{"id":11338,"date":"2025-09-22T21:02:08","date_gmt":"2025-09-23T02:02:08","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=11338"},"modified":"2025-09-22T21:02:10","modified_gmt":"2025-09-23T02:02:10","slug":"review-staff-sounding-line","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/review-staff-sounding-line\/","title":{"rendered":"Review: Carmen Staaf\u2019s \u2018Sounding Line\u2019"},"content":{"rendered":"\n<p>Carmen Staaf\u2019s <em>Sounding Line<\/em> (Sunnyside, 2025) is the second album recently covered on this site that envisions a conversation between Thelonious Monk and another pianist-composer. Just a few weeks ago, <a href=\"https:\/\/postgenre.org\/staging\/4567\/review-josh-lawrence-still-we-dream\/\">trumpeter Josh Lawrence positioned Chopin with Monk<\/a>. Here, Staff has Monk conversing with a contemporary, Mary Lou Williams. Just about every jazz pianist and many other instrumentalists, like Lawrence, are well versed in Monk. Despite being a prodigious talent, Williams\u2019 compositions do not appear on albums nearly as often.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_9nRag04IUtU\"><div id=\"lyte_9nRag04IUtU\" data-src=\"\/\/i.ytimg.com\/vi\/9nRag04IUtU\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/9nRag04IUtU\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/9nRag04IUtU\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Staaf, originally from Seattle, has become a fixture on both the West Coast and in New York. She has held down the piano chair for Dee Dee Bridgewater, Jenny Scheinman, Todd Sickafoose, Allison Miller, and others. And, like others that appear on <em>Sounding Line<\/em>, she teaches at the Stanford Jazz Workshop. Fifteen years ago, Staff began an in-depth investigation of Williams\u2019 work and found a commonality between her music and the idiosyncratic, bold music of Monk. She learned that Williams hosted pianist salons at her Harlem apartment and that Monk was one of the frequent attendees. In other words, each influenced the other.<\/p>\n\n\n\n<p><em>Sounding Line<\/em> was born when Bay Area concert promoter and producer Mark Weiss proposed that Staff record an album with Bay Area musicians. The pianist, in turn &#8211; bent on exploring the similarities between Monk and Williams &#8211; proposed rendering the music in compelling duos. From this, several luminaries came aboard, including trumpeters Ambrose Akinmusire and Darren Johnston, clarinetist Ben Goldberg, vibraphonist Dillon Vado, percussionist John Santos, and drummer Hamir Atwai. Goldberg appears on three tracks while the others grace just one or two of the seven pieces, five split between Monk and Williams, and two Staaf originals.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_JTws2YtxQfI\"><div id=\"lyte_JTws2YtxQfI\" data-src=\"\/\/i.ytimg.com\/vi\/JTws2YtxQfI\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/JTws2YtxQfI\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/JTws2YtxQfI\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Akinmusire\u2019s unmistakable trumpet sound  imbues Williams\u2019 \u201cScorpio,\u201d adding to an infectious piano bass line that evolves into a vibrant, contemporary boogie-woogie between the two artists. Listen for the commonality of the bass line to the prior piece in Monk\u2019s \u201cBye-Ya,\u201d performed with SF Jazz stalwart John Santos on bongos. Williams\u2019 \u201cLibra\u201d dramatically changes the mood to reflective and melancholy, featuring Goldberg in the first of his three appearances. Again, Staaf underscores the linkage between the two piano greats by following with \u201cMonk\u2019s Mood,\u201d where she and vibraphonist Vado sustain the melancholy in a more atmospheric way. Williams\u2019 \u201cKoolbonga\u201d deviates from the duet configuration by having a quintet render the tune. Vado\u2019s tambourine is surprisingly prominent at the outset, meshing nicely with Atwai\u2019s drumming. In another twist, Goldberg holds down the bass line with his clarinet while Johnston &#8211; on muted trumpet &#8211; and Staff trade off on the swinging melody.&nbsp; This piece may well be the best example of the commonality between Monk and Williams, as it has tinges of Monk\u2019s famed angularity.<\/p>\n\n\n\n<p><\/p>\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"lyte-wrapper fourthree\" style=\"width:420px;max-width:100%;margin:5px;\"><div class=\"lyMe\" id=\"WYL_5Njr0WMqVg0\"><div id=\"lyte_5Njr0WMqVg0\" data-src=\"\/\/i.ytimg.com\/vi\/5Njr0WMqVg0\/hqdefault.jpg\" class=\"pL\"><div class=\"tC\"><div class=\"tT\"><\/div><\/div><div class=\"play\"><\/div><div class=\"ctrl\"><div class=\"Lctrl\"><\/div><div class=\"Rctrl\"><\/div><\/div><\/div><noscript><a href=\"https:\/\/youtu.be\/5Njr0WMqVg0\" rel=\"nofollow\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/i.ytimg.com\/vi\/5Njr0WMqVg0\/0.jpg?resize=420%2C295&#038;ssl=1\" alt=\"YouTube video thumbnail\" width=\"420\" height=\"295\" \/><br \/>Watch this video on YouTube<\/a><\/noscript><\/div><\/div><div class=\"lL\" style=\"max-width:100%;width:420px;margin:5px;\"><\/div><figcaption><\/figcaption><\/figure>\n\n\n<p><\/p>\n\n\n\n<p>Staff\u2019s two originals close the program, each influenced by one of the pianists. A quartet of Staaf, Goldberg, Johnston, and Atwai converges for \u201cBoiling Point,\u201d inspired by Monk\u2019s \u201cShuffle Boil.\u201d While the title suggests a heated, swinging affair, the tune carries more of a laid-back, late-night mood. The harmonic blend of clarinet and trumpet gives off a cinematic quality, with Atwai deftly and steadily steering. The bandleader solos brightly and deliberately.&nbsp; We can infer then that \u201cSteering Wheel\u201d is inspired by Williams. Akinmusire returns for a duet performance, effectively bookending the album. Unlike the opener, however, the closer is a gently flowing piece that accents the nimble and nuanced approach of both players.<\/p>\n\n\n\n<p>Carmen Staaf presents a stirring conversation with varying moods and tempos, one listeners will likely revisit often.<\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><strong><em>\u2018Sounding Line\u2019 is out now on Sunnyside Records. It can be <a href=\"https:\/\/sunnysiderecords.bandcamp.com\/album\/sounding-line\">purchased on Bandcamp<\/a>. <\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Carmen Staaf\u2019s Sounding Line (Sunnyside, 2025) is the second album recently covered on this site that envisions a conversation between Thelonious Monk and another pianist-composer. Just a few weeks ago, trumpeter Josh Lawrence positioned Chopin with Monk. Here, Staff has Monk conversing with a contemporary, Mary Lou Williams. Just about every jazz pianist and many [&hellip;]<\/p>\n","protected":false},"author":59,"featured_media":11340,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"iawp_total_views":43,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-11338","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"aioseo_notices":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/09\/img_1684.jpg?fit=750%2C500&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/peRkRR-2WS","jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11142,"url":"https:\/\/postgenre.org\/staging\/4567\/review-josh-lawrence-still-we-dream\/","url_meta":{"origin":11338,"position":0},"title":"Review: Josh Lawrence\u2019s \u2018Still We Dream\u2019","author":"Jim Hynes","date":"August 13, 2025","format":false,"excerpt":"Still We Dream (Posi-Tone, 2025) is trumpeter and composer Josh Lawrence\u2019s seventh release for the label that prides itself on revealing the \u201cNew Frontier of Jazz.\u201d With it, the four-time Grammy nominee and regular member of Orrin Evans\u2019 Captain Black Big Band delivers a rather unusual album for a trumpeter.\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_0891.jpg?fit=750%2C499&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":6259,"url":"https:\/\/postgenre.org\/staging\/4567\/green-thumb-ake\/","url_meta":{"origin":11338,"position":1},"title":"Review: David Ake&#8217;s &#8216;Green Thumb&#8217;","author":"John Chacona","date":"July 19, 2023","format":false,"excerpt":"It takes daring for a producer to lead off a recording with a ballad. When that producer is Marc Free of Posi-Tone Records, a label known for scorching hard bop, the album particularly demands attention. With\u00a0Green Thumb\u00a0(Posi-Tone Records, 2023), pianist David Ake generously provides a varied program of surprising, even\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2023\/07\/David-Ake-Green-Thumb-cover1.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11207,"url":"https:\/\/postgenre.org\/staging\/4567\/review-chapter-one-caelan-cardello\/","url_meta":{"origin":11338,"position":2},"title":"Review: Caelan Cardello\u2019s \u2018Chapter One\u2019","author":"Jim Hynes","date":"August 31, 2025","format":false,"excerpt":"Caelan Cardello is breaking out. As part of vocalist Tyreek McDole's backing quartet at this summer\u2019s Newport Jazz Festival, the pianist-composer impressed the audience with his comfort with hard swinging numbers and his duetting with McDole on the standard \u201cLush Life.\u201d\u00a0 Few in attendance knew Cardello's forthcoming debut, Chapter One\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/08\/img_1257.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":11515,"url":"https:\/\/postgenre.org\/staging\/4567\/review-hikmah-pat-thomas\/","url_meta":{"origin":11338,"position":3},"title":"Review: Pat Thomas\u2019 \u2018Hikmah\u2019","author":"Jim Hynes","date":"November 5, 2025","format":false,"excerpt":"Hikmah (TAO Forms) is the solo album from [Ahmed]\u2019s virtuoso pianist Pat Thomas, whom Matthew Shipp has identified in his recent book as among the Black Mystery School Pianists. While Thomas may be in that school, his playing bears only a few similarities to his contemporary, Shipp. Thomas\u2019s music is\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2025\/11\/img_2432.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2746,"url":"https:\/\/postgenre.org\/staging\/4567\/newport-jazz-part-xi\/","url_meta":{"origin":11338,"position":4},"title":"A History of the Newport Jazz Festival \u2013 Chapter XI: Futures, 1990-1994","author":"Rob Shepherd","date":"May 9, 2021","format":false,"excerpt":"The 1990s was a period of change. The geopolitical order in place for nearly half a century ended with the collapse of the Soviet Union. The first American president to be born after the Second World War took office, bringing different attitudes and policies to the office. Rapid technological development\u2026","rel":"","context":"In &quot;Newport Jazz Festival History&quot;","block_context":{"text":"Newport Jazz Festival History","link":"https:\/\/postgenre.org\/staging\/4567\/category\/special-series\/newport-jazz-history\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Jazz-Futures.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Jazz-Futures.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Jazz-Futures.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/05\/Jazz-Futures.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":2485,"url":"https:\/\/postgenre.org\/staging\/4567\/shepp-moran-let-my-people-go\/","url_meta":{"origin":11338,"position":5},"title":"Review: Archie Shepp &#038; Jason Moran&#8217;s &#8216;Let My People Go&#8217;","author":"Rob Shepherd","date":"January 31, 2021","format":false,"excerpt":"Albert Murray once noted that \u201cthe blues is not the creation of a crushed-spirited people [but rather] the product of a forward-looking, upward-striving people.\u201d Throughout his career, Archie Shepp has explored the connection between the blues and aspiration for a brighter future. He\u2019s done so significantly by branching the sonic\u2026","rel":"","context":"In &quot;Album Reviews&quot;","block_context":{"text":"Album Reviews","link":"https:\/\/postgenre.org\/staging\/4567\/category\/reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=750%2C500&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=750%2C500&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=750%2C500&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/postgenre.org\/staging\/4567\/wp-content\/uploads\/2021\/01\/Shepp-Moran.jpg?fit=750%2C500&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11338","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/users\/59"}],"replies":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/comments?post=11338"}],"version-history":[{"count":2,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11338\/revisions"}],"predecessor-version":[{"id":11341,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/posts\/11338\/revisions\/11341"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media\/11340"}],"wp:attachment":[{"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/media?parent=11338"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/categories?post=11338"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/postgenre.org\/staging\/4567\/wp-json\/wp\/v2\/tags?post=11338"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}