JAZZ TO REMEMBER THEM BY

Reviewed by Dee Dee McNeil

April 27, 2024

CANNONBALL ADDERLEY – “BURNIN’ IN BORDEAUX: LIVE IN FRANCE 1969” – Elemental Records

Julian Cannonball Adderley, alto saxophone; Nat Adderley, cornet; Joe Zawinul, piano/electric piano; Victor Gaskin, bass; Roy McCurdy, drums.

Ever since I first heard the soothing and sexy horn of Cannonball Adderley on Nancy Wilson’s debut album project with Cannonball’s group, I’ve been a fan!  I was quite excited to receive this previously unreleased recording from Elemental Records featuring Cannonball’s brother Nat Adderley, the iconic Joe Zawinul on grand piano & electric piano, the amazing Victor Gaskin on bass, and the great Roy McCurdy on drums.  This awesome album was recorded in two places. One was ‘live’ at the Bordeaux Jazz Festival and the other concert was at the Paris Jazz Festival.  It’s a two-CD set of extraordinary music transferred from the original, 1969 tape reels.  What a treasure!

Clearly, Julian Cannonball Adderley was a virtuoso alto saxophone player.  At this time in his life, (the late 1960s and the early 1970s) jazz was changing. Charlie Parker had died, leaving the door wide open for saxophone players to stream through.  Cannonball had a recognizable, big, round sound solidified by a soulful, bluesy essence to his playing. He was a respected bandleader who worked with the crème de la crème of jazz musicians.  On this recording, you will hear him talk to the audience about the music they play and love.  In the early sixties he worked closely with Yusef Lateef and Charles Lloyd.  He seemed to enjoy reestablishing his Cannonball Adderley Quintet with new players, but always with musicians who were at the top of their game.  You will hear that exemplified on both of these CDs.  On the tune, “Experience in E” he gives each group member a time to shine.  Joe Zawinul is amazing on the piano.  I heard him tap into the Ahmad Jamal style briefly during this exciting, up-tempo presentation, giving a comfortable nod to another genius at the piano. However, for the most part Zawinul is his own star. Cannonball’s only brass partner has always been his brother Nat. Their dad was a trumpet player. Nat Adderley followed in his father’s footsteps, as did Cannonball, and the two brothers were bandmates from childhood onward.  Nat switched from trumpet to cornet and became a prolific composer. You hear Nat Adderley’s command of the vast possibilities of the cornet on this “Experience in E” arrangement. Cannonball began playing trumpet, but quickly found his love of alto saxophone and never looked back. The brothers knew how to blend gospel church music, blues, and swing into a compelling bundle of groove music.  Who can ever forget Nat Adderley’s hit record for the Quintet, “Work Song.”  Once their friend Oscar Brown Jr. put his ‘chain gang’ lyrics to the catchy melody, the rest became history. That song established their commercial jazz strength.

On CD #2 of this “Burnin’ in Bordeaux “concert you will meet all the talented members of Cannonball’s Quintet, as each one steps forward to shine in the spotlight of their own sparkling musical mastery.  Every song, before and after on this double set, is a treasure for your ears.

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BROTHER JACK McDUFF – “AIN’T NO SUNSHINE – LIVE IN SEATTLE” – Reel to Real

Jack McDuff, Hammond B3 organ/composer; Vinnie Corrao, guitar; Ron Davis, drums; Unknown trumpeter; Lee Johnson, tenor saxophone/flute/clarinet; Dave young, tenor & soprano saxophone.

Some people may not know that Brother Jack McDuff was first a bassist, playing with Denny Zeitlin and Joe Farrell.  Maybe that’s why his organ basslines are so rich and blues drenched.  He began to tinkle on the piano keys in the mid-1950s and was pretty much self-taught.  McDuff was competent enough on both organ and piano to get gigs, working with Willis Jackson, and then branching out on his own to cut records for Prestige as a soul-jazz organist.  One album was called “Tough Duff” and another was titled, “The Honeydripper.”  These releases solidly placed McDuff in a jazz organ bracket that was both funky and soulful.  McDuff liked keeping the groove simple. He was often heard criticizing drummers who got too fancy on their instruments.

“You’re busier than a cat trying to cover up shit on a tin roof,” he was heard chastising one such drummer.

Award winning guitarist, George Benson said that Jack McDuff was not the easiest man to get along with.  Benson worked with him as a nineteen-year-old when first starting out in the business.

“McDuff was hard on me and spoke in a very authoritarian style,” said the Grammy Award winning guitarist.

“I learned to play with confidence, to play more blues, as Jack loved the blues, and to knuckle down and boost my concentration and studies on the guitar. He threatened me nightly, regularly saying he would fire me from the band, but he never did.  Jack was a good platform for me.  … which led to introductions and opportunities with people like Lou Donaldson, Freddie Hubbard, and Stanley Turrentine.  He always had good bands that could swing and had a lot of blues in them,” Benson recalled.

George Benson toured with Jack McDuff, Red Holloway on saxophone, and Joe Dukes on drums.

McDuff was born Eugene McDuffy on September 17, 1926.  His father was a preacher man from Tennessee who fled the South in search of work and a better, less racially fueled environment for his family. They settled in Chicago.  McDuff would eventually settle in his adopted city of Minneapolis, Minesota where he passed away at age 74 in 2001.

“Ain’t No Sunshine” is an unissued, 1972, concert recording. It showcases McDuff at his best and features Vinnie Corrao on guitar and drummer Ron Davis, who pumps the music full of spirit and groove.  The title tune starts out with a catchy horn line, opening like a curtain for Jack McDuff to walk through.  His organ is soaked in soul and blues.  This is a two CD set that features a small booklet, elaborating on the history of McDuff from the words of musicians who worked with him and knew him well.  When they slow the groove down and play songs like “I’m Getting Sentimental over You,” you will hear the softer, pretty side of McDuff’s organ featuring his wonderful saxophonists with their spontaneous solos.

These lost tracks remind me of the Black Exploitation Movie-Era of the 1970s.  It sounds like soundtracks to “The Mack” or “Uptown Saturday Night” or “Super Fly.”  Many of these songs have that type of groove, with arrangements that reflect the soul music of the 70s.

McDuff has added several original songs, including “Blues 1 & 8,” where his drummer, Ron Davis, shines brightly in the spotlight. On disc #2, McDuff has composed, “The Jolly Black Giant” that swings hard and slams his organ solo in your face like a heavy-weight punch.  “Middle Class Folk Song” is a slow Bossa, and another original is called “In the Morning” and has a sort of cha-cha rhythm.  They close CD #2 with a swinging rendition of “Broadway,” a song I used to enjoy hearing Dakota Staton sing.  He plays his organ melody way up in the treble clef and it almost sounds like an electric piano or a vibraphone.  All the while, his feet are pedaling the beat and the bass line beneath, catching the groove with his busy fingers.  When joined by the rest of the rhythm section, they drive the arrangement home.  Here is a recorded legacy by an organ master, rediscovered and shared for us to remember Jack McDuff, and the joy he brought to the world.

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SHELLY MANNE – “JAZZ FROM THE PACIFIC NORTHWEST: SHELLY MANNE & HIS MEN” – Reel to Real

Shelly Manne, drummer; Monte Budwig, bass; Russ Freeman & Hampton Hawes, piano; Herb Geller, alto saxophone; Stu Williamson & Conte Condoli, trumpet; Frank Strozier, flute/alto saxophone; Ruth Price, vocals.

It was October of 1958, at the Monterey Jazz Festival in California, when five expert jazz musicians mounted the stage led by a popular West Coast drummer named Shelly Manne.  A four-and-a-half inch by four-and-a-half-inch booklet accompanies this compact disc, with a photo of Shelly’s merry men (taken by the great photographer, Ray Avery).  It’s packed with pertinent, historic information, offering this extensive 16-page book with essays by archival producer Zev Feldman and label owner, producer and musician, Cory Weeds. It also includes interviews with musicians, radio host Jim Wilke, and others.

Although the personnel changed from time to time, the ‘swing’ didn’t move an inch.  Manne made sure of that. He surrounded himself with the best of the best from the Southern California jazz scene. His drumsticks did the rest.  On this recording, containing two discs, they open Disc One with “Stop, Look and Listen” letting Russ Freeman’s piano tinkle the melody just before the horn section enters. They swing harder than a Joe Louis punch. Drum master, Manne, locks in a moderate, but energetic tempo.  The burst of applause at the end of this tune reflects great audience appreciation for this quintet.

But it’s their rendition of “The Vamp’s Blues” featuring a soulful solo by alto saxophonist, Herb Geller, that really intoxicates me. I love their hard bop, blues groove. By the hoots and whistles from the festival crowd, I would say you can’t lose if you play the blues.

Manne was born in New York City, and rose to prominence in the 1950s when he relocated to the Los Angeles area.  He is reverently called the founding father of the “West Coast Jazz” scene and highly regarded as a versatile and inspired drummer. When Manne teamed up with Andre Previn and awesome bassist Leroy Vinegar to record the first jazz album of a Broadway score, “My Fair Lady” it became one of the most successful jazz records ever produced.

For the closing tune of this set, they play “Quartet Suite in Four Movements” and take the listener on a scenic musical ride that features an impressive bass solo by Monty Budwig, with Conte Candoli stepping into the spotlight on his trumpet.  Manne and Condoli were both part of the alumnus of the Kenton and Woody Herman bands.  The tempos fluidly change, to keep the audience attentive and expectant. Manne rolls his drums beneath the creative arrangements and pumps the band up with his swinging drumsticks. When the drummer takes a solo, he woos the crowd with his mastery on the trap drums and his technique.  Occasionally jet planes flew over the outdoor concert venue.  You can hear the purr of the plane motors drifting from above.  No problem!  When it happens during Shelly Manne’s impressive drum solo, he simply pauses, let’s the plane zoom past and then continues without missing a beat.  It’s all caught on tape.

On Disc #2, the personnel changes. Hampton Hawes takes a seat at the piano and Ruth Price adds her vocals to the mix. This disc was recorded ‘live’ at the Penthouse in Seattle, Washington in September of 1966. 

Shelly Manne and His Men open the set at racecar speed, zooming off with Manne propelling the sextet ahead on “Softly as In a Morning Sunrise” using fiery drums to heat the piece up.  Frank Strozier plays alto saxophone on this tune.  Hampton Hawes puts down a groove on the piano and solos furiously. 

One of my favorite television shows when I was a kid growing up was Peter Gunn. It was the first TV series to feature jazz as background music.  Shelly Manne & his Men played at the Bamboo Bar in the series and Manne’s group is featured on the television series.

Bill Holman, who often worked with Manne, recalls Shelly’s warm demeanor.

“Shelly Manne had the complete personality.  He just charmed everyone, and he had the ability and the intelligence to back it up.  He was tough to work for, because his solos, he heard patterns that were very difficult for horn players to pick up.  But he sure knew what he was doing, and he was a wonderful guy.  I’m sure glad that I had the chance to play with him and to know him for several years,” Bill Holman writes inside the Manne booklet.

On “Dearly Beloved” jazz vocalist Ruth Price is featured.  She recalls unexpectedly meeting Shelly Manne on a trip to the West Coast from NYC.

“I first met Shelly Manne within the first two weeks I was in Los Angeles.  I was brought out here to record for Mode Records for Red Clyde, but the money was all from Fred Astaire and he pulled out.  None of the people that Red had brought out were able to record. We actually did end up recording, but it wasn’t released until much later.  I was brought out because Red heard me singing with Dizzy Gillespie in New York City.

“So, I was in town with Bobby Dorough, a friend of mine who was also brought out to record for Mode (and also didn’t have anything to do). … He took me to hear Shelly one night in a club that’s gone now.  Shelly asked me to sit in and I did.  He hired me. Every night after work, we would drive around looking for places.  He was looking for somewhere to put his own place.  It was always the little coffeehouses that were around, and one of them turned out to be what he used as the Manne-Hole.  That’s how the Manne-Hole started, and how I started with Shelly,” Ruth explained how Shelly found his famous nightclub.

Drummer, Jim Keltner talked about meeting Shelly Manne and how he admired the man.

“It is a funny thing, when I would meet some of the musicians that I really admired, they would be a bit aloof.  If you’re just a kid, you think, oh I’m kind of wasting their time.  With Shelly, it was the opposite of that.  He talked to you like he wanted to know about you.  … what you were doing and all that.  That was the key with Shelly Manne.  Later on, as the years went by, I got into the studios and was doing stuff.  It was the same thing, whenever I would see him he would ask me what I was doing.  I remember a couple of times he complimented me, and it blew me away.

“Another time, I was playing one night with Gabor Szabo and on the break, Shelly came up to me and he said, Jimmy, what are you doing there with your right hand?  I thought I was going to pass out!  Shelly Manne was paying attention to my playing?  So much so, that he asked me about something specific.  I mean, the tables were turned.  It just blew me away.  I was so knocked out.  I was able to tell him, it’s double-stroke triplets from the snare to the ‘ride.’  It’s illusory.  And he loved that.  I just can’t say enough about his humanity.  He was not only one of the great jazz players, but he was just a great cat,” Keltner complimented one of his idols.

On Disc #2 I love the energy and speed that they attack “Secret Love” with, and Monty Budwig’s walking bass actually sounds like it’s running.

There have been a slew of recordings by Shelly Manne & his Men, but this newest release is particularly refreshing and solidifies a piece of history in the jazz archives that certainly shines a spotlight on Manne’s important contributions as both a drummer, a bandleader and a club owner who kept the legacy of jazz as the heartbeat of his life.

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SUN RA – “AT THE SHOWCASE LIVE IN CHICAGO – 1976 – 1977” – Jazz Detective

Sun Ra, piano/electronic keyboards; Dale Williams, guitar; Richard Williams, bass; Luqman Ali, drums; Eddie Thomas, percussion; James Jackson, ancient ihnfinity drum/oboe; Atakatune, congas; June Tyson, Wisteria (Judith Holton) & Cheryl Banks Smith, vocals; John Gilmore, tenor saxophone; Marshall Allen, alto saxophone/flute/kora; Danny Davis, alto saxophone/flute; Eloe Omoe, alto saxophone/bass clarinet; Danny Thompson, baritone saxophone/flute; Michael Ray, Emmett McDonald & Ahmed Abdullah, trumpets; Vincent Chancey, French horn.

Herman Poole Blount, who jazz lovers know as ‘Sun Ra,’ was born in Birmingham, Alabama in 1914.  During the 1950s, he came into existence as a musical soul called Sun Ra, in Chicago, Illinois.  It was in Chi-town that the pianist developed his unique performance persona and where he began composing.  It was there, from the mid-1940s to 1961, that Sun Ra began experimenting and letting his musical imagination explore and create new music.  His congregation called itself The Arkestra, and when he moved to New York, Sun Ra’s concept gelled into a fully formed unit of experimental jazz, fueled by unique arrangements and compositions. In the early 1970s, Sun Ra’s dreams crystallized into a working unit that travelled the world.  They built an enthusiastic and supportive fan base in Europe. 

In 1978, back in America, The Arkestra appeared on the popular Saturday Night Live televised comedy show.  He landed a record deal with the ABC-Impulse record label and promoted it by travelling from Canada to Mexico, from Africa through Europe, and from Oakland, California to Ann Arbor, Michigan. They were playing all over the place.

On a visit to his adopted city, this album was recorded “Live in Chicago” at a jazz Showcase presented at 901 Rush Street. This two-record set represents two different performance dates; one in 1976 and another in 1977.  The jazz showcases were run by Joe Segal, a legendary producer in Chicago for decades. However, Joe was no big fan of experimental jazz or the Avant Garde. Still, Segal, (like the Chicago community) recognized that Sun Ra was eccentric, gifted, and unpredictable. They accepted their adopted son with open arms. On the business side, Sun Ra and his famous Arkestra guaranteed a full house, with a sold-out crowd. Segal wasn’t going to bite the hand that fed him. 

The titles of Sun Ra’s compositions reflect his mind-set.  Some of the songs you will hear on these discs are “View from Another Dimension” and “Moonship Journey.”  The “Moonship Journey” tune opens with voices chanting the title, until saxophones splash improvisational colors all over the concert room.  Cd #1 of this double CD set closes with an original composition by Sun Ra titled “Velvet.” His arrangement is neither smooth nor soft (like the velvet title) but is snatched from his 1950s Arkestra songbook and played joyfully with high energy.  On CD #2, he opens with “Calling Planet Earth & the Shadow World.” It sounds entirely improvised, often dissonant, and is propelled by percussion and trap drums. There is a feeling of freedom and abandonment in the arrangement, with the horns flying like startled birds. One of the saxes sounds distinctively like the whiney of a horse. The musicians play the arrangement aggressively.

Michael Anderson was a radio DJ on station WRTI in Chicago at the incredible age of 13. He reflected on how his relationship with Sun Ra developed, while he was living in the windy city.

“I had a really difficult family background, so I was living on my own since I was like eleven.  Sonny (a nick name for Sun Ra) was instrumental in a lot of things.  First of all, in teaching me his music.  Then, he designated me his archivist in charge of recording and preserving his works.  I had access to state-of-the-art equipment at the radio station, so I would do production work at WRTI and do work for Sonny or for Alton Abraham, his partner who helped Sonny get started with his own label called El Saturn Records,” Anderson shared these historical memories in the 36-page booklet included in Sun Ra’s CD package.

There are other quotes from various musicians, friends, and associates.  Reedman, Marshall Allen reflected:

“… After work (around 1958) I’d go around the corner to a record store owned by Joe Segal, who also owned the Jazz Showcase.  Segal had a lot of jam sessions going, and all of the great musicians in Chicago came to play.  Once, joe told me, there’s a band up there rehearsing every day and they’re looking for talent.  It’s led by Sun Ra. 

“He gave me a demo and I listened to the stuff.  I immediately wanted to get in that band.  So, I went to see Sun Ra at the ballroom where he was rehearsing.  I sat there with him all night talking.  He asked me to come over to John Gilmore’s house, where they had a piano, in order to see what I could do.  That’s how I met him.  … He gave me a trial, playing (the song) “Spontaneous Simplicity.”  You could say that in the late 1950s, I was still learning how to play. … That was a band to stay in.  I didn’t want to go anywhere else,” Marshall Allen confided. 

“Sun Ra was a genius.  He had the music inside his mind and his own way of playing it, of attacking every note.  He was a good teacher and wrote beautiful music.  Being in his band was like a dream.  Once there, I found a place to stay.  He wasn’t just a musician.  He was above all, an innovator who could imagine the future,” Marshall Allen concluded.

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JAZZ TO REMEMBER THEM BY

Reviewed by Dee Dee McNeil

April 27, 2024

CANNONBALL ADDERLEY – “BURNIN’ IN BORDEAUX: LIVE IN FRANCE 1969” – Elemental Records

Julian Cannonball Adderley, alto saxophone; Nat Adderley, cornet; Joe Zawinul, piano/electric piano; Victor Gaskin, bass; Roy McCurdy, drums.

Ever since I first heard the soothing and sexy horn of Cannonball Adderley on Nancy Wilson’s debut album project with Cannonball’s group, I’ve been a fan!  I was quite excited to receive this previously unreleased recording from Elemental Records featuring Cannonball’s brother Nat Adderley, the iconic Joe Zawinul on grand piano & electric piano, the amazing Victor Gaskin on bass, and the great Roy McCurdy on drums.  This awesome album was recorded in two places. One was ‘live’ at the Bordeaux Jazz Festival and the other concert was at the Paris Jazz Festival.  It’s a two-CD set of extraordinary music transferred from the original, 1969 tape reels.  What a treasure!

Clearly, Julian Cannonball Adderley was a virtuoso alto saxophone player.  At this time in his life, (the late 1960s and the early 1970s) jazz was changing. Charlie Parker had died, leaving the door wide open for saxophone players to stream through.  Cannonball had a recognizable, big, round sound solidified by a soulful, bluesy essence to his playing. He was a respected bandleader who worked with the crème de la crème of jazz musicians.  On this recording, you will hear him talk to the audience about the music they play and love.  In the early sixties he worked closely with Yusef Lateef and Charles Lloyd.  He seemed to enjoy reestablishing his Cannonball Adderley Quintet with new players, but always with musicians who were at the top of their game.  You will hear that exemplified on both of these CDs.  On the tune, “Experience in E” he gives each group member a time to shine.  Joe Zawinul is amazing on the piano.  I heard him tap into the Ahmad Jamal style briefly during this exciting, up-tempo presentation, giving a comfortable nod to another genius at the piano. However, for the most part Zawinul is his own star. Cannonball’s only brass partner has always been his brother Nat. Their dad was a trumpet player. Nat Adderley followed in his father’s footsteps, as did Cannonball, and the two brothers were bandmates from childhood onward.  Nat switched from trumpet to cornet and became a prolific composer. You hear Nat Adderley’s command of the vast possibilities of the cornet on this “Experience in E” arrangement. Cannonball began playing trumpet, but quickly found his love of alto saxophone and never looked back. The brothers knew how to blend gospel church music, blues, and swing into a compelling bundle of groove music.  Who can ever forget Nat Adderley’s hit record for the Quintet, “Work Song.”  Once their friend Oscar Brown Jr. put his ‘chain gang’ lyrics to the catchy melody, the rest became history. That song established their commercial jazz strength.

On CD #2 of this “Burnin’ in Bordeaux “concert you will meet all the talented members of Cannonball’s Quintet, as each one steps forward to shine in the spotlight of their own sparkling musical mastery.  Every song, before and after on this double set, is a treasure for your ears.

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BROTHER JACK McDUFF – “AIN’T NO SUNSHINE – LIVE IN SEATTLE” – Reel to Real

Jack McDuff, Hammond B3 organ/composer; Vinnie Corrao, guitar; Ron Davis, drums; Unknown trumpeter; Lee Johnson, tenor saxophone/flute/clarinet; Dave young, tenor & soprano saxophone.

Some people may not know that Brother Jack McDuff was first a bassist, playing with Denny Zeitlin and Joe Farrell.  Maybe that’s why his organ basslines are so rich and blues drenched.  He began to tinkle on the piano keys in the mid-1950s and was pretty much self-taught.  McDuff was competent enough on both organ and piano to get gigs, working with Willis Jackson, and then branching out on his own to cut records for Prestige as a soul-jazz organist.  One album was called “Tough Duff” and another was titled, “The Honeydripper.”  These releases solidly placed McDuff in a jazz organ bracket that was both funky and soulful.  McDuff liked keeping the groove simple. He was often heard criticizing drummers who got too fancy on their instruments.

“You’re busier than a cat trying to cover up shit on a tin roof,” he was heard chastising one such drummer.

Award winning guitarist, George Benson said that Jack McDuff was not the easiest man to get along with.  Benson worked with him as a nineteen-year-old when first starting out in the business.

“McDuff was hard on me and spoke in a very authoritarian style,” said the Grammy Award winning guitarist.

“I learned to play with confidence, to play more blues, as Jack loved the blues, and to knuckle down and boost my concentration and studies on the guitar. He threatened me nightly, regularly saying he would fire me from the band, but he never did.  Jack was a good platform for me.  … which led to introductions and opportunities with people like Lou Donaldson, Freddie Hubbard and Stanley Turrentine.  He always had good bands that could swing and had a lot of blues in them,” Benson recalled.

George Benson toured with Jack McDuff, Red Holloway on saxophone, and Joe Dukes on drums.

McDuff was born Eugene McDuffy on September 17, 1926.  His father was a preacher man from Tennessee who fled the South in search of work and a better, less racially fueled environment for his family. They settled in Chicago.  McDuff would eventually settle in is adopted city of Minneapolis, Minesota where he passed away at age 74 in 2001.

“Ain’t No Sunshine” is an unissued, 1972, concert recording that showcases McDuff at his best and features Vinnie Corrao on guitar and drummer Ron Davis, who pumps the music full of spirit and groove.  The title tune starts out with a catchy horn line, opening like a curtain for Jack McDuff to walk through.  His organ is soaked in soul and blues.  This is a two CD set that features a small booklet, elaborating on the history of McDuff from the words of musicians who worked with him and knew him well.  When they slow the groove down and play songs like “I’m Getting Sentimental over You,” you will hear the softer, pretty side of McDuff’s organ featuring his wonderful saxophonists with their spontaneous solos.

This music reminds me of the Black Exploitation Movie-Era of the 1970s.  It sounds like soundtracks to “The Mack” or “Uptown Saturday Night” or “Super Fly.”  Many of these songs have that type of groove, with arrangements that reflect the soul music of the 70s.  McDuff has added several original songs including “Blues 1 & 8” where his drummer, Ron Davis, shines brightly in the spotlight. On disc #2, McDuff has composed, “The jolly Black Giant” that swings hard and slams his organ solo in your face like a heavy-weight punch.  “Middle Class Folk Song” is a slow Bossa, and another original is called “In the Morning” and has a sort of cha-cha

rhythm.  They close CD #2 with a swinging rendition of “Broadway,” a song I used to enjoy hearing Dakota Staton sing.  He plays his organ melody way up in the treble clef and it almost sounds like an electric piano or a vibraphone.  All the while his feet pedal the beat and the bass line beneath is caught by the groove of his fingers.  When joined by the rest of the rhythm section, they drive the arrangement home.  Here is a recorded legacy by an organ master, discovered and shared for us to remember Jack McDuff, and the joy he brought the world.

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SHELLY MANNE – “JAZZ FROM THE PACIFIC NORTHWEST: SHELLY MANNE & HIS MEN” – Reel to Real

Shelly Manne, drummer; Monte Budwig, bass; Russ Freeman & Hampton Hawes, piano; Herb Geller, alto saxophone; Stu Williamson & Conte Condoli, trumpet; Frank Strozier, flute/alto saxophone; Ruth Price, vocals.

It was October of 1958, at the Monterey Jazz Festival in California, when five expert jazz musicians mounted the stage led by a popular West Coast drummer named Shelly Manne.  A four-and-a-half inch by four-and-a-half-inch booklet accompanies this compact disc, with a photo of Shelly’s merry men (taken by the great photographer, Ray Avery).  It’s packed with pertinent historic information, offering an extensive 16-page book with essays by archival producer Zev Feldman and label owner, producer and musician, Cory Weeds. It also includes interviews with musicians, radio host Jim Wilke, and others.

Although the personnel changed from time to time, the ‘swing’ didn’t move an inch.  Manne made sure of that. He surrounded himself with the best of the best from the Southern California jazz scene. His drumsticks did the rest.  On this recording, containing two discs, they open Disc One with “Stop, Look and Listen” letting Russ Freeman’s piano tinkle the melody just before the horn section enters. They swing harder than a Joe Louis punch. Drum master, Manne, locks in a moderate, but energetic tempo.  The burst of applause at the end of this tune reflects great audience appreciation for this quintet.

But it’s their rendition of “The Vamp’s Blues” featuring a soulful solo by alto saxophonist, Herb Geller that really intoxicates me. I love their hard bop, blues groove. By the hoots and whistles from the festival crowd, I would say you can’t lose if you play the blues.

Manne was born in New York City, but only rose to prominence in the 1950s when he relocated to the Los Angeles area.  He is reverently called the founding father of the “West Coast Jazz” scene and highly regarded as a versatile and inspired drummer. When Manne teamed up with Andre Previn and awesome bassist Leroy Vinegar to record the first jazz album of a Broadway score, “My Fair Lady” became one of the most successful jazz records ever produced.

For the closing tune of this set, they play “Quartet Suite in Four Movements” and take the listener on a scenic musical ride that features an impressive bass solo by Monty Budwig and with Conte Candoli stepping into the spotlight on his trumpet.  Manne and Condoli were both part of the alumnus of the Kenton and Woody Herman bands.  The tempos fluidly change, to keep the audience attentive and expectant. Manne rolls his drums beneath the creative arrangements and pumps the band up with his swinging drumsticks. When the drummer takes a solo, he woos the crowd with his mastery of the trap drums and his technique.  Occasionally jet planes flew over the outdoor concert venue.  You can hear the purr of the plane motors drifting from above.  No problem!  When it happens during Shelly Manne’s impressive drum solo, he simply pauses, let’s the plane zoom past and then continues without missing a beat.  It’s all caught on tape.

On Disc #2, the personnel changes. Hampton Hawes takes a seat at the piano and Ruth Price adds her vocals to the mix. This disc was recorded ‘live’ at the Penthouse in Seattle, Washington in September of 1966. 

Shelly Manne and His Men open the set at racecar speed, zooming off with Manne propelling the sextet ahead on “Softly as In a Morning Sunrise” using fiery drums to heat the piece up.  Frank Strozier plays alto saxophone on this tune.  Hampton Hawes puts down a groove on the piano and solos furiously. 

One of my favorite television shows when I was a kid growing up was Peter Gunn. It was the first TV series to feature jazz as background music.  Shelly Manne & his Men played at the Bamboo Bar in the series and Manne’s group is featured on the television series.

Bill Holman, who often worked with Manne, recalls Shelly’s warm demeanor.

“Shelly Manne had the complete personality.  He just charmed everyone, and he had the ability and the intelligence to back it up.  He was tough to work for, because his solos, he heard patterns that were very difficult for horn players to pick up.  But he sure knew what he was doing, and he was a wonderful guy.  I’m sure glad that I had the chance to play with him and to know him for several years,” Bill Holman writes inside the Manne booklet.

On “Dearly Beloved” jazz vocalist Ruth Price is featured.  She recalls unexpectedly meeting Shelly Manne on a trip to the West Coast from NYC.

“I first met Shelly Manne within the first two weeks I was in Los Angeles.  I was brought out here to record for Mode Records for Red Clyde, but the money was all from Fred Astaire and he pulled out.  None of the people that Red had brought out were able to record. We actually did end up recording, but it wasn’t released until much later.  I was brought out because Red heard me singing with Dizzy Gillespie in New York City.

“So, I was in town with Bobby Dorough, a friend of mine who was also brought out to record for Mode (and also didn’t have anything to do). … He took me to hear Shelly one night in a club that’s gone now.  Shelly asked me to sit in and I did.  He hired me. Every night after work, we would drive around looking for places.  He was looking for somewhere to put his own place.  It was always the little coffeehouses that were around, and one of them turned out to be what he used as the Manne-Hole.  That’s how the Manne-Hole started, and how I started with Shelly,” Ruth explained how Shelly found his famous nightclub.

Drummer, Jim Keltner talked about meeting Shelly Manne and how he admired the man.

“It is a funny thing, when I would meet some of the musicians that I really admired, they would be a bit aloof.  If you’re just a kid, you think, oh I’m kind of wasting their time.  With Shelly, it was the opposite of that.  He talked to you like he wanted to know about you.  … what you were doing and all that.  That was the key with Shelly Manne.  Later on, as the years went by, I got into the studios and was doing stuff.  It was the same thing, whenever I would see him he would ask me what I was doing.  I remember a couple of times he complimented me, and it blew me away.

“Another time, I was playing one night with Gabor Szabo and on the break, Shelly came up to me and he said, Jimmy, what are you doing there with your right hand?  I thought I was going to pass out!  Shelly Manne was paying attention to my playing?  So much so, that he asked me about something specific.  I mean, the tables were turned.  It just blew me away.  I was so knocked out.  I was able to tell him, it’s double-stroke triplets from the snare to the ‘ride.’  It’s illusory.  And he loved that.  I just can’t say enough about his humanity.  He was not only one of the great jazz players, but he was just a great cat,” Keltner complimented one of his idols.

On Disc #2 I love the energy and speed that they attack “Secret Love” with, and Monty Budwig’s walking bass actually sounds like it’s running.

There have been a slew of recordings by Shelly Manne & his Men, but this newest release is particularly refreshing and solidifies a piece of history in the jazz archives that certainly shines a spotlight on Manne’s important contributions as both a drummer, a bandleader and a club owner who kept the legacy of jazz as the heartbeat of his life.

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SUN RA – “AT THE SHOWCASE LIVE IN CHICAGO – 1976 – 1977” – Jazz Detective

Sun Ra, piano/electronic keyboards; Dale Williams, guitar; Richard Williams, bass; Luqman Ali, drums; Eddie Thomas, percussion; James Jackson, ancient ihnfinity drum/oboe; Atakatune, congas; June Tyson, Wisteria (Judith Holton) & Cheryl Banks Smith, vocals; John Gilmore, tenor saxophone; Marshall Allen, alto saxophone/flute/kora; Danny Davis, alto saxophone/flute; Eloe Omoe, alto saxophone/bass clarinet; Danny Thompson, baritone saxophone/flute; Michael Ray, Emmett McDonald, & Ahmed Abdullah, trumpets; Vincent Chancey, French horn.

Herman Poole Blount, who jazz lovers know as ‘Sun Ra,’ was born in Birmingham, Alabama in 1914.  But, during the 1950s he came into existence as a musical soul called Sun Ra, in Chicago.  It was in Chi-town that the pianist developed his unique performance persona and where he began composing.  It was here, from the mid-1940s to 1961, that Sun Ra began experimenting and letting his musical imagination explore and create.  His congregation called itself The Arkestra, and when he moved to New York, Sun Ra’s concept gelled into a fully formed unit of experimental jazz, fueled by unique arrangements and compositions. In the early 1970s, Sun Ra’s dreams crystallized into a working unit that travelled the world.  They built an enthusiastic and supportive fan base in Europe. 

In 1978, back in America, The Arkestra appeared on the popular Saturday Night Live televised comedy show.  He landed a record deal with the ABC-Impulse record label and promoted it by travelling from Canada to Mexico, from Africa through Europe, and from Oakland, California to Ann Arbor, Michigan. They were playing all over the place.

On a visit to his adopted city, this album was recorded “Live in Chicago” at a jazz Showcase presented

at 901 Rush Street. This two-record set represents two different performance dates; one in 1976 and another in 1977.  The jazz showcases were run by Joe Segal, a legendary producer in Chicago for decades. However, Joe was no big fan of experimental jazz or the Avant Garde. Still, Joe Segal, (like the Chicago community) recognized that Sun Ra was eccentric, gifted, and unpredictable. They accepted their adopted son with open arms. So did Segal. On the business side, Sun Ra and his famous Arkestra guaranteed a full-house, with a sold-out crowd. Segal sure wasn’t going to bite the hand that fed him. 

The titles of Sun Ra’s compositions reflected his mind-set.  Some of the songs you will hear on these discs are “View from Another Dimension” and “Moonship Journey.”  The “Moonship Journey” tune opens with voices chanting the title, until saxophones splash improvisational colors all over the concert room.  Cd #1 of this double CD set closes with an original composition by Sun Ra titled “Velvet.” His arrangement is neither smooth nor soft (like the velvet title) but is snatched from his 1950s Arkestra songbook and played joyfully with high energy.  On CD #2, he opens with “Calling Planet Earth & the Shadow World” that sounds entirely improvised, often dissonant, and is propelled by percussion and trap drums. There is a feeling of freedom and abandonment in the arrangement, with the horns flying like startled birds. One of the saxes sounds distinctively like the whiney of a horse. The musicians play the arrangement aggressively.

Michael Anderson was a radio DJ on station WRTI in Chicago at the incredible age of 13. He reflected on how his relationship with Sun Ra developed, while he was living in the windy city.

“I had a really difficult family background, so I was living on my own since I was like eleven.  Sonny (a nick name for Sun Ra) was instrumental in a lot of things.  First of all, in teaching me his music.  Then, he designated me his archivist in charge of recording and preserving his works.  I had access to state-of-the-art equipment at the radio station, so I would do production work at WRTI and do work for Sonny or for Alton Abraham, his partner who helped Sonny get started with his own label called El Saturn Records,” Anderson shared these historical memories in the 36-page booklet included in Sun Ra’s CD package.

There are other quotes from various musicians, friends, and associates.  Reedman, Marshall Allen reflected:

“… After work (around 1958) I’d go around the corner to a record store owned by Joe Segal, who also owned the Jazz Showcase.  Segal had a lot of jam sessions going, and all of the great musicians in Chicago came to play.  Once, joe told me, there’s a band up there rehearsing every day and they’re looking for talent.  It’s led by Sun Ra. 

“He gave me a demo and I listened to the stuff.  I immediately wanted to get in that band.  So, I went to see Sun Ra at the ballroom where he was rehearsing.  I sat there with him all night talking.  He asked me to come over to John Gilmore’s house, where they had a piano, in order to see what I could do.  That’s how I met him.  … He gave me a trial, playing (the song) “Spontaneous Simplicity.”  You could say that in the late 1950s, I was still learning how to play. … That was a band to stay in.  I didn’t want to go anywhere else,” Marshall Allen confided. 

“Sun Ra was a genius.  He had the music inside his mind and his own way of playing it, of attacking every note.  He was a good teacher and wrote beautiful music.  Being in his band was like a dream.  Once there, I found a place to stay.  He wasn’t just a musician.  He was above all, an innovator who could imagine the future,” Marshall Allen concluded.

I concur!

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JAZZ THEN AND NOW IS ALIVE AND WELL

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.

https://www.google.com/search?client=firefox-b-1-d&q=VEENA+MUSIC#fpstate=ive&vld=cid:0904692c,vid:sM5AJ58dkx8,st:0

“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 4^th 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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SPRING RELEASES RADIATE JAZZ JOY

By Dee Dee McNeil

April 7, 2024

As the world turns, news circles about politics, wars, and aggression on networks from continent to continent. Music is a lovely way to lift your spirit and calm your nerves.  Science has proven that jazz music and European classical music both can enhance intelligence and performance in various areas of the brain. Jazz can sooth and heal. Jazz even affects plants.  I have a philodendron plant that has been sitting on top of my CD speakers for ten years.  It loves music.  When I play jazz, the leaves wiggle and dance.  It prefers music to water.  The plant has been lush with life for over a decade.  Dorothy L. Retallack’s study of 1973, at the Colorado Woman’s College in Denver, supports the fact that plants, like human beings, love music. Below are some jazz releases that I hope will bring you jazz joy.  Note: for more info about how music heals see: https://newyorkjazzworkshop.com/jazzs-effects-brain/

FRED HERSCH – “SILENT, LISTENING” – ECM Records

Fred Hersch, solo piano/composer.

There is exuberant joy and then there is a quiet joy.  That’s what this new album of solo piano music by Fred Hersch reminds me of, a quiet joy.  He opens with “Star-Crossed Lovers” written by Billy Strayhorn and Duke Ellington.  The peace I find in his presentation settles my spirit and soaks into the walls of my listening room.  He follows this with a flurry of original compositions, each unfolding like the quick page-turning of an exciting book. I can’t wait to hear what he will play next.  Hersch builds suspense and creativity into every musical phrase.  His left hand locks the chords into place and establishes tempos and grooves, reaching out to his right hand like an old friend. The two hands lock this composition into place.  Hersch explores his music meticulously, the way a doctor operates on a patient.  He probes his inner brain, offering us imaginative, exploratory melodies and harmonies that pour out of this pianist. This album is art for the ears.

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CHET BAKER & JACK SHELDON – “IN PERFECT HARMONY: THE LOST ALBUM” – Jazz Detective

Chet Baker, trumpet/vocals; Jack Sheldon, trumpet/vocals; Jack Marshall, guitar; Dave Frishberg, piano; Joe Mondragon, bass; Nick Ceroli, drums.

These two master musicians open with the familiar standard from the American Songbook, “This Can’t Be Love.”  First Jack Sheldon sings the tune down in his own inimitable way, followed by Chet Baker’s smooth, soothing voice doing the same. This is followed by “Just Friends” with Baker singing atop the swing, and Joe Mandragon’s walking bass pushing the music ahead.  Sheldon has contributed one original tune to this project called “Too Blue” that he both sings and plays on, joining the smooth tones of Baker, with his more boisterous tones bright and brash. 

This is an album steeped in history, but I found this a somewhat odd match.  Surprisingly, the abrasive Jack Sheldon and the cool, laid-back Baker make quite an unforgettable duo.  “But Not For Me” begins as an instrumental that features Dave Frishberg on piano.  Then Chet Baker’s satin coated vocals slide into view.  

This music was recorded in 1972 in Tustin, California.  It all started years earlier with Jack Marshall, who was a jazz guitarist, composer, arranger, and producer. In 1967, Marshall organized guitar night at Donte’s in North Hollywood.  Every Monday, a great jazz guitarist would sit in with the best players in the city and play for scale at the packed restaurant and nightclub.  In those days, musicians just loved to get together and play. It wasn’t always just about the money. This was a period when Baker and Sheldon became very close friends.  They both shared a mentor, Uan Rasey, who (at that time) was widely considered one of the finest musicians in the music business.  Both Baker & Sheldon idolized him.

In 1966, Chet got into a brawl outside his hotel in Sausalito.  He wound up with a busted, bloody mouth and broken teeth.  That’s not a good thing for a trumpet player. Chet’s embouchure was ruined, and he had to get dentures.  During this rehabilitation time, his mentor (Uan) suggested he try a larger, different sized mouthpiece to make playing easier.  It worked, but Baker was still feeling insecure and unhappy with his new sound. Consequently, he was quite reluctant to record again.  One day in 1972, Jack Sheldon had an idea.

“Just think Chetie, (a pet name he had for Chet Baker) if we do an album together, you’ll only have to play on half of it!”  Jack Sheldon lured him into the studio with that line.

Guitarist Jack Marshall took the two of them into a Tustin, California studio near their homes on Lido Island.  Once the recording was complete, Marshall was certain he could get a record deal with the unplanned recording. Unfortunately, on September of 1973, Jack Marshall died of a sudden heart attack and the tapes got packed away in his garage on Lido Island. Now, fifty years later, here is the lost gem of an album that the jazz detective (Zev Feldman) has uncovered.

Jack Sheldon and Chet Baker were buddies and often jam-session partners.  As different as they were, the two men still had much in common.  They were both expert trumpeters and both men could sing. They were both born in the same era, a few years apart, and both relocated to California from other parts of the country.  Jack Sheldon, born Beryl Cyril Sheldon Jr., came from Jacksonville, Florida.  Chet Baker, born Chesney Henry Baker, came from Yale Oklahoma. They both changed their names for show business.  Sheldon’s style of singing is brash, the same way he plays his trumpet.  In contrast, Baker became an example for California’s West Coast Jazz scene, smooth and low-key. Sheldon was always the lively hipster, joking around, loud, and boisterous.  On the outside, Chet Baker seemed quiet and somewhat shy, until he picked up his horn.  Baker had a voice that could calm an angry storm.  One thing the two trumpeters had in common was they both liked to live on the edge.

“Chetie has an old ’32 Ford and a Cadillac.  He drove real fast,” Sheldon shared with a wide, obnoxious grin on his face. 

Sheldon relived how the two men would get in Chet’s car and race up and down the Southern California freeways, from Santa Barbara to San Diego, driving way too fast and looking for any nightclub that would let them play their jazzy horns.  They weren’t trying to get a gig.  They just wanted to play, even if it meant marching up on stage and playing all night for free.

Shortly after this unusual session, Chet Baker’s comeback started in 1973.  This is an unplanned, unpredictable recording session that showcases two exceptional trumpet talents and songsters, meeting impromptu for an unscheduled studio session.  The result is history.

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CHRIS STANDRING – “AS WE THINK” – Ultimate Vibe Recording

Chris Standring, guitar/composer; Andre Berry, bass; Chris Coleman, drums; Terry Disley, piano; Larry Steen, double bass; Lenny Castro, percussion; Aaron Janik, trumpet; Brandon Fields, alto saxophone; Katisse Buckingham & Dino Soldo, tenor saxophone/harmonica; Ido Meshulam, trombone; Rodney Lee, organ; Walter Murphy, horn arrangements.

The opening tune on Chris Standring’s new album titled, “As We Think” is called “Chocolate Cake.”  Standring sweetens the arrangement with the use of a ‘talk box’ relying heavily on his invigorated rhythm section. On Track #2, a tune called “Good Gracious,” introduces horns into the mix.  With Chris Coleman’s drums slapping the rhythm in place, Standring’s guitar improvises over the repetitious groove. His music makes me want to get into my convertible, put the top down, and zoom up the highway under a sun-soaked sky.  Standring creates music that encourages movement and dancing. His music is joyful, even when the tempo slows down.  For example, on the R&B arranged tune, “Come Closer” there is still a compelling pulse to his arrangement.  This tune incorporates elements of an Earth, Wind & Fire production, as Standring digs down into the soul of the 1970s.  He says this is one of his favorite tunes recorded on this recent production.

The first radio single is titled, “Alphabet Soup.”  It’s a bouncy little tune with a catchy melody that features guest artists Dino Soldo on tenor sax, with a Los Angeles-based horn section and the addition of organist, Rodney Lee.  In my opinion, you can’t beat a guitar and jazz organ production. Coleman’s funky drums propel the piece forward with high energy. I enjoy the flavor that the organ brings to this party. 

Standring debuted as a solo artist back in 1998 with an album called “Velvet.” 

Twelve years later, in 2010 he smashed onto the Billboard Contemporary Jazz chart with a number one single from his “Bossa Blues” release.  He repeated the number one single accomplishment four more times as featured guest guitarist on singles by Thom Rotella, Cindy Bradley, Rick Braun, and Richard Elliot. 

Consistently, Standring’s music has reflected his talents as a gifted composer with arrangements that pulsate with energy and drive.  This could also stem from surrounding himself with great musicians, including Chris Coleman on drums who is featured on a tune titled, “Michael’s Watch.”  This original becomes one of my favorites on this release.  It shuffles onto the scene, with Standring’s guitar introducing the melody and the click of Coleman’s drumsticks commanding my attention.  My foot automatically taps to the beat.

Having waited sixty-plus years to finally fall in love, Chris recently put a ring on it and is enjoying his first marriage.  He feels that the happiness he’s experiencing has colored the music on this album. “As We Think” reflects his mindset of hopeful positivity. It also captures the marital bliss that true love can bring.  Standring’s music radiates joy.

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JIM ROTONDI – “FINESSE” – Cellar Music Group

Jim Rotondi, composer/producer/trumpeter; Jakub Helling, arranger/conductor; NOTES & TONES JAZZ ORCHESTRA: Mario Gonzi, co-leader/drums; Danny Grissett, piano; Karol Hodas & Tim Dunin, bass; GUEST SOLOISTS: Dick Oatts, soprano saxophone; Steve Davis, trombone;  Wolfgang Lindenthal, flute; Stefan Peindl, oboe; Julia Gutschlhofer, bassoon; Melissa Danas, horn; TRUMPETS/FLUGELHORNS: Tobias Weidinger, Markus Pechmann, Simon Plötzeneder; Daniel Nösig, co-leader/trumpet/flugelhorn; TROMBONES: Clemens Hofer, Mario Vavti, Johannes Herrlich, Christina Lachberger. Fabio Devigili & Martin Fuss, alto & soprano saxophones/ flute/clarinet; Michael Erian, tenor & soprano saxophone/flute/clarinet; Robert Unterköfler, tenor saxophone/clarinet; Herwig Gradischnig, baritone saxophone/bass clarinet; VIOLINS: Damir Orascanin, Mariya Orininskaya, Balazs Schwartz, Tomas Novak (all violin 1); Anne Harvey-Nagl, Ion Scripcaru, Maximillion Bratt, Amora De Swardt (violin 2.); VIOLA:  Lena Fankhauser, Emily Stewart, Annamaria Kowalsky; CELLO: Asja Valcic, Mara Achleitner, Phillipp Preimesberger; Joanna Lewis, concertmaster.

Joe Rotondi has been blowing his trumpet in jazz bands for over three decades, including as a member of ensembles like Toshiko Akiyoshi and Bob Minzer, and in smaller groups headed by Lou Donaldson, Curtis Fuller and Joe Chambers. This is his ninth album release, recorded in Austria where Rotondi currently lives and teaches. It’s a dream-come-true project, his first composing for orchestras and big band. This album may be his most profound and incredible production to date.  Rotondi features all original compositions, apart from one written by Jakob Helling, the arranger and conductor of this production. They open with “Ruth,” that skips along at a moderate pace with an undertow of string arrangements bubbling beneath the swing. Rotondi’s trumpet leads the way, like a pied piper. 

His composition, “Dark Blue” follows. It’s a ballad that once again features the opulent trumpet tone of Rotondi. On a tune called “Ladybug,” Danny Grisset shines on piano.  The horn section is harmonically rich and supportive throughout. Drummer, Mario Gonzi, soaks up the spotlight during the orchestral arrangement on “Designated Hitter.”  On this festive orchestra and big band production, Rotondi offers the listener his original compositions, along with bright, boisterous arrangements interpreted by the Notes and Tones Jazz Orchestra.  This project also becomes a platform to feature guest soloists, Dick Oatts (on “Falset,” where he plays soprano saxophone) and Steve Davis playing trombone on “Miller Time.” 

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ALEX BELTRAN – “RIFT” –  Calligram Records

Alex Beltran, tenor & soprano saxophone/co-producer/composer; Stu Mindeman, piano/Wurlitzer electric; Sam Peters. Bass; Jon Deitemyer, drums; Lenard Simpson, alto saxophone; Chad McCullough, trumpet/co-producer.

If Straight-ahead is your preference, you will fall in love with Alex Beltran’s album titled “Rift.”   Starting from his original composition “Lulu,” Beltran’s horn flies like a wild bird and leads the others with determination and creativity. Beltran has been a fixture on the local Chicago music scene for over a decade.  This album is his Calligram debut, and it soars! He has composed seven of the eight songs, and they are all well-written and pumped full of spice as peppery as Cayenne.  “Lulu” is a musical tribute to his niece. 

The meaning of “Rift” according to the Oxford Dictionary, is a crack, split or break in something.  Beltran feels this title best describes his life, torn in two by his Mexican American heritage. 

He explains, “I’m a person of mixed culture and there was a pretty big divide between the two worlds I lived in growing up; my dad’s Latino family and my mom’s white family.  I never felt like I fit into either.  I was the white cousin at my dad’s, and the Mexican cousin at my mom’s.”

This journalist knows that music is universal.  What better way to project your own sense of soul and personality than through music.  On a tune called “Fragments” the horns make it sound like some kind of traffic jam.  When Stu Mindeman races out in front, his improvised piano solo is magnificent.  The musicians play at a race car pace, dragging the listeners along by our ears. All that pent-up emotional turmoil that Beltran expressed above is pumped into his music with power and drive.  On “Bird Dance” Beltran explains that he wanted to write something that exemplified the awkwardness of shuttling between two cultures while growing up.  Mindeman swivels around and plays the Wurlitzer on this arrangement. The melody is catchy and laid down by harmonic horns.  Beltran’s solo is tentative and flutters in all directions, perhaps mimicking a confused bird in flight, unsure but still creating his own unique dance.

Clearly, the experiences of our childhood shape us into the adults we become, always with the little child buried deep inside.  Those family challenges and experiences that Beltran recalls (perhaps with some disappointment) have helped shape him into the beautiful, gifted, talent that he is now.  Not only is he a wonderful composer, but his saxophone songs make me happy.  He makes me feel something deep within, like on his composition “Sub Rosa.”  Great tune, with wings dipped in the blues.  Alex Beltran’s music is captivating and soulful. 

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BRANDON GOLDBERG TRIO – “LIVE AT DIZZY’S” – Cellar Music Group
Brandon Goldberg, piano; Ben Wolfe, bass; Aaron Kimmel, drums.

Here is a trio of musicians who make me feel warm and fuzzy as they play a group of familiar, standard tunes I know and love. Goldberg, on piano, is the group leader at the unbelievable age of eighteen years young.  But don’t let his age fool you.  This talented musician sparkles and shines with a talent far beyond his years.  He stands on the shoulders of legendary pianists like Ahmad Jamal, Oscar Peterson, and Nat King Cole. When I listen to this album, I’m thrown back in time to the 1950’s and 1960s, when Supperclub trios were extremely popular, and the trios of Red Garland and Sonny Clark were exploring jazz in new and unbridled ways.

Brandon Goldberg is also investigating new ways of playing old songs. He’s rediscovering the standards that we are comfortable hearing, stuffing them with fresh harmonics and innovative arrangements that modernize old, beautiful tunes like Gershwin’s “It Ain’t Necessarily So” or Harold Arlen’s “Let’s Fall in Love.” This album is particularly dear to Goldberg’s heart because it was recorded at Dizzy’s club.

“The first time I heard music (live) in New York was at Dizzy’s. My parents took me to see the Bill Charlap Trio at their first performance.  Now, Bill Charlap and Renee Rosnes come to hear us on the first night of our run,” Brandon Goldberg let’s pure awe color each word he speaks.

Although he has toured the world and worked at a plethora of jazz clubs, this ‘live’ recording in New York City, at one of the premiere American jazz clubs, remains his dream-come-true-moment. When Mr. Charlap and his trio opened Jazz at Lincoln Center’s famed venue, (Dizzy’s Club Coca-Cola), Brandon Goldberg had to be a toddler.  In fact, at the age of three little Brandon surprised his parents by sitting down at the piano and playing with harmonic intelligence, as though he had already taken piano lessons.  He made a national impact on Steve Harvey’s “Little Big Shots” show.  Also, as a child he appeared on the Harry Connick Jr. television show.  In 2013 and 2015, Brandon was the youngest recipient of the Miami Music Club Scholarship.  He also won first place in both those years for his Original Composition and Piano Solo Performances.  Although the awards keep coming, starting from when he was a preteen, he is most proud of his 2024 Young Arts Winner with Distinction Award.  In 2023, he was a semifinalist in the Herbie Hancock Institute of Jazz International Piano Competition and he’s the youngest recipient of the 2022 ASCAP Herb Alpert Young Jazz Composer Award. 

In 2019, at age twelve he released his first album titled “Let’s Play!” featuring three of his original compositions and six standards.

In 2021, his second album was released and titled “In Good Time.” It featured the late, great drummer Ralph Peterson, Jr., Luques Curtis on bass, with Stacy Dillard on saxophones and Josh Evans on trumpet. Brandon was fourteen when he recorded this music.

This current release continues to celebrate the genius of Brandon Goldberg.  We are witnessing his super talent on piano, his awesome composition skills, and his continuing climb up the jazz ladder, towards the stars and beyond.

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NEAL ALGER – “OLD SOULS” – Calligram Records

Neal Alger, guitar/composer; Clark Sommers, acoustic bass; Dana Hall, drums/cymbals; Chris Madsen, tenor saxophone; Chad McCullough, trumpet/flugelhorn.

Neal Alger is an educator, (professor at Elmhurst College) a guitarist, a composer, and a lover of all genres of music.  From the oldest original tune on this recording, one that he wrote almost twenty years ago called “This is not a Test” to the more recent title tune “Old Souls,” Alger is excited about performing an album of entirely original compositions.

“I play a lot of other people’s music. I wanted to carve out a space to play my own music. I enjoy the process of writing, painstaking and frustrating at times, but ultimately fulfilling,” Neal Alger shared in his press package.

This is a return to a more Straight-ahead platform of originality and improvisational freedom. You hear his jazz roots on “This is Not a Test” that swings hard, and then his more ethereal-self appears on the title tune, with its Middle Eastern, minor-driven melody.  On Track #3, bassist Clark Sommers takes stage center, opening this song on his instrument and introducing a more smooth-jazz, contemporary tune. Neal has known Clark Sommers since the late 1990s.  He’s known drummer, Dana Hall that long too.  They are among the first-call bass and drum team around the Chicago, Illinois jazz scene, and longtime friends of Alger.  Consequently, they make for a solid rhythm section when they join Alger’s guitar. The addition of Chad McCullough on trumpet and Chris Madsen on tenor sax create the quintet magic that Alger was striving for on this project.

This album is an eclectic musical merry-go-round, that explores the compositions of Neal Alger, highlighting his varied arrangements, distinctive like painted wooden horses bobbing up and down. As you listen, you are invited to take a creative ride with these mid-western musicians. Neal Alger is the ring-master and leads the way with his busy guitar establishing the various moods and melodies.  On “Go With the Sco-Flow” the horn parts act like exclamation marks, and punctuate the tune’s melodic arrangement.  When Alger adds “Moment Intro” as a segway solo guitar piece, I am intrigued.  I wish he had developed this into a longer composition.  This leads to “If Only for a Moment,” a song he wrote about the COVID pandemic that features a lovely tenor saxophone solo by Chris Madsen. 

“Choro Delinquente” teases the listener with an almost Latin groove and “Dance of the Miscreants” is nine minutes of move and groove, with the sax and trumpet singing the melody in unison on top of the tight rhythm section.  When Alger’s guitar solo begins, he has a serious conversation with Hall’s drums.  They sound as if they are talking to each other, with Hall quite animated on his drums. Then McCullough’s trumpet talks to the Clark Sommers bass.  When Madsen parts the curtains with his tenor saxophone, he is joined by Alger’s guitar as the two instruments meet and greet, holding court on top of the supportive rhythm of Hall and Sommers. When Hall battles his way into the spotlight, he shows off his percussive technique in an explosion of sticks and bravado.

Neal Alger offers us his original music and arrangements that celebrate his appreciation of the moments of rhythm, melody and magic that make up his life works. 

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EDY FOREY – “CULTURE TODAY” –  So Soul Records

Guilhem Forey, keyboards/piano/Fender Rhodes/composer/synth bass/vocals/miscellaneous BG vocals; Edy Szewy, vocals/lyricist/sampling; Tom Gordon, drums/percussions; Femi Koleoso, Isac Jamba, Jonathan Tuitt & Seiya Osaka, drums;  Leonn Meade, drums/BG vocals;  Adam King, Andrew Robb & Luca Alemanno, double bass; Sharay Reed, Michael League & Dean Mark, electric bass; Carlinhos Percussao, percussions; Manav Sigh, table; Toku, flugelhorn; Alex Hahn & Bob Reynolds, saxophone; Miho Wada & Sarpay Ozcagatay, flute; Dave Frazer, mix; Bob Power, mix/master.

The duo mix of Edy Szewy and Guilhem Forey brings imagination, ingenuity, and improvisation to the forefront like a rainbow.  This is music full of color and creativity, beginning with an introduction by Forey on keyboards, his solo embellished by reverb.  There is the hint of an old spiritual song captured during his improvised solo and I sing along, “Nobody knows the trouble I’ve seen.  Nobody knows but Jesus.”

The title tune “Culture Today” is sung by lyricist Edy Szewy and kicks off with a strong hip hop beat.  Her vocal presentation is reminiscent of Erykah Badu, but unique enough to establish her own style and tone. A song called “The Fire” solidifies this music as a blend of Hip Hop, contemporary and modern jazz, with Guilhem Forey spotlighted on piano.

Their arrangement and treatment of the jazz standard “Nature Boy” is creative and features a strong percussive presence by Tom Gordon. The composition is completely modernized and is one of the few ‘cover tunes’ on this project.  Most of these songs are original compositions by these two artists.

A tune called “The System” begins with Edy rapping about this world of celebrity worship, complex with both good and evil doers.  The addition of a saxophone to this production creates a very Straight-ahead jazz feel, with the drums playing a funk beat and percussion brightly flavoring their arrangement.  You can clearly hear how Edy has been influenced by Motown and rhythm and blues.  By mixing in the Hip Hop culture, this duo embarks on a poetic, urban-jazz debut album.

Based in the UK, the duo enters this competitive business of music with a clear message of peace and love reigning over hate and discord.  I do hear some control issues with Edy’s vocals.  For the benefit of her continued success, I hope she will seek a vocal coach to help her sustain those notes and to control pitch issues.  But the enthusiasm and uniqueness of this duo overshadows these fixable challenges.  Edy Szewy is a strong and blossoming lyricist who knows how to create ‘hooks’ in her music, that invite the listener to repeat and sing along. This is a commercial strong point. 

Her musical partner, Guilhem Forey, was born in Paris and raised in Nantes, France.  He was a child prodigy, displaying a strong interest in music as early as age three. When his grandfather introduced him to American R&B icon, Ray Charles and the music of Eric Clapton, Foley’s classical music study broadened.  At age eleven, he began studying jazz piano.  On this project, Foley knows how to make ‘loops’ and establish grooves for Edy’s voice to float atop. Together, they have established an interesting sound. This music exhibits a sense of non-conformity and lyrical protest. The duo has been performing together since their teen years. Between Foley’s mastery of keyboard and commercial composing, paired with Edy’s artistry, lyricism and freedom, this debut album marks the beginning of a musical adventure plush with magical spontaneity, possibility, and promise.

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VINCE GUARALDI – “IT WAS A SHORT SUMMER, CHARLIE BROWN” – LMFP Records

Vince Guaraldi, piano; Monty Budwig, double bass; Herb Ellis, guitar; Jack Sperling, drums; Victor Feldman, percussion; Frank Rosolino, trombone; Conti Candoli & Pete Condoli, trumpet; Peter Christlieb & William Hood, woodwinds.

Speaking of joy wrapping arms around music, Vince Guaraldi has done just that with his newest album release. The Charlie Brown comic strip has brought the world continuous joy and laughter for seventy-four years. The strip first debuted on October 2, 1950.  However, it’s the music of Vince Guaraldi that has helped propel this legacy forward. On this album you will hear all your familiar favorites and some new tracks that show how smoothly jazz works, even in cartoons.  There are thirty-two song references on this compilation CD that will bring to mind the various excursions and adventures of Charlie Brown, Lucy, or Linus and his famous blanket. With a host of master jazz musicians, Vince Guaraldi sitting at his piano, leads the band to offer us a treasure trove of Charlie Brown music memorabilia.  You will enjoy these rejuvenated lost soundtracks.

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OWEN BRODER –“HODGES FRONT & CENTER VOL TWO” – Outside In Music

Owen Broder, alto saxophone; Riley Mutherkar, trumpet; Carmen Staaf, piano; Barry Stephenson, bass; Bryan Carter, drums.

Owen Broder grew up in Jacksonville, Florida and holds a bachelor’s degree from the Eastman School of Music and a master’s from the Manhattan School of Music.  Because he is a huge fan of the great altoist, Johnny Hodges, Broder has been celebrating the titan’s work for several years.  In 2022, he released his first tribute album to Hodges as a Volume One project that was received enthusiastically by the jazz community and jazz journalists alike.

“Hodges looms large in my approach to music.  He was one of my earliest primary influences and has continued to be an important player in the way that I conceptualize playing the alto.  I’ve always loved his lyricism and his melodic approach to improvising.  Even though some of my other records have been more contemporary in their approach, I try to bring that lyricism and melodic style to whatever context I’m working in,” explains Owen Broder in his press package.

This entire package of music, mostly original compositions by Johnny Hodges, is deeply colored by the Blues.  The mostly medium tempos and ballads exemplify what Hodges loved playing. The Owen Broder arrangements bring new life to an era of jazz that celebrated big bands like Duke Ellington’s Orchestra, Stan Getz and Count Basie.  The tone of Broder’s saxophone is very similar to that of Johnny Hodges.  It’s full of satin smooth phrases and silky warmth, similar to how Hodges would have played these tunes.

“Number one, he loves the blues. Number two, he loves medium tempos and ballads.  As both a composer and improviser, he’s very riff based, so motivic development is an important part of his style.  If you look at any of the tunes written by Hodges, you’ll find an idea that comes back regularly and makes the tune really accessible and enjoyable for the listener,” Broder asserts.

You hear it in the opening tune, “Used to be Duke” a tune that was the title track from the 1956 album released by Hodges.  Broder and his group play it as a lively energetic swing tune. I can picture those Jitterbug dancers out on a polished wooden floor, with the girl’s wide skirt flying up into the air.  Carmen Staaf takes a joy-filled solo on piano, and Barry Stephenson is walking his bass close by and supportive.  Bran Carter takes a drum solo that screams power, technique, and precision. Then, in walks Rile Mutherkar on trumpet to blow the walls down with Broder close on his heels adding his smooth, 1940-sounding saxophone delivery.  This music takes me back to 78rpm records my mother used to play at our house, and a time when big bands were the rage.

I am in love with Owen Broder’s feel and tone on the alto saxophone.  Having listened to Johnny Hodges, I can hear the similarities between the two master musicians.  Broder has captured his mentor’s tone and phrasing but still maintains his own style.  This recording was inspired by Hodges’ “Back to Back” and “Side by Side” small group albums.  Broder carefully picked songs that reveal the diversity and brilliance of Hodges as a composer. I enjoyed “Wabash Blues” a song from the Hodges’ “Back to Back” album.  It’s a full-blown blues, played down and dirty by these master musicians. 

Every carefully, hand-picked song on this project enlists joy and history to entertain and pleasure us. Owen Broder is as brilliant on saxophone as Hodges was. Broder currently teaches Jazz Theory and Jazz Arranging at Portland State University, as well as saxophone lessons at Pacific University. When he’s not recording his own projects, he is a member of the Grammy nominated Anat Cohen Tentet and the Manhattan Saxophone Quartet.  The release date for this album is April 19, 2024. * * * * * * * * * * * *

MORE WOMEN, MORE MUSIC

By Dee Dee McNeil

March 27, 2024

Actually, the origins of Women’s History Month began in 1978 in Santa Rosa, California.  It so happens that the “Education Task Force of Sonoma Country Commission on the Status of Women” planned a ‘Women’s History Week.’  Their celebration was scheduled to run the week of March 8, 1978, and to correspond with International Women’s Day. In 2024, we celebrate women’s history the whole month of March.  As this month ends, I want to mention a few more women who are making history in the jazz world. 

LYNNE ARRIALE – “BEING HUMAN” – Challenge Records International

Lynne Arriale, piano/Yamaha Clavinova/composer; Alon Near, bass; Lukasz Zyta, drums.

Lynne Arriale has been sharing her brilliant piano talent with the world for decades.  In 1993 she became the prize winner of the International Great American Jazz Piano Competition.  Consistent with her performance art, Ms. Arriale has entertained on prestigious international concert stages for over thirty years. “Being Human” is her seventeenth album. It celebrates her original compositions.  They reflect how our lives are enriched.  The Lynne Arriale Trio opens with her composition titled “Passion.”  Arriale exhibits a light, sensitive touch on the piano keys. This arrangement is smooth jazz. 

This entire project was written by Arriale to address the turmoil and division in our world. The second track is called “Courage” and features the prominent and impressive drum accompaniment of Lukasz Zyta. Her drummer is currently based in Krakow, Poland and is a faculty member at their Academy of Music since 2007.  For some reason, Arriale’s composition “Love” reminds me of a country’s anthem.  This tune is followed by “Faith” and the mood is more playful, with a petit touch of blues weaving through the arrangement. “Curiosity” shows a more avant-garde approach to Arriale’s piano playing, quite artistic and exploratory.  Another tune the trio plays is “Soul.” Suddenly, we are drenched in blues and jazz without compunction. On “Persistence,” bassist Alon Near shines, creating contrary motion bass lines that are both intricate and complimentary to Arriale’s solo piano. Each song played continues to not only entertain and engage the listener, but the compositions punctuate Lynne Arriale’s amazing piano talent and versatility.  She invites us into her music. It’s like falling down a rabbit hole and discovering awesome and unexpected gifts along the way. 

“I wrote this suite in response to the division and turmoil in our world.  The music focuses on qualities we all share, that define our humanity.  I hope this album will be uplifting and convey a sense of unity and optimism,” Lynne Arriale explains in words what she’s already accomplished in this wonderful album.

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CAMILLE THURMAN WITH THE DARRELL GREEN QUARTET “LOVE VIBRATIONS” –  Chesky Records

Camille Thurman, vocals/saxophone; Gerald Green, drums; Paul Beaudry, bass; Jordon Williams, piano; Wallace Roney Jr., trumpet.

I ran across this incredibly talented vocalist and multi-instrumentalist Online. I was absolutely blown away by her style, her crystal-clear vocal presentation, her soulful tenor saxophone playing, and she is also an amazing composer.  Additionally, she plays bass clarinet, flute, and piccolo.  She’s a creative improviser, which you will witness for yourself in the video below. 

Live from Jazz St. Louis – https://www.youtube.com/watch?v=JU-lap9oKtY

Born December 22, 1986, Camille Thurman is a member of the Lincoln Center Orchestra in NYC.  Her first couple of albums were released on Chesky Records in 2017 and 2018, making an impression on the Billboard Jazz Chart by landing on the #3 spot and the #25 chart position. 

Her three available CDs are “Origins” released in 2014, “Inside the Moment” released in 2017 and “Waiting for the Sunrise” released on Chesky Records in 2018. 

This is a video review, rather than an album review. I rarely do these, but I think this wonderfully talented lady needs to reach more ears and eyes.  Meet the dynamic Camille Thurman!

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ANDREA WOLPER – “WANDERLUST” – Moonflower Music

Andrea Wolper, vocals/composer/co-producer; John Di Martino, piano; Ken Filiano, bass; Michael TA Thompson, drums; Charlie Burnham, violin; Jeff Lederer, clarinet/flute/co-producer.

A Kenny Filiano bass line opens this album, on a tune called “Light Out of Darkness.”  I must compliment Andrea Wolper’s steady, solid vocals despite the Avant-garde background her musicians are singing. There’s clearly dissonance in the background. Still, the singer holds her own, holding the bluesy melody, like a baby, close and comfortable. Charlie Burnham adds an improvised violin solo. She follows this with “Dog Day Afternoon” a tune by Wayne Carson, originally recorded by the sweet country voice of Shelby Lynne.  Charlie Burnham takes another violin solo that’s warm and comforting. The third track is written by Wolper and starts with John Di Martino’s piano sounding like a coo-coo-clock on a tune called “Sobe E Desce.”  Wolper scats with the flute melody of Jeff Lederer, doubling the instrument’s sound in unison. There are no lyrics.  This is just Wolper’s voice becoming an instrument, trading fours with the flute, then letting Filiano’s bass trade fours with the drums of Michael TA Thompson. Track #4 is another original composition by Wolper. Titled “Still Life” with a lyric that paints a picture of a lonely woman thinking of the man who is missing.  The lyrics are more prose than poem.  She finally hits her stride when singing Abbey Lincoln’s tune, “The Music is the Magic.”  I finally hear the jazz singer appear.  Until then, Andrea Wolper was just another vocalist like a thousand others.  I can feel her emotion on this song and feel the jazz swing in this moderate tempo presentation. Filiano takes a brief but creative solo on the bass. Wolper’s scat hindered the arrangement rather than supporting it.  It was way too legato and didn’t swing. Her original song, “The Nature of Life” is quite Middle Eastern, drawing on minor chords and a melody that is performed slowly, with prayer-like chanting in the parts without lyric.  Her interpretation of the Sting composition, “I Burn for You” is another pretty ballad that she performs with Filiano picking up his bow and delivering a lovely bass solo. Most of this music is moderate tempo and leans towards ballads. 

Wolper is a native of Northern California but relocated to New York to attend the Neighborhood Playhouse School of the Theatre. She has been there ever since.  It has been 13-years since Wolper released an album, but in that space of time she has been touring and performing in top jazz clubs like The Blue Note, Dizzy’s Club Coca-Cola, Mezzrow, the 55 Bar and more.  She’s performed abroad and teaches voice, songwriting, and jazz performance.

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JANE SCHECKTER – “I’LL TAKE ROMANCE” – Doxie Records

Jane Scheckter, vocals; Todd Firth, piano/arranger; Jay Leonhart, bass/scat singer; Peter Grant, drums; Warren Vaché, cornet/flugelhorn; Nicolas King, vocals.

Here is a jazz singer whose roots are exposed as soon as she sings the first few bars of “Love, I Hear” (a Stephen Sondheim composition) that opens with Jay Leonhart’s bass line.  Scheckter steps into the song, swinging lightly, like a child skipping.  She knows how to phrase, which is oh so important to understand if you claim the title ‘Cabaret Jazz Singer.’ A sweet surprise, Leonhart sings a scat line that harmonizes with his bass solo and it’s butter smooth! 

Jane Scheckter offers us seventeen songs to listen to and love.  She’s a teller-of-tales.  Scheckter knows how to sell a song and pumps each lyric full of life, wisdom, and believability. I can hear her comfortable vocal maturity that says she’s been singing for a while. On her album cover, they note that this is Jane’s fifth album release.  Her pianist and arranger is Ted Firth, one of the sought after pianists in the Cabaret genre.  Her bassist and drummer both played with Peggy Lee, who is one of Jane Schecter’s sheroes. Jane’s repertoire is smart, familiar, and classic.  She pulls songs from the theater, as well as recognizable jazz standards.  In fact, Jane Scheckter is a former theater performer, as well as a heralded fashion designer. Her clothing designs were featured in the leading fashion magazines and modeled by the likes of Lauren Hutton. She started singing in NYC nightclubs and supper clubs, while holding down her design-day-job. These days, Schecter sings regularly in New England, in Paris, France, at the Royal Jazz Lounge in Antibes, and the Vegaluna in Cannes, France.  She brings sophistication and emotional empathy to every note of her songs like “My Foolish Heart,” and “A Beautiful Friendship.”  She shuffles along on Cole Porter’s  “After You,” and on “I’m Gonna Lock My heart & Throw Away the Key.”  Her alto vocals introduce us to a tune called “Looking Back” written by her old friend, Mickey Leonard (who died in 2015).  It was a tribute to Bill Evans and Jane asked Roger Schore to put lyrics to the instrumental.

“On this album, I feel like I’ve grown up.  This is who I am and what I do.  I just honor the music,” Jane tells us in the liner notes.

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ALLISON BURIK – “REALM” –  Independent Label

Allison Burik, composer/arranger/co-producer/Alto saxophone/bass clarinet/vocals/alto flute/ guitar; Magdalena Abrego, guitar; Sylvaine Arnaud, recording engineer/mixing/co-producer; Peter Atkinson, recording engineer/winds; Harris Newman, mastering; Renee Abaroa, bone typeface on cover.

For several years Allison Burik has gained notoriety and audience in the world of modern jazz and experimental music.  The opening “Be the Dragon” composition might just be their alter-ego talking to their inner creative self.  It blasts into my listening room, like shepherd horns gathering the flock. Allison’s singular use of reed instruments projects an emotional delivery. They add the guitar to create an eerie mood that commands this listener’s attention.  In their press package, they explain this song was built from a foundation of Burik’s oceanside guitar and bird songs, captured during an artistic residency in Skagastrond, Iceland. Allison themselves explain it in her liner notes.

“The “Be the Dragon” piece is dedicated to all the women and gender-fluid folks that defied ‘traditional’ gender roles to take up arms in battle. …  The song features an experimental contact microphone setup in which I’m wearing a collar that presses small microphones against my neck to capture the melodies I hum, while simultaneously playing the saxophone.  There are also contact microphones attached to specific keys of my sax to amplify the percussiveness of the instrument,” Burik explains.

Track #2 takes me to an entirely different space and time. Titled, “As the Norn’s Weave” it begins with their lovely voice calming the moment into submission. Their vocals appear with an acoustic guitar accompaniment.  Burik superimposes alto saxophone, bass clarinet and vocals in a lovely way.  I have always loved the sound of a bass clarinet and their tone on the instrument is warm and vibrant. Still, I wonder how they would present this ‘live’ and in-concert?  Because it appears they’re playing all the reed instruments simultaneously. Would they have to pre-record and layer the music to make these songs come to life in person?  This song was born out of the world tree of Norse myth.  It’s said, in that myth, that three Norns weave our fates with their web of wyrd, and decide the destinies of all beings in all ‘Realms.’

Burik has decided to take the less trodden musical path and use their creative sense of purpose to lean toward mythology and feminine inspiration, along with non-binary characters, and folklore to express themself.  On the third track, “Solstice (Dreams and Memories” a low growl begins the arrangement, that soon is transformed by what sounds like sea and birds. Then I seem to hear footsteps trudging on sand, beneath wind and weather.  A voice sings a carefree song as the steps are taken. Much of the music on this record was composed during their artist residency, the one Burik did in June of 2022 in Iceland.

During their composing of songs, Allison has named Solstice 1, II and III.

“These are fragments of a musical theme that has been rumbling around in my brain since the winter solstice of 2018.  They are brief musings on the passage of time, reality, and existence,” they explain.

On the final two compositions, the eighth track being “Solstice III (The Promise), Allison is joined by the guitar of Magdalena Abrego.  Also, Abrego plays on the ninth and final track called “Fragment 94.”  Allison’s vocals dip and dive during this arrangement. It’s for only a short minute and a few seconds that this song plays, but it makes quite an impact. This Solstice blends into the final song that has lyrics. It celebrates the ancient Greek lyric poet, musician, and lover of women, Sappho; a character from the isle of Lesbos, who lived from c.610 to c.570 BCE.  She is regarded as one of the most important and influential writers of her time.  Hellenistic poets deemed her “the tenth Muse.”

Sappho’s lyrics read, “And there was no dance, no holy place, from which we were absent.”

This album appears to be a spiritual journey for the artist.  It reflects not only the creativity of Allison Burik, but draws inspiration from myths, world history and folktales. Allison feels that they are using music to showcase the mixture of modern identity validated by ancient ways. Their album is meant to acknowledge the history of human beings, our mistakes of the past that are holding hands with a repetitious path to the future.  At the same time, with their music, Allison Burik celebrates the many ways of simply being human.

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HILARY GARDNER – “ON THE TRAIL WITH THE LONESOME PINES” – Anzic Records

Hilary Garder, vocals; Justin Poindex5ter, guitars/mandolin/organ/vocals; Noah Garabedian, bass; Aaron Thurston, drums/percussion; Sasha Papernik, accordion.

Hilary Gardner brings us her own take on Country/Western, Soul and Jazz music.  She has rolled up the blues, like a country/western musical burrito with a spicy sprinkle of jazz in the production.  Her voice is crystal clear, with a hint of Bonnie Raitt in her phrasing as she opens this album with “Along the Navajo Trail.” It meanders along at a moderate pace with a melody that draws me in like quicksand. 

“In the early weeks and months of the pandemic, confined to my Brooklyn apartment in the silenced city, I dreamed of wide-open spaces and the freedom to roam.  I started researching “trail songs” from the singing cowboy era of the 1930s & 40s.  … As I delved deeper, I learned that many trail songs were written not only by singing cowboys, but by jazz and film composers with lyricists like Johnny Mercer, jazz legend Benny Carter, Frank Loesser and others.  A song making its debut in a Western film starring Roy Rogers or Gene Autry would often go on to be recorded by a swinging big band. One of those  original hip cowboys was Bing Crosby.  The lines between genres were happily blurred back then,” Hilary Gardner explained her choice of expression.

Track #2 opens with the first bass line my father taught me on the piano. I recognized a boogie- woogie. Once I picked up the CD cover to investigate, sure enough, the song title supported me as “Cow Cow Boogie” blasted into my listening room.

Hilary has a smooth appealing voice. She knows how to enunciate every word to be sure you can enjoy her stories.  Surprisingly, Benny Carter is one of the composers on this song.  At the fade, Hilary Gardner throws in a little scat-like vocal when she croons, “Coma -Ti- Yi- Yi Yay! Coma Ti Yippee A-Yay.”  Some of the lyrics are a little risqué for 1943. She sings, “He was raised on the local weed, and can he swing now? Yes indeed.”  (Back then ‘weed’ was certainly not legal the way it is today.)  Justin Poindexter lays down a very bluesy guitar solo and Aaron Thurston slaps the drum rhythm into place on the two and the four. I find myself singing along with the “Coma – Ti – Yi – Yi – Yay” part.

A song titled “Call of the Canyon” is a lovely ballad.  Next, “Silver on the Sage” is an arrangement that reminds me of 1960 hitmaker Ben E. King’s tune “Spanish Harlem,” with its Latin tinges and a strong backbeat. A tune called “Jingle Jangle Jingle” gives spotlight to bassist Noah Garabedian and the chord changes reminds me of a song I learned as a child called, “She’ll Be Comin’ Round the Mountain When she Comes.”  If only the band had put some more swing on “Along the Santa Fe Trail.”  With strong shuffle drums and a walking bass, (instead of the two-feel) this song could more easily fit into a jazz vein. The bass does walk during the guitar solo and lifts the arrangement towards the end of this production.

We cannot forget that the great composer, Johnny Mercer penned “I’m an Old Cowhand (From the Rio Grande). Hilary and her band put a mild swing groove into place at a moderate tempo, like a slow horseback ride up a dusty path. You’ll want to sing along with this one.

Here is a unique album, that endeavors to show the impact of jazz on country/western music or vice versa.  For the most part, this is Country/Western and blues music for your listening pleasure.  Hilary Gardner has a voice as smooth as satin. She could certainly sing anything. But on this album release, she and her talented musicians dress each arrangement with believable and honest stories. Some of these tales may remind you of songs that Bing Crosby, Patsy Cline and Dan Hicks used to sing, or tunes from your favorite cowboy movie. This is a fresh idea that reflects another era and blends musical genres.

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KELLY GREEN – “SEEMS” – Green Soul Studios

Kelly Green, piano/vocals/composer/arranger; Luca Soul Rosenfeld, bass; Evan Hyde, drums; Elijah J. Thomas, flute/alto flute/piccolo. SPECIAL GUEST: Rich Perry, tenor saxophone.

For Kelly Green, her album titled “Seems” is meant to be a recorded statement of hope and an optimistic musical manifesto.  She has composed five of the nine songs on this album.  The production opens with a ‘cover’ song called “Down that Road” that features Elijah J. Thomas on flute.  Evan Hyde provides percussive links between musical phrases, showing off his drum skills. When Kelly Green steps into the picture with her dynamic piano solo, she brings modern jazz to the forefront of this arrangement.  On Track #2, Luca Soul Rosenfeld and Green open the song “World of My own” with just bass and vocals for a few bars. Here, Green displays her light soprano voice in stark contrast to Rosenfeld’s deep bass notes.  It is a striking arrangement, but after the first instrumental tune, track #2 takes me by surprise. It’s more pop-jazz influenced than modern jazz and spotlights the light, airy voice of the pianist.

The talented, iconic Babs Gonzalez wrote “Lonely One.”  Once again, Green’s music takes a one-hundred-degree turn. The prolific Gonzalez lends his great lyrics to Kelly Green’s interpretation.

Next, drums introduce Green’s original composition called “Street Cleaning” and sweep us back to a modern jazz genre with horn punches and straight-ahead speed. Green’s piano jumps into the up-tempo piece with both hands racing. Special guest, Rich Perry takes an exploratory tenor saxophone solo, improvising fluidly.  Rosenfeld is prominent throughout on bass. Then comes a blues titled, “By the Way” another original tune penned by Kelly that features a dancing bass solo. It’s a melodic blues that shows us a completely different side of Kelly Green’s piano style, pushed powerfully by the walking bass of Rosenfeld.

Green offers us a multi-faceted creative project that showcases her composing skills and spotlights her diversity on both the piano and vocally. Street release date is March 29, 2024.

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GRACE KELLY WITH STRINGS – “AT THE MOVIES” – Pazz Productions

Grace Kelly, alto, baritone, tenor and soprano saxophone/vocals; Cooper Appelt, upright & electric bass; Eli Bishop, classical Nylon-string guitar/tenor banjo/mandolin & mandolindo; Tamir Hendelman, piano; Adam Bravo, additional synth programming; Jake Reed, drums/percussion; Cory Wong, Shaun Richardson & Pasha Riger, electric guitar; John Schroeder, acoustic & electric guitar; Sean Jones, trumpet; VIOLINS: Eli Bishop, concert master; Steve C. Chiu, Haruka Horil, Camille Miller, Grace Rodgers & Leah Zeger; VIOLAS: Lauren Elizabeth Baba, Eli Bishop, Hailey Walterman; CELLOS: Eli Bishop, Emily Nelson Rogers, Ro Rowan & Simona Vitucci; With Bryan Carter, conductor.

Wynton Marsalis gave his credible stamp of approval when he wrote, “Grace plays with intelligence, wit, and feeling.  She has a great amount of natural ability and the ability to adapt.  That is the hallmark of a first-class jazz musician.”

On the opening tune, Grace Kelly shows us her power on the saxophone and offers us soft, compelling vocals during a tribute to James Bond, creating a medley of music from that popular film series.  Kelly has been in love with movies, movie stars and film soundtracks since childhood.  After all, she was named after the historic American actress, Grace Kelly, who starred in “Dial M for Murder” and “The Country Girl” before exiting Hollywood to marry Prince Ranier III of Monaco.

“Falling in love with Grace Kelly, having her name, playing some incredible music, including the only song she sang in a film.  This is a project I’ve been wanting to do for a long time and I’m really proud of it,” Kelly writes in her press package.

Jake Reed’s drums shine on the arrangement of “He’s a Pirate from the “Pirates of the Caribbean” motion picture.  But when Kelly plays the old standard, “The Way You Look Tonight,” I do hear shades of Charlie Parker on her song arrangement. You can detect how the legendary “Bird” influenced this talented young lady.

Although Grace Kelly has a nice voice, I prefer to enjoy her musicianship on saxophone. She sings on “True Love” and “Moon River,” but it’s her baritone saxophone solo on the “Mission Impossible Theme” that really blows my mind. I enjoyed her vocal rendition of “I Wanna be Like You” from The Jungle Book movie. Kelly is charismatic and charming on stage, as you can witness below, filmed while she was ‘live’ in concert in St. Louis.

This is Grace Kelly’s fifteenth album release in a 20-year recording career. It appears Kelly just gets better with time.       

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THE JAMIE BAUM SEPTET + – “WHAT TIMES ARE THESE” –  Sunnyside Records

Jamie Baum, flutes/spoken word/composer/arranger; Brad Shepik, guitar/singing bowls; Luis Perdomo, piano/fender Rhodes; Ricky Rodriguez, bass/electric bass guitar; Jeff Hirshfield, drums; Jonathan Finlayson, trumpet/spoken word; Sam Sadigursky, alto saxophone/clarinet/bass clarinet; Chris Komer, French horn. GUEST VOCALISTS: Theo Bleckmann, Kokayi, Sara Serpa, Aubrey Johnson.  GUEST PERCUSSIONIST: Keita Ogawa.

A single note pops rhythmically. It repeats over and over again, drawing me into this production, quicksand strong.  When the bass clarinet sings its assertive song, I am already caught up in Baum’s arrangement.  Jamie Baum lightens the mood with her flute solo.  The song is called “In the Light of Day” and it moves from dark tones to hopeful light in the matter of a perhaps sixteen bars.  Jonathan Finlayson also solos on his trumpet, with the horn section in tight harmony and shining behind him, like a sunrise. On Track #2, Jamie’s flute opens the piece and then her spoken word blows prose into my room, like smoke rings or a soft summer breeze.  The title of this album was inspired by Adrienne Rich’s 1995 poem, “What Kinds of Times Are These?”   Jamie Baum addresses this concept in the prose of Marge Piercy as she reads:

“The people I love the best jump into work headfirst, without dallying in the shallows, and swim off with sure strokes; almost out of sight, they seem to become natives of that element, the black sleek heads of seals bouncing like half-submerged balls.  I love people who harness themselves, an ox to a heavy cart, who pull like water buffalo, with massive patience, who strain in the mud and the muck, to move things forward, who do what has to be done, again and again,” Jamie Baum recites.

This album is a blend of thought provoking spoken word, creative original compositions by Baum, and arrangements that pull at the ear of the listener in wonderful ways. She adds vocals and prose, like spices to a stew cauldron. Some of these compositions are experimental jazz, mixed liberally with pops of traditional jazz. Jamie Baum tackles the political turmoil that we earthlings find ourselves locked within, using experimental jazz and the more traditional Straight-ahead jazz to provides moments of great beauty.  The music of Jamie Baum is meant to lift our hopes and spirits.

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EDY FOREY – “CULTURE TODAY” –  So Soul Records

Guilhem Forey, keyboards/piano/Fender Rhodes/composer/synth bass/vocals/miscellaneous BG vocals; Edy Szewy, vocals/lyricist/sampling; Tom Gordon, drums/percussions; Femi Koleoso, Isac Jamba, Jonathan Tuitt & Seiya Osaka, drums;  Leonn Meade, drums/BG vocals;  Adam King, Andrew Robb & Luca Alemanno, double bass; Sharay Reed, Michael League & Dean Mark, electric bass; Carlinhos Percussao, percussions; Manav Sigh, table; Toku, flugelhorn; Alex Hahn & Bob Reynolds, saxophone; Miho Wada & Sarpay Ozcagatay, flute; Dave Frazer, mix; Bob Power, mix/master.

This duo mix of Edy Szewy and Guilhem Forey brings imagination, ingenuity, and improvisation to the forefront like a rainbow.  This is music full of color and creativity, beginning with an introduction by Forey on keyboards, where his solo is embellished by reverb.  There is the hint of an old spiritual song captured during his improvised solo and I sing along, “Nobody knows the trouble I’ve seen.  Nobody knows but Jesus.”

The title tune “Culture Today” is sung by lyricist Edy Szewy and kicks off with a strong hip hop beat.  Her vocal presentation is reminiscent of Erykah Badu, but unique enough to establish her own unique style and tone. A song called “The Fire” solidifies this music as a blend of Hip Hop, contemporary and modern jazz, with Guilhem Forey spotlighted on piano.

Their arrangement and treatment of the jazz standard “Nature Boy” is creative and features a strong percussive presence by Tom Gordon. The composition is completely modernized and is one of the few ‘cover tunes’ on this project.  Most of these songs are original compositions by these two artists.

A tune called “The System” begins with Edy rapping about this world of celebrity-worship, complex with both good and evil doers.  The addition of a saxophone to this production creates a very Straight-ahead jazz feel, with the drums playing a funk beat and percussion brightly flavoring their arrangement.  You can clearly hear how Edy has been influenced by Motown’s rhythm and blues.  By mixing in the Hip Hop culture, this duo embarks on a poetic, urban-jazz debut album.

Based in the UK, the duo enters this competitive business of music with a clear message of peace and love reigning over hate and discord.  I do hear some control issues with Edy’s vocals.  For the benefit of her continued success, I hope she will seek a vocal coach to help her sustain those notes and to control pitch issues.  But the enthusiasm and uniqueness of this duo overshadows these fixable challenges.  Edy Szewy is a strong and blossoming lyricist who knows how to create ‘hooks’ in her music, that invite the listener to repeat and sing along. This is a commercial strong point. 

Her musical partner, Guilhem Forey, was born in Paris and raised in Nantes, France.  He was a child prodigy, displaying a strong interest in music as early as age three. When his grandfather introduced him to American R&B icon, Ray Charles and the music of Eric Clapton, Foley’s classical music study broadened. At age eleven, he began studying jazz piano.  On this project, Foley knows how to make ‘loops’ and establish grooves for Edy’s voice to float atop. Together, they have established an interesting sound. This music exhibits a sense of non-conformity and lyrical protest. The duo has been performing together since their teen years. Between Foley’s mastery of keyboard and commercial composing, paired with Edy’s artistry, lyricism and freedom, this debut album marks the beginning of a musical adventure plush with magical spontaneity, possibility, and promise. 
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JULIA VARI featuring NEGRONI’S TRIO – “SOMOS” – Alternativa Representa

Julia Vari, vocals; Jose Negroni, piano/Musical Director; Nomar Negroni, drums; Rafael Valencia, bass; Nathan Samuelson, trumpet.

Julia Vari is a Mexican American who sings in eight languages: Spanish, English, Portuguese, French, Italian, Hebrew, German and Catalan. On this album, the Negroni Trio accompanies her. They are a Latin Jazz, Grammy nominee themselves as a separate unit.  Julia opens with “La Bikina” sung in Spanish and featuring Nathan Samuelson on trumpet.  Track two is the familiar “Nature Boy” where Julia Vari attempts a scat solo after singing the song down once. She sings with energy and purpose, but often slides to the notes, sometimes falling flat.  Still, the diva has chosen a wide variety of songs on this, her sixth album release, and in her press package the publicist claims her other albums have become quite popular in Latin American countries.  She sings “Song For My Father” in Portuguese, which is a smart idea since I believe this is my first time hearing the lyrics sung in that Brazilian language.  However, there are several pitch problems. On their production of “Siboney” they sound fairly comfortable together.

Julia Vari works regularly in Mexico as a solo artist, singing and playing piano.  On the Mexican song, “Noche de Ronda” I felt that she and the pianist were in different keys.  I wish she had played piano herself on that one, the way she does when she performs in clubs. As a duo, her vocals just didn’t always match what Jose Negroni was playing on the piano.  She sings “C’est Si Bon” with energy and passion, inviting Rafael Valencia to take a bass solo.  I don’t know why Julia Vari thought she should sing over the bass solo.  Unless a soloist can add something amazing to lift another musician’s short time in the spotlight, then the other musician should lay-out.  I think with a proper producer, Vari would have better results.  Sometimes as an artist, you need someone else to oversee your project.  For the most part,  I didn’t think Vari and Negroni’s Trio complemented each other at all.

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JAZZ QUARTETS, QUINTETS & MORE

By Dee Dee McNeil

March 22, 2024

CHARLES McPHERSON – “REVERENCE” – Smoke Sessions Records

Charles McPherson, alto saxophone/composer/arranger; Terell Stafford, trumpet; Jeb Patton, piano; David Wong, bass; Billy Drummond, drums.

Charles McPherson has deep roots buried in my hometown of Detroit, Michigan.  Attending Northwestern High School, he was part of an after-school band that included Lonnie Hillyer (trumpeter), the now historic drummer Roy Brooks, and Motown’s awesome bass player who was a jazz bassist first, James Jamerson.  It was at a local, black-owned jazz club in the Motor City called the Blue Bird Inn and located on Tireman street that young Charles met Barry Harris.  The renowned pianist would become McPherson’s mentor, friend, and father-figure.  I think McPherson’s destiny was pretty much evident at the age of fifteen when he became acquainted with Barry. 

Seventy plus years ago, Charles Mingus invited the fledgling saxophone player, a very young and still innocent Charles McPherson, to join his avant-garde jazz band. What better way to be catapulted into the music he loved? 

On this current album release, you will appreciate the fundamental values and lessons McPherson has learned from his mentors and from life itself.  You will love his ‘swing’ and deep appreciation for melodies, rhythmic adventures, and harmonic creativity.  I can always count on McPherson’s music to be soaked in the blues.  For example, on his arrangement of “Come Rain of Come Shine,” where his horn puts so much soulful blues into the presentation, I am tempted to cry.  That’s the thing you hear, feel, find in the elders who play this music.  It’s their honesty and vulnerability that touches the listener’s soul.  Recently, Samara Joy brought her lovely vocals to McPherson’s stage at the Smoke Jazz & Super Club in New York City.

McPherson’s album’s opening tune, “Surge” is dedicated to Barry Harris, who passed away in 2021 at the well-lived age of ninety-one. McPherson says of his mentor:

“Barry established a real foundation for me on a technical level, harmony, theory, rhythm … but stressed the importance of being melodic with harmony.  He also stressed the art, as well as craft.  Inspiration and intellect holding hands.  Head and Heart!”  McPherson summarizes his lessons learned from the great pianist.

“Surge” is all of those things and more.  It swings like a grandfather clock’s steady pendulum, driven by the awesome drums of Billy Drummond.  Jeb Patton steps forward with a blues-laced piano solo that locks in with David Wong’s walking bass.  The harmony created by Terell Stafford’s trumpet and McPherson’s alto sax sings the melody. It sticks like sweet chewing gum in my brain.  All the pieces are there and in place, as we hear the puzzle come together.  A waltz follows, another McPherson original. This tune is dedicated to his trumpet friend from high school, Lonnie Hillyer.  “Blues for Lonnie in Three” waltzes across my listening room in a very freely improvised way.

McPherson may be in his eighth decade on this earth, but he has lost no creativity, determination, or command along the way.  His full potential is on display during this production.  I am caught up in the synergy between these explosive musicians.  Every song brings joy and excitement that fills my heart and home. This album will be released April 26, 2024.

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TROY ROBERTS – “GREEN LIGHTS” – Toy Robot Music

Troy Roberts, tenor saxophone; Paul Bollenback, guitar; John Patitucci, acoustic bass; Jimmy MacBride, drums.

When jazz musicians get together musically, as peers and friends, the result is usually warm and exciting.  That’s how I would describe this 16^th record release from Troy Roberts, an Australian immigrant who has settled down in NYC.  As a two-time GRAMMY nominated saxophonist, his reputation has placed him among the A-list of tenor players around New York. He’s a studio session First-Call saxophonist who can play just about anything. Some of the impressive name artists he has performed with range from the late Joey DeFrancesco to the iconic Van Morrison and the awesome Jeff ‘Tain’ Watts.  I just reviewed him on an album with Pat Bianchi as part of his trio.

On this project, Robert’s has assembled some friends to interpret his original compositions.  They open with “Green Lights,” the title tune. It’s a warm, moderate tempo funk tune pushed steadily ahead by the drum sticks of Jimmy MacBride and sung by the guitar mastery of Paul Bollenback. Five minutes into the tune, John Patitucci steps stage center to take an acoustic bass solo.  Roberts shares the spotlight with his quartet members, but when he does step out front, his tenor saxophone is rich, warm and sweet as honey. 

For Troy Roberts, the color green represents tranquility, nature, positivity, but also decay, rot, greed and envy. The two sides of the coin, so to speak.  He invites listeners to explore these themes when they listen to his music.

On track #2, you hear more of  the Roberts’ horn style when he delivers his tune, “The Question.”    The quartet blasts into another atmosphere when MacBride’s swinging drumsticks smash the up-tempo tune “Solar Panels” into my listening room.  Patitucci’s fingers march across his acoustic bass with speed and precision, while Troy Roberts blows energy, melody and fluid improvisation from the bell of his horn.  On a tune called “Harry Brown” the introduction sounds ethereal and spacey, like floating through a starry sky.  It also sounds a little ominous, like the beginning of a mystery movie, thanks to the bass work of Patitucci.  Soon, however, it moves into a blues-fueled shuffle that’s arranged quite contemporarily. Roberts’ saxophone work paints the color green all over this tune, braiding traditional jazz roots into his contemporary jazz arrangement.  Roberts’ tenor saxophone sounds absolutely beautiful on his composition, “The Scotsman’s ballad.”  The quartet blasts straight-ahead on “Stretch Armstrong” with Bollenback leading the way on guitar. When the arrangement features Roberts, they really hit their stride.  Troy Roberts lets go of all inhibitions on this project, and his tenor saxophone shines. MacBride is given a platform to showcase his drum skills, sending this project out with a percussive bang. This album will be released May 10, 2024.            

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BRAD TURNER QUINTET – “THE MAGNIFICENT” – Cellar Music Group

Brad Turner, piano/trumpet; Peter Bernstein, guitar; Neil Swainson, bass; Quincy Davis, drums; Cory Weeds, tenor saxophone.

The trumpet of Brad Turner sounds like a soulmate to the guitar of Peter Bernstein.  They have a sweet instrumental merger on this original tune by Turner called “You’re Ok.”  It ambles onto the scene of my listening room and slow swings across space. Neil Swainson introduces himself to us on his bass instrument, walking along at a moderate tempo and improvising during a tasty solo.  The tune, “Barney’s Castle” follows at a speedy pace, with Turner and tenor saxophonist, Cory Weeds singing the melody in unison, until the last note of each phrase where they break into one-note harmony.  When Weeds steps into the spotlight, it’s with tenor saxophone brilliance flying like colorful confetti out of his horn. This song is a celebration of Straight-ahead jazz, with Turner’s trumpet leading the way. Bernstein takes several bars to showcase his solo creativity on guitar.  I am caught up in this tune and captivated by each solo, including the excitement that Quincy Davis brings to the project on trap drums.  His solo is outstanding. Brad Turner has been at the forefront of the Canadian jazz scene for over two decades, releasing a steady stream of exceptional jazz recordings as a leader with this quintet, with a quartet, as a trio and as part of his acclaimed ensemble, “Metalwood.”  When this quintet slips into “Slapped My Mind” I am enthusiastic about the swing-groove and the blues-base.  On a song called “Virtue Signals” Brad Turner sits down at the 88-keys and plays piano to introduce us to his composition. I like it best when they swing, and that they do that on the title tune, “The Magnificent.” They fly on “Rosemary” like hungry seagulls diving for fish. They soar, play with energy, circle with excitement, and swoop with precision.

Every tune on this album is beautifully played and well-written. Brad Turner is a respectable composer, letting his bandmates explore each tune, to competently lend their talents and imaginative improvisations to this recording. It’s a joy listening to them.

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CHRIS ROTTMAYER – “BEING” – Shifting Paradigm Records

Chris Rottmayer, piano; Rufus Reid, acoustic bass; Matt Endres, drums; Russ Johnson, trumpet/flugelhorn.

This is pianist Chris Rottmayer’s fourth album release. He calls Madison, Wisconsin home, where Chris is a prolific composer, a jazz artist and a jazz educator. This current album is the result of studying the work of jazz pianist, Mulgrew Miller.

“The music on this album is a mix of compositions from my doctoral dissertation at the University of Wisconsin-Madison and my master’s degree work at the University of South Florida.  They are creative works born from examining Mulgrew Miller’s Playing with the Woody Shaw Quintet.  I spent time transcribing Miller and trying to digest his and Woody’s harmonic language,” Rottmayer explains.

I am intrigued from the very first tune titled, “On the Street Where Woody Lives.”   I am hooked on the energy and the compositional creativity of Rottmayer.  This is my kind of jazz.  It swings and breathes straight-ahead beauty with the contributions of the iconic Rufus Reid on acoustic bass and the sweet power of Russ Johnson on trumpet and flugelhorn.  “Re-United” is another great tune that brightly features the horn of Russ Johnson.  When Chris Rottmayer enters, he lifts the tune with his own improvisational piano solo.  Then comes Rufus Reid stepping into the spotlight and glowing. He’s an obvious master of his bass instrument, followed by a solo from Matt Endres on trap drums.  On this arrangement we meet the whole gang. 

“Pigalle” is an area in Paris not far from a place I used to live called the Hotel Ventamille. Years ago, it was a red-light district and featured an assortment of interesting characters strolling the narrow Parisienne streets.  Rottmayer plays this one as a ballad and it’s quite beautiful, with a sexy, emotional bass solo that tears at the heartstrings.  There is a tenderness to this project that drips from this recording like molasses from a tree trunk. 

“I was able to connect with Rufus Reid.  Reid collaborated often with Mulgrew Miller, and recording with Reid has helped me to connect with Miller on a level deeper than I could through listening to recordings or through personal study,” Rottmayer praises his legendary bass player and former colleague of Mulgrew Miller.

Rottmayer includes a tribute to Paris, France with five songs named after famous places in that European city, including “Rue des Lombards” that is one of the most famous streets for jazz music in Paris and a tribute to the chaotic nature of one of Paris’s busiest train stations titled “Chatelet.”

Many of Rottmayer’s tunes are inspired by Miller’s musical language while he was working with Woody Shaw.  For example, the tune “Re-United” takes the Wayne Shorter tune “United” that was famously arranged by Shaw and Miller, then changes it to 4/4 time and adds a new melody with a few formal elements borrowed from the Shaw arrangement.  “Autumn Evening” is another lovely ballad that explores more of Miller and Shaw’s modal and harmonic concepts, perhaps pulling from the Miller composition, “Song of Modes.” 

This is a tribute to the brilliance of Mulgrew Miller and Woody Shaw that spotlights both the piano and composer talents of artist, Chris Rottmayer.

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DAVID LARSEN – “COHESION” – Dayolo Music

David Larsen, baritone saxophone/composer; Zaccai Curtis, piano; Alex Apollo, bass; Wayne Smith Jr., drums; Darryl Yokley, tenor saxophone/composer.

The tight harmonies of David Larsen on baritone saxophone and Darryl Yokley on tenor saxophone opens the first tune on this album and capture my attention. Larsen and Yokley are the composers of these eight tracks.  Six were written by David Larsen and two by Yokley.  This composition is titled “Cohesion,” the album title.  Certainly, this tune unites and introduces the band, presenting a united whole. It’s based on two modes played at once. In music language, that means the first chord defines the tonal center, while the melody is based on a similar mode a perfect fifth away.   But it’s the second track titled “Down To It” that’s bebop personified. It reminds me of jazz from the 1960s. The tempo races and Alex Apollo steps out with an extraordinary bass solo. Larsen and Curtis lock horns and sing the melody harmonically.  Their melody makes me want to sing along.  This is a great song written by Larsen who steps forward on baritone saxophone to fire out his solo.  Darryl Yokely follows, also empowering his tenor instrument to do his bidding and spreading his joy.  Zaccai Curtis is notably dynamic on piano.

This quintet knows how to set a groove and swing an arrangement. Larsen is an artist based in Spokane, Washington who has performed and/or recorded with numerous artists including Ken Peplowski, Bill Mays, Delbert Anderson, Francisco Torris, the Spokane Symphony orchestra and jazz vocalist Halle Loren, to name only a few.  I love Larsen’s song, “Fedchock.”  When David Larsen steps forward to offer his baritone saxophone solo, I startled my household by shouting out “Yeah” during his soulful solo. There’s nothing I like better than a great baritone player.  This song sounds like a jazz standard.

When David heard these East Coast musicians play, Larsen knew he had to record with them. The baritone master was happy to include two original pieces by Yokley because he said,

“They reminded me of the great Wayne Shorter and John Coltrane compositions.  They are a great challenge to play over, but well worth it!”  

When this composer and baritone sax man met Yokley, Curtis, Apollo, and Smith during a countrywide tour they were making, he knew he wanted to record with them. He was sure they were the perfect group to interpret his original compositions. David Larsen brought the group out to work with students at Spokane Falls Community College and to appear as guests for their local jazz workshop.  During that invitation, Larsen asked if they would like to go into the studio to record this album. What a blessing that they said, yes!

“This project was a great stretch for me as a player and composer, but it has been an absolute joy to put together, and I hope you enjoy listening to it as much as I enjoyed making it,” David Larsen summed up this production.   

It was also a joy to listen to David Larsen’s music, his compositions and performance skills.  The addition of these East Coast musicians is both successful and gratuitous.

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ONE FOR ALL featuring GEORGE COLEMAN – “BIG GEORGE” – Smoke Sessions Records

Jim Rotondi, trumpet/composer; Eric Alexander, alto & tenor saxophone/composer; Steve Davis, trombone/composer; David Hazeltine, piano/Fender Rhodes/composer; John Webber, bass; Joe Farnsworth, drums. SPECIAL GUEST: George Coleman, tenor saxophone.

Since their inception, in 1997, I have been a big fan of “One for All” with their very hip, very smooth, very brilliant bebop sound.  Each of these musical members carries a wealth of history and awards on their shoulders. Each is a participant of “One for All.” They are educators, session players, composers, and busy, working musicians. So, you can imagine that makes getting together for an album a huge challenge.  It’s been seven years between this album and their former release, “The Third Decade.”

This time, an added bonus is the blessed appearance of reed master, George Coleman.  He comes walking into the spotlight on track #4, during a tune written by Jim Rotondi called “Oscar Winner.”  His appearance jolts the energy upward fifty percent, and the guys were already smokin’ hot! 

On the song, “Oscar Winner,” after George Coleman solos, Steve Davis brings his trombone to the party and settles in to woo us with his smooth trombone sound. Then the horns begin to harmonize in a chant-like harmony and the tension builds.  The tune explodes with a number of solo’s that are both innovative and fresh. Each one tantalizes, like hot baked rolls out the oven dripping with butter.  This is the jazz I love. Delicious jazz.  Eight minutes of pure joy! When they step back from that swinging arrangement and feature George Coleman on their absolutely beautiful rendition of “My Foolish Heart,” these musicians spray my listening room with hearts and love notes; tones and improvisations that paint an old standard new in unexpected ways. 

I love their take on Hank Mobley’s composition, “This I Dig of You” (once again featuring George Coleman).  At the respectable age of 87, George Coleman hasn’t lost his adventurist spirit or iconic talent.  He is still a force to be reckoned with.  Hazeltine’s piano solo rises to the occasion after Coleman sets the studio on fire.  Joe Farnsworth slaps his drumsticks into a power-packed solo excursion, while the horns dance, shiny as fireflies glowing in a powerful creative light.  John Webber gets the last word on bass, like an exclamation mark.  Then Webber marches into the next tune, swinging strongly on the Steve Davis original, “Cove Island Breeze” with his bass walking briskly, and arms tightly linked with the Farnsworth drummer. 

“Our favorite quickly became Cove Island because it’s a very beautiful piece so close to home.  The tune has that same kind of wistful, breezy swing,” Davis shard in the liner notes.

One of this writer’s favorite jazz standards is the sensuous ballad, “The Nearness of You.”  All For One plays it like a sincere and honest love letter. The Davis trombone sings it, smooth and mellow, while Jim Rotondi brings his big, bright trumpet sound into the picture with gusto. Eric Alexander pulls the blues into the arrangement on his saxophone, flying into the solo space like a wild bird, singing “Heaven please save, all mankind” briefly, like a love whisper in my ear.  I had to play this track twice.

The unique thing about this recording is that the musicians all walked into the studio and played a lot of these original compositions without rehearsal of any kind.  They flew by the seat of their souls, so to speak.  The result is some fresh and innovative improvisation on tunes like the opening composition by Eric Alexander, “Chainsaw” (that plays like a jazz standard), with the commanding drums of Joe Farnsworth pushing the group ahead forcefully.  Alexander’s improvising soars above the busy bass of John Webber.  David Hazeltine’s tune, “In the Lead” showcases the pianist but also brightly spotlights Rotondi’s potent trumpet. Davis’s trombone, and the smart harmonics the three horns create highlight a smart arrangement.

You have to be a master to walk into a studio, pick up the music charts, and in the midst of a room full of legends, deliver.  Now I have them with me in my listening room and their music is absolutely thrilling, swinging and all-encompassing!  This is an historic and well-produced album to add to any collection.

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THE TUCKER BROTHERS – “LIVE AT CHATTERBOX” –  Midwest Crush Music

Joel Tucker, guitar; Nick Tucker, bass; Carrington Clinton, drums. Sean Imboden, tenor saxophone.

This quartet opens with a unique take on the familiar tune, “Skylark.”  They play it in sort of a Reggae style, beginning with Joel Tucker setting the mood and tempo (7/4) with his electric guitar.  Joel and his brother Nick are important jazz forces on the Indianapolis jazz scene.  You will hear them in this intimate, ‘live’ setting of the Chatterbox Club, each quartet member taking a solo to introduce themselves to the receptive audience.  Joel Tucker has composed the next song titled “Shakshuka.”  It races ahead, saddled by Straight-ahead and driven by Carrington Clinton’s drums like a whip on a stallion’s flank. Sean Imboden is given free rein as he improvises on his tenor saxophone.  The quartet has a tight, well-executed sound, like old friends who know each other very well.  They share musical secrets and conversations with no compunction.

Joel Tucker graduated from Indiana University in 2012 and then relocated to Indianapolis where he plays with a wide variety of bands, moving from jazz to Hip hop, from Latin music to rock.  He was featured at the Indy Jazz Fest tribute to Wes Montgomery along with iconic players like Pat Martino, Peter Bernstein, Bobby Brown and Russell Malone, and he has been a featured soloist at the Montreux Jazz Festival. The bassist, Nick Tucker also stays busy.  When not playing with his brother, Joel, he takes the stage with Bobby Watson, Randy Brecker, Alan Pasqua, Rich Perry and Stefon Harris, just to name a few.  He and his brother first formed The Tucker Brothers group in 2015.  They’ve been going strong ever since, releasing an album called “Nine is the Magic Number first and that was followed by “Writing Prompt” and another called, “Two Parts.” 

As they speed through jazz standards like “Caravan” and other songs we recognize like “You and the Night and the Music” you will enjoy their unique take on each arrangement.  They also share their own composer talents with Nick contributing “Mantra” to the mix.  It reminds me a little bit of an old Negro Spiritual my church used to sing: “Were you there when they crucified my Lord,” but it veers off into its own unique melody.  I bet this song would sound great as a jazz waltz. Joel has written two more tunes, “Away” and another titled “Rhythm Changed.”  All in all, here is a group of mid-western musicians who are making their own magic, pulling musical surprises from their instruments, and clearly entertaining their captivated audience.

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MARLON SIMON AND THE NAGUAL SPIRITS – “ON DIFFERENT PATHS” – Truth Revolution Recording Collective

Marlon Simon, drums/percussion/composer/Musical Director; Edward Simon, piano/Assistant Musical Director; Boris Koslov, bass; Roberto Quintero, congas/percussion; Michael Simon, trumpet; Peter Brainin, tenor & soprano saxophone; Alex Norris, trumpet/flugelhorn; Kevin Newton, French horn; Monica Ellis, bassoon; Rhumer Mora, Bongos.

Marlon Simon brings us an album that combines Latin American rhythms, European classical music, the Latin jazz tradition, and chamber jazz.  You might say he treats each composition like a short story, some with unexpected resolutions. Opening with his composition titled, “Searching” the percussive members of his ensemble take stage center, setting the mood and the tempo. This short tune seems to be a preface of prelude for the title track, “On Different Paths.”

“On Different Paths is probably the most ambition tune on the record,” Simon is quoted in the liner notes.

This song includes rhythmic experimentation, using a ceremonial rhythm pulled from the Afro-Cuban religion and representing an orisha (a deity) by the name of Elegguá. This rhythm is mixed with Roberto Quintero playing Lalubanche figures on his congas.  This almost sounds like a mild Samba on the bass drum, but with the feel of a joropo on the snare drum. The horn harmonies soften the groove and add that hint of chamber music to the production. The tune “Walking” (that sounds much more like someone running), follows the title tune.  It features Venezuelan rhythms and a merengue groove.  Peter Brainin dances atop the rhythm section, slapping a straight-ahead feel into place on his saxophone. Track #5 is one of my favorites on this album.  It’s joyful and titled “Straight Ahead” although it is quite Latin and not at all bebop.  Boris Koslov’s bass introduces us to “Pa,” a tribute song to the father of the Simon brothers. Another tribute song follows that is meant to honor both their parents, Hadsy Simon and his wife Daisy Morillo titled “Un Canto Llanero.”  Perhaps Marlon Simon summed this project up the best.

“Music has been an unconditional companion throughout my entire life.  It has been there in the happiest and saddest time.  It’s been there to let me know where I am and where I need to be in my evolution as a human being.  It was time to take a different path, explore, and do something I hadn’t done before.  So, for this recording, I had to develop as a composer.  When you work on something, you have no preconceptions. What comes out is really you.”

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CURTIS TAYLOR – “TAYLOR MADE” –  Curtis Taylor Music

Curtis Taylor, trumpet/composer; Theron Brown, piano; Jonathon Muir-Cotton, acoustic& electric bass; Alex White, drums; David Castañeda, percussion; Marcus Elliot, tenor saxophone.

Curtis Taylor comes blasting onto the scene with a tune he calls, “Kham’s Dilemma,” composed as a tribute to his son Khamari who was born in 2018.  Theron Brown is powerful on this tune during his piano solo. Taylor explains how he composed the second track.

“After the Rain is a happy, upbeat tune.  I wrote this song during a visit to my mother’s house.  I sat at the piano and this melody started to come to me while it was raining. I was having trouble coming up with the bridge of the song, which I finally finished right after the rain ended.  So, I decided to call the song After the Rain.”

In 2010, on Gregory Porter’s initial album, (“Water”) Taylor received an unexpected call from record producer, Kamau Kenyatta.  Kamau had heard the trumpeter play in Detroit at a jam session.  He remembered him and was impressed enough to contact him to come play on Gregory Porter’s debut recording session. Curtis Taylor jumped on a plane, arrived in California, and made that happen. He is also pictured in a brief part of the “Don’t Forget Your Music” documentary about the Grammy-winning vocalist, Gregory Porter.

On track #3 of “Taylor Made,” it’s straight-ahead all the way.  The band leaps into an up-tempo mode, speeding across my listening room like meteor showers.  Taylor says he wrote this jazz tune as an effort to describe ‘nervous energy.’  The representation is clearly there, buried inside that spirited tune. The band trades fours with drummer Alex White on “Heightened Awareness.”  Alex shows off his excellent chops at the song’s ending, during his solo, but he’s also powerful throughout. Marcus Elliot opens the arrangement on tenor saxophone.  Then, trumpeter Curtis Taylor bathes in the spotlight, playing like his life depends on it. The arrangement was so good, I played this tune twice.  It became one of my favorites.  I think the mix on this song is exceptionally clean. Taylor’s music is invigorating. 

A song Curtis titled “For Her” slows the groove down to a ballad with a pretty melody.  In liner notes, Taylor says the songs remind him of a dancer he once knew. 

Curtis Taylor is a native of Ohio and brings that driving mid-western energy to this project.  He lived for a while in California and enjoyed the weather. Taylor became a guest lecturer at Cal State San Marcos.  In 2021, he moved back to the Midwest to accept a position with the University of Iowa’s Jazz Department.  Taylor maintains a very busy touring schedule to promote his new album, along with teaching at The School of Music in University of Iowa’s music department. This impressive album will be released to the public on April 12, 2024, available at Bandcamp, Curtistaylor.net, and all streaming platforms.

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BIG BEAUTIFUL BOISTEROUS JAZZ BANDS

By Dee Dee McNeil

March 15, 2024

NIKOS CHATZITSAKOS – “TINY BIG BAND 2” –  Independent Label

Nikos Chatzitsakos, double bass/arranger/bandleader; Wilfie Williams, piano; Samuël Bolduc, drums; Gabriel Nekrutman, baritone saxophone; Art Baden, tenor saxophone; Salim Charvet, alto saxophone; Robert Mac Vega Dowda, cornet; Joey Curreri, trumpet/flugelhorn; Armando Vergara, trombone; Alexandria DeWalt & Eleni Ermina Sofou, vocals.

The band hits their stride on track #3, “Fly Little Bird Fly” a Donald Byrd composition.  Wilfie Williams takes off in flight on the 88-keys, with fingers on the piano showcasing the fluttering wings of a bird. Salim takes a wild improvisational solo on alto saxophone, followed by Joey Curreri on trumpet. The horns step aside to let drummer Samuel Bolduc soak up the spotlight during a brief but inspired solo.

“Where or When” is sung by Eleni Ermina Sofou.  She has a smooth, pleasant delivery, but she doesn’t really ‘swing,’ which is something you must feel in your gut and cannot always be taught. However, the band swings this one with strong determination. I enjoyed the horn section with that baritone saxophone building a strong basement for them to stand upon. I think I would have over-dubbed the very end where the saxophone solo fade could have been stronger. 

The other vocalist on this project, Alexandria DeWalt, swings “I Didn’t Know What Time It Was” with her Blossom Dearie voice and style.  One of the blessings of being a stylist is that you have a sound easily recognizable and different from the rest of the singers on the set. DeWalt accomplishes this.  Joey Curreri takes a trumpet solo egged on by Bolduc’s brisk drumsticks. It was nice to hear Gabriel Nekrutman’s baritone saxophone also take a solo and those background horns were swinging so hard, they put fire to his feet.

The band slows the tempo on the Duke Pearson tune, “You Know I Care” featuring bandleader Nikos Chatzitsakos on his upright bass. During his arrangement, Chatzitsakos applies a ‘slide’ technique with the horn harmonics.  Armando Bergara’s trombone solo is quite beautiful.  On track #7, the familiar “Windmills of Your Mind” is a perfect tune to showcase the lovely voice of Eleni Ermina Sofou.  Art Baden adds his tenor saxophone solo to the mix. I thought the horn harmonies arranged during Sofou’s sweet delivery were a little overbearing.  Still, she held her own, strong in presenting the melody and unobstructed by the arrangement that leaned towards the Avant-garde. I didn’t mind that emotional arrangement of dissonance after she sang, but during her solo presentation, I think she deserved the same respect given to other horn soloists who step out front.  Perhaps just a nudge in the mix room could have lifted her voice above the fray. 

Nikos Chatzitsakos brings us a small group that sounds as plush and well-rounded as a big band.  He has creatively arranged these familiar standard songs, with a taste of the Avant-garde and a sprinkle of contemporary jazz to refresh the old standards.  His musicians bring zest, youth, and personality to the project.  

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RICHARD NELSON & MAKROKOSMOS ORCHESTRA  – “DISSOLVE” –

Richard Nelson, conductor/guitar/composer; Rex Benincasa, percussion; Scott Neumann, drums; Rob Garcia, drums on “Float;” Ken Filiano, bass; Matt Pavolka bass on “Float;” Arco Sandoval, keyboards/sound design; Rick Basser, keyboard,“ on Float;” Peter H. Bloom, flutes; Adam Kolker, tenor saxophone/clarinet; Tim O’Dell, alto & soprano saxophones; Alan Brady, bass clarinet; Marshall Sealy, French horn; John Carlson & Jacob Yarmus, trumpet; David Chamberlain, euphonium; Dale Turk, bass trombone.

The Makrokosmos Orchestra is a fifteen-piece ensemble under the direction of Richard Nelson that’s rooted in contemporary creative music.  Along with sax man, Tim O’Dell, who is co-leader of this organization, the orchestra performs Nelson’s original music with both modern jazz and contemporary classical music influences.  For this project, Nelson has written a three-part suite.

“Whether in Maine or New York, I’m always looking for players who are both top level improvisers, and creative agents.  In my creative work I’ve cultivated a merging of elements and impulses from contemporary classical composition and the jazz heritage, and this group has become a key outlet for cultivating that aesthetic,” Nelson explains in his press package. 

Opening with the title tune, “Dissolve” I experience fifteen plus minutes of ethereal music that employs various tempos, instruments and moods that fluidly flow into each other in sometimes surprising ways.  Nine minutes in, a bluesy tenor saxophone takes center stage, played by Adam Kolker, while a more contemporary jazz piano plunks away in the background provided by Arco Sandoval.  The horns mimic a train whistle blasting into view, inviting us on a journey of unexpected starts and stops, melodic destinations and percussive excitement. 14-minutes into the piece, it takes a turn of direction, growling beneath a busy woodwind dance. That soon gives way to a flute in the distance, completing that journey of sound and harmony. 

The second part of the suite, the “Float” composition introduces us to bassist Matt Pavolka and Keyboard player, Rick Basser.  The rest of the ensemble remains the same as they sing a rubato song at the introduction, letting a very lovely saxophone solo draw me into the arrangement.  Tim O’Dell weaves his soprano saxophone magic at the top of this tune. The tension builds and builds, finally exploding in the arms of Rob Garcia on drums.  Unexpectedly, darkness soaks up the light during this arrangement.  Then, Richard Nelson appears with his electric guitar to guide us into another brighter dimension. 

There seems to be plateaus of music, piled upon one another, with each one opening us up to another level of this ever-expanding arrangement.  It’s dramatic.  The final piece of this suite is titled, “Cohere.”  To Cohere is to be united and to form a whole.  Perhaps that title and the project itself finds conclusion and summary in the simplicity of the word ‘Cohere.’   Arco Sandoval is back at the electric keyboard, speaking to us with a black and white key conversation.  This is followed by a rhythmic battle of drums and percussion that offer me a moderate groove to tap my toes to.  Although these compositions are complex, and in some ways quite brilliant, I do miss the ‘swing’ element.  This music leans heavily to the classical side and sometimes I just want to feel jazz deep-down in my bones and not just listen to challenging arrangements played from the carefully written page of dancing notes.

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DOUG MACDONALD – “SEXTET SESSION” –  Dmac Music

Doug MacDonald, guitar; Josh Nelson, piano; Mike Gurrola, bass; Charles Ruggiero, drums; Doug Webb, tenor saxophone; Aaron Janik, trumpet.

Guitarist and composer, Doug MacDonald leads an all-star sextet of Southern California based musicians.  Although he has headed many types of jazz ensembles, and boasts twenty-six record releases as a bandleader, this is his first project working with a somewhat more modern jazz combo.  MacDonald has teamed with tenor saxophone giant, Doug Webb, and the inventive and in-demand pianist, Josh Nelson.  During this recording, Doug is playing a spanking, brand-new Fender Telecaster guitar. 

MacDonald has composed five of the eight songs on this “Sextet Session” album.  They open with his composition called, “Desert Blues.”   It swings at a moderate tempo as Doug MacDonald steps center stage and serenades us on guitar. The next musician to step into my listening room is Doug Webb.  Webb plays a soulful solo on his tenor sax tinged with the blues.  Josh Nelson has a feathery light touch on the piano and offers an inspired solo.  Another original tune by MacDonald is the third track, “Gee’s Flat” that offers a catchy melody and invites Mike Gurrola to step forward and take an impressive upright bass solo.  On the familiar standard, “You’ve Changed” MacDonald’s guitar solo double-times the ballad and skips over the pretty melody, letting his guitar strings tell the sad story in MacDonald’s own creative way.  On the tune “At” MacDonald steps from traditional jazz to a more contemporary path, with the drums of Charles Ruggiero laying down a funk beat.  Doug Webb enters on his tenor saxophone, offering an unapologetic Straight-ahead improvised solo over the funky beat. I love it!  Aaron Janik brings his trumpet to the party.  However, I’m more comfortable when they return to the Straight-ahead groove on “Try Ads.”  Once again, Doug Webb is a star on tenor saxophone.  I’m also impressed with MacDonald’s composition, “Si Minor” that gives Josh Nelson an opportunity to stretch-out and explore the entire 88-keys on his piano.  Nelson is quite inspirational and always creative. This song gave spotlight to Doug Webb and bassist Gurrola. MacDonald’s original song is one of my favorites on this album. They also give Charles Ruggiero time to shine on his trap drums.

MacDonald cut his guitar teeth working with jazz and blues greats like Ray Charles, Buddy Rich, Jack Sheldon, Lorez Alexandria, the Clayton-Hamilton Jazz Orchestra, and many others.  This album showcases his composer and arranging skills.  The all-star band he’s contracted infuses his musical ideas with professional excellence and excitement.

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ANDREW KRASILNIKOV – “BLOODY BELLY COMB JELLY” – Rainy Days Records

Andrew Krasilnikov, soprano & C-melody saxophones/composer/arranger; Alexey Bekker, piano/Fender Rhodes/composer; Nikolay Zatolochny, upright bass; Mikhail Fotchenkov, drums; Ilya Dvoretsky, flute/piccolo/also flute; Anton Zaletaev, flute; Roman Sokolov, alto flute; Oleg Gremov & Aleksandr Yasykov, clarinet; Sergey Nankin, bass clarinet/clarinet; Sergey Ponomarev, flugelhorn/trumpet; Salman Abuev, flugelhorn; Sergey Gimazetdinov, trombone; Anton Gimazeldinov, tuba/bass trombone; Lev Slepner, marimba.

After coming to America as a music student and graduating from Berklee College of Music, Andrew Krasilnikov knocked around NYC, working, performing, and gathering knowledge from the music elders.  In 2011, he returned to his home in Russia.  He took with him a deep love of big band arranging, composing, and a dream to produce an orchestrated band of his talented countrymen. This album is the fruition of that dream.  Late last year, this album was released to rave reviews.

The ensemble opens with “Nekotorost,” an original composition by Krasilnikov. The Cambridge Dictionary translates this word to mean bargain, concern, take off and admit. That left me confused, but there is nothing confusing about this beautiful piece of music.  Beginning with Alexey Bekker’s tentative electric piano introduction, they add Andrew’s saxophone floating the lovely melody on top. These two are soon joined (a few bars in) by double bassist, Nikolay Zatolochny. The three musicians set the mood and tempo. When the horn ensemble struts in with harmonic power and strength, clearly this song establishes Andrew Krasilnikov as a formidable composer. The melody is haunting and beautiful.  This reedman, arranger and composer has a way of changing the moods of these songs by dropping the plush orchestration to a whisper in the background, or completely eliminating the big-band sound to feature various talented bandmates on an individual basis. In this way, he channels his passion for arranging, purposefully leaving room for the personalities of his musicians to be explored during their solos.  His musical peers do not disappoint. You hear this on “Ariadna’s Thread” when he features bass man Zatolochny opening Andrew’s original song. Next, they hand the baton to Bekker, who takes a memorable piano solo during this arrangement. The tune “Ricochet” is rooted in the blues and Krasilnikov is masterful on saxophone. On a tune he calls, “Odnako” Krasilnikov entertains me with Straight-ahead bliss.  This one was written by pianist, Bekker and spurred ahead by the determined walking bass of Zatolochny, and powerhouse drummer, Mikhail Fochenkov. Mikhail is also featured brightly on Bekker’s contemporary composition “Buratino.” 

This album is a testament to the fact that jazz inspires people all over the world.  It is music that demands freedom of expression. Andrew Krasilnikov, along with his big band, exemplify creativity, instrument mastery, and excitement on this debut recording.

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MARSHALL GILKES AND THE WDR BIG BAND  – “LIFESONGS” – Alternate Side Records

Marshall Gilkes, composer/arranger/trombone/conductor; Hans Dekker, drums; John Goldsby, bass; Billy Test, piano; Sabeth Perez, vocals; Johan Harlen, alto & soprano saxophones/ flute/clarinet; Pascal Bartoszak, alto saxophone/flute/clarinet; Ben Fitzpatrick & Paul Heller, tenor saxophone/clarinet; Jens Neufang, baritone saxophone/bass clarinet; Andy Haderer, trumpet/piccolo trumpet/flugelhorn;  Wim Both, Rob Bruynen, & Ruud Breuls, trumpet/ flugelhorn; Ludwig Nuss, Raphael Klemm, Andy Hunter & Peter Hedrich, trombone.

Beginning with the very first cut on this production, “Fresh Start” the usually blustering big band sound of the WDR band surprises me.  They introduce a smooth jazz sounding production with big band overtones featuring trombonist, Marshall Gilkes.  The first taste of traditional jazz came when Billy Test offered us his stellar piano solo on Track #2, “Back in the Groove.”  Outstanding!

“My Unanswered Prayer” is a pretty ballad that showcases Marshall Gilkes’ warm tone on the trombone. Gilkes has composed seven songs of the nine offered.  One of the songs he did not compose is “All the Pretty Little Horses” that features vocalist Sabeth Perez, who has a voice like a horn. She colors the tune, painting the melody into my brain like a soft, warm brush.

“Sin Filtro” is an original song and arrangement by Gilkes. It has a Spanish flair that reminds me of bull rings in Spain. Those rings seated sixty thousand people and you could feel the excitement and the tension in the arena. Gilkes writes that energy into this composition, using the horns to create the mood, with his trombone solo tonally and technically impressive. This arrangement moves like a suite of music extending over nine minutes long. “This Nearly Was Mine” is quite beautiful and the final composition, “Sugar Rush” returns the WDR Big Band to the sound and texture of their performances that I remember.  These arrangements brings fire to the bandstand and feature drummer, Hans Dekker, propelling the band ahead like an engine.

Marshall Gilkes often returns to the city of Cologne. It’s like a second home. The trombonist spent four years in that cultural hub, situated beside the Rhine River.  He made his mark playing in the WDR Big Band’s brass section. That changed in December of 2013, when he returned to America.  However, this celebrated, world renowned German Big Band still keeps in close musical contact with Gilkes. They recorded their first album together with Gilkes as bandleader.  That album was called “Koln” and became Grammy nominated in two categories.  It introduced Gilkes as a composer/arranger/conductor and trombone soloist. In 2018, the band and Gilkes reunited to record “Always Forward.” This is their third production, titled “LifeSongs” and it’s Gilkes eighth album as a bandleader.

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8-BIT BIG BAND – “GAME CHANGER” – Teamchuck Records

Charlie Rosen, orchestrator/arranger/bandleader/multi-instrumentalist; Natalie Tenenbaum, Michael Mitchell, Steven Feifke, Jake Silverman, Miki Yamanaka & Jonah Nilsson, piano/keyboard; Adam Neely, Julia Adamy, Charlie Rosen, Bobby Wooten & Michael Olatuja, bass; Liann Cline, harp; Dave Cinquegrana, Nir Felder, & Charlie Rosen, guitar; Jared Schonig & Bryan Carter, drums; CELLI; Susan Mandel, Sasha Ono, Jessica Wang, Camille Dietrich, & Kristine Kruta, VIOLAS: Jarvis Benson, Kenny Wang, Laura Sacks, Matthew Beaugé, Midori Witkoski, Rosalie Samter, Sarah Haines, Tia Allen, Will Marshall & Yumi Oshima; VIOLINS: Alissa Jackman, Audrey Hayes, Camelia Hartman, Caroline Drexler, Daniel Constant, Eli Bishop, Francesca Dardani, Hannah Legrand, Josh Henderson, Justin Smith, Kevin Kuh, Lavinia Pavlish, Lucy Voin, Maria Im, Meitar Forkosh, Taniamesa, Tiffany Weiss & Tomoko Akaboshi, violin; ALTO SAXOPHONES: Andrew Gould, Josh Plotner, Adison Evans & Jordan Pettay; TENOR SAX: Sam Dillon, Zac Zinger, & Paul Jones; BARITONE SAX: Adison Evans, Andrew Gutauskas; Kyra Sims, French horn; FLUTES: Andrew Gould, Josh Plotner, Jordan Pettay; CLARINETS: Sam Dillon, Zac Zinger; Adison Evans & Andrew Gutauskas, bass clarinets; TRUMPETS: Bryan Davis, Jay Webb, John Lake, Chloe Rowlands, Max Boiko, Danny Jonokuchi, Matt Boiko, Marc Langer, Nick Frenay & Matthew Owens. TROMBONES: Jimmy O’Connell, Robert Ewards, Javier Nero, Rebecca Patterson, Ron Wilkens, Mariel Bildsten, Sara Jacovino, & Reginald Chapman III (also on tuba). VOCALS: Joel Waggoner, Clyde & Gracie Lawrence, Alan H. Green, Benny Benack III, Aisha Jackson & Johan Nilsson; BACKGROUND VOCALS: Badia Farha, D’nasya Jordan, Bryan Carter, Kate Steinberg, & Danielle Gimbal.

This is the 8-Bit Big Band’s fourth album release. They are a jazz-pops orchestra that is heavily influenced by rhythm and blues. Featuring a plethora of jazz vocalists and a horn section that recalls the days of Earth Wind & Fire and Tower of Power, they slam down tune after tune that are pulled from video game soundtracks. They are proud to be a Grammy-winning orchestra of between 30 to 65 members and this is a totally unique perspective for an orchestra to feature music from video games.

Their repertoire is unique, made from popular game music like “Super Mario 3D World” (Super Bell Hill) and “Final Fantasy 7” (Tifa’s Theme) plus many others plucked from the popular video game world. The 8-Bit Big Band puts a ’swing’ theme into many songs, with the exception of a few slower tunes included like “Pollyanna” with a funk beat and “Mabe Village” from ‘The Legend of Zelda Links Awakening’ that arranged as a slow swing.  “Tifa’s Theme” is a lovely ballad from ‘Final Fantasy 7’ featuring a stellar trumpet solo by Chloe Rowlands.  Not being a video gamer myself, I do not recognize these theme songs, but that didn’t dull the shine of a sparkling production full of orchestrated excitement, tight arrangements, and talented vocalists.  My only question is, with all those numerous participating master musicians who make up this magnificent orchestra, why is it called an 8-Bit Big Band?

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GARRY DIAL & RICH DeROSA – “KEEP SWINGIN’ the music of CHARLIE BANACOS – Outside in Music

Garry Dial, piano/arranger; Rich DeRosa, drums/arranger/triangle; Joe Hubbard, electric bass; Mike Stern & Wayne Krantz, electric guitar; Gerard D’Angelo, Helio Alves, & Plamen Karadonev. piano; Jeff Berlin, electric bass/piano/arranger; Luther Gray, drums; Mauricio Zottarelli, drums/percussion; Jeff Berlin, electric bass/piano/arranger; Matt Stavrakis, bass; Dick Oatts, alto saxophone; Terell Stafford & Phil Grenadier, trumpet; Paulo Levi, soprano saxophone; Victor Provost, steel pan/piano. The KEEP SWINGING HORN SECTION: Nick Marchione, trumpet/flugelhorn; Andrew Gould, alto sax/flute; Chris Oatts, tenor saxophone; Ryan Keberle, trombone; Gary Smulyan, baritone saxophone. GUEST BANDMEMEBERS: Jay Anderson, bass; David Witham, keyboards; John Riley & Tom Brechtlein, drums; Anne Drummond, alto flute; Paul Meyers, acoustic guitar; Itaiguara Brandão, electric bass; Rich DeRosa, drums; Margaret & Barbara Banacos, piano.

This collaborative project is co-led by renowned pianist and arranger, Garry Dial and arranger, drummer Rich DeRosa. Together, they decided to celebrate the legacy of a jazz educator and composer, Mr. Charlie Banacos.  Banacos was a musical visionary and solid jazz enthusiast who minted more than 100 courses of study that concentrated on improvisation and composition. He spent over fifty years teaching, inspiring and molding young talented jazz musicians into exceptional masters of their instruments. These ten tracks featuring the Banacos’ compositions are interpreted by devotees and friends like guitarist, Mike Stern, bassist. Jeff Berlin, tenor sax man, Jerry Bergonzi, electric bassist, Wayne Krantz and more.

They open with “Keep Swingin’” that sets the mood and tempo for this power-packed album of music. The title tune not only swings, but it’s also rooted in the blues. The arrangement features a soulful solo by Dick Oatts on alto saxophone and a bright, emotional trumpet solo by Terell Stafford. “Great Awakening” is a song reimagined by bassist, Joe Hubbard. Where the first track was full of big band swing, this song is much more contemporary. During his solo, the bass player shines in the spotlight, as well as providing a solid basement for this tune to build upon.  On the composition “Bat Cave” drummer John Riley takes a spirited solo. The horn section is dynamite and when Gary Smulyan steps out to solo on his baritone saxophone at a speedy pace, it’s better than butter!  I enjoy Garry Dial’s piano solo on “Pine Needles,” as well as the electric guitar of Mike Stern, who happens to be one of Banacos mentees. Another person inspired by Banacos brings his quintet to the party; Jerry Bergonzi on the tune, “Mummy’s Curse” with a wonderful arrangement by Garry Dial.

The Jerry Bergonzi Quintet features Jerry on tenor sax, Phil Grenadier on trumpet, Plamen Karadonev on piano, Matt Stavrakis plucks the double bass and is showcased during a short but impressive solo, as is Luther Gray on drums. This Quintet makes this Banacos tune come alive, pulsate, and dance. The amazing “Keep Swinging Horn Section” is dynamic throughout. The final tune is called “Pelaghia” and features Margaret and Barbara Banacos at the pianos.  It’s a very striking and beautiful duet.

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AFRO-PERUVIAN NEW TRENDS ORCHESTRA – “COSMIC SYNCHRONICITIES” – ARTISTIC DIRECTOR: CORINA BARTRA –  Blue Spiral Records

Corina Bartra, Artistic Director/composer/arranger; Santiago Belgrano & Holman Alvarez Davila, piano; Ben Willis, bass; Juan Carlos Polo, drums; Pedro Diaz, Peruvian cajon/conga; Dave Morgan, tenor saxophone; Cecilia Tenconi, & Marvin Carter, alto saxophone; Roger Garcia & Eli Asher, trumpet; Erick Storckman, trombone.

This is a packaged blend of Latin music, fusion, Afro-Peruvian, big band, and Straight-ahead jazz. You will experience all of that during this cosmic ride through the space of Corina Bartra’s compositions and creativity.  Bartra is the Artistic Director and composer of this project.  The music is multi-rhythmic, featuring tunes that encourage dancing to the warm Latin American beats. 

The album is plush with horns that create happy harmonies and often venture into the spotlight themselves, offering us individual and unique solos.  Many of the tunes celebrate various musical cultures other than Peruvian.  For example, “Ecstasy Green” (the opening tune) is Amazon-inspired.  “Baila y Goza” reflects not only Afro-Peruvian Festejo but also Cuban Guajira.  The “Latino Blues” composition reminds me of a tango.  When the band plays the traditional Peruvian tune “Palmere Siguayayay” you are introduced to the orchestra’s roots.  On a composition called “Tun Tun Tun – La Herida Oscura,” I am captured by the rhythms of Juan Carlos Polo on drums and Pedro Diaz on percussion.  The ensemble begins rubato, with a single horn singing it’s Latina story. Then the beat kicks in, reminding me of a slow trot across an open field.  Suddenly the tempo escalates and the horns blare.  A saxophone takes a jazzy solo and this composition becomes more like a suite of music than a single song.  One of my favorites on this album is called “Far Away” that makes me feel like I’m floating in a starry sky during the intro, then dances me onto a polished floor full of great harmonics and joyful people. It moves from Latin rhythms to Straight-ahead jazz swing, with metronome quickness and ease.

Corina Bartra was the first vocalist to blend Afro Peruvian and criolla music with jazz.  She pioneered subtle, but exciting instrumental textures in her compositions and arrangements. Critics have praised her for both her composing skills and her unique arranging for the Afro-Peruvian New Trends Orchestra.

Psychologists describe the word “synchronicity” as meaning unity in diversity.  Corina Bartra has another opinion when using this word in the album’s title.  It is meant to describe our cosmic consciousness and the realm of outer space that our music and creativity permeates. No matter the color, culture, or religion, when we breathe music into the universe, it is carried on the winds of time and, like love, it embraces our world and the universe with open arms.

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TONY MONACO TRIO – “OVER AND OVER” – Chicken Coup Records

Tony Monaco, Hammond B3 organ/composer; Reggie Jackson, drums; Zakk Jones, guitar.

In the mid-western city of Columbus, Ohio, Tony Monaco is a proud and popular citizen known for his amazing jazz organ-playing talents.  The world knows about Monaco from his thirteen album releases. Not only does he keep B3 organ jazz in the spotlight, he has composed every song on this album.  His abilities and talents match those we celebrate as jazz organ greats like Jack McDuff, Shirley Scott, Jimmy Smith, the great Larry Young, Jimmy McGriff and the late Joey DeFrancesco. In fact, it was Joey DeFrancesco who recognized Monaco’s musical talents and offered to produce his debut album back in 2000. The rest is history. Tony Monaco remains right up there with the best of the best.

Every song on this album is full of fire and melodic phrases that make you want to sing along. One of my favorites is titled, “One for Pat (Martino).  It’s a funky blues that swings hard and has a melody that sticks like glue. Monaco played with Pat Martino for three years.

With the rich assistance of drummer Reggie Jackson, who spent eleven years performing with jazz legend Dianne Schuur and a list of legendary names like Frank Foster, Benny Golson, Arturo Sandoval and Eddie Daniels, Jackson pushes the music ahead like a determined snowplow.  Zakk Jones brings his own sparkle and mastery to the party with his soulful guitar. Jones has toured the country with various groups from the Columbus Jazz orchestra to soul singers like The Coasters, saxophonist Lou Marini Jr., and trombonist John Fedchock.

Every song featured on Monaco’s jazz organ album is full of joy.  The title tune, “Over and Over (I want You)” makes me want to get up and dance. His tune “Ready Set Go” is straight-ahead jazz at its best. It was inspired by Monaco’s mentor, the great Jimmy Smith. This arrangement features Monaco, Jackson and Jones trading eights, (rather than fours) and becomes my second favorite on this spectacular album.

 “Sailboat” celebrates Latin jazz with changes very close to “Everything Happens to Me.”  They close out with a song that reminds me of the late, great soul singer, James Brown.  It’s funky and titled “Uprooted.”  Tony Monaco has something for everyone on this album. Enjoy!

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MARLON SIMON AND THE NAGUAL SPIRITS – “ON DIFFERENT PATHS” – Truth Revolution Recording Collective

Marlon Simon, drums/percussion/composer/Musical Director; Edward Simon, piano/Assistant Musical Director; Boris Koslov, bass; Roberto Quintero, congas/percussion; Michael Simon, trumpet; Peter Brainin, tenor & soprano saxophone; Alex Norris, trumpet/flugelhorn; Kevin Newton, French horn; Monica Ellis, bassoon; Rhumer Mora, Bongos.

Marlon Simon brings us an album that combines Latin American rhythms, European classical music, the Latin jazz tradition, and chamber jazz.  You might say he treats these compositions like short stories, some with unexpected resolutions. Opening with his composition titled, “Searching” the percussive members of his ensemble take stage center, setting the mood and the tempo. This short tune seems to be a preface or prelude for the title track, “On Different Paths.”

“On Different Paths is probably the most ambition tune on the record,” Simon is quoted in the liner notes.

This song includes rhythmic experimentation, using a ceremonial rhythm pulled from the Afro-Cuban religion and representing an orisha (a deity) by the name of Elegguá. This rhythm is mixed with Roberto Quintero playing Lalubanche figures on his congas.  This almost sounds like a mild Samba on the bass drum, but with the feel of a joropo on the snare drum. The horn harmonies soften the groove and add that hint of chamber music to the production. The tune “Walking” (that sounds much more like someone running), follows the title tune.  It features Venezuelan rhythms and a merengue groove.  Peter Brainin dances atop the rhythm section, slapping a straight-ahead feel into place on his saxophone. Track #5 is one of my favorites on this album.  It’s joyful and titled “Straight Ahead” although it is quite Latin and not at all bebop.  Boris Koslov’s bass introduces us to “Pa,” a tribute song to the father of the Simon brothers. Another tribute song follows that is meant to honor both their parents, Hadsy Simon and his wife Daisy Morillo titled “Un Canto Llanero.”  Perhaps Marlon Simon summed this project up the best.

“Music has been an unconditional companion throughout my entire life.  It has been there in the happiest and saddest time.  It’s been there to let me know where I am and where I need to be in my evolution as a human being.  It was time to take a different path, explore, and do something I hadn’t done before.  So, for this recording, I had to develop as a composer.  When you work on something, you have no preconceptions. What comes out is really you.”

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WOMEN ON THE JAZZ PATH WALK TALL

By Dee Dee McNeil

March 1, 2024

          During this month of March, I celebrate women who have chosen the music path in various areas of expertise.  SUSAN ALCORN is a pedal steel guitarist and composer.  SHUTEEN ENDENEBAATAR is a Mongolian jazz pianist, a composer and arranger. Classically trained vocalist, AUDREY SILVER interprets ten songs from the musical “Oklahoma.” Pianist, composer, nonagenarian, lyricist and singer, BETTY BRYANT adds humor and entertainment on her CD titled Lotta Livin,’ which seems appropriate since she’s 94 years old and still going strong. KINGA GLYK is a funky, electric bass player and vocalist. Her album is smokin’ hot with smooth jazz! AMANDA KING is featured on the ROB DIXON/STEVE ALLEE QUINTET album and CORINA BARTRA is the Artistic Director of the Afro Peruvian New Trends Orchestra, also the composer/arranger of the orchestra. Finally, Southern California based vocalist, JULIE KELLY, produced by a female jazz producer, BARBARA BRIGHTON, offers us “Freedom Jazz Dance.” Below is my opinion on what I hear from these talented individuals. Finally, the LORI BELL QUARTET pays tribute to the iconic Joe Henderson.

SUSAN ALCORN & SEPTETO DEL SUR – “CANTO” – Relative Pitch Records

Susan Alcorn, pedal steel guitar/composer; Luis “ToTo” Alvarez, guitar; Claudio “Pajaro” Araya, drums/cuatro; Francisco “Pancho” Araya, charango/quena; Rodrigo Bobadilla, flute/quena/zampoña/guitar/vocals; Amanda Irazzabal, double bass/vocals; Danka Villanueva, violin/vocals.

Susan Alcorn’s music reminds me of a historic, handsewn quilt.  She selectively combines the music of contemporary classical, country/folk, and Latin culture with modern jazz and the improvisational freedom it inspires. Thus, we have layers of creative musical arrangements that reflect colorful, cultural music. In her press package, it tells me she was inspired by travels to Chile where she discovered the “Nueva Cancion” movement.  It was a government provoked resistance, that locked hands with her dedication to community social justice. She has included an original song by the legendary Chilean composer and folk singer, Victor Jara. All the other songs on this album were composed by Alcorn, who first became interested in Chilean culture and music when she visited Chile in 2003. She met people who shared stories of activists, former exiles, and even concentration camp survivors of the Pinochet regime.  That’s how Susan Alcorn was introduced to Nueva Cancion music.

Susan Alcorn, the Baltimore-based, pedal steel guitar player, has carefully chosen the players within her ‘Septeto Del Sur’ group.  They form a cross-generational group of talented musicians.  “Canto” is the realization of pealing back the covers of Chilean history to unveil the country’s songs that documented their tragic history.

“It was an interesting time, because the coup and dictatorship of Augusto Pinochet had left a giant wound in the Chilean psyche that has still not healed,” Alcorn shared.

You will see above that Alcorn has included traditional instruments such as the quena and charango in this production.  Those instruments were banned in Chile, as was the protest music of ‘Canto’ sung and played by Nueva Cancion Chilean artists. The composer and singer, Victor Jara, was brutally murdered by the Chilean police.  In this music by Susan Alcorn, she weaves these stories of protest and brutality throughout her songs.  They flow like a salty water suite of music, moving from “Canto 1. Donde Estan” (referring to the missing persons who disappeared at the hands of the Pinochet regime) to “Canto II. Presente: Sueno de Luna Azul” (a chant often sung by Chileans as an ode to the lost or missing loved ones) to “Canto III. Lukax.”  This is a dedication to political prisoner, Lukax Santana.

Alcorn’s music is softened by the violin and flute solos by Danka Villanueva and Rodrigo Bobadilla.  But there is always an undercurrent of violence with startling, unexpected explosions of music and improvised sounds.  Supported by great musicians like Luis “Toto” Alvarez on guitar, known for his improviser skills, Alcorn’s music reflects the tragedy of war and suppression with tempo changes and creative musical passages.  Both Araya brothers, who add drums and Andean flute to the mix are from Northern Chile.  They add authenticity lending their Andean folk music roots. 

This is lovely, thought-provoking music. Susan Alcorn uses her pedal steel guitar and musical comrades to stitch her truth, like beautiful, but bloody threads through this fabric of musical history.  We may cover ourselves with her music, warm as a colorful quilt that sadly lays across the lap of tragedy to document man’s inhumanity to man.

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SHUTEEN ENDENEBAATAR QUARTET – “RISING SUN” –  Motema Music

Shuteen Erdenebaatar, piano/composer/arranger; Nils Kugelmann, bass; Valentin Renner, drums; Anton Mangold, soprano & alto saxophones/flute.

Mongolian jazz pianist, composer, and arranger, Shuteen Erdenebaatar is twenty-five years young and is the rising star from Mongolia’s capital of Utaanbaatar.  In 2023, she had already garnered an armload of of impressive awards on the European jazz scene.  To list just a few, she won the music Scholarship of the City of Munich, the Young Munich Jazz Prize, the Kurt Maas Jazz Award, the Biberach Jazz Prize and the BMW Young Artist Jazz Award.  This, her debut recording, announces her talent to the world.  Track #2, “Ups and Downs” brings to mind the early exploration of Herbie Hancock’s piano talents when he was blending Straight-ahead and abstract jazz.  Shuteen’s third composition, “Summer Haze” is presented solo piano as a sweet ballad.  It’s quite beautiful, featuring her technique & creativity.  “Olden Days” invites her band back to the production, with Anton Mangold using soprano saxophone to unveil the lovely melody Endenebaatar has composed.  Using flute to change the complexion of the music, on the tune “An Answer From a Distant Hill” also features the drums of Valentin Renner with the reed instrument dancing on top.  When Nils Kugelmann enters on bass, I find him quite interesting and musically expressive. When Shuteen’s strong piano powerfully blasts onto the scene, the music moves from smooth jazz to Straight-ahead. The pianist takes her time, building her solo slowly and precisely.  She has an inspiring way of lighting the fire beneath her band members and taking her songs from tender to crescendo in leaps and bounds.  The title song, “Rising Sun” could very well be significant of Shuteen Endenebaatar herself.  Here is a rising talent to watch as she climbs to higher heights, growing from a whisper to a lion’s roar.

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AUDREY SILVER – “OKLAHOMA” – Messy House Records

Audrey Silver, vocals/Native American flute; Bruce Barth, piano; Peter Bernstein, guitar; Adam Kolker, alto flute/bass clarinet; Kahlil Kwame Bell, percussion; Sarah Zun & Adda Kridler, violins; Kaya Bryla, viola; Maria Jeffers, cello.

A wind blows across my listening space.  It sounds like a cold winter wind, until a Native American flute warms the mood.  It’s Audrey Silver on flute and projecting the song “Oklahoma” from the musical of the same title. Since childhood, this has always been one of her favorite musical soundtracks, a record she and her father adored.  This love of musical plays and films developed into an appreciation of the Great American Songbook.  Many songs from that American collection of great composers became reworked and improvised into great jazz standards.  On this latest recording, Silver’s fifth record release, she interprets ten songs from that Oklahoma show.  Her goal was to present them as a jazz-inspired tribute to the iconic musical.  Using voice, guitar and piano for her core group, she added strings to give the project a jazz chamber musical attitude.  She, along with guitarist Peter Bernstein, and pianist Bruce Barth on the piano, offer an arrangement on the tune “Many A New Day” that’s intended to ‘swing.’ Silver sings it perfectly, but it doesn’t ‘swing.’ As the other song follow, the challenge remains the same. 

Audrey Silver was trained as a classical pianist and cellist.  She also loved singing and at Brown University she co-founded a jazz a ‘cappella group.  Her bio says that she has studied with Shelia Jordan and Mark Murphy, performed at some of New York’s respected jazz clubs and other various music venues.  The thing that perplexes me is her inability to ‘let go’ and improvise or to ‘swing’ the music.  These two things are absolutely necessary to claim the title of jazz singer.  However, she is a solid cabaret vocalist, with good pitch, a pleasing tone and perfect enunciation.  That being said, the publicity that places this album and these Rodgers and Hammerstein arrangements into the jazz category I find a bit presumptuous.  In order to label music ‘jazz’ you have to exemplify a blues base, an ability to ‘swing’ and the freedom to improvise. When I hear Emmet Cohen’s trio play “Surrey with the Fringe on Top” that’s jazz!  When Blossom Dearie or Frank Sinatra sing the same song, or Miles Davis plays the famous tune, that’s jazz.  Even though arranger, Bruce Barth has employed a jazzy five-eight time to the piece, it still lacks jazz authenticity. Audrey Silver had a great idea, but somehow this production falls short of expectations. Perhaps Ella Fitzgerald said it best when, in 1957 when she sang, “It Don’t Mean a Thing if It Ain’t Got that Swing.” 

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BETTY BRYANT – “LOTTA LIVIN’” – Independent label

Betty Bryant, piano/vocals/composer; Robert Kyle, tenor saxophone/flute/harmonica/producer; Richard Simon, acoustic bass; Kenny Elliott, drums; Tony Guerrero, trumpet; Hussain Jiffry, electric bass; Kleber Jorge, guitar; Yu “Big Poppa” Ooka, guitar; Kevin Winard, percussion.

The title of this Betty Bryant album is quite appropriate.  Lotta Livin’ expresses her silky-smooth ability to live a full and creative life for the past ninety-four years, dedicating the majority of that time to music. Her Kansas City, Missouri soulful and bluesy piano playing, along with her unique vocalizing, was influenced greatly by her friend and jazz legend, Jay McShann.  In fact, a famous photograph of Betty with Jay McShann and a group of other musicians hangs in the lobby of the Kansas City American Jazz Museum.  The same brown-tone photo is pictured on the back of this recent CD booklet that accompanies her album.  She is a Kansas City living-legend!

In Southern California and to her close friends, Betty Bryant is known as “The Cool Miss B.”  That was a name gifted to her by her longtime friend, musician, and record producer, Robert Kyle.  In 1997, Kyle dubbed her ‘Cool Miss B’ in a song. That sweet nickname has stuck with her over two and a half decades.  It completely describes Betty, with her laid-back attitude, her tongue-in-cheek sense of humor, husky voice, and her complete command of the 88-keys.  Everything about Betty Bryant is cool, tasteful, and always tinged with a warm sense of humor. Bryant is an awesome composer of music and lyrics, many that are quite humorous.

Take her tune, “Chicken Wings” on this album.  A duet, with just Bryant and Kyle, who plays harmonica instead of saxophone while performing this original song. It will have you laughing out loud.  The production is simplistic and perfect.  The song is an absolute tickle to your funny bone, and the lyrics are not only humorous, but unique. It’s a story fluidly written to unveil a testimony many of us can embrace about those delicious chicken wing snacks.

Bryant moved to Southern California in 1955 with a gig handed down to her by the late, great Earl Grant.  They were friends back in Kansas City.  Betty had been wanting to move away from home and when the pianist offered her a gig at his club, she gladly accepted.  Her blues roots shine on this album, as she plays familiar blues tunes like “Stormy Monday” always adding her own inimitable take on the tune, with an arrangement that freshens an old blues standard and establishes her mastery and individual style on the piano. When Kyle enters on his silky, soulful saxophone I am transported to a smokey juke joint with slow-dancers hugged up, bodies pressed against each other in the rock-gut blues his horn blows all over the room.  I love her renditions and arrangements of the jazz standards, like her breathy take on “Between the Devil and the Deep Blue Sea” and Latin tinged arrangement on “The Very Thought of You,” but where she truly shines is when she sings her own original compositions.  “Katydid” is another humorous, melodic and lyrically brilliant tune that Betty Bryant has penned to both stun and entertain us.  I never figured out what ‘Katy did’ but we know it was something bizarre and we listen intently to Bryant’s story, in hopes of uncovering the secret.  You see, this song, “Katydid” is not about insects, but rather about what Katy did. 

The intention is perfectly clear when Bryant plays piano and sings.  Her voice is rich with the lessons of life she’s learned on a journey of nine plus decades.  There is truth and honesty in each lyric sung and each note played.  Clearly, Betty Bryant has a Lotta Livin’ still to do, and she’s having a ball while she does it.

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KINGA GLYK – REAL LIFE – Warner Bros Records

Kinga Glyk, electric bass/vocals/producer/composer; Brett Williams, Keyboard/composer; Julian Pollack, Caleb McCampbell & Nicholas Semrad, keyboards; Robert “Sput” Searight, drums/composer; Casey Benjamin, aerophone/ composer; Michael League, co-producer/composer/keyboards/ fretless baritone electric guitar/electric sitar.

The first composition on this recording is “Fast Life” and features Kinga Glyk’s electric bass and her vocals.  Together, these two talents set a groove in motion that is both fresh and inspired. The keyboard solo of Brett Williams establishes the melody, and this listener is swept up in the electronic excitement of this band. Robert “Sput” Searight uses power-packed trap drums to spur this fusion jazz ahead, much like the whip on a horse’s tail. Searight also introduces us to Track #2, called “Unfollower” with his percussive skills.  Kinga Glyk is a terrific composer and one of Poland’s rising stars.  She has penned or co-written every song on this album and her talent is impressive. This music represents a combination of smooth jazz and fusion that twists and turns, braiding its way across my listening room with groove after groove.  A song called “Who Cares” was a collaboration between Glyk and co-producer Michael League.  It’s a great tune with lots of energy and excitement.  Kinga Glyk steps stage center on her electric bass and makes a bold statement, ending the tune with her instrument acting as an exclamation mark. “Island” is a pretty ballad with an other-worldly arrangement that makes me feel as though I’m floating above ground. The use of several keyboards and electronic effects lifts this production and takes it to a very artsy level. This tune puts me in the mood for a deep tissue massage.  It’s that kind of subtle, unobtrusive production that you might hear during a spa day.  I was interested in hearing the two songs that Kinga Glyk composed without collaborating. The first is called “Not Real” and features her funky, but melodic style. The second is titled “Unseen Bruises” and this composition is a brief ballad that sounds like an interlude and lasts only a minute and thirty seconds. Afterall, who wants to spend a lot of time concentrating on hidden bruises?  This is music that reminds me of spaceships, time travel and futuristic things.  It scratches the surface of dreams and travel, with propelled electronics that whisk the listener away to places we have yet to explore. It’s Kinga Glyk’s serious funk driven bass that makes this music pop and dance.  You really hear her power and punch on the Michael League composition called, “That Right There.” It’s a killer tune and arrangement.  Following that song, Glyk offers us a tune called “Funny Bunny” that’s humorous and significant, but only mere seconds long, like a wink or a giggle.  Kinga Glyk speaks to us with music, tasteful, modern, space-agey and unique.  This is an album and an artist to watch as she soars forward, upward, and beyond.

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SYLVIA BROOKS – “SYLVIA BROOKS LIVE WITH CHRISTIAN JACOB” – Rhombus Records

Sylvia Brooks, vocals; Christian Jacob, piano; David Hughes, bass; Kevin Kanner, drums; David Witham, keyboards/accordion; Jeff Bunnell, trumpet/flugelhorn; Brian Scanlon, tenor saxophone/flute.

Chanteuse, Sylvia Brooks uses her soprano range to interpret two fists full of American Songbook standards.  Recorded ‘live’ at Herb Alpert’s popular restaurant and jazz club called, ‘Vibrato’ in the Los Angele area, Brooks has paired her talent with Musical Director and pianist, Christian Jacob.  The audience’s applause and support is palpable.  Her emotional delivery engages them, and Brooks knows how to tell stories with her tone and attitude. Surrounded by six capable musicians, two who provide a rich horn section that sufficiently colors these arrangements, Brooks presents her strong cabaret voice. She has a tone that lends itself to the Broadway stage and she could easily be the star of a musical play.  Opening with a dramatic arrangement on “When the Sun Come Out” that’s full of horn harmonics and a bluesy piano provided by Christian Jacob, Brooks infuses drama into these lyrics. Her rendition of this song is reminiscent of Barbara Streisand’s recording back in 1963 or the famous Judy Garland recording of the same in 1958. Helen O’Connell’s unforgettable presentation of this song comes to mind when she introduced this torch song to the public back in 1941. Brooks has a voice that’s similar to these stylized singers, none of whom referred to themselves as jazz singers.

Brooks follows this tune with another sexy torchy song, the popular “Blues in the Night.”  Both songs were met with much audience appreciation.  She puts her own spin on “Guess Who I Saw Today?” that was originally written for a Broadway musical revue called “New Faces of 1952.” It became a jazz standard because of the Nancy Wilson rendition in 1960. 

Brooks inserts an instrumental in her show, that features her pianist and MD on “The Red Pig Flew Up the Hill” with Brian Scanlon sounding gorgeous on tenor saxophone and Jeff Bunnell featured on a well-played trumpet solo.  This instrumental ensemble brings ‘the jazz’ to this project.  Brooks re-enters with a duet, she and Christian Jacob present called, “The Flea Markets of Paris.” The addition of David Witham on accordion adds a Parisienne flavor to the Jacob arrangement. Sylvia’s lovely voice tells the story, with perfect enunciation and believability. Next comes the band’s swinging rendition of “Cold Cold Heart.”  The band ‘swings’ but the vocalist does not.  That’s a problem if you claim rights to the jazz singer title. The arrangement on “Night and Day” could have been raised up a step, making it more suitable to her extraordinary range.  However, on “Tender Trap” Brooks shines.  “Holding Back Tears” is a pop arrangement that she sings beautifully.  Sylvia Brooks closes with “Come Rain or Come Shine”, and these are the type of belting burlesque songs that she seems to gravitate towards, and she always powerfully delivers.

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ROB DIXON/STEVE ALLEE QUINTET featuring AMANDA KING & DERRICK GARDNER – “STANDARDS DELUXE” –  Independent Label

Rob Dixon, tenor & soprano saxophone; Steve Allee, piano; Amanda King, vocals; Nick Tucker, bass; Greg Artry & Kenny Phelps, drums; Derrick Gardner, trumpet.

This quintet embraces the lovely vocals of Amanda King on familiar standard jazz tunes like “Love for Sale” and “Caravan.”  She does a wonderful job of swinging both tunes, enunciating each lyric with casual precision and selling the song lyrics.  On the Caravan composition, Rob Dixon plays his soprano saxophone and on Love for Sale he switches to a gutsy solo improvisation on his tenor saxophone. Both sax solos are impressive.  After Dixon solos, Steve Allee tinkles the piano to invite Amanda King back to the party once more.  They slow their roll on “the Very Thought of You” where she presents her interpretation of this favorite.  She appears with just a trio at first.  On verse two, Dixon re-enters the picture and tastefully accompanies the vocalist on saxophone. 

Amanda began her career in showbusiness as an actress in Louisville, KY, then switched to singing in 2000. Once she moved to the San Francisco Bay area, Amanda King found success in recording and stage work.  She made a big splash in Northern California with her one-woman show, “It’s About Damn Time!”  This was followed by another show met with positive reviews and great acclaim, “Chanteuse.”  It soon became the title of her CD release in 2008, featuring a Bay Area trio.  In 2018, she released a holiday EP, co-produced by Barry Manilow’s musical director, Joey Melotti, featuring some of Las Vegas’s finest musicians.  That same season, she opened the show, “Ella Fitzgerald: A Centennial Celebration” in the Venetian Room of the Fairmont Hotel in San Francisco, alongside Lillias White, Freda Payne, Sony Holland & Janis Siegal.  She has also performed as the title character ‘Queenie’ in the Oakland Opera Theater’s rendition of Duke Ellington’s incomplete and rarely performed jazz opera, “Queenie Pie.” 

Amanda King is brightly featured on this new album along with the Rob Dixon and Steve Allee Quintet.  This woman has taken all her talents and combined them to become an in-demand vocalist and actress across the country.  In February of 2024, the Dixon/Allee Quintet album became available.  It’s a winner! 

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ARTISTIC DIRECTOR: CORINA BARTRA presents AFRO PERUVIAN NEW TRENDS ORCHESTRA – “COSMIC SYNCHRONICITIES” – Blue Spiral Records

Corina Bartra, Artistic Director/composer/arranger; Santiago Belgrano & Holman Alvarez Davila, piano; Ben Willis, bass; Juan Carlos Polo, drums; Pedro Diaz, Peruvian cajon/conga; Dave Morgan, tenor saxophone; Cecilia Tenconi, & Marvin Carter, alto saxophone; Roger Garcia & Eli Asher, trumpet; Erick Storckman, trombone.

Corina Bartra is a Peruvian vocalist, composer, arranger. and Artistic Director of the Afro Peruvian New Trends Orchestra. She has put together an orchestra of worldclass musicians from all over the globe, including some from her current home in New York City and including Brazilian and Cuban instrumentalists. Ms. Bartra was the first vocalist to blend Afro Peruvian music with jazz and Criolla music.  Criolla is a Peruvian music that embraces influences from Africa, Europe, and Andean music. She is a pioneer in this fusion of Latin music, South American culture, and jazz. She holds degrees in jazz percussion and a master’s in vocal performance. In 2008, Corina was a recipient of the Queens Council of the Arts Award.

By forming the Peruvian New Trends Orchestra, Bartra creates a vehicle for her melodic and original music to be heard and an opportunity for the world to be introduced to Peruvian rhythms and culture. Her songs are mixed into a stew of American jazz, African roots and the originality of her composing merits.  She has written nine of the eleven songs on this album, beginning with a composition titled “Ecstasy Green” that features satin smooth horn lines that sing the beautiful melody Corina has penned. Soon a saxophone solo steps into the spotlight and brings a feeling of Straight-ahead jazz, with the Latin percussion raging beneath.  It sounds more like a suite of music than a single song, with many mood changes and rhythmic tempos that bring surprises every sixteen bars or so. 

“Palmero Siguayayay” is a traditional Peruvian folk song with the drums pushing the tune forward like a band of marching musicians. The lovely tune called “Osiris” shows how much this Latin music has woven its way into the jazz idiom.  It also reminds me how melodic Corina Bartra is when she composes. The bass line sings it’s way into my heart, and the percussion instruments nail in place the Peruvian culture.  Still, the song is arranged in such a way that it becomes quite contemporary.

This album is adventurous, exciting, and full of Latin culture and jazzy roots.  It’s like an exotic flower blooming for the world to hear, to see, to touch, and smell.  The scent of this music is rich and spicy. It combines cultures like a gorgeous bouquet or an expensive centerpiece.  This Afro Peruvian New Trends Orchestra invites the world to come to their table, sit down and enjoy the tasty experience. Bravo Corina Bartra!

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JULIE KELLY – “FREEDOM JAZZ DANCE” – Laurelwood Records

Julie Kelly, vocals/guitar; Josh Nelson, piano/keyboard; Larry Koonse, guitar; Luca Alemanno, bass; Dan Schnelle, drums; Aaron Serfaty, percussion; Danny Janklow, alto saxophone/flute; Andrew Synowiec, guitar.

Julie Kelly grew up in Oakland, California, a city in the San Francisco area.  She and her twin sister, Kate, loved music and sang in their Catholic School choir.  The two formed a folk singing act in the 1960s and worked the coffee house circuit. They even opened for Peter, Paul, and Mary.  Meantime, she was listening to jazz, blues, and gospel.  

“When I was thirteen, I was listening to Thelonius Monk, John Coltrane, Ella Fitzgerald, Count Basie, as well as Dave Brubeck, and those wonderful albums with Miles Davis and Gil Evans.  It wasn’t long before I was sneaking into clubs in Oakland to hear people like Earl “Fatha” Hines.  The Blues is what guides me, and the great ones have shown the way,” Julie Kelly says in her online bio.

But before she had crossed that vocal threshold of jazz, in 1971 Kelly packed a backpack and her guitar, like a hippie she and a friend took buses and boats down the Amazon landing in Rio de Janeiro.  There, Kelly developed a great love of Brazilian music.

On this album she sings “A Ra” which translates to “The Frog” with the wonderful accompaniment of Josh Nelson on piano, who also co-produced this album. Impressively, Kelly sings in Portuguese.  I was surprised to hear her interpret a Gregory Porter tune, “Take Me to the Alley.”   That was no easy feat.  The tune is very beautiful, quite spiritual, and has a challenging melody.  Julie Kelly did it her way.

In 1984, she released her debut album on Pausa Records called “We’re On Our Way” and this is the voice I remember.

I also recall hearing Julie on her album “Kelly Sings Christy” and enjoying her “Never Let Me Go” album.  Her voice is no longer the powerhouse it used to be, but she still knows how to tell a story with her songs.  She is emotional and honest.  I can appreciate that. Barbara Brighton, Kelly’s old friend, produced this album.  Brighton is a very fine producer, who also produced Kelly’s former album release called, “Happy to Be.”   Julie Kelly has always known how to choose and interpret songs with lyrics she believes in and melodies that are unique and lovely.  For instance, her take on the Sting tune, “Practical Arrangement” is striking and reflects vulnerability.  The guitar additions of Larry Koonse and Andrew Synowiec on this project lend sensitive beauty.  Kelly was co-writer on “River People” a song composed with memories of her trip down the Amazon.  Her folk roots become apparent when she chooses the Gordon Lightfoot tune, “Early Morning Rain.”  The Brazilian arrangement on “Hello Like Before” is wonderful. 

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LORI BELL QUARTET – “RECORDA ME: REMEMBERING JOE HENDERSON” – Independent Label

Lori Bell, C flute/alto flute/composer; Josh Nelson, piano; David Robaire, bass; Dan Schnelle, drums.

Lori Bell has consistently produced amazing music over her decades-long career.  She is an accomplished composer, arranger, educator, and musician who has made her mark in jazz playing the flute.  This tribute recording grew out of her admiration for the iconic tenor saxophonist, Joe Henderson (April 24, 1937, to June 30, 2001). 

In the 1950s, Henderson was very active in this journalist’s hometown of Detroit, Michigan.  I wonder if the talented Ms. Lori Bell knows that while Henderson was attending Wayne State University, he studied flute and bass.  It was later that he developed his skills on saxophone under the tutelage of Larry Teal.  Some of his college comrades were Donald Byrd, Barry Harris and Yusef Lateef.  I bet, since Joe Henderson was also a lover of flute, he would have enjoyed this Lori Bell homage to his music and legacy.

Bell opens with “Isotope,” a tune Henderson recorded in 1964 on his album, “Inner Urge.”  His drummer was Elvin Jones, with McCoy Tyner on piano and Bob Cranshaw manning the bass.  Bell has contracted Josh Nelson on piano, David Robaire on bass, and Dan Schnelle on drums. She introduces this tune with her a ‘Capella flute skipping across space.  Enter Schnelle on drums and after a short and happy introduction, Nelson and Robaire join the duo.  Nelson has a piano conversation with Bell’s flighty flute. They sound like two souls speaking joyfully to each other.  The Henderson ‘breaks’ in his arrangement are evident during Bell’s performance. However, Lori is a fluid improviser who creates her own mood and mastery during this creative production.  

“On this recording I have tried to pay homage to his (Henderson’s) musical acumen and articulate imagination.  Each arrangement is tailored for the timbre and range of the flute, an unusual instrument to represent Joe Henderson as, unlike the majority of sax players, he rarely played it in public and was not known as a doubler.  Joe was an exceptional jazz saxophonist and to my heart and mind, a persuasive composer besides.  I’ve always admired his artistry and the way he crafted his songs.  His unique chord progressions, and use of the major7th #11 on several tunes, are compelling to me,” says Bell in her press package.

Bell takes a more Avant-garde approach to Henderson’s compositions, with her flute leading the band like a determined sea gull.  She dives and dips across space, with Nelson often following her lead and repeating Bell’s creative melodic phrases on piano. While playing the composition, “A Shade of Jade” both instruments sound like birds playfully cruising across the sky.  This tune was originally released on Blue Note Records with an all-star group including Curtis Fuller, Bobby Hutcherson, Cedar Walton, Ron Carter and Joe Chambers. 

Bell’s ensemble sounds more modern jazz and less Straight-ahead, until they play “Out of the Night.”  That’s when they capture the straight-ahead jazz-groove I enjoy so much. To my ears, that one captures the heart of Joe Henderson.  Soaked in minor blues, they attack the mood and the moment, led by a tenacious, solid bassline played by Robaire.  When Lori enters on flute, she is bebop magnificent, creative, and awe-inspiring.   Lori is followed fearlessly by Nelson’s impressive piano solo.  At this point, I am completely hypnotized by the Lori Bell Quartet and impressed by their own sense of artistry. 

Bell has picked eight Henderson compositions to expand upon.  Dan Schnelle is featured on “Inner Urge” boldly showing his drum skills that sparkle as brilliant as the spotlight.  Bell takes a different path on this tune, modernizing the pretty piece with Schenelle’s drums infusing a surprising nod to the Hip Hop genre.

On “Black Narcissus,” Nelson sets the mood beautifully, stroking the piano keys with sensuous arpeggios.  This song was originally on Joe Henderson’s “Power to the People” album that featured Jack de Johnette, Herbie Hancock, Ron Carter, and Mike Lawrence.  Lori Bell brings her alto flute to the party, and it’s warm and comforting as she caresses the Henderson melody. 

Bell has penned one original composition for this album tribute titled “Outer Urge” that explores various tempos, moving fluidly from 4/4 to 7/4 and then skipping to 5/4. The final tune and the title tune remind this listener of Joe Henerson’s powerful and popular recording that almost every jazz band has played at one time or another.  “Recorda Me” is re-harmonized by Bell, using Henderson’s original bass line and repurposing the tune to feature Lori’s own sense of improvisation and creativity.

This is an adventurous project that both stimulates and inspires.  While Bell tributes a great master of the past, she also spotlights herself, a young mistress of the future. This album will be available April 19, 2024 and her CD release party will take place at Sam’s First on April 25^th, in Los Angeles.

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BLACK HISTORY MONTH: JAZZ MUSIC IS ONE OF THE MOST IMPORTANT HISTORIC CONTRIBUTIONS AFRICAN AMERICANS HAVE MADE TO AMERICA

By Dee Dee McNeil

FEBRUARY 25, 2024

Every nation of the world, continent to continent, has embraced jazz. It is a musical legacy that America has labeled its unique Classical music.  Below are some carriers of the jazz torch.  They are all cultures, all races, all sizes and shapes of music.  The one thing they have in common is that they all love jazz, the same way that I do.  Here are some recent jazz recordings that I have reviewed for posterity’s sake.

JAMES ZOLLAR – “THE WAYS IN” – Jzaz Records

James Zollar, trumpet/flugelhorn/arranger; David Hazeltine, piano/Fender Rhodes; Gerald Cannon, bass; Willie Jones III, drums; Michael Rorby, trombone/arranger; Stefano Doglioni, bass clarinet; Nabuko Kiryu, vocals/composer. SPECIAL GUESTS: Jeremy Pelt, trumpet; Jennifer Vincent, cello/bass; Riza Printup, harp; Chembo Corniel, Conga/percussion; Patience Higgins, tenor saxophone.

James Delano Zollar was already in love with horns at age nine when he was playing bugle in his hometown of Kansas City Missouri.  By twelve, he had picked up the trumpet and after high school he studied the musical instrument seriously at San Diego City College and later, the University of California San Diego.  I first heard this talented trumpeter at a Jeannie and Jimmy Cheatham Sunday jazz jam session that was quite popular at the Bahia Hotel on Mission Bay.  Pianist Dwight Dickerson and I used to drive down from Los Angeles to participate in that popular jam session. That’s when I was a fledgling jazz vocalist. Several years later, I would hear James Zollar play in NYC when I visited a gig where Dwight was playing.

In 1985, Zollar relocated to New York City and joined the Cecil McBee Quintet for a five-year stint. His credits blossomed from there, performing with a huge variety of respected jazz artists including the Jon Faddis & Carnegie Hall Jazz Orchestra, Wynton Marsalis & the Lincoln Center Jazz Orchestra, The Count Basie Orchestra with Diane Schuur, Don Byron’s Bands, Jon Batiste, Tom Scott, Tony Bennett & Lady Gaga, Sarah Vaughan, Gladys Knight, the new jazz vocal star on the horizon, Samara Joy, and Latin piano master Eddie Palmieri.  The list goes on, but as you can see, Zollar is both versatile and on the A-list of NYC session musicians, as well as being a recording artist and bandleader himself. 

This album is one I will enjoy listening to time and time again.  They open with “The Fruit” dedicated to Barry Harris and composed by Bud Powell.  Zollar has arranged the tune along with trombonist, Michael Rorby.  This music begins my morning and David Hazeltine’s dancing fingers fill my listening room with Straight-ahead bliss bouncing from his piano. When the horns enter, they dance too. After they perform in-concert with rich harmonics, we meet Michael Rorby on trombone and Stefano Doglioni on bass clarinet, each offering solo introductions.  All the while, Los Angeles’s own Willie Jones III powerfully pushes this ensemble ahead with his drumsticks flying.  Track #2 features just horn and the vocals of Nabuko Kiryu at the introduction of the Horace Silver standard “Peace” and then slips into “Blue Silver” creating a lovely medley. James Zollar dedicates these two songs to Al Zollar, his brother, who insisted on

producing this entertaining and well-played album of swing.  Nabuko re-enters after the Zollar’s solo and scats her way through several bars of traditional jazz.  She very effectively doubles the horn line, using her voice to sing along with the trumpet.

The Zollar composition, “Jim Jim” was a song that reflects a childhood nick name for James Zollar and encompasses shades of the Miles Davis “Bitches Brew” days mixed with the Chicago Pop group, Earth Wind & Fire influence.  It has great energy, and the addition of special guests like Chembo Corniel on percussion lifts this song, along with Hazeltine’s funky Fender Rhodes. Corniel is also brightly featured on their arrangement of the Miles Davis tune, “Swing Spring.”

I love Zollar’s rendition of “Do Nothing Til You hear From Me” where it sounds like the trumpet is actually speaking the lyrics to me. Accompanied only by Hazeltine’s rich and sensitive piano, this is a striking duet!  There is so much emotion blown from the bell of Zollar’s horn! 

With this album release, James Zollar celebrates jazz history, fondly sharing the amazing talents of master musicians who he has played with or who he has been inspired by.  Although many are no longer on this Earth, James reminds us that this music is their legacy on the pages of music history. 

And to all the generations of musicians to come, Zollar hopes this record helps you to find “The Ways In.”   Sometimes, through the music, the arrangements, the excitement and love that jazz radiates, one can not only learn, but find healing and inspiration.  Perhaps James Zollar said it best when he shared in his press package these words.

“This recording is also dedicated to all the beautiful souls we lost during this pandemic, especially to Dr. Barry Harris, who’s passing still seems like yesterday.  It’s all about “The Ways In” to music, to jazz, to life.  To start with, there was Alfred Zollar, Jr., and Dorothy Delores Zollar, my parents and the vast record collection in our home in Kansas City … including old 78rpm records and newer 33rpm LPs.  I listened to Charlie Parker, Ahmad Jamal, Dave Brubeck, Lou Rawls, Dinah Washington, Ray Bryant, Babatunde Olatunde and more.  Down the street, there was the jukebox at Al & Bud’s, my dad’s tavern.  I heard Misty by Richard ‘Groove’ Holmes and Lee Morgan’s Sidewinder,” James Zollar recalls.

“…This particular project is heavily influenced by the cats from Detroit, the Motor City Scene, Dr. Barry Harris (Rest in Peace, my good friend), Pepper Adams, Thad Jones and the Jones Brothers, Charles McPherson, Lonnie Hillyer, Kenny Burrell, Donald Byrd, Marcus Belgrave, Tommy Flanagan, and Ron Carter. Listen for their compositions and influences.  But this recording has other influences too,” James continues.

Certainly, his other influences include his Kansas City roots, the New Orleans and Chicago scenes, the Los Angeles Central Avenue Jazz scene, San Diego, Miami and Tampa, Florida, Newark, Memphis, Pittsburgh Philadelphia, even the Texas Tenors.  Milwaukee is also heavily present on this recording.  In a special way, this project for James Zollar is his own historic legacy in song.  Jazz music has taken him around the world.

Today, as we celebrate Black History Month in February of 2024, James Zollar continues to make moves, make music, make a difference.  He has recorded with a long list of prominent names including Tom Harrell, Weldon Erving, and Sam Rivers.  His credits in motion picture soundtracks include Robert Altman’s motion picture, “Kansas City.”  He was featured in Madonna’s music video “My Baby’s Got a Secret” and Malcolm Lee’s film, “The Best Man.”  He played on the soundtrack of “The Perez Family” and is proud to be included in the Biographical Encyclopedia of Jazz (Oxford University Press 1999).

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STIX BONES – BOB BEAMON – “OLIMPIK SOUL” – BONE Entertainment

Franklin “Stix Bones” Brown, drums; Densen ‘Meighstro’ Curwen, piano/synthesizer/strings; Anthony Stevenson & Albert Brisbane, bass; Bob Beamon, percussion; Steven Brown, guitar; Sean Taylor (sxntyir), trumpet; Melvin Smith saxophone; Adiodun Oyewole, spoken word; Khadejia bass, vocals; Rufus Moore, background vocals.

I was very interested in reviewing this album when I heard that Charles Davis of the famed Last Poets was going to be a part of it.  Known as Adiodun Oyewole, I met this prolific poet many years ago (in the 1970s) when I was the female member of the Watts Prophets, and we released an album called “Black in a White World” named for a song I penned and sang.  We were a West Coast based Rap group of that early era of Hip Hop, and Oyewole was with The Last Poets.  We performed a couple of times on the same ‘bill’ as the popular East Coast based group.  This is particularly relevant this month, since this is Black history month, and The Last Poets made an awesome impact on American culture and Hip Hop.

Another reason this album should be celebrated during Black History Month is the inclusion of Bob Beamon, now a seventy-seven-year-old Olympic long jump champion who won that title back in 1968. It was in Mexico City when he set the record of 29 feet- 2 ¼ inches that still stands today as the longest Olympic jump in history. 

Beamon, a native of Jamaica, makes his first appearance as a percussionist on this Soul-Jazz recording. The album opens with a track called “Leap,” I assume that energy driven tune is in celebration of Bob Beamon and his Gold Medal Olympic Award.  Stix Bones sets the groove down on trap drums, joined by Beamon on percussion.  It’s a driving, catchy tune that sets the mood and groove of this album. The second composition is the title tune, also giving a nod to Bob Beamon and his “Olimpik Soul.”  Unfortunately, the saxophonist plays off key quite a bit, taking the sparkle away from this otherwise shiny arrangement.  The lovely voice of Khadejia bass sings an old hit record, originally recorded by William DeVaughan, “Be Thankful For What You’ve Got.”  She vocally paints the song with a fresh face. 

Stix Bones and his popular Bone Squad do a wonderful job of blending jazz, soul and hip hop together in a tight, cohesive package.  Brooklyn born Franklin Brown uses the stage name Stix Bones and his drumming reflects a gospel church influence.  He earned a bachelor’s degree in jazz performance at SUNY- Purchase College and the talented drummer, producer and bandleader has worked with the group Soulfege led by Take Back the Mic founder, Derrick N. Ashong. The B.O.N.E. Squad was the house band at the Paradise Theater in the Bronx.  They have opened for The O’Jays, Babyface, Charlie Wilson, Cedric the Entertainer, Chaka Khan and many more.

When the poem and song called “Price of Freedom” written by Last Poet, Oyewole, blasts into my listening room, and I am captivated by his spoken word, tone, and message. The percussion of Bob Beamon sets the tone as Oyewole says:

            “Freedom is too expensive for anyone to buy.  And yet there are many who always try. …  The price of freedom is your heart to allow yourself to feel.  The price of freedom is your soul, that no one could ever steal,” The Last Poet speaks.

This album is a tribute to Hip Hop, to jazz, and to a duet of masters who have joined Stix Bones and his group to record history with a special nod to The Last Poet, Adiodun Oyewole and Olympic champion, Bob Beamon.

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MIKE LEDONNE GROOVER QUARTET + GOSPEL CHOIR – “WONDERFUL” – Cellar Music Group

Mike LeDonne, Hammond B3 organ/composer; Peter Bernstein, guitar; Joe Farnsworth, drums; Daniel Sadownick, percussion; Eric Alexander, tenor saxophone; Vincent Herring, alto saxophone; CHOIR: Aisha de Haas, Audrey Martells, Carolyn Leonhart, Everett Bradley, Keith Anthony Fluitt, Jamie Leonhart, Jamile, JD Walter, John James, La Tanya Hall & Tanesha Gary.

“Wonderful” is a joyful album that blends the power of gospel music with jazz in a magical way.  Long time organist and pianist, Mike LeDonne brings his rich B3 organ sound and arranging talents to the studio. As a bandleader, he incorporates his deep love for gospel music into his jazz ensemble presentation.

“To me, putting a gospel choir and a jazz organist together seemed natural. … Unbelievably, it had never been done before. Most of the music I love came from the grooves and feeling of gospel and the blues. … When I’ve listened to gospel choirs swinging hard on a refrain or a vamp, I’ve always wanted to get a piece of it,” Mike LeDonne explains one of his inspirations for this album.

LeDonne’s project is all shuffle and groove.   His Groover Quartet is the motor inside this music.  Joe Farnsworth is powerful on drums and Peter Bernstein adds tasty guitar solos.  Eric Alexander, on tenor saxophone, and Vincent Herring on the alto sax bring that gutsy, soulful quality to the production. However, it’s Mike LeDonne’s sweet organ sounds that solidify the groove of this entertaining album.  He embellishes the music with a live choir of voices, like icing on the cake.

LeDonne also dedicates this uplifting music to his wife and disabled daughter.  LeDonne founded the Disability Pride Parade in New York City to showcase the vibrant and diverse nature of the disabled community.  His band plays everything from Ashford & Simpson’s “Ain’t Nothing Like the Real Thing” to John Coltrane’s “Lonnie’s Lament.”  LeDonne has penned the final tune called “Genesis.”  It splashes on the scene with energy as powerful as an ocean’s high tide. That original composition becomes a “Wonderful” way to end this album, featuring the bright technique and talent of drummer, Joe Farnsworth.

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DAGGERBOARD – “ESCAPEMENT” – Wide Hive Records

Erik Jekabson, trumpet/arranger/composer; Matt Clark, keyboard/piano; Gregory Howe, percussion/ composer; Mike Clark, drummer; Henry ‘the Skipper’ Franklin, bass; Mads Tolling, violin; Kasey Knudsen, alto saxophone; Mike Rinta, trombone/tuba; Ben Davis, cello; Jonathan Ring, French horn; William Winant, timpani/marimba.

What better way to start the day than to put on some solid, Straight-ahead jazz and let it soak into the morning air.  This new album by Daggerboard is the perfect way to begin my day.  Opening with the original song of Gregory Howe and Erik Jekabson, “Centrifugal” is a blend of old-school jazz with contemporary overtones.  Funny, the title tune, “Escapement” sounds more like the motion of a centrifuge than the opening track. I participated in lab work during college, and we often had to use a centrifuge to separate matter.  It spins in a certain way, and the introduction of the title tune reminded me of that circular spin and how it gains momentum. However, the arrangement soon settles down to a smooth, unobtrusive groove.  Matt Clark steps forward with a piano solo that puts the ‘J’ in jazz.  Erik Jekabson’s trumpet dances over the chord changes, bringing light and energy to the arrangement.  All the music has been composed by Erik Jekabson and percussionist, Gregory Howe. “Shiva’s Mode” has a very Middle Eastern essence with Howe’s precise percussion riding alongside Mike Clark’s trap drums like horse’s hooves. The addition of Mike Rinta’s tuba and Jonathan Ring’s French horn to this project bring delightful color to these arrangements.  Their tune called “The Balance Board” takes me back to the early1960s when Coltrane was king (1961 – My Favorite Things). Daggerboard offers us a pretty ballad with Jekabson’s trumpet introducing the melody and sirens echoing ominously in the background.  I Flashback to the Peter Gunn television series, a popular detective series that ran from 1958 to 1960, that utilized jazz as their music of choice.  The bass of Henry Franklin is distinctive beneath Clark’s piano solo and throughout the arrangement. Mike Clark shows off his brilliance on drums, building suspense into the song. This is perfect music for that new series, Mr. & Mrs. Smith or any detective show.  

The addition of Henry ‘The Skipper’ Franklin to this project spotlights Black History Month in a wonderful way.  You may recall Hugh Masekela’s hit record, “Grazing in the Grass? “  In 1968, that was the South African trumpeter’s  number one single.  Who’s that on the bass?” Henry Franklin!  ‘The Skipper’ (as he is fondly nicknamed by those closest to him) has performed or recorded with such icons at Gene Harris, Hampton Hawes, Al Jarreau, Curtis Amy, Willie Bobo, Archie Shepp, O.C. Smith, Count Basie, Stevie Wonder and too many more to list here.  While still a high school student, Franklin made his first professional gig with the legendary Roy Ayers and his Latin jazz Quintet. The Skipper was barely eighteen. This would lead to working with other Los Angeles based musicians like Billy Higgins and Harold Land.  He recorded with Stevie Wonder on Wonder’s album, “Journey Through the Secret Life of Plants.”  He’s played with Pharoah Sanders, Sonny Rollins, Bobby Hutcherson, and Sonny Fortune.  Henry Franklin established his own record label in 1990. Consequently, Franklin has released over twenty albums on his SP label.  He has also published an educational jazz bass book titled “Bassically yours.”

I have reviewed several of the Daggerboard albums in the past and this one is my favorite to date.  The compositions are creative, inspiring, imaginative, and just good listening.  The blend of horns and electronics are perfectly matched with Erik Jekabson’s orchestral arrangements brightly lifting the production. 

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TRIOS RULE

By Dee Dee McNeil

February 15, 2023

GIORGI MIKADZE TRIO – “FACE TO FACE” – PeeWee Records

Giorgi Mikadze, piano/arrangements/composer; Francois Moutin, acoustic bass; Raphael Pannier, drums.

A flamboyant piano introduction leaps from my CD player.  The tune is “Satchidao” composed by pianist Giorgi Mikadze.  Could it be referring to Louie ‘Satchmo’ Armstrong, I wonder?  His press package says it’s more a nod to a well-known melody traditionally sung during Georgian wrestling matches.  Mikadze’s two handed attack on the 88-keys is exciting and technically dramatic.  Raphael Pannier spurs the original composition forward with powerhouse drums. 

Track #2 settles down to a sweet ballad tempo, with Pannier picking up brushes to ‘swish’ the groove softly beneath the lovely melody of a song called, “Not Easy to Repeat.”  I love the bass lines that dance beneath Mikadze’s piano once he settles into a slow groove arrangement.  Francois Moutin has a distinctive voice of his own on double bass and often employs a contrapuntal melody to conversate with Mikadze’s self-expression on piano.  I enjoy both of their melodic presentations. However, I do wish the bass had been turned up more in the final ‘mix,’ because his musical voice is so creative and necessary to the rhythm section. 

Finally, on Track #3, I hear Francois Moutin step into the spotlight on acoustic bass to deliver his rich solo. This is a tune called “Dolls are Laughing” and it was written by a Georgian composer.  In fact, Mikadze’s trio celebrates several famous Georgian composers on this “Face to Face” record release.  He studied at Berklee and the Manhattan School of Music under a presidential scholarship, where he developed a deep interest in jazz.

“I started to ask myself, why should I play American standards when there are numerous melodies written by Georgian composers?  I love the America Songbook.  That’s how I learned to play jazz.  But I would like to offer the world a Georgian Songbook and share all these beautiful melodies from my country,” Giorgi Mikadze shared in his press package.

Giorgi Mikadze calls home Tbilisi, Georgia.   Tbilisi is the largest city of Georgia, a representative democracy governed as a unitary parliamentary republic. They proudly acknowledge their own language and culture.  This trio album celebrates Mikadze’s first recording using a traditional piano trio.  This format is a departure from his previous ventures exploring Georgian music.  He released an album called “Georgian Microjamz” with an innovative guitarist, David “Fuze” Fiuczynski, in 2020.  Before that, he released “Georgian Overtones” that was a combination of jazz, chamber music and Georgian polyphonic singing.  “Face to Face” is the first time this pianist has produced a purely jazz recording.  It introduces us to his cultural roots, that are absolutely lovely.

“Georgian classical composers of the 60s, 70s and 80s were heavily influenced by the harmony and freedom of jazz music,” Mikadze explains.  

I know that Russia, like some other autocratic countries around the world, once banned jazz music.  Mikadze mentions that many Georgian people tried to find the broadcasts of ‘Voice of America’ to hear the forbidden music of jazz on their radios. Georgians are a strong, revolutionary people with their own ideas, culture, and concepts.  Jazz has long been a representation of freedom and resistance to the status quo.  This album is an amazing and beautiful tribute to Georgian culture, played by three super talented musicians.

The sub-title of “Face to Face: Georgian Songbook Vol. 1” hints that there will be more volumes to follow and that they will celebrate the admirable piano mastery of Giorgi Mikadze and the Georgian music culture. On this project, we lock hands warmly like good friends, sharing their own culture with the American classical music of jazz.

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SAM ROSS – “LIVE AT THE MIRA ROOM, VOL. 11” – Independent Label

Sam Ross, piano/Fender Rhodes; Simba Distle, upright & elec. Bass; Dr. Mimi Mured, drums.

This is one of those albums where you immediately are intoxicated by the piano player’s music and his recording transports you right into the club, along with the enthusiastic audience you hear applauding loudly.  Sam Ross is so good at what he does.  Immediately I am drawn into his swinging piano presentation as he and his bassist swing a song called “Breakfast for Dinner.”  After a couple of choruses of that song, Dr. Mimi Mured drops in on drums and the trio punches harder than Joe Louis at his prime. This is classic bebop! 

Sam Ross has composed every song on this album and even designed the CD cover.  A strong bass line opens a tune called “New Shoes” with the drums slapping the groove into place.  Ross enters with the blues on display and shows us his soulful side.  His press package says that he’s an artist who lives in Long Beach, California and I immediately want to go out and hear him play live.  On this ‘shoes’ tune, the bass takes an impressive solo and Dr. Mured builds the arrangement by adding colorful drums and energy to the piece. Ross can lay a groove down like Les McCann or Gene Harris.  His nimble fingers explore the keyboard and deliver not only soulful rhythms but memorable melodies.  This tune is followed by another original titled, “What is TOP.”   It begins with a repetitious six-note melody, then stretches out and becomes a real ‘cooker’ that invites a spirited bass solo and spotlights the drums on a trading-fours part of the tune, with a full drum solo at the end. “New Socks” is a funk tune that reminds me of something Herbie Hancock might have played, more electric than the other arrangements have been, and Ross is playing a Fender Rhodes electric piano on this one.  The trio closes out with Sam Ross tributing Chick Corea with a tune he penned called “Dear Chick.”  Every song on this album showcases Sam Ross’s composer abilities.  But there is something else that must be told.  It’s a very unusual aspect to this recording.  Simba Diatis, listed as the bass player, is actually an anagram of Midi Bassist and Dr. Mimi Mured does not exist either.  The drummer is a program called Midi Drummer and Sam Ross is actually playing every instrument of this trio. What?? !!  Yes, and playing all three instruments dynamically.  Sam Ross used the lock-down period caused by the COVID pandemic to master production, playing the piano parts, and programming the bass and drums using Loic Pro X.  He did this album solo, all by himself, and it was good enough to fool me. There is no Mira Room.  He simply invited thirty of his friends to attend his solo concert and asked them to react the way they would in a real nightclub. 

Sam Ross earned degrees in both Sociology and Jazz Studies at the University of Michigan.  Of course, he has performed jazz with other human beings at clubs and festivals around the Southern California area. He also prides himself in being a jazz educator and enjoys inspiring his students.  In 2023, Ross won the Downbeat Graduate Student Arranging Award for his version of “Blue in Green.”

This album sparkles with brilliance and ingenuity, and it features Sam Ross in top form as not only a pianist and composer, but also an innovator, arranger and leader of his own unique and well-played trio, a trio that he created himself playing every instruments.  Impressive!

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SKIP WILKINS TRIO – “IN MORAVA / NA MORAVE” –  New Port Line Records

Skip Wilkins, piano/composer; Josef  “Pepa” Feco, double bass; Tomas Hobzek, drums.

Perhaps you have never heard of the Deer Head Inn, located inside the Delaware Water Gap district of Pennsylvania.  It is a revered site that has promoted, sponsored, and invited jazz to its stage for years.  Among the name players who have performed and recorded ‘live’ at the Deer Head Inn are Keith Jarrett, Gary Peacock, Phil Woods, Paul Motian, and Jim Snidero, to name only a handful.  Pianist and composer Skip Wilkins knows the spot very well because, when he’s not living in Central Europe, he lives there.  The Deer Head Inn is Wilkins’ home.

This album is named after the European city of Moravia, located in the Eastern-most part of the Czech Republic. This ancient kingdom of Moravia (that Wilkins refers to as Morava) was incorporated into the kingdom of Bohemia and later, in the 20^th Century, it became part of the modern state of Czechoslovakia or the Czech Republic.  This land is a far call from the Pocono Mountain community of Eastern Pennsylvania where the Deer Head Inn is located. What they have in common is that both places love jazz.  Wilkins made his first trip to Prague, a city in the Czech Republic, back in 2007 and fell in love with the countryside and the people.  He teaches there and tours all over Europe, using his apartment in the Czech Republic as a second home.

“In Morava there is a gentleness to the people, an earnestness, a special way of living, a joy for living, and a capacity for experiencing the present moment that carries me away every time I visit.  If the music cries “In Morava,” the people cry with it.  If it shouts, they shout.  I am at home in Morava.” 

Four of Skip Wilkins’ original songs on this album were composed in the Czech Republic. The rest were written in the United States. His titles are inspired by experiences and often come first before the music is even written. The trio opens with “My Beautiful Stranger” that has a rich, captivating melody.  Josef “Pepa” Feco introduces himself with a double bass solo.  Wilkins pumps his left hand to lock in with Tomas Hobzek on drums. 

The tune “Nearly Good Wine” surfaced while performing at a jazz club in Bavaria. The fellows were on a ‘break’ when one of them was asked how the wine tasted that he was sipping?  He responded, “Oh, it’s nearly good.”  Wilkins jotted the response down and later wrote a song to match the title.  It’s straight-ahead jazz, with Wilkins’ fingers flying swiftly across the keys.  While trading fours, we get a strong understanding of the Hobzek drum skills during this arrangement.  Wilkins has included a booklet in the album that explains in detail every song he has written and why.   One guest on this recording, Rostislav “Rosta” Fras plays tenor saxophone.  Sadly, this musician and close friend of the trio players lost his battle with cancer at 44-years young, and never got to hear this album in its completion.  You will appreciate his soulful horn on the ballad Kaja (take one and take two).  This song celebrates the influential Czech pianist and composer, Karel Ruzicka, who lost his battle with cancer in 2017. Wilkins permeates this song with a tender sadness.  The title tune, “In Morava” has piano and bass joining tones during the introduction, playing harmonically, single notes together in a slow, classical narrative that grabs the attention.  When the jazzy polka-like groove kicks in, we are transported to another place and time.  This is an album that locks arms across continents, with both players and compositions representing the best of America and the Czech Republic. 

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DAVE BAYLES TRIO – “LIVE AT THE UPTOWNER” – Calligram Records

Dave Bayles, drums; Russ Johnson, trumpet/composer; Clay Schaub, bass/composer.

This chord-less trio spotlights Russ Johnson on trumpet with bandleader, Dave Bayles holding the project tightly in place with drums that act like nuts and bolts.  Clay Schaub brings his bass to the presentation and now we have a very unique and creative trio.  The first, second and third tunes on this album are composed by bassist, Clay Schaub.  “Fitzroy” begins this trio’s original journey before a ‘live’ audience at the Uptowner, celebrated as the oldest bar in Wisconsin. The trio’s second song is called “Third Birthday” (written for Clay Schaub’s daughter, Miriam) that allows Schaub to take an opportunity to feature a long and creative bass solo. Afterwards, the curtains open to a trumpet solo by Johnson.  The Bayles drums tap-dance across my listening room, spurring on the music. 

Bayles selected his bandmates with the intention of exploring new territory.  He explained it this way:

“The pandemic forced us all to think about things and I wanted to do something out of my familiar zone.  Russ was the perfect person for that, and Clay was the other perfect person.  It’s opened me up to a lot of things musically that I felt I needed to do,” Bayles expressed.

“The job, as far as the music here, is to not get tangled up in judgements of good or bad, but to keep the channel open and carry on with intention and integrity,” the bass man added.

I’m swept up by the hard bop of “The Illusionist’s Sister” a tune that quickly becomes a favorite on this album.  This one was composed by Russ Johnson and his trumpet interplay with Schaub’s bass is spectacular.  Of course, it wouldn’t swing without Dave Bayles on drums, power-punching the tune alive. Johnson also wrote the eighth and ninth song on this album.  On “Waking Hour” they play for over nine minutes and on “Horizontal heartburn” they mix a beautiful melody with a long-improvised trumpet solo and the brilliant drums of Bayles.

Of his role in the trio, bandleader, Dave Bayles says, “It’s not just time keeping.  It’s being another voice in the composition.  It can be gentle at times, bombastic other times.”

Truly, we get a taste of his bombastic attitude on “The Illusionist’s Sister” and on the composition “Shuffle Boil” you get a huge taste of funk. The Bayles drums shuffle you into this Thelonious Monk tune and hold the energy in place like a fiery-hot branding iron.  Dave Bayles trembles drumsticks against subservient cymbals during their presentation of “Comanche,” and on “Quirks” the trio takes us to New Orleans with rhythm and attitude. Bayles is precise and colorful on his trap drums.  He knows just when to add spark and excitement and when to shuffle the rhythm into perfect place.  This is an arrangement that will have you tapping your toes and snapping your fingers. Composed by Schaub, it’s another one of my favorite tunes on this album. 

The trio slides Dave Bayles into the spotlight on their closing tune with a great title, “Horizontal Heartburn.”  Given free rein, Bayles rides his trap drums across space like a rodeo master.  It’s clear why so many jazz icons have called on the Bayles drum mastery like Barry Harris, Frank Morgan, and Charles McPherson. This is a drummer for all seasons.

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ROGER TILTON TRIO – “MOSTLY BOSSA” – Skipper Productions

Roger Tilton, piano/composer; Henry ‘The Skipper’ Franklin, bass; Yayo Morales, drums.

If Bossa Nova is your thing, you will treasure each tune on this trio recording.  They open with Jobim’s classic, “Dindi.”  This is followed by the Horace Silver composition, “Tokyo Blues.”  “Bossa for Debbie” is a Roger Tilton original tune. Each song is executed well, but what I keep looking for is the excitement, the drive, the emotion from this talented pianist.  On “What is this thing Called Love” they swing, and Tilton’s fingers skip over the keys like happy children at play.  Yayo Morales takes a spirited solo on drums.  Finally, on “Blue Bossa” I hear some energy from the pianist.  ‘The Skipper’ takes an emotional solo on double bass and makes that bass talk, telling us stories with musical notes that tumble over each other in precise and melodic ways. The ending of the song is well planned and executed, unlike several other tunes where Tilton just drops the ending like a hot pot in unsuspecting hands.

Tilton plays “Brigas Nunca Mais” with a light and joyful arrangement, buoyed by the Morales drumsticks.  For a brief four minutes, Tilton interprets a Monk tune (Hackensack) and steps away from Bossa to Straight-ahead.  He feels comfortable performing this Thelonious classic, but once again, I keep waiting for the explosion in Tilton’s presentation.  It’s that magic that happens when the audience gasps and breaks into shouts of approval or ecstatic handclaps. The trio closes with one of my favorite Jobim tunes, “Dreamer,” returning to the Bossa groove and floating like a kite on a cool windy afternoon. This is a well-played trio album that is warm and cushy like a stuffed lion.  But sometimes, deep inside, you long to hear that lion growl and roar.  That didn’t happen.

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SATOKO FUJII TOKYO TRIO – “JET BLACK” – Libra Records

Satoko Fujii, piano/composer; Takashi Sugawa, bass; Ittetsu Takemura, drums.

For the Avant-garde taste, brilliant pianist, and composer, Satoko Fujii offers us her Tokyo Trio album.  Along with bassist Takashi Sugawa and drummer Ittetsu Takemura, Satoko makes a startling first impression with her staccato piano introduction and the long seconds of silence, in between, before Takemura’s drums jolt the listener back from straining to hear what is coming next. This opens their first track titled, “Along the Way” with Takashi Sugawa bowing his double bass and pulling tones out of it like sticky taffy, I am intrigued. 

Although Avant-garde groups are appreciated and accepted in Western culture, bands like this are a rarity in Japan.  The clash of dissonant notes and exploration of various tempos and unpredictable chord changes can challenge any listener who may be looking for more melody and structure.  This improvised journey into the minds of three gifted and awesome jazz musicians is like stumbling through the jungle in sandals.  You never know what you may discover, or which arrangement is going to bite you into awareness. Sometimes it’s a little scary.  At other times, there is genuine peace and beauty in the production. 

This is a study of moods and technique, blended like salty cake batter to show another side of a sweet treat.  It’s poetry in music.  Prose delivered by a mime.  I find myself sitting up attentively, awaiting the next musical phrase with anticipation and wonder.  This music will make you pay attention.

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MALLEUS TRIO – “ON/OFF” – Canada Council for the Arts

Ben Brown, drums/composer; Dominic Conway, tenor saxophone/composer; Geordie Hart, upright bass/composer.

The first song sounds like someone standing at a light switch and switching it off and on.  It is titled “On/Off” so, I suppose my perception of the music is what the composers intended.  However, I found this first tune made me nervous.  The same way I would feel if someone was switching my lights on and off in repetition. 

New to my ears, this trio has become a staple of the jazz festival circuit in Canada.  Ben Brown on drums, Dominic Conway on tenor saxophone and Geordie Hart on double bass present a tightly woven package of Avant-garde arrangements.  This is their third album, titled for the first tune. 

Their productions grow from Brown’s rhythmic drums and are cemented in place by Hart’s upright bass lines.  Hart is definitely the solidifying basement of this chord-less project.  Dominic Conway flies and flutters above the fray on his tenor saxophone.  Their production is unorthodox and perhaps a reflection of the Malleus trio’s eclectic versatility.  For fifteen years, bassist and composer, Geordie Hart has applied his talents to a wide variety of music, including bandleader of the Boom Booms who are more soul/pop than jazz.  The saxophonist of this trio, Dominic Conway, is also a member of numerous groups including working alongside of internationally celebrated Vancouver, Canada’s popular improviser artist, Peggy Lee, as well as jazz groups and ensembles that celebrate funk. The trio’s drummer, Ben Brown, has been celebrated in a number of European venues for his experimental music and powerful drum skills.

On Track #4 the Malleus trio settles down into a ballad composition that offers some relief from the ‘on-the-edge’ productions that preceeded this song.  It’s called “Game Theory.”  I sigh in relief.  Brown shows off his mallet skills on his drum kit.  Conway builds the melody, climbing the scale like a man on a musical ladder. On Track #6, the blues finally pokes a defiant head into the picture.  The tune is named “Big City.”  This one transports me into a juke joint.  It’s a place I’m familiar with and this music makes my toes tap.  On the other side of the coin, “Stagger Step” is a dirge.  The trio slaps me from a happy tap to a funeral procession.

On the whole, this band is composed of three friends who know each other very well.  Together they have composed every one of the fourteen songs they offer us.  They fuse together comfortably, improvising and pushing the limits of their instruments and their imaginations.  Fasten your seatbelts!

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CHRISTIAN FABIAN TRIO – “HIP TO THE SKIP” – Spicerack Records

Christian Fabian, electric bass/composer; Matt King, keyboards/composer; Jason Marsalis, drums/composer.

Christian Fabian brings Fusion jazz to the forefront, with his electric bass leading the way. The first tune on this album is the title tune, “Hip to the Skip” penned by Fabian. Jason Marsalis is dynamic on drums and pushes the music ahead like a snowplow. This production is icy-hot, providing warmth like those patches meant to heal aching muscles. Once applied, you just feel better. This music is both healing, happy and regenerative.  It will lift your mood and startle your creative juices awake.

“Jason and I had been thinking for a while about doing an electric project, and it occurred to me that Matt King would be the perfect fit for us. Since Jason came up from New Orleans to New Jersey frequently for work, we were able to schedule our first session on September 14, 2021. … We finished the last recording on March of 2023,” Fabian explains in his press package.

This band covers the Bobby Timmon’s standard, “Moanin’” and they do it their way. Matt King, on keyboard, supplies fresh improvisational ideas and a stinging ‘funk’ groove on this tune.  This is followed by a deep dive into the Joe Zawinul composition “Mercy, Mercy, Mercy.” Jason Marsalis opens the familiar tune on drums and is quickly joined by Fabian’s electric bass line. They rejuvenate this song in leaps and bounds, slapping modulations into place like licks upside the head.  Even “This Can’t Be Love” is painted with a brand-new face that crowns the tune into fusion royalty, tagged with a shuffle beat.  King contributes an original composition called, “Incognito” to the mix, with Fabian double-timing the bass line beneath the catchy melody and also improvising madly.  This is Straight-ahead funk with Marsalis supplying the drive and excitement on drums. Matt King sounds beautiful, jazzy, and inspired on the keyboard both on his original song and the follow up traditional tune, “When the Saints Go Marching In.”  This popular song is arranged with a slow, bluesy drive that makes me sit-up and take note. Marsalis contributes a song called “Zig 7” to the production.  It’s a lesson in rhythm and soul.  Matt King adds an organ to the production that sweeps this listener into a fresh place, punctuated by staccato breaks and Fabian’s bold bass. Fabian locks hands with the Marsalis drums, as free as two children skipping through a field of fun.

Here is a trio project that will both entertain and surprise you.  Their press package explains it’s the first time both Christian Fabian and Jason Marsalis have recorded a complete tribute to funk and fusion jazz.  I hope it won’t be their last!

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