By Dee Dee McNeil
April 15, 2024
ALICE COLTRANE – “THE CARNEGIE HALL CONCERT / 1971” – Impulse Records
Alice Coltrane, harp/percussion/composer/piano; Pharoah Sanders, tenor & soprano saxophone/flute/fife/percussion; Archie Shepp, tenor & soprano saxophone/percussion; Jimmy Garrison & Cecil McBee, bass; Ed Blackwell & Clifford Jarvis, drums; Tutsi, tambura; Kumar Kramer, harmonium.
When this record was recorded ‘Live’ at Carnegie Hall in New York City, Alice Coltrane was going through a purification process. It had been four years since the death of her husband, John Coltrane, and two years after the death of her older half-brother, bassist Ernie Farrow. She was thirty-three years old, with four young children to provide for, despite her grief and loss. Right before this concert, in December of 1970, the great Lady Coltrane took five weeks to explore the East Indian subcontinent. She swam in the Ganges and visited monasteries in the Himalayan Mountains. Alice made pilgrimages to holy sites including Rishikesh and the Taj Mahal. She took several days at a spiritual retreat in Ceylon (now called Sri Lanka) and attended a World Scientific Yoga conference.
“Having made the journey to the East, a most important part of my Sadhana (spiritual struggle) has been completed,” Alice wrote in a memoir.
“The trip to the East gave me the spiritual motivation to come out more – – to do more with my music. I also listened to a lot of beautiful sitars and Veena music.
“I’m going to use some of the chants I heard … some of the essence of the East,” she explained during an interview with Essence magazine.
The opening tune on this Alice Coltrane project is titled, “Journey in Satchidananda.” Her harp sounds like raindrops falling from an open sky. The flute of Pharoah Sanders is warm and vibrant. This particular song is fifteen minutes long and captivating. When Sanders puts down his flute and picks up his saxophone, the mood of the music changes like the flip of a page. To add to the essence of this music, we hear voices chanting amidst the rhythm. They create their own sporadic, but well-placed melodies and seem prayer-like. This song is over fifteen minutes long. It is followed by Alice Coltrane’s harp introducing us to “Shiva Loka.” You can clearly hear the Asian influences in these beautiful compositions. Her next original composition begins with a flurry of drums, spotlighting the rhythmic root of black music in her song called “Africa.” It is full of energy and excitement, with Alice taking a seat at the grand piano to express herself. This composition features two extraordinary solos by two different bassists. Doubling up, during this concert Alice Coltrane features two saxophonists, Pharoah and Archie Shepp; two bass players, Jimmy Garrison and Cecil McBee, and two drummers. Boldly featured on this composition are Ed Blackwell and Clifford Jarvis. Essentially, this was a double quartet presentation. Ornette Coleman started that trend when he created the album “Free Jazz.” The enthusiastic shouts and applause from her ‘live’ audience speak volumes.
Here is early experimental jazz music that embodies Alice Coltrane’s search for freedom, excellence, spirituality, and the very core of life, the essence of love.
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DAVE BASS TRIO NUEVO – Tiger Turn Records
Dave Bass, piano/composer/arranger; Tyler Miles, double bass; Steve Helfand, drums.
Fourteen years ago, when Dave Bass recorded his first albums, he was working with singers and horn players including Phil Woods, Conrad Herwig, Ernie Watts, Ted Nash, and Ignacio Berroa. These initial recordings found their way to the top of the Jazz Week Radio Charts. When Dave Bass released an album called “Gone” featuring vocalist Mary Stallings, the stellar reviews continued. Other albums followed like “No Boundaries” in 2019 and “NYC Sessions in 2015, that was named one of the “Best Albums” of that year. In 2021, Bass switched up and adopted the trio format.
“I think playing in a trio is one of the most challenging situations for a musician,” Bass said in his press package. “But it’s also perhaps the most satisfying configuration, because you can really develop kind of telepathy with other musicians,” he concluded.
It’s a joy to listen to Dave Bass. He is so tender and emotional when he plays. His mastery of technique paints each tune he plays with vivid colors. Bass was soaking up the creative lifestyle of San Francisco, playing a lot of Latin music and jazz, while gigging until the mid-1980s. At that point, a horrible accident changed his life and upended his career as a popular and prolific pianist. This horrible injury to his wrist caused him to desert his love of piano and choose a legal career. In 1992, he joined a prestigious law firm and in 1996, Dave Bass accepted the position of Deputy Attorney General in the California Office of the Attorney General. This led him to join the Civil Rights Enforcement taskforce.
Bass hadn’t even considered playing piano again until, in 2005, while attending a friendly house party friends at the get-together encouraged him to play solo piano, once the hired band took a break. It was the first time he recognized that his broken wrist had healed. The attorney was surprised that he still had the talent and ability to play piano and entertain.
On this album you will enjoy his innovative and well-played original music as well as his arrangements of old standards like “As Time Goes By.”
His stunning, creative, reconstruction of the legendary classical composer, Bach, is both complex and jazzy. Bass calls this project “Three Views of Bach” and his arrangement is absolutely beautiful. He breaks down his concept of Bach’s style into three sections. The first is a free improvisation on Bach’s harmonies. The second part is a fairly faithful rendition of the Bach original technique, and the third part is a combination of both.
The Dave Bass originals stand out like original pieces of art. On the tune called “August” his bassist, Tyler Miles, begins this arrangement. Bass flies around the 88-keys like a busy hummingbird on this dramatic piece of music, then cuts the time, changing the tempo and inviting Miles to take an engaging solo on bass. At the very end of this tune, drummer Steve Helfand takes a flashy solo. They end the song in the same dramatic way they began it. Another original I enjoyed was “One Look,” a blues-based tune propelled by the swirling brushes of Helfand on drums. On the Bass original, “Baby Melon,” the trio swings hard. Dave Bass has a special touch on the piano that invites the listener into his music with wide open arms and a generous heart.
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ELLIE LEE – “ESCAPE” – Independent Label
Ellie Lee, piano/composer/arranger: Steve Wilson, saxophone; Steve LaSpina, bass; Jongkuk Kim, drums.
Let me start by saying that the album cover of Ellie Lee uses a font that made me not only pull out my glasses, but also grab a magnifying glass to read the names of her musicians. Having worked in the record industry for many years, artists should make certain the title of their album and the musician credits are bold and prominent. That means a striking cover that grabs the attention, as well as bold fonts to promote the project and the participants. Ellie Lee’s inside cover ‘Liner Notes’ and ‘Credits’ are nearly illegible. I encourage her to correct that on her next venture.
Ellie Lee is a pianist, composer and arranger who offers us seven original compositions on this album of eight tunes. The quartet opens with her title tune. Lee sets the mood and tempo on piano, until Steve Wilson enters on his saxophone. Then Wilson sings the melody she has written and soon flies off into space, improvising freely on the theme like a happy bird. This is contemporary jazz, rooted securely in Lee’s classical training. On “Beyond the Blue” we hear a little bit of Coltrane’s influence in the arrangement. This song has a lovely melody and a piano line that establishes the groove, leaning heavily towards the jazz of the 1960s.
This talented pianist grew up in Seoul, South Korea. She earned a Bachelor of Music in Classical Piano Performance from Sookmyung Women’s University. However, Ellie Lee desired more freedom in her music and discovered that jazz offered that opportunity. A scholarship to Boston’s Berklee College of Music offered her new and exciting direction. She studied with jazz masters like Joanne Brackeen, Alain Mallet, Tim Ray and George W. Russell, Jr., later earning a Master of Music in Jazz Performance degree from William Paterson University in Wayne, New Jersey. It was at that University that she raised the eyebrows of several professional professors and musicians with her fresh, contemporary jazz compositions. Ellie Lee is a very good composer.
On this project, Lee seems somewhat shy about soaking up the spotlight. She generously shares the solo spot with Steve Wilson on saxophone. I find her original compositions to be quite beautiful. Her classical training infuses the songs, and I feel she finally finds her niche on her Latin arrangement of “Melrose Breeze.” On this original song she sounds quite relaxed and establishes the groove at the introduction, then finds freedom during her own solo presentation.
Although she is a very astute improviser, what seems missing is her ability to ‘swing’ or to fully give herself to the music and become part of the groove. I think that will come with time and performance experience. Surely there is nothing wrong with her current agility at the piano keys, and she has the technique to play just about anything. I enjoyed her arrangement of Benny Golson’s composition “Whisper Not,” the only standard jazz song that the quartet covered.
Lee says she chose jazz because it offers her freedom and exploration of her composing and piano-playing mindset. However, freedom often comes with the ability to let go and let God. It’s a matter of (as Janis Joplin said) nothing left to lose. I think the talented Ms. Lee is right on the brink of flying off the cliff without a parachute. That’s what I want to hear.
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ART TATUM – “JEWELS IN THE TREASURE BOX” – Resonance Records
Art Tatum, piano; Everett Barksdale, guitar; Slam Stewart, bass.
Today, after listening attentively to several very talented pianists who have recorded new albums, I slid Art Tatum’s music into my CD player and quickly realized that there are plenty of talented musicians in the world, but very few brilliant and exceptional players. Because I have lived through so many eras, and heard so many amazing music artists, I often think that in the twenty-first century, we are living in the age of mediocrity. It’s because maybe once every hundred years or so you hear a talent like Billie Holiday, Sarah Vaughan, Duke Ellington, or Art Tatum. When I slide the “Jewels in the Treasure Box” CD into the slot, I just sit back and marvel at Art Tatum’s genius.
Resonance Records is the independent label and home of award-winning, previously unreleased jazz recordings. These are the 1953 Chicago Blue Note Jazz Club Recordings of Art Tatum. Once again, Resonance Records has stunned me with an album of historic music by this piano savant. It celebrates his music from the 1930s and 1940s.
Tatum started out taking violin lessons as a child, but soon concentrated his love of music at the 88-keys. Piano playing came as natural as breathing to this amazing and talented young man. He mastered playing stride piano, delighting the listener with his rhythmic left hand, while adding varied melodies and improvisations with his right hand. At twenty-one, Tatum moved from Toledo, Ohio to New York City and the rest is history. He was praised by not only jazz players, but prolific composer, Gershwin, was a big fan of Art Tatum’s and classical composers like Sergei Rachmaninoff claimed that the legally blind pianist was the greatest piano player of any style that he had ever heard.
If you don’t believe these notable music celebrities, just pop this CD into your player, sit back and marvel at the brilliance and beauty of this piano master. I haven’t heard anyone play like Art Tatum before or sense his death. There are nearly three hours of Art Tatum’s amazing music on this 3-CD set, as well as a stunning booklet full of photos and historic facts. The CD package features thirty-nine songs in total. Tatum’s technique was so prodigious that it redefined the boundaries of what piano players and jazz lovers could imagine in the realm of music. When you listen to Art Tatum, it sounds like two piano players, using four hands are playing simultaneously.
Herbie Hancock said of Tatum, “Harmonically, Tatum played a lot of things which are still ahead of what I’m doing. I’m still trying to discover certain chords he used.”
Art Tatum was born October 13, 1909, in Ohio with his vision significantly impaired. He was blind in one eye and had limited sight in the other. He was said to have perfect pitch, often calling out the key that he associated with an airplane flying overhead, a dog barking, or a toilet flushing. He heard music in everything. One thing that journalistic reviewers, music aficionados and his peers all noticed was that the pianist had rather pudgy hands. Even so, he could still span an interval of a twelfth on the piano and could skip along the piano keys at a rate of speed that both challenged and stunned the onlookers, listeners, and other musicians.
It was Adelaide Hall, a popular singer back in the early 1930s, who hired Tatum as her accompanist, bringing him with her for shows in NYC.
In the video above, Adelaide Hall features Art Tatum on this recording.
Pianist Michael Weiss said in the extensive press package, “On a scale of 1 to 10, Tatum kept the dial on a steady 11.”
Another dynamic pianist, Monty Alexander was quoted as saying, “When Art played, he was like the eighth wonder of the world.”
Singer/pianist Johnny O’Neal portrayed Tatum in the 2004 Ray Charles biopic and he recalled the first time he heard Tatum play.
“It was when my father, who was also a pianist, played me a record of Tatum playing Tea for Two. It was the most unbelievable thing I’d ever heard, still to this day. I don’t think there’s been anyone on any instrument who could match up to Art Tatum’s skills. … You can’t even duplicate what he played harmonically, in addition to his technique,” Johnny described Tatum’s talents.
You will marvel at the way Tatum portrays familiar songs like Night and Day, Where or When, On the Sunny Side of the Street, I Cover the Waterfront, Body and Soul, Sweet Lorraine, and many more. Slam Stewart on bass is formidable. When you hear him soloing, for example on “Air Mail Special” a speedy arrangement on CD #3, it’s a mind-altering experience. He had his own style. Slam sang along with his bass lines during his dynamic solos, while walking his double bass at a rich up-tempo pace. Also, guitarist Everett Barksdale is tasty and complimentary to Tatum’s piano brilliance, still holding his own during this recording. The counter-melodic meeting of these two instruments (guitar and piano) showers this project with astounding harmonics and creativity. For example, on their exploration of the tune, “I’ve Got the World on a String.”
Whether you are familiar with Art Tatum or not, this is a project that will not only astonish you, it will offer some of the greatest piano playing techniques that you have ever heard. Here is history, genius, legacy, and musical entertainment that is beyond words.
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TAYLOR EIGSTI – “PLOT ARMOR” – GroundUP Records
Taylor Eigsti, piano/Fender Rhodes/composer/arranger; David Ginyard, elec. Bass; Oscar Seaton Jr. & Kendrick Scott, drums; Charles Altura & Julian Lage, guitar; Maya Kronfeld, Rhodes/keyboards; Harish Raghavan, acoustic bass; Terence Blanchard, trumpet; Ben Wendel, tenor & soprano saxophones; Dayna Stephens, tenor saxophone; Rebecca Kleinmann, flutes; Stephanie Yu, violins; Benjamin Von Gutzeit & Corinne Sobolewski, viola; Mia Barcia-Colombo, cellos; Jules Levy, basses; Lisa Fischer, Becca Stevens & Gretchen Parlato, vocals.
2022 Grammy Award-winning pianist and composer, Taylor Eigsti, returns to the jazz stage with a new project that exhibits why he’s heralded as one of the busiest, most in-demand musicians from Northern California to New York City. In addition to performing worldwide with his trio, he works with a quartet, and larger ensembles, and he is a regular touring member of Terence Blanchard’s E-Collective band, featuring the Turtle Island Quartet. He also frequently tours with Rolling Stones’ long-time vocalist, Ms. Lisa Fischer. In fact, two years ago, he premiered “Imagine Our Future” in the California Bay Area, a large ensemble work commissioned by the Hewlett Foundation that prominently featured Lisa Fischer on vocals, along with a 12-piece band.
Over the past thirty years, when he’s not writing and arranging his own projects, you may have heard Taylor Eigsti performing with such luminaries as Chris Botti, Joshua Redman, Sting, John Mayer, Esperanza Spalding, Chick Corea, Snarky Puppy, Vanessa Williams, David Benoit, Nicholas Payton, Christian McBride, Marian McPartland, Stefon Harris, Dianne Reeves, and the list goes on and on.
This current release is another Contemporary jazz album that celebrates his love of string ensembles, and his awesome capabilities as a composer. Eigsti has composed eleven of the thirteen songs on his “Plot Armor” album, opening with “Let You Bee.” The guitar of Charles Altura opens the piece. When Taylor Eigsti joins him, the drama builds. The song crescendos with the addition of a very orchestrated arrangement supporting the lovely melody. Next, a tune called “Bucket of F’s” driven by the drums of Oscar Seaton Jr., unfolds like the petals of a flower. Starting as the bud of the tune, the arrangement develops with the energy of a honeybee flying from flower to flower. It unfolds from staccato energy into a smooth jazz piano solo by Taylor Eigsti. For me, this second song fits musically like the composition title of the first tune (Let You Bee). Even the saxophone solo by Ben Wendel reminds me of a swarm of bees.
Vocalist Becca Stevens takes center stage on a song called “Look Around You” and her warm tones introduces us to a lyric about the endless possibilities we have around us; all the creatures on earth in harmony with each other and with nature. The title tune bursts into the room like an army. I even hear the marching footsteps played by the pop of drums. This music sounds aggressive. Then, when I looked up the meaning of “Plot Armor” I discover that phrase is used to refer to the phenomenon in a fiction story, where the main character is allowed to survive dangerous situations because they are indispensable to the plot. Consequently, we see how Taylor Eigsti looks deeply, not only into his music, but in the use of composition titles, and the literary meaning of words that describe his music. Like I always say, words matter. This title tune is a very challenging song, with high musical intensity, softened only by the beautiful addition of strings that play like whispered prayers in the background. The fifth track offers a beautiful ballad featuring the sensuous horn of Terence Blanchard. But I am completely enthralled with his composition “Fire Within” that is interpreted by the amazing voice of Lisa Fischer, supported by Eigsti’s rich piano accompaniment, and colored by the creative guitar of Julian Lage.
A song called “Actually” uses lovely chord changes that soar and reach like hands to the sky. There is no ceiling. Eigsti’s piano breaks free, like a bird in flight against the vastness of space. Another song that grabbed my attention is Gretchen Parlato’s breathy voice on “Beyond the Blue” blurred with the swirl of strings and the tinkle of Taylor’s intoxicating piano.
Here is an album that captivates and pushes the boundaries of music, creativity from Taylor Eigsti’s mind. His arrangements and compositions surprise and intoxicate. His piano mastery leads the way, like the conductor’s baton. This imaginative project both entertains and challenges the listener to let go of expectations and just soak up the beauty.
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YUSEF LATEEF – “ATLANTIS LULLABY – THE CONCERT FROM AVIGNON” – Elemental Records
Yusef Lateef, soprano & tenor saxophones/flute; Kenny Barron, piano; Bob Cunningham, bass; Albert “Tootie” Heath, drums/Indian flute.
Listening to this album brought so many memories flooding back. As a sixteen-year-old, sitting in a Motor-city, no-alcohol nightclub called the Minor Key, completely hypnotized by the music of Yusef Lateef. What a blessing to have seen him ‘live.’ Listening to his talent was an unforgettable experience and one of my favorite albums back then was “Cry Tender.”
https://www.youtube.com/results?search_query=Yusef+Lateef+cry+tender
This all-star group is a magnificent sample of historic music and unforgettable artistry. They open with “Inside Atlantis,” composed by Kenny Barron. Yusef spits out the melody on tenor saxophone and the quartet is off and running full speed ahead. Their energy is palpable. On Kenny Barron’s tune, “A Flower” the legendary pianist plays his instrument and makes it sound like a harp. Yusef shares his melodic story on flute. This song is so beautiful and spiritual, it fills my home with peace. Next, Lateef has written a blues he calls “Yusef’s Mood” and it’s Boogie Woogie influenced, with Barron’s piano digging deep into the juke joint days and Tootie Heath’s drums shuffling along like a freight train engine. Tootie pulls the music ahead with groove and excitement. I have another memorable flashback. What a blessing to have worked with the great Tootie Heath as my drummer when I was a fledgling jazz vocalist. I personally know about the incredible energy and in-the-pocket percussion excellence that Albert “Tootie” Heath brings to the bandstand. You hear his brilliance on this album. But what else could you expect playing with the iconic Yusef Lateef and the brilliance of Kenny Barron? They close CD #1 with an original tune by Tootie Heath called “Lowland Lullaby.” It features Heath playing an Indian flute and the bass of Bob Cunningham joining the party in a smooth, supportive way. Later, on the second CD of this set, Cunningham receives a standing ovation when he plays his bass solo on “Eboness” a composition written by the great Roy Brooks. It was a stunning display of how Bob could make his bass talk.
This double CD set offers a beautiful accompanying book with memories and remembrances of Yusef Lateef by his wife, Ayesha Lateef, by Shannon Effinger (journalist), and a host of musicians including the ones on this album. Other musician who left poignant comments are Adam Rudolph, Reggie Workman, Joe Lovano, Tia Fuller, Bennie Maupin, James Carter, and Sonny Rollins.
This is an album I will play over and over again. The second time I played it was better than the first. Every music collector should add this historic recording to their collection.
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HYEONSEON BAEK – “LONGING” – You & Me Music
Hyeonseon Baek, vocals; Kevin Hays, piano; Linda May Han Oh, bass; Joehen Rieclert. Drums; Lucas Pino, tenor saxophone.
The thing that is striking about this album happens on the very first tune. Hyeonseon Baek has chosen to open with the familiar jazz standard, “Caravan.” First the band opens with Kevin Hays on piano, playing mad chords that grab the attention and give no hint of what is to come. When Baek’s tenor voice enters, he offers a rich, unexpected tone. The vocalist sings the melody, improvising freely to match their unique arrangement on Caravan. It works. He has my attention!
Hays takes a magnificent piano solo, with Lucas Pino soon joining on tenor saxophone and lifting the production with his smooth improvisation. At the fade of the song, Baek scats along with the jazzy track. He and the sax man play tag, with their phrases over-lapping like friendly conversation. Track #2, “Black Narcissus” features Linda May Han Oh on upright bass. This tune has such a beautiful melody and Hyeonseon Baek wraps his voice around the arrangement like a hug.
Baek graduated from Maastricht University in the Netherlands and received a scholarship to attend the New England Conservatory. Consequently, he relocated to New York in January 2020, a time of COVID, fear and restriction. Still, Hyeonseon boarded the Amtrak train and did his due diligence. The result was a Master of Music degree. Baek says that his goal is to cross cultural and generational boundaries, creating music that combines traditional jazz with a modern approach that will appeal to younger audiences. Contracting a group of like-minded musicians, the Korean jazz vocalist reaches for new, risk-taking adventures with his music, reflected not only in his voice but in the wonderful, fresh arrangements that his musical group offers. I am totally engrossed in his backup band and the smart, contemporary way they arrange music that is older than they are, making it sound fresh and cool. On his original composition “West 4th St,” I enjoy Baek’s scat prowess. His voice flirts with his baritone range (first singing along and beautifully blending with the bass). But it’s his tenor voice that further impresses me, and notably, Hyeonseon has a style all his own. Clearly, this 33-years-young talent is a jazz singer!
He gives a fresh face to “Ellington’s Sound of Love,” interpreting it with the Charles Mingus lyrics full of expression and sincerity. These songs he has picked are challenging with difficult melodies and great expectations. Baek accepts the challenges as an opportunity to expand his talent. The title tune, “Longing” displays Baek’s talent as a composer and Lucas Pino ‘s tenor saxophone performs a lovely solo. Unintimidated, Baek sings “Lush Life” showing off his smooth vocals. Then, he tackles the Jimmy Rowles awesome song, “The Peacocks” with lyrics by Norma Winstone and renamed “A Timeless Place.” Baek is obviously a bad-ass and performs flawlessly and with no fear. I look forward to many more incredible albums sung by Hyeonseon Baek. I will remember his unique tone and singular style.
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THE MICHAEL O’NEILL SEXTET with TONY LINDSAY – “SYNERGY” – Jazzmo Records
Michael O’Neill, tenor & soprano saxophones/bass clarinet; Tony Lindsay, vocals; John R. Burr, piano; Dan Feiszli, bass; Jason Lewis, drums; Omar Ledezma & Brian Rice, percussion; Erik Jekabson, trumpet/ flugelhorn.
Tony Lindsay has one of those rich, full, warm voices that intoxicates as soon as you hear him sing. He is an 11-time Grammy winning vocalist, legendary for his long tenure with the popular Santana group. As Michael O’Neill and Erik Jekabson lay down a strong, harmonic horn groove, Lindsay’s voice floats above them, warm as sunshine. He draws us into this Latin-tinged arrangement of the popular Bill Withers tune, “A Lovely Day.” John R Burr takes a spirited solo on piano, followed by Erik Jekabson’s power-packed trumpet improvisation. Michael O’Neill dances into the spotlight on soprano saxophone and the band gives the drummers some space to shine. Percussionist Brian Rice shows off his percussive skills, locking in with the drums of Jason Lewis. This is a great, energetic way to start Michael O’Neill’s Sextet album, featuring Tony Lindsay.
The next tune covers a song by the legendary Stevie Wonder called “Pastime Paradise.” The theme of this album is “Synergy,” relating to a group of musicians who are joined together with a common purpose. On Stevie’s song, they add spicy Latin beats to these arrangements. This ensemble will make you want to dance. My toes cannot stop tapping.
“This is truly a collaborative effort, hence the title ‘Synergy,’ interaction or cooperation giving rise to a whole that is greater than the sum of its parts,” Michael O’Neill explains the title of his album, along with appreciation of his musical cohorts.
Generally, Michael O’Neill arranges all his music. This time, he has shared the arranger role with his bandmates, featuring their unique arrangements along with his own. It was John R. Burr who arranged the Bill Withers’ opener into a happy samba. Bassist Dan Feiszli is the engineer on this project, and he co-produced it. On the Stevie tune he reaches back into the 1950s and adds a Cuban cha-cha-cha groove to their arrangement. This is a Stevie’s composition from the award-winning album, “Songs in the Key of Life.”
This project includes not only pop songs, but a handful of standards including “There Will Never be Another You” that the sextet celebrates with an Afro-Cuban mambo arrangement. Erik Jekabson has arranged this tune and steps into the spotlight to blast his joy through the bell of his horn. Michael O’Neill offers a smooth saxophone solo before Ledezma is featured on percussion. This album infuses my spirit with joy.
Drummer Jason Lewis has arranged “But Not For Me,” painting the tune with bright, boisterous, neon colors. Michael O’Neill lets his tenor saxophone dance all over the enthusiastic rhythms. Once again, I am encouraged to get up and move. Another favorite song of mine was arranged by Lewis. It’s the hit pop tune, “I Can’t Help It” composed by Stevie Wonder and the amazing vocalist Susaye Greene. This time they employ an African-Caribbean groove with Tony Lindsay’s vocals expressive and sincere. Once again, the arrangement both surprises and pleases. I recall how Michael Jackson and Quincy Jones arranged this catchy song. O’Neill’s sextet makes it sound brand new. They have chosen several of Wonder’s iconic compositions to ‘cover’ on this production, including “Another Star” and “Bird of Beauty.” On “Another Star” O’Neill picks up his bass clarinet to introduce us to the familiar tune and he sounds beautiful. “Bird of Beauty” features an inspired solo by pianist John R. Burr.
On the song “I Will Be Here For You” I hear inflections in Lindsay’s voice that remind me of the late, great Al Jarreau.
The sextet finally simmers down to a slow boil on “If I Should Lose You.” Tony Lindsay’s voice is butter!
Their pianist, John R. Burr, is given free rein to explore his composition “Apes of Autumn.” The solo piano piece is only an interlude, but it still captivates me. They close with “Autumn Leaves” and the piano accompaniment sounds like leaves drifting down from branches to the ground. After Lindsay sings it once at a moderate pace, the band jumps into the mix, slapping a Latin beat down and energizing the arrangement with blaring horns and exciting percussion. This is an album full of “Synergy,” surprises, and excitement.
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JOHN DOKES – “OUR DAY” – Swing Theory
John Dokes, vocals; The George Gee Orchestra: George Gee, conductor; Steve Einerson, piano; Malik McLaurine, acoustic bass; Chris Latona, drums; Antony Nelson Jr., alto saxophone; Michael Hashim, tenor saxophone; Patience Higgins, baritone saxophone; Andy Gravish & Freddie Hendrix, trumpet; David Gibson, trombone; David Gibson, arrangements.
John Dokes has a pleasant baritone voice that pairs well with the George Gee Orchestra. They open with “Our Day Will Come” swinging brightly. Dokes follows up with “Moanin,’” with the horn lines stealing the show, shining brightly with ebullient energy. The George Gee Orchestra really swings! John Dokes adds a few unfamiliar tunes to the jazz mix like “Suddenly” that was written by K. Diamond and Billy Ocean. It was the title tune of R&B singer, Billy Ocean’s 1984 album. David Gibson has reshaped it into a wonderful swing tune. The song has good lyrics and a strong melody with a bit of range that shows off the Dokes tenor register.
Born in Little Rock, Arkansas and raised in Oakland, California, Dokes spent most of his adult life in New York City working and recording. In March of 2021, Dokes, his wife and family moved to Chicago, Illinois.
“On periodic trips to NYC, …I’ve sung with George’s band and done small group dates. The funky ambiance of “On the Red Clay” reminds me of summers I spent with my grandparents in Little Rock, with dirt streets and kids running around,” Dokes recalls in his liner notes.
“Red Clay” is a difficult song to sing. However, Dokes does an efficient job of hitting those intervals with precision. After all, he comes from a musical family. His father was a rhythm and blues singer, and there was always music playing at their house. Dokes loves to make music that people can dance to, and so does George Gee and his orchestra. Consequently, this album is full of shuffle and swing with a repertoire that includes “L-O-V-E” and “Don’t Blame Me” among other favorites at the big band dance gigs. They close the album with a fresh arrangement of the wonderful Bernard Ighner composition, “Everything Must Change.” They swing this arrangement and after the Quincy Jones arrangement, this is a huge and creative difference. The lyrics are so profound that I was disappointed when I listened to Dokes, not because he was off-key, but simply because I didn’t believe him. As a jazz vocalist, the singer’s job is to touch the hearts of their audience. That means you have to make them believe that you are telling them the truth. Sadly, that was missing in Doke’s delivery of this contemporary jazz standard. However, for the most part, Dokes is a solid entertainer with a pleasing voice and a good repertoire.
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Tags: ALICE COLTRANE, ART TATUM, CD Reviews, DAVE BASS, ELLIE LEE, HYEONSEON BAEK, Jazz, JOHN DOKES, MICHAEL O'NEILL SEXTET, orchestras, TAYLOR EIGSTI, YUSEF LATEEF
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