Extraordinary Gathering of Virtuosos Converge for Exploration of Musical Pluralism on Dean Olsher’s Letters of Transit

Letters of transit, hidden in Sam’s piano, drive the plot of Casablanca. Anyone bearing such a letter could board a plane to Lisbon and evade the Nazis. Eighty years later, Americans were driven to flee political danger by once again escaping to Portugal.

In the 1930s and 40s, those who lacked the means to escape fascism pursued an “inner emigration.” Dean Olsher’s own inner emigration has been to devote himself deeply to what he loves most about America, which is its music. Like himself, the country is hybrid in nature. “That’s what makes us interesting as a nation, and also vulnerable,” the composer and accordionist says. “Letters of Transit is about musical pluralism and how it reflects the America I want to live in.”

The genesis of this album, like so many, was conceived during the pandemic. “I began to think to myself, ‘What do I want to do with my remaining time on Earth?’” Olsher says. So he launched a creative project. His first stop was at the door of producer and accordion luminary Will Holshouser, who was placed in charge of bringing together a chamber ensemble. Olsher made arrangements of his original compositions – as well as his reinventions of classic works by Scott Joplin, Richard Rodgers, and Giovanni Battista Pergolesi – until the project, which had begun as a 5-song EP, blossomed into the full-length LP presented here today. 

“At first the parameters were small – just five pieces. It was (guitarist) Rez Abbasi who suggested that I expand it into a full-length album.” Abbasi, a 2021 Guggenheim Fellow and Downbeat Rising Star poll winner whose solos are the centerpiece of ‘Parfois’ and ‘Mentre l’erbetta,’ was just the first of the constellation of musicians Holshouser attracted for this project.

Grammy-nominated violinist Meg Okura (“The Queen of chamber jazz” – All About Jazz) lights up each track with her customarily incendiary solo work. “When I wrote this music, I was thinking of chamber music. Meg is virtuosic, a soloist,” Olsher says. “But once we began working, it was clear that she enhanced this sense of e pluribus unum. The way Ellington wrote for the individual voices in his band, and each person’s unique self contributed to a richer collective.” Okura’s florid introduction in the title track establishes the “gathering of virtuosos” mood that launches the album.

David Bertrand plays the lush bass clarinet lines that snake between the violin and Olsher’s accordion. Olsher, who also plays clarinet, fell in love with Bertrand’s playing. “In the low register, (Bertrand’s) playing occupies a similar sonic space to my own and utterly complements it – like we had been in a mind meld. But when he leaps into the upper register, it sounds like a completely different instrument. It’s such a gift to play with a musician that versatile.” Bertrand’s solo on ‘Lullaby’ is a standout.

The rhythm section is overflowing with talent. Jerome Harris (Sonny Rollins, Jack DeJohnette, Don Byron) and George Farmer (Benny Golson; Broadway shows Ain’t Too Proud, Memphis, and Spring Awakening) alternate on the bass chair, while Satoshi Takeishi (Ray Barretto, Randy Brecker, Dave Liebman, Anthony Braxton) and Willie Martinez (Chico O’Farrill, Bill Easley, Jewel), do likewise on drums and percussion. “I’m still blown away to have had these legends contribute to this recording. The history and experience that they brought to the group is evident on every note. Having people like that in the room raises everyone’s game.” Martinez in particular gets room to stretch out: “Willie has an incredible drum solo on ‘The Perilous Night.’ That piece is almost like a concerto for drums and chamber ensemble. And the dry wit that Satoshi brings to ‘Manhattan’ makes me smile every time I listen to it.”

Rachelle Garniez handles vocals on ‘Forget I Was Ever Here,’ and Suzzy Roche takes the lead on ‘Hymn.’ Olsher gushes, “Rachelle is famous as an accordion player, but as you can hear she is a phenomenally emotive singer as well. The demo I sent her was restrained, but she turned it into a proper torch song.” Roche is renowned as a member of The Roches, a vocal trio of sisters who created their own type of harmony singing in the 70s and 80s. “When I was in college, they were in heavy rotation on my record player,” Olsher says. “I’m still somewhat floored that Suzzy is singing on my album.”

After the recording sessions Olsher was able to look back and see what the album really represented for him. “I didn’t start out making a record about pluralism – but once I heard what we had made, from all of our different backgrounds and perspectives, and all of our life experiences, and in humor and love and affection and through the truly worldwide spirit of collaboration, did I understand what this album was about. It could have only existed in this time, and have been made by these humans, and it’s a gift and an honor to have them there with me.”

Artist: Daniel Sky

Artist: Dean Olsher

Album Title: Letters of Transit

Label: Adhyâropa Records

Release Dates: March 5th, 2024 (single: ‘Letters of Transit’); March 12th, 2024 (single: ‘Forget I Was Ever Here’); March 19th (single: ‘Hymn’); March 29th, 2024 (album: Letters of Transit)

Purchase: https://deanolsher.bandcamp.com/album/letters-of-transit

Performers: Dean Olsher (accordion), Meg Okura (violin), Rez Abbasi (guitar), David Bertrand (bass clarinet), George Farmer (bass), Jerome Harris (bass), Satoshi Takeishi (drums/percussion), Willie Martinez (drums/percussion), Rachelle Garniez (vocals), Suzzy Roche (vocals)