climax.  3 Million Steps vividly conjures the image of refugees trudging the three million plus steps from Guatemala to the southern U.S. border.  Their determination and momentum fairly burst from the piano, fortified by tightly-focused accompaniment from Jasper and E.J.        

The Dreamers describes the angst of 800,000 immigrant children in the United States who were protected by DACA, but who now face deportation by the current administration.  Their apprehension and sense of longing are drawn in somber colors by the trio in this moving performance. 

Hope is in the hearts and minds of people who risk everything to make a better future for themselves and their children.  Like all of Lynne’s compositions, this delivers its message with clarity and a sense of purpose, free of pretention or gimmickry. The heady sense of sublime melodic weightlessness that Lynne achieves is actually quite real; her lines are supported by, but never touch the sturdy harmonic and rhythmic apparatus beneath.  The performance is further lifted by Jasper’s gorgeous, lyrical solo and E.J.’s energetic but unobtrusive accompaniment.          

The Whole Truth is a tribute to the courageous, seemingly indefatigable members of the press who each day bear the overwhelming pressure, stress and awesome responsibility of gathering the news and speaking truth to power.  Truth provides one of the great delights of this release; an opportunity to hear the group drive hard and straight ahead on its sassy, blue-tinged platform. 

A hymn inspired by the iconic figure, Lady Liberty raises her lamp of welcome to those who come to the United States in search of a better life.  Lynne’s lyricism animates and enlightens this tender ballad.  

In a jubilant, Caribbean-inspired piece, Reunion imagines the joyful reunification of families torn apart by war, famine, poverty and “family separation.”  It features a hard-driving solo by E.J. that explains exactly what “euphoria” sounds like on a drum set.

With the title tune, Chimes of Freedom, Lynne & Company thoughtfully re-examine Dylan’s 1964 anthem; a tribute to freedom and an expression of solidarity with the downtrodden throughout the world.  The song’s fraught message and pyro-technic imagery have inspired a number of artists to interpret the song as an energized manifesto.  However, in a provocative departure from convention, this ensemble re-imagines Chimes with a dramatic arrangement in 12/8 meter. K.J. is heartbroken by the seemingly endless scourge of war, poverty and oppression, but she rises above anger and defiance to deliver Chimes as a patient, even motherly reminder that we are capable of much better things.        

American Tune is Paul Simon’s adaptation of a 17th century melody that was written by Hans Leo Hassler for a secular song and later used in the German hymn Passion Chorale.  It was also adapted by Johann Sebastian Bach for the St. Matthew Passion among other works, and by Franz Liszt for his Stations of the Cross.  In the Simon iteration, a troubadour, disenchanted and confused in the waning days of life, laments “the road we’re travelling on,” and “wonder[s] what went wrong.”  K.J.’s sensitive performance conveys sorrow and resignation while avoiding the trap of sentimentality.  For her part, Lynne’s piano whispers the harmony in deference to this prayer which, for all its distress, at the end of the day retains a sense of hope: “But, I’m alright.  I’m alright.”  Pray we are as well.

Lawrence K. Abrams 

GIVE US THESE DAYS
LINER NOTES

In the classical tradition of Western music, ensemble performances are presentations of scored compositions by a group of players who simultaneously interpret their individual parts, and so collectively speak to the audience, as it were, with one voice.  Jazz, especially as played by a small ensemble such as the Lynne Arriale Trio, breaks with that tradition, and grants the musicians an opportunity for individual creativity and spontaneous interaction.  Therefore, it may be more accurate to characterize jazz performance as a musical conversation among the players; one that is shared with the audience.  The topic of this repartee is the song, and the discussion is more moderated than dictated by the leader.  Jazz, the most democratic music, charges each musician with an obligation to accompany and support the others, but it also grants each one a number of occasions to lead the band with a solo.  And yet even the supporting role, when masterfully fulfilled as by the players on this record, gives each musician creative opportunities to develop and express his or her ideas.

Group interaction as practiced by this trio is a fine blend of virtuoso playing, individual assertiveness, selflessness, cooperation and a shared commitment to fashion an ensemble sound greater than the sum of its parts.  Above all, each musician must play totally in the moment; responsive to the ebb and flow of sounds from the others.  This creative approach to playing provides a veritable incubator for delightful spontaneities and surprises.  All of these elements animate and enhance the sound of this record, as they have throughout Lynne Arriale’s career.

Whether as a soloist or as leader of the ensembles that bear her name, Lynne’s artistry and influence are profound, and have elevated her stature as composer, arranger and performer to a renown shared by few other jazz musicians. During a career that has spanned thirty-five years, during which Lynne has produced thirteen CDs as a leader, bothaudiences and critics alike have been enchanted by the fascinating things she “says” as the arbiter of her groups’ compelling musical discussions. For good reason, fans of Lynne Arriale will welcome this exceptional addition to her catalogue.  

“Give Us These Days,” is ambitious both in its conception and its unbridled sense of wonder.  Evolved from the creative genius that foretold her reputation as an extraordinary piano poet and composer, the six original tunes and three arrangements on this CD chart a new course for the trio.  It leads, ever so gently, to the chambers of the heart, there to reflect upon the precious and ephemeral nature of existence.  What emerges is the theme of this record, brilliantly illuminated by the title track:  Given the unpredictability and impermanence of life, savor each moment. 

The title tune, Give Us These Days, is an instrumental prayer inspired by those words in the Jim Schley poem, Devotional.  It fairly radiates an aura of spiritual weightlessness, such as can only exist in an atmosphere completely free of ego and artifice; a place to seek communion with something greater than ourselves.  Later she ascends to the reflective Another Sky, a gorgeous, pastel impression of the immortal human spirit.  There are no boundaries in Lynne’s world, only horizons.

Her playing on these pieces--and throughout this record--is powerful; informed by rigorous classical training, prodigious technique, and seemingly boundless creativity.  But there is more; a quiet morality nurtured by her unflagging devotion to this music, unfettered by ego, and lifted by a palpable sense of spiritual equanimity.  Prominent among Lynne’s many compositional tools is her richly-varied, finely-shaded emotional palate.  That, coupled with her unfailing instinct for simplicity and clarity, stand as a bulwark against cliché, sentimentality or self-indulgence, and keep both her writing and playing fresh, thematically diverse, and forever engaging.  Whether Lynne is melting the keyboard as she does in Woodstock, or as in her ballads, seeming to play the instrument without touching it at all, she always sounds unmistakably like Lynne.  On several occasions this writer and contemporary-jazz-radio habitué has tuned in and recognized, simply by chancing upon any two bars of an unidentified track, that he is hearing Lynne Arriale.

She is one of those rare artists who defy labeling:   In a tender Romantic turn, Lynne artfully guides the listener to reverie with her introspective and harmonically innovative cover of Paul McCartney’s Let It Be. But then she takes the group “outside” to explore motivic free playing in Slightly Off-Center.

Above all, Lynne remains unfailingly a melodist.  Her improvised musical sentences, or lines, are strong, lean, and lyrical. But whether they are rhythmic and motivic, as in Over and Out, or as in Finding Home, luxuriously long and complex, they fairly glow with her passion for melody.  Taken together, each note leads thematically, melodically, inevitably to the next, creating a solo “arc” analogous to the progression of a plot, with a clearly defined beginning, middle and end.  This remains true throughout Lynne’s work, and in this collection transports the listener from a state of muted contemplation to incandescent fury and back again.  While some of the music, including the Flamenco-driven Appassionata, and her gospel-funky Over and Out, are unabashedly joyful, other tracks quietly convey an abiding, deeply-felt appreciation for the gifts humanity has received. 

Lynne’s fellow presenters are both from the Netherlands; double bassist and co-producer, Jasper Somsen and drummer Jasper van Hulten. Jasper Somsen is known for his signature sound, feel and lyricism. He brings a presence that embraces the group sound while creating a spacious environment conducive to interaction.  Jasper van Hulten brings propulsive energy to the group, focused by his sensitivity to the subtleties and conventions of trio drumming.  

The last word in this remarkable musical discourse is given over to Kathleen Brennan and Tom Waits’ Take It With Me, a delicate and winsome farewell lovingly sung by vocalist Kate McGarry.  The masterful duet by Kate and Lynne perfectly conveys the song’s message of humility and gratitude; a most fitting end to this memorable production, and to life itself.

Lawrence K. Abrams