FRESH ORCHESTRATIONS AND BIG BAND BEAUTY EQUALS RAINBOW GRAVITY

August 10, 2018

By Dee Dee McNeil / Jazz journalist
August 10, 2018

One thing I learned from the liner notes of SCOTT PETITO’S latest release titled, “Rainbow Gravity.” Rainbow Gravity is actually a theory and a concept in quantum physics. It contradicts the Big Bang Theory and asks humanity to consider that time stretches back infinitely and continues on endlessly. very much like music. This rainbow of artists I’ve reviewed do the same. For one, the amazing arrangements and execution of THE COUNT BASIE ORCHESTRA under the direction of GREG FIELDS recalls another era, but still shines with contemporary and timeless music. THE SOUTH FLORIDA JAZZ ORCHESTRA DIRECTED by CHUCK BERGERON presents THE MUSIC OF GARY LINDSAY, a versatile and talented arranger. The JEFF “SIEGE” SIEGEL QUARTET offers a ‘live’ recording in London that reminds me of the freedom and excitement of John Coltrane’s heyday. Vocalist, REBECCA ANGEL, blends pop and jazz music on her debut CD. PEDRO GIRAUDO & THE WDR BIG BAND meld an Argentinian conductor, composer and arranger with a German band to celebrate his South American heritage and his two decades of living in New York City. JIM McNEELY pours all his imagination and composer skills into the FRANKFURT RADIO BIG BAND. Last, but certainly not least, the satin-smooth vocals of VIVIAN LEE, personalize love and loss on her CD titled, “Let’s Talk About Love.” Read all about them.

SCOTT PETITO – “RAINBOW GRAVITY” Planet Arts Records

Scott Petito, composer/bassist/piccolo bass/NS bass/cello & loops; Omar Hakim, Peter Erskine, Simon Phillips & Jack DeJohnette, drums; David Sancious, keyboard; Rachel Z. & Warren Bernhardt, piano; David Spinozza, guitar; Mike Mainieri, vibraphone; Bashiri Johnson, percussion; Bib Mintzer, saxophone; Chris Pasin, trumpet.

Here is a production of pure funk and contemporary musicality played by some of the top modern jazz players in the business. Scott Petito is a bassist, a composer, producer and engineer. This is his second recording as a leader and he has contracted a melting pot of world class musicians. You recognize their talent right away, from the first strains of “Sly-Fi”, one of nine compositions that Petito has written. He has a strong sense of melody. This tune sparks of fiery, punchy horn lines by Bob Mintzer on saxophone, with Petito’s bass, pumping up the band, locking in with Omar Hakim on drums and David Sancious on keyboard. David Spinozza adds guitar to complete this hot rhythm section. Bashiri Johnson fattens their sound with percussion. This tune is over seven minutes long, but I’m never bored for one second. The time changes and melodic intervals keep the music interesting.

Each tune features a different mix of characters, like short, on-stage vignettes. For the second cut, Petito invites Peter Erskine to the drum set, Rachel Z. is on piano and Chis Pasin masters the trumpet. Titled “The Sequence of Events,” Scott Petito adds a piccolo bass solo and Rachel Z is given ample opportunity to showcase her excellence on piano. All of Petito’s compositions are full of groove and embrace the smooth jazz idiom. Even when they settle down to a moderate tempo ballad like “A Balsamic Reduction,” they manage to inspire this listener to tap her toes. The difference between much of the smooth jazz I hear on the airwaves and this recording is that Petito is an awesome composer and has employed these stellar, Grammy nominated musicians to enhance his excellence. None of this music is repetitious or simplistic. The vibraphone solo of Mike Mainieri during this lovely tune is pleasant to the ear and adds to this production. Simon Phillips mans the drums and David Spinozza shines on his guitar solo. Scott Petito covers all bases, incorporating styles. This may be contemporary jazz, but every one of these players know how to produce straight-ahead jazz and are masters in their own right. You hear a sample of this diversity on “The Sanguine Penguin” where Bob Mintzer celebrates his saxophone skills with gusto and where Scott Petito walks (or should I say ‘runs’) his bass lines beneath this production like raging waters. Simon Phillips is given a space to solo on drums, showing off mean technique. This is a recording project burning with talent and excitement. It’s beautiful music with memorable arrangements. There is not one bad tune on this entire recording. Perhaps Petito summed his project up the best when he explained:

“The experience of playing and listening to music can suspend us and yet at the same time sweep us away to new places with infinite possibilities. That relationship between music and our very essence of being, always struck me as the most human of experiences.”

On” Dark Pools,” utilizing the great Jack DeJohnette on drums and Petito on NS bass, cello and loops, Scott Petito expands his sense of music and stretches our imaginations. Petito’s music is provocative.

The title of Petito’s CD is meant to further describe Scott Petito’s musical goals. What I learned from the liner notes is that “Rainbow Gravity” is actually a theory and a concept in quantum physics. It contradicts the Big Bang Theory and asks humanity to consider that time stretches back infinitely and continues on endlessly. As a bassist and stellar composer, Scott Petito endeavors to create a sense of timelessness in his music. At the same time, he’s striving to capture a feeling that could very well continue on forever. To me, “Dark Pools” exemplifies some of this magical music and the composer ‘s forward-thinking mindset.
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THE COUNT BASIE ORCHESTRA – “ALL ABOUT THAT BASIE!” Concord Records

I was expectant and excited to get a preview listen of the Count Basie Orchestra’s September release. Undisputedly, here is a big band/orchestra that has consistently produced amazing music with an unchallenged style and sound. This album is no exception. They open with their famed “Everyday I Have the Blues” featuring the Grammy winning vocal group, “Take 6.” It’s joyful to hear this normally a‘Capella, contemporary vocal aggregation singing with the Basie Band. Oh boy, do they swing! It’s a wonderful blend of modern vocal arrangemenst melded with classic Basie. This is followed by Earth, Wind and Fire’s hit recording of “Can’t Hide Love.” Iconic trombonist, Wycliffe Gordon, often celebrated for his plunger trombone style, is featured and he leads the trombone section. Pianist, Eric Reed adds his virtuosity at the grand piano. This pop piece ‘swings’ hard and continuously, as only the Basie Band can do. This album is produced by Gregg Field, former drummer of the Basie orchestra. Field has garnered eight Grammy Awards celebrating his creative production talents. Stevie Wonder joins the orchestra as a special guest on harmonica, whistling his way into our hearts with his awesome delivery on his self-penned, “My Cherie Amour.” But trust me, there is nothing ‘Pop’ about this arrangement or production. Wonder fits right into the slow swing arrangement that reminds me a little bit of Neal Hefti ‘s Lil’ Darlin’ hit record. It was recorded in the early Basie-Band-days on an album titled, “Atomic Basie.”

Woodwind player, Hal McKusick, who recorded with Neal Hefti in the 1950’s, once asked Hefti what made him stray away from his up-tempo, swingin’ compositions to create this ballad? Neal Hefti explained he originally wrote Lil’ Darlin’ as a medium tempo swing. During a rehearsal, when Basie was running the tune down, the Count asked Neal if the band could try it really slow. Basie said, ‘I’m hearing something.’ So, Neal agreed. He knew Basie’s instincts were always spot on. Basie proceeded to count off Lil’ Darlin’ at a much slower pace. After it was over, Neal said all he could do was smile and say to Basie, you did it! *

“My Cherie Amour” is followed by the timeless jazz standard, “Don’t Worry ‘Bout Me,” passionately interpreted by the silky-smooth, vocal style of Kurt Elling. Gregg Field sits in on drums during the revival of this Frank Sinatra hit record.

The orchestra shows its Latin side on the memorable hit by guitarist, Wes Montgomery, choosing “Tequila” as the vehicle to recall the Basie Band’s great success in the 1950’s and 1960’s when they used Latin music as a vehicle. Jon Faddis, with his high trumpet tones and impeccable style, is a welcome featured guest on this arrangement. Bobby Floyd records the hip-swaying, Latin piano chords. He locks the groove into place, along with Will Matthews on guitar. This arrangement also invites the legendary Chick Corea to add his own piano licks and Luisito Quintero flavors the tune with percussion and conguero.

Jamie Davis, a Basie alumni and baritone vocalist re-introduces Jimmy Rushing’s blues hit, “Sent for You Yesterday” with a small ensemble of Basie band members including L.A.’s saxophonist, Rickey Woodard, with Eric Reed back on the keys, Gregg Field manning the drums and L.A.’s own Trevor Ware on bass. Jazz trumpeter, Scotty Barnhart adds a solo. This album would have been incomplete without a good old Kansas City blues and the one chosen does not disappoint. Another highlight is one of my favorite modern-day jazz organists, Joey DeFrancesco. He joins the Basie Orchestra for the second time. I also enjoyed him on the album,“Ray Sings/Basie Swings.” De Francesco brings new life to “April In Paris.” Carmen Bradford is a stellar jazz vocalist who frequently sings with the Count Basie Orchestra. On this project, she tributes Ella Fitzgerald by singing and debuting a never-before-recorded arrangement of “Honeysuckle Rose.” The arrangement was written specifically for Ella by Benny Carter. Gregg Field and the orchestra have covered all bases with this production, adding “Hallelujah” by Leonard Cohen, and even incorporating the Adele pop hit, “Hello” to show they are still staying current. The orchestration shows that they can easily embrace popular, contemporary music with the same love and style that the Basie band always brings to their bandstand. They transform”Hello” into a slow swing, featuring a unique, stylized piano solo by Bobby Floyd and a sexy, bluesy trumpet solo by arranger, Kris Johnson. At the song’s ending, they incorporate the popular signature Basie tag to remind the world, “It’s All About that Basie.” Release date is September 7, 2018.

*Note: Historic reference from biography of Neal Hefti (1922 -2008) – Jazz Wax, Oct 15, 2008.
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THE SOUTH FLORIDA JAZZ ORCHESTRA DIRECTED B Y CHUCK BERGERON presents THE MUSIC OF GARY LINDSAY – “ARE WE STILL DREAMING” Summit Records

WOODWINDS: Gary Lindsay, alto saxophone/clarinet/composer/arranger; Gary Keller, alto/soprano saxophones/flute; Ed Calle, tenor saxophone/flute; Phil Doyle & Jason Kush, tenor saxophone/flute; Mike Brignola, baritone saxophone/bass clarinet; Rick Margitza, tenor saxophone; TRUMPETS: Augie Hass, Jeff Kievit, Jason Carder, Alex Norris, Greg Gisbert & Peter Francis. TROMBONES: Dana Teboe, Dante Luciani, John Kricker, Major Bailey, Derek Pyle & Andrew Peal. FRENCH HORNS SPECIAL GUEST: Richard Todd; RHYTHM SECTION: Martin Bejerano, electric & acoustic piano; John Hart, guitar; Chuck Bergeron, acoustic & Elec. Basses/orchestra director; John Yarling, drums; Brian Potts, shaker, pandeiro; Ksenija Komljenovi, vibes & xylophone. Julia Dollison & Nicole Yarling, vocals.

Gary Lindsay is a popular arranger of big band music. This is the first full album that celebrates Lindsay’s big band orchestration on all eight songs. Directed by bassist, Chuck Bergeron, the orchestra includes some of Florida’s best jazz and studio musicians. Both Lindsay and Bergeron are music educators. Lindsay teaches at the Frost School of Music, part of the University of Miami, where he is Director of the Master’s in Music program in Studio Jazz Writing and the Doctoral program in Jazz Composition. Bergeron is a professor of Jazz bass and Jazz History at the University of Miami. This music is an easy listening jazz experience.

The first cut, “Moment in Time” was penned by Gary Lindsay and it brings to mind the smooth, unforgettable sound of Stan Getz, featuring a beautiful saxophone solo. John Hart adds an energy driven guitar solo on this arrangement. “Spring Is Here,” introduces vocalist Julia Dollison, with her soprano range and flexible vocal power. Dante Luciani proffers a memorable trombone solo. “Easy Living” features another vocalist, Nicole Yarling, who brings a soulful expressiveness to this old standard. The arrangement sometimes dwarfs the vocalist with the busy musicality. Lindsay explains:

“…I don’t write arrangements where the vocalist sings the melody and the band plays the accompaniment. I prefer to write arrangements where the singer and the band are in a contrapuntal conversation with one another.”

Ms. Yarling is up for the job, standing her ground with passion and sometimes scatting against a backdrop of horn punches and sweet, pudding-thick orchestration. Soloing, Greg Gilbert steals the attention on trumpet and plays beautifully.

The Pat Metheny composition, “Better Days Ahead,” steers the orchestration into Smooth jazz waters. While the Title tune, “Are We Still Dreaming,” reflects a sultry ballad composed by Lindsay. He once again incorporates the bell-clear soprano voice of Julia Dollison, blending her instrument with the orchestra like a soprano horn. The gorgeous Thelonious Monk composition, “Round Midnight” features Ed Calle on tenor saxophone with a bluesy interpretation of Monk’s music.

This project is produced by trombonist, John Fedchock. It’s a mix of music, styles and eras, strung together by the arranging talents of Gary Lindsay and amply interpreted by the musicians who make up the South Florida Jazz Orchestra.

Gary Lindsay is a recipient of the National Endowment for the Arts Award and a Chamber Music America grant from the Doris Duke Foundation.
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JEFF “SIEGE” SIEGEL QUARTET – “LONDON LIVE”
Artists Recording Collective (ARC)

Jeff “Siege” Siegel, drums; Erica Lindsay, tenor saxophone; Francesca Tanksley, piano; Uli Langthaler, bass.

This project opens with a striking drum solo. The tune is smoky; sultry; straight ahead! A sexy saxophone sings and a piano solo lifts tenor saxophonist, Erica Lindsay’s composition titled, “Meet Me at the Station.” to an exulted level. This group brings back memories of John Coltrane. Speaking of which, when I finally did get to overview the album credits, their third cut is the Coltrane composition, “Peace on Earth.” I was driving to a gig when I first listened to this album. Immediately, I noticed the excitement and technical ability of the drummer. He takes an outstanding solo on this first tune and always keeps pushing the musicality; coloring the phrases and supporting the various players with solid rhythm, but even more-so, with carefully placed licks of percussive encouragement. I could not wait to park my car, so I could read the liner notes and see who the players were. Sure enough, it’s the drummer’s quartet, and a magnificent ensemble it is! This is a ‘Live’ recording; a concert at the Pizza Express Jazz Club in London. It was the culmination of a European tour of Germany and Austria. You can hear the tightness and precision of this group, but also the freedom that comes from trusting your musical peers and being familiar and comfortable with each other. This is jazz at its best; Live! Uninhibited and formidable.

It’s the Jeff Siegel Quartet’s fourth album and their second live recording. Six of the eight songs are original compositions written by tenor saxophonist, Erica Lindsay, pianist, Francesca Tanksley and their leader, Jeff Siegel. Every song on this recording is excellently played and memorable. If I were giving out stars as praise, I would shower all the stars in our universe upon this project. Had I not been driving, I would have given this group a standing ovation.
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GEOFFREY KEEZER TRIO featuring GILLIAN MARGOT – “ON MY WAY TO YOU” Markees Records

Geoffrey Keezer, Yamaha pianos; Lee Perrson, drum; Mike Pope, elec & double bass; Gillian Margot, vocal.

Geoffrey Keezer is a busy pianist, with fingers flying and crescendos raging on the very first song titled, “These Three Words.” He makes the title sound more like a novel of music rather than something as simplistic as three words. Keezer’s amazing talent races up and down the black and white keys, with tenacious attention and detail. He fills up every space of Stevie Wonder’s composition. It’s a song from Stevie’s “Jungle Fever “album. A song I know quite well, but hardly recognized. I listened twice and I enjoyed the tenderness that bassist Mike Pope put into this composition during his solo. If you’re familiar with the lyrics of Wonder’s composition, they touch you in a tender kind of way. I think sometimes that if musicians listened to the lyrics of a song, as closely as they listen to the melody, their interpretation of that song would be more efficient and inspired. I enjoyed Keezer’s solo, when he re-entered, after the bass improvisation. However, it didn’t take long before he was once again crashing against space with amazing strength and piano power.

Vocalist Gillian Margot has a beautiful voice and has taken to penning lyrics to “You Stay With Me” a Keezer composition. The melody is challenging and the vocalist has penned prose to Geoffrey Keezer’s tune that are printed on the album cover. At first listen, they do not attach themselves to memory. As a published songwriter myself, I’ve learned to understand the way that melodies ebb and fall inspire lyrics. The rhyme and rhythm should match. I think this was a lyrical opportunity lost in translation.

“All the Things You Are” is interpreted as a medley with the Earth Wind & Fire popular, “Serpentine Fire” song. Keezer and his trio show us the funkier side of his group, and Lee Perrson on drums is formidable. Mike Pope’s bass-line pushes the funky feeling forward, locking in with Perrson. It’s a strong rhythm section and Keezer is amazing during his piano attack on this creative and unique medley that fuses these two familiar tunes.

Geoffrey Keezer is an artist who creates new art, finger-painting on his piano and splashing surprise solos and unusual arrangements in vivid colors of sound. Take for instance, Thelonious Monk’s “Brilliant Corners” tune, played as a funk; or listen to his arrangement of the Michael Legrand composition “On My Way to You”, where he adds strings and Gillian Margot’s lovely voice. I think her rendition would make Barbara Streisand proud.

Perhaps Geoffrey Keezer sums up this project best in his liner notes when he says:

“When I got to New York in the late ‘80s, it was the clear mission of the pianists there to play strong and hard; to give it up a thousand percent every time,” he summed up his style and explained his energetic and ebullient playing.

“Even though I’ve lived in California for almost twenty years, I’m coming out of that late 80’s New York piano style for sure.”
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REBECCA ANGEL – “WHAT WE HAD” Timeless Grooves Records

Rebecca Angel, vocals/programming/composer; Jason Miles, keyboards/Fender Rhodes/Moog bass/pads/percussion; Dennis Angel, flugelhorn; Gottfried Stoger, flute; Hailey Niswanger, soprano saxophone; Sebastian Stoger, cello; Jonah Miles Prendergast & Christian Ver Halen, guitar; Ricardo Silveira, acoustic rhythm guitar; James Genius, acoustic bass; Reggie Washington & Adam Dorn, bass; Mino Cinelu & Cyro Baptista, percussion; Brian Dunne, drums.

A mere twenty-two year old, Rebecca Angel brings a pop/jazz,crossover feel to these arrangements, beginning with the Charmichael/Adamson song, “Winter Moon.” Hailey Niswanger offers a compelling soprano saxophone solo during this Latin arrangement and the sexy rhythm track on this first cut sets the mood for what is to come. Kudos to the percussion player, Mino Cinelu, and also Brian Dunne on drums. They create a strong groove that may also have been enhanced by producer, Jason Miles, who is a master on pads, percussion and keyboards. Jason Miles also plays Fender Rhodes and Moog bass. Rebecca Angel has surrounded herself with a cadre of musical excellence on this, her first EP production and premiere release. I note that she already has a signature sound. That is to say, you will recognize her voice when you hear it again. She exhibits a smoky second soprano tone and tends to slide up to her notes. The title tune is one of her original compositions. It too is produced with a Latin feel and there’s lots of overdubbing on her vocals, adding descants and harmonies. This tune is very ‘popish’ and could have been mixed better. On “Agora Sim” we get back to a jazz/Brazilian feel, tickling my memory of Astrud Gilberto or the popular A&M recording group, Brazil 66. “Stand by Me” is a standard R&B song, made famous for its insertion into film and originally performed by the famous artist, Ben E. King. It’s strange to hear “Stand By Me” recorded on a CD being publicized as a jazz recording. Then again, if you’re trying to break into the Smooth Jazz market, it could easily find a foothold. This is a fresh and well-produced beginning to a young artists’ vocal career. She has time to develop her style, confidence and fan base.

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PEDRO GIRAUDO & THE WDR BIG BAND – “AN ARGENTINIAN IN NEW YORK” Zoho Records

Pedro Giraudo, composer/conductor/bassist/arranger. The WDR Big Band.

There is no doubt that music crosses all boundaries, all borders, all cultures and nourishes us with its richness. Sometimes music introduces us to new horizons, new thoughts and often music blends nationalities and experiences sweetly, like sugar and salt, that are both combined in baking a successful cake. Pedro Giraudo is a composer, conductor and Argentinian, who relocated to New York twenty years ago and recently found himself in Germany, conducting the esteemed WDR big band on November 29, 2016. It was an evening to remember, playing to a packed house at the WDR Funkhaus in Koln. Like my example of the cake, it was a sweet and rewardingly successful experience.

Each of Giraudo’s compositions has a title and story behind that title that he shares with us in his liner notes. I enjoyed his composition, “Chicharrita” (“Cicada”), that gave the clarinetist an opportunity to solo and soar. Giraudo explains that Osvaldo Pugliese (1905 – 1995) was for decades an important figure in the history of the ‘Tango.’ He was a composer, pianist and bandleader. His style was deep, rich and lush, but his voice was shockingly high pitched, thus earning him the affectionate nickname of Chicharrita. Giraudo uses the high-pitched woodwind to float above his lush arrangements and celebrate this man who popularized the tango with his unforgettable music. “La Ley Primera” (The First Law) is played in a very bluesy way, featuring a lovely and heartfelt saxophone solo. You will find Pedro Giraudo’s music adequately expressed by the German WDR Big Band in an exuberant and technically proficient way. I wish I could have credited the many expert soloists I heard. They put their heart and souls into expressing these very sensitive and passionate compositions. Their individual voices on their instruments spoke to the beauty in each arrangement and magnificently interpreted Pedro Giraudo’s original works. I regret the soloist names were not included and referenced in liner notes, pinpointing the solos they played. One of the things I enjoyed about Pedro Giraudo’s arrangements is that he left lots of open space for soloists to improvise and express themselves.

Pedro Giraudo is well known in the New York arena, having merged his talents as a virtuoso bass player with well-respected musicians like Regina Carter, Reuben Blades, Paquito D’Rivera, Branford Marsalis and more. He is a respected bandleader who has released five critically acclaimed albums. Giraudo, diversified in his musical efforts, leads three bands; a big band, a jazz orchestra and a sextet. This is another plume in the multi-cultural, multi-generational hat he proudly wears.
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THE FRANKFURT RADIO BIG BAND – “JIM McNEELY BAREFOOT DANCES AND OTHER VISIONS” Planet Arts

Jim McNeely, composer/arranger/conductor; Peter Reiter, piano; Martin Scales, guitar; Thomas Heidepriem, bass; Jean Paul Hochstadter, drums; Heinz-Dieter Sauerborn, soprano & alto saxophones/flute/alto & bass flutes/clarinet; Oliver Leicht, soprano & Alto saxophones/flute/alto flute/B flat and alto clarinets; Tony Lakatos, tenor saxophone/flute/alto flute; Steffen Weber, tenor saxophone/flute/bass flute/clarinet; Rainer Heute, baritone saxophone/bass clarinet/alto flute; Frank Wellert, Thomas Vogel, Martin Auer, & Axel Schlosser, trumpet/flugelhorns; Gunter Bollmann & Peter Feil, trombone; Christian Jakso, trombone/euphonium/valve trombone; Manfred Honetschlager, bass trombone.

The opening tune reminds me of the Cozy Cole style of drums. The percussion staunchly carries this arrangement and I search for the drummer’s name in the credits. The horns accentuate the rhythm-licks and the arrangement is interesting and ear-catching. Christian Jakso is featured on valve trombone and Martin Scales shows his skills on guitar. But it’s the drummer, Jean-Paul Hochstadter, who makes this first cut pop and memorable. It’s called “Bob’s Here” and is one of seven songs composed and arranged by Jim McNeely for this project. McNeely started working with the Frankfurt Radio Big Band in 2008. After three or four projects, he became familiar enough with the band members to imagine their talents, tone and improvisational sounds while he was writing his scores. With great care and adulation, Jim McNeely has tailored these musical visions to support each individual musician’s high points and uniqueness. He also composed these songs with various historic inspirations. For example, on “Bob’s Here” McNeely imagined the return of composer and trombonist, Bob Brookmeyer, who was one of McNeely’s mentor’s. Brookmeyer died in 2011. “Redman Rides Again” is his composition celebrating famed arranger and reedman, Don Redman, who wrote fantastic clarinet trio arrangements. McNeely let’s Axel Schlosser on flugelhorn and Oliver Leicht on his harmonized clarinet re-imagine Redman’s arrangements, woven into the texture of McNeely’s tribute composition. This is no ‘swing’ band, but it is a work of lush orchestration, imagination and aptitude.
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VIVIAN LEE – “LET’S TALK ABOUT LOVE” Tara Records

Vivian Lee, vocals; Brenden Lowe & Joe Gilman, piano; Buc Necak, bass; Jeff Minnieweather, drums; Jeff Clayton, alto saxophone.

Vivian Lee’s rich, alto voice floats atop solid, jazz, band arrangements and immediately peeks my interest. From the premier cut, their unique presentation of the Burt Bacharach tune, “Wives and Lovers,” is fresh and original. I used to love to hear Dionne Warwick sings this song, but Vivian Lee and her swinging ensemble makes it totally their own. Her repertoire is plush with tunes from the Great American Songbook. However, Vivian Lee interprets each in her own inimitable way. For example, on the Gershwin standard, “The Man I Love,” she turns a bluesy ballad into a mid-tempo ‘swing’.

This talented vocalist reminds me of songs I’ve loved and missed, reaching back into yesteryear and pulling out gems like “Didn’t We” and “Out of Nowhere”. Ms. Lee breathes new life into beautiful melodies and lyrics like “Being Green,” (the Mercer/Mandel composition), or “Emily and “Waltz for Debby.” Not only does Vivian Lee talk about love, she tells stories of love we all have lived and makes us relate to each one with the passion and tonal precision that only a seasoned and sincere jazz vocalist and storyteller can do.
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WOMEN IN JAZZ MAKE POWERFUL STATEMENTS WITH MUSIC

August 1, 2018

By Dee Dee McNeil
August 1, 2018

ADISON EVANS – “MERIDIAN” Aditone Music

Adison Evans, baritone saxophone/bass clarinet/flute/ composer/producer; Troy Roberts, tenor saxophone/co-producer/co-writer; Silvano Monasterios, piano; Joseph Lepore, bass; Roberto Giaquinto, drums; Jeremy Smith, percussion; Vasko Dukovski, clarinet; Mat Jodrell, trumpet, Flugelhorn.

Adison Evans is a baritone saxophone, bass clarinet and flute player. She’s also an accomplished composer. With the release of this recording, she continues her journey of jazz. In 2014, Adison Evans brought two and a half busy years of touring with Beyoncé and Jay Z to an end and began her independent journey as a solo artist. She felt she needed a break from the demands of touring that come from performing on-the-road with two very public, very popular artists. When the tour concluded, this talented female saxophonist passed up the opportunity of returning to New York City and decided she’d relocate to Europe. Her choice led her to Asciano, a small countryside village located on a hillside just outside of Siena in Tuscany, Italy. Then, in 2016, she released her debut album titled, “Hero”. On this, her follow-up recording, she continues her pursuit of expression using her reed instruments and her penchant for composing. It took a change of pace to produce this album of nine songs. Once settled into her Italian village farmhouse, she found peace and inspiration by staring at the rolling hillsides, soaking up the morning fog and enjoying a village bursting with nature gifts. Her composition, “Owl People” reflects her musical connection to the natural beauty of her surroundings. It’s both melodic and full of rhythm-licks that Jeremy Smith and Roberto Giaquinto accentuate on drums and percussion. Adison Evans’ silky-smooth tone on her baritone sax is both beautiful and comforting. This particular original composition made me sit-up and really take note of her playing and her composing talents. Troy Roberts, co-producer of this project, is stellar on tenor saxophone. He sounds like birds taking flight. Mat JodrelI, an outstanding trumpeter and flugelhorn player, also elevates this tune with his soaring talents. “Prelude and Fugue in D Minor – The Plunge,” is a lovely mix of classical technique, brightly showcased by Silvano Monasterios on piano. The classical music melts into straight-ahead jazz like fresh churned butter on hot toast. As a Julliard graduate, Adison Evans reflects her classical training in this original composition. It’s very beautiful. There is something haunting and sensitive about Evan’s talent that is reflected each time she picks up the baritone saxophone or her bass clarinet. It’s not just her technique. There’s a richness to her playing and an honesty that creeps from her horn and touches me. On Henry Mancini’s “Two for the Road” she glows like a full moon on a dark night. Troy Roberts has arranged this tune and gives Joseph Lepore an opportunity to share an improvisational solo on his bass instrument. Roberts and Evans play horn-tag on the ending. Troy Roberts has co-written several of the compositions on this recording. The title of this work of art is “Meridian” which translates to a circle passing through the celestial poles and the zenith of a given place on this earth’s surface. As I listen to the Adison Evans project, I find peace and entertainment holding hands with her music. But she knows how to play it straight-ahead and gritty too. On “The Parking Song” she ups the tempo and splashes some East Coast energy onto the cool Tuscany hillsides. This tune sounds like a jazz jam session at Small’s Paradise in NYC. Everybody gets a piece of this song. When Adison Evans describes “Meridian” she explains:
“Meridian is a pathway in which vital energy flows within and radiates beyond, to the earth, the trees, to the sun, to each other. Everything is connected.”

You will enjoy a sweet connection between Evans, her creative spirit and the wonderful musicians who join her in the interpretation of her music and mindset.
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LUCIA JACKSON – “YOU AND THE NIGHT AND THE MUSIC: Roni Music

Lucia Jackson, vocals; Ron Jackson, 7-string electric arch top guitar; Yago Vasquez, piano; Matt Clohesy, double bass; Corey Rawls, drums, Yaacov Mayman, tenor saxophone; Frederika Krier, violin; Javier Sanchez, bandoneon; Dan Garcia, Flamenco classical guitar; Samuel Torres, cajon/congas/percussion.

The first thing that knocks me out about this CD is the fantastic rhythm section that Lucia Jackson has backing her up. What a group! One of the star players is Ron Jackson on guitar. He puts the ‘swing’ into the music. Lucia Jackson is a dancer, model and has a pleasant voice to complete the picture. However, when it comes to jazz, you have to be able to ‘swing,’ especially when you have a rhythm section this strong. That being said, her choice of repertoire is impressive. This is her debut album and she’s young enough to develop into a strong and confident vocalist. I especially enjoyed her arrangement of “And I Love Him” the famed Lennon/McCartney song. Her bell-clear tones are lovely on ballads. She also includes the verse on the title tune, “You and The Night and The Music” which is done very tastily and rubato on the top with just vocal and guitar. When the band enters, the tune ‘swings’ and Lucia Jackson handles this song with class and confidence. Yaacov Mayman steals the show with his unforgettable tenor saxophone solo. The addition of a violin, beautifully played by Frederiko Krier, is a lovely touch to Lucia Jackson’s vocalization on “I’m A Fool to Want You”. Additionally, Javier Sanchez adds a nice touch on his bandoneon instrument during this ballad arrangement. Flamenco classical guitarist, Dan Garcia, has co-written “Feel the Love” with Lucia Jackson. It’s a melodic and rhythmic Latin tune and her singular contribution on this recording as a songwriter. The arrangement of “Never Let Me Go” as a Latin tune is very nice and Lucia Jackson sounds comfortable and at ease. She also sounds beautiful singing the Osvaldo Farrés tune, “Toda Una Vida” with only the talented accompaniment of Ron Jackson on 7-string acoustic classical nylon string guitar. As I listen and peruse the liner notes, I discover that Ron Jackson, the guitarist on this project who I commented on earlier in this review, is this artist’s father. I’m certain with his talent and guidance, Lucia Jackson is on her way to bigger and better musical rainbows. She has the talent. The pot of gold patiently awaits.

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CAROL LIEBOWITZ/BILL PAYNE – “SPIDERWEBMANDALA” Line Art Records

Carol Liebowitz, piano; Bill Payne, clarinet.

Pianist, Carol Liebowitz has locked talents with clarinet player, Bill Payne to create an artistic accomplishment as an improvisational duo. Here is a unique work of art. Theirs is a ‘live’ concert, performed and recorded in Albuquerque, New Mexico, at the Outpost Performance Space during the Spring of 2016. This is a spontaneous concert presenting Liebowitz and Payne compositions and incorporating, at times, the poetry of Mark Weber. On the “Spiderweb Mandala Flower Explosion Poem: Drishti” Mark Weber interjects his original, spoken word. Weber also hosted this outdoor event, featuring the two spontaneous artists. All of their music is created improvisationally and on-the-spot. This is musical poetry; avant garde, modernistic and magical. These two artists have been working together for eight years and you can hear their camaraderie in the compositions they create. Carol Liebowitz shows her classical influence at times and, at other moments, her dynamic exploration of chord harmonics and piano colorations that both support and enhance Bill Payne’s clarinet talents. They are each musicians who are part of the New York jazz improvisation scene. Liebowitz is a student who developed from the inspiration of the High School of Performing Arts and later, at New York University (NYU). She has studied with Sheila Jordan, among others, and performed in Europe and throughout New York and the United States. Her CD, “Payne Lindal Liebowitz” was recorded with Bill Payne and violinist, Eva Lindal. That 2015 recording was chosen by Art Lange as one of the Top Ten Jazz CDs in the National Public Radio Jazz Critics Poll.

Bill Payne was raised in Harvey, Illinois and moved to New York in 1977. Early in his fledgling career, he spent five years touring with the Ringling Brother’s Circus. He has played in ensembles that backed -up theater shows and toured with Margaret Whiting, Kay Starr, as well as playing in orchestras on Cruise ships. He’s been a musical director for the Los Angeles Circus for three years and toured with the UniverSoul Big Top Circus. Currently, his direction has been tapping the deep waters of improvisation and performing freeform music without boundaries. He enjoys the liberation and creativity that working with Carol Liebowitz inspires. This recording promises to continue the Liebowitz/Payne legacy.
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BOB MINTZER BIG BAND NEW YORK VOICES – “MEETING OF MINDS” MCG Jazz – Manchester Craftsmen’s Guild

Bob Mintzer,arranger/bandleader/tenor saxophone/flute; Kim Nazarian,vocals; Lauren Kinhan, vocals; Darmon Meader, vocals/vocal arranger; Peter Eldridge, vocals/piano; REEDS: Bob Sheppard & Lawrence Feldman, alto saxophone/flute; Bob Malach, tenor saxophone; Roger Rosenberg, baritone saxophone/clarinet; TRUMPETS: Bob Millikan, Frank Greene, Scott Wendholt, James Moore. TROMBONES: Keith O’Quinn, Jeff Bush, Jay Ashby,trombone/percussion; David Taylor, bass trombone; Phil Markowitz, piano; Marty Ashby, guitar; Jay Anderson, bass; John Riley, drums.

Listening to this project was absolutely rewarding and joyful. Bob Mintzer has arranged a magnificent jazz treat for our musical palate and it’s delicious to my ears. Lead vocalists, Kim Nazarian and Lauren Kinhan do a superb job of singing “Autumn Leaves” with an amazing arrangement by Bob Mintzer that features Phil Markowitz on piano and Bob Sheppard on alto saxophone. All the vocal arrangements are by Darmon Meader. When the New York Voices employ all those ninth and thirteenth chordal harmonies, they are beyond beautiful. Peter Eldridge has a smooth, clean, lead vocal on “I Concentrate on You” and he helped with the vocal arrangements of this song.

One of the reasons this recording is so historic and special to the MCG Jazz label is because The New York Voices performed with the Count Basie Orchestra on this label’s first commercial release. This unique singing group has been a part of the MCG Jazz family since the 1980s. Their recording with Basie’s band went on to win a Grammy Award in 1996. MCG Jazz has produced five other Bob Mintzer Big Band recordings. This is the first time they have blended The New York Voices with Mintzer’s illustrious orchestrated arrangements. Integrating the creative genius of Darmon Meader’s vocal arrangements with Mintzer’s big band magic is pure gold. This project sparkles and is rich with talented singers and musicians. One of the ladies and founding members of the group is Kim Nazarian.

Kim Nazarian has come across my desk on numerous recording projects. For two and a half decades she’s been an intricate part of The New York Voices. She was one of the featured vocalists on Bobby McFerrin’s “VOCAbuLarieS” CD. She was honored to collaborate with the Smithsonian Jazz Masterworks Orchestra and the Manchester Craftman’s Guild on a concert tour that celebrated the great mother of jazz, Ella Fitzgerald. She’s a jingle and studio session vocalist who also sings on movie scores. For the past three years, Kim Nazarian has been a judge for the International a’cappella Competition in Graz, Austria. Her solo CD, “Some Morning,” won national acclaim a few years ago.

The only other female in The New York Voices is Lauren Kinhan, who I thoroughly enjoyed when she sang the lead on “Old Devil Moon” and “Speak Low.” Ms. Kinhan is also a competent songwriter, discovered in 1997 by the legendary Phil Ramone. It was during her performance in New York City at the club Bitter End. Lauren Kinhan’s latest CD is titled, “A Sleepin’ Bee” released on her own label, ‘Dotted I Records’ that tributes the great Nancy Wilson. She also has three recorded albums featuring her own original compositions. Like Ms. Nazarian, she’s been with The New York Voices since their inception.

Bob Mintzer brings voices and musicians together with a wave of the baton and a stroke of the pen. He has golden ears and a clear sense of what brings out the best of each song, each instrument and each voice. A native New Yorker, at age sixteen an organization that sponsored jazz performances called, Jazzmobile, sent an amazing quintet of musicians to young Mintzer’s New Rochelle high school. The group consisted of Billy Taylor, Grady Tate, Ron Carter, Harold Land and Blue Mitchell. After hearing these jazz masters, Mintzer was hooked on music from that point forward. One of his great teachers was Jackie McLean, during his study at University of Hartford’s Hartt School in Connecticut, where Mintzer had received a classical clarinet scholarship. Mintzer quickly joined the jazz program at Hartt. His illustrious career has spanned decades of performances, album productions and arrangement writing. From working with Buddy Rich’s Big Band to being a part of Jaco Pastorius’s “Word of Mouth Band”. He became a member of the Yellowjackets group in 1991 and is currently a well-respected educator at the University of Southern California in Los Angeles where he teaches jazz composition, saxophone, directs the Thornton jazz Orchestra and conducts jazz workshop classes worldwide. ‘Scuse me while I play this recording one more time.
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JUDI SILVANO & THE ZEPHYR BAND – “LESSONS LEARNED” Unit Records

Judi Silvano, vocals/composer; Kenny Wessel, guitar; Bruce Arnold, processed guitar/bass clarinet/soprano & tenor saxophone; Joe Lovano, tenor saxophone; Retzo B. Harris, bass; Bob Meyer, drums; Todd Isler, percussion.

Judi Silvano is produced by reedman/husband, Joe Lovano. They feature a Zephyr Band. Zephyr is said to be a musical project started in 2000 by London-based composer and producer Elizabeth Henshaw, involving musicians from a variety of different backgrounds. According to other sources, Zephyr music records was born out of passion for transcendence music that would influence the lives of music lovers and artists. Zephyr is also an instrument with a very unique sound. So that gives you an insight into what Judi Silvano and her Zephyr Band are striving to produce with this project.

On their recording, Judi Silvano has composed all the songs both music and lyrics. As a respected vocalist, who has four times been named a DownBeat Top Ten Vocalist and Composer, she continues using her composer skills to share life stories that encourage people to recognize that all of humanity is connected. I appreciate her songwriting ability and her lyrical messages. For this reviewer, however, her vocals are an acquired taste. To my ear, this is not an album I would consider jazz. As a social message, it is definitely cerebral food for thought. As a composer, Silvano soars.
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RACHEL CASWELL – “We’re All In The Dance” Turtle Ridge Records

Rachel Caswell, vocals; Sara Caswell, violin; Dave Stryker, guitar; Fabian Almazan, piano/Fender Rhodes; Linda May Han Oh, bass; Johnathan Blake, drums.

Rachel Caswell is an exquisite jazz singer. From the very first tone of her voice on the Sting composition, “Fragile,” I knew I was in for a treat. First of all, I do love Sting’s songwriting and it takes a special vocalist to tackle his music. Rachel Caswell has a lovely style, a wee bit reminiscent of the great Roberta Flack in the way Caswell phrases, but Caswell is certainly strong and uniquely her own person in both vocal characteristics and presentation. She scats as easily as she emotionalizes the lyrics of her songs. Caswell is sweet as syrup and as powerful as the maple tree that births that maple syrup. Her sister, Sara Caswell, plays a violin solo on this song that is spellbinding. It appears talent runs in their family. Dave Stryker, also takes a notable solo and additionally produced this recording. With only Linda May Hon Oh playing bass, Rachel begins the next tune, “A Lovely Way to Spend An Evening” and the duet is surely a lovely way to start this song, arranged at a medium tempo. By the time Johnathan Blake joins them on drums and Fabian Almazan adds his complimentary piano licks, the song is in full ‘swing .’ Once again, Caswell breaks into a scat that may have well been a saxophone or trumpet solo. She’s silky smooth and joins Dave Stryker in certain parts, singing unison scat tones with his guitar. The title tune, composed by Will Jennings & Christophe Monthieux, has memorable and sensitive lyrics that sum up this album of artistic music. Rachel Caswell sings:

“Like the dance that we all have to do. What does the music require? People are moving together. Close as the flames in a fire. … Looking for one more chance, oh I know, We’re all in the dance.”

Once again, I do find deep appreciation for the virtuoso violin work of Sara Caswell on this arrangement. Rachel Caswell’s repertoire is refreshing and she is deeply passionate when she sings. Not everyone can capture passion inside a recording studio. I was eager to hear her delivery on the Ray Charles hit record, “Drown In My Own Tears.” She keeps it as a bluesy ballad, perhaps a little less Gospel than Ray Charles arranged it, but Dave Stryker puts a capital “B” in the blues on his guitar. Rachel Caswell is a fearless artist who puts her own ‘take’ on tunes by Charlie Parker (“Dexterity”) or Herbie Hancock’s “Tell Me A Bedtime Story” with interesting lyrics by Tom Lellis and a challenging melody that demands her full range. Closing with Thelonious Monk’s “Reflections (Looking Back),” she has shown the listener that she is a full-fledged jazz diva with excellent timing, pure tones that swoop and soar like a reed instrument and the ability to improvise with precision pitch and great creativity. Her flawless enunciation reminds us of the importance that lyrics add to music and her emotional delivery seals the deal.
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JOHNAYE KENDRICK – “FLYING” Independent Label

Johnaye Kendrick, vocals/arranger/composer; Dawn Clement, piano/keyboards; Chris Symer, bass; D’Vonne Lewis, drums/percussion; Michael Nicollela, guitar;Adele & Nola Oliver, children’s voices.

Johnaye Kendrick is another singer/songwriter with a social consciousness that creeps through her music with lyrics like:

“They push you, they pull you. Don’t even know how much you can bear. Though they’ll tell you that they rule you, never you mind. You come from a legacy of warriors and though there’s fear, know that fear’s what fueled the fire of courage.”

This original composition by Kendrick, “Never You Mind,” opens her album and is very melodic and engaging. It’s followed by a tune called “Fallen” written by Lauren Wood. Johnaye Kendrick has a pleasing soprano voice and she sweetly draws you into the songs she sings. When she performs the popular jazz standard, “It Could Happen to You” with only bass and drums as accompaniment, she breaks into a scat solo that’s fiery and effective before returning to the poignant lyrics. Chris Symer takes an interesting and creative solo on bass during this arrangement.

Her composition, “You Two,” is a beautiful ballad, dedicated to her twin girls. You can hear the coos and childlike voices on the tag of this song. The weak link in this recording is that this talented lady probably needs a producer and jazz studio session players that could lift these songs and give this vocalist the professional cushion she deserves to elevate her presentation. I do enjoy Ms. Kendrick’s arrangements and her creative ideas. She’s a very fine songwriter, both melodic and she’s lyrically fluent. Her music easily crosses from jazz to pop and borders on smooth jazz. For example, cut #6, “I’ve Got No Strings” is a little Erykka Badu-ish and expands Johnaye Kendrick’s appeal towards more commercial opportunities. Once again, although this has the makings of a pop hit, with the right production and a more funk-sensitized pianist, she probably would have had the makings of great crossover appeal and a hit record. Sometimes it’s more expedient and dynamic to use seasoned studio musicians to lay down strong tracks and then hire another band for touring and ‘live’ performances. Another original composition titled “Boxed Wine” is definitely one that could be played on both Easy Listening and Smooth Jazz stations. The addition of Adele and Nola Oliver, who beautifully layer harmonics with their background vocals, creates a delightful, ethereal groove. Johnaye Kendrick’s lead vocal sings the story and she smoothly floats atop the catchy arrangement. This is another example of her diversified composition talents.

Johnaye Kendrick earned her Bachelor of Music degree from Western Michigan University. She has already garnered a DownBeat Student Music Award for Outstanding Jazz Vocalist and has worked with some of the best musicians in the business including great pianist, Fred Hersch. I wish he had played on this production. She was featured vocalist with the Ellis Marsalis Quartet and the Grammy winning New Orleans Jazz Orchestra. Ms. Kendrick received an Artist’s Diploma from the Thelonious Monk Institute of Jazz and a Master’s degree in Jazz Studies from Loyola University in 2009. Currently, she is sharing her experience and talent as an educator, songwriter and vocal coach in Washington State.
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JOANNE TATHAM – “THE RINGS OF SATURN” Café Pacific Records

Max Haymer, piano; Lyman Medeiros, bass; Dan Schnelle, drums; Marcel Camargo & Larry Koonse, guitar; Bob Sheppard, saxophone; Brian Swartz, trumpet; Kevin Winard, percussion.

Joanne Tatham is another cabaret singer who has surrounded herself with some of the best Southern California musicians around. She has perfect elocution, sharing stories of New York (her former stomping ground,) using the ebullient Michael Franks tune, “Summer in New York”. Franks is one of my favorite modern composers and the musical arrangement on this tune features Larry Koonse on guitar and Max Haymer on piano. Both exhibit their technique and bravado during spicy solos. Haymer has done most of the arrangements on this album and for the most part, they are stellar. Singer/songwriter, Phoebe Snow left us way too soon, but gifted her faithful audience with several delightful and sensuous compositions. A favorite of mine is “Poetry Man” that Max Haymer has completely rearranged. I hardly recognize it. Tatham sticks to the lovely melody, no matter what the repetitive chords do, but I think the beauty of Snow’s composer skills are buried in this arrangement. The title tune, “The Rings of Saturn” is beautifully executed. The track and arrangements are smokin’ hot on this one. Bob Sheppard sounds fabulous on the song, “Can We Still Be Friends?” All in all, the arrangements really swing on this album.

Tatham is a fine vocalist. Producer Mark Winkler knows how to contract a band and he has put such an amazing group of musicians behind Ms. Tathan, she can only soar. She is especially successful on the more Latin flavored tunes and the way she learned the scat part of the guitar on “If You Never Come To Me” (composed by Jobim), puts her into the realms of jazz in a sweet way. However, for the most part, she sounds like an actress or Broadway rather than a jazz vocalist. When I read her bio, I recognized that I was correct in my assumption. Tatham studied music at the performing arts conservatory at the University of Hartford at the Hartt School. She has a graduate degree from Syracuse University’s Newhouse School and lived in New York City for ten years working as a theater actress.

Although this album was released in the Spring of this year, it’s never too late to give it a spin and enjoy the wide diversity of this talented actress and cabaret vocalist.
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JAZZ MUSIC BLOSSOMS FROM THE HEART

July 26, 2018

By Dee Dee McNeil
July 26, 2018

ROGER DAVIDSON QUARTET – “MUSIC FROM THE HEART” Soundbrush Records

Featuring: Hendrick Meurkens, vibraphone/harmonica; Roger Davidson, piano/composer; Eduardo Belo, bass; Adriano Santos, drums.

This musical production, produced by Pablo Aslan, is a happy celebration. Pianist, Roger Davidson, has composed all the Brazilian compositions recorded. The harmonica of Hendrik Meurkens dances in complete abandon from the very first cut of this album titled, “My Love is Only You”. Tastefully enters the piano and the drums. It sounds like a party. Meurkens has his own signature sound on the harmonica and there is a warm familiarity between him and the piano. On cut #2, “Celia,“ the piano plays tag with the harmonica, colorfully tickling melodies that mirror or harmonically enhance the pianist as they interpret Roger Davidson’s lovely composition.

On Cut #3, “Comment Je t’Aime,” sparkles and blinks like candles on a cake. The fourth cut, “The Way You Move My Heart,” is melancholy, but beautiful. I’m impressed with the way Roger Davidson, on piano, always seems to finish Meurkens’ musical sentences and vice versa. They work well together. Davidson is a wonderful composer and offers us fifteen delightful compositions to enjoy. One very melodic original is “Fico Feliz,” where it was nice to hear Eduardo Belo briefly solo on bass. Also, I especially enjoyed Belo when he bowed his double bass on the very romantic tune, “Um Amor, Um Abraco.” Adriano Santos brings rhythm and gusto to the project on drums, showcased grandly on the final Samba. The ensemble enters and ends with a celebratory feeling, sharing “Music from the Heart.”
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KATE REID – “THE HEART ALREADY KNOWS” Independent Label

Kate Reid, vocals; Paul Meyers, Larry Koonse & Romero Lubambo, guitars; Fred Hersch & Taylor Eigsti, piano.

Kate Reid has a voice that reminds me of Julie London, Joni Mitchell and Diana Krall all rolled into one, sultry ball of talent. She has chosen eleven songs to entertain us, each one produced as a unique duo featuring herself and one other musician of excellence. Opening with the Strayhorn/Ellington composition, “Something to Live For” she captures my heart with her tone and emotional connection to both the lyrics and melody. As a pianist herself, although she doesn’t play on this recording, Reid has arranged most of the songs. For this song, Paul Meyers amply accompanies her on his guitar.

Critically acclaimed vocalist, pianist, composer and founder of the vocal group, ‘New York Voices,” Peter Eldridge, produced this album and it’s Kate Reid’s third CD release. He helped her choose this rich repertoire. She has embraced the superb talents of a handful of amazing musicians. For example, Fred Hersch, a ten-time Grammy Award nominee and winner of the 2018 Jazz Pianist of the Year from the Jazz Journalist’s Association. He composed two of the songs she sings, “Stars” and “Lazin’ Around with You.” Hersch takes to the piano and accompanies her on the moody ballad, “No More,” and the familiar standard “If I Should Lose You.”.

On the sassy song, “Confessin’” Kate Reid is joined by a very busy Los Angeles guitarist by the name of Larry Koonse. He also plays on her rendition of Joni Mitchell’s composition, “Two Grey Rooms” that was arranged by Peter Eldridge. I was intrigued with the lyrics of this song and impressed with Reid’s emotional delivery. Romero Lubambo is a Brazilian guitarist. He plays on the Fred Hersch “Stars” composition with touching lyrics written by Norma Winstone. This tune is lilting and infectious, reflecting its South American roots because of Lubambo’s rhythmic guitar excellence. The Hersch melody is challenging and beautiful. Lubambo also accompanies Reid on “Minds of Their Own” composed by famed Brazilian composer, Ivan Lins with lyrics by producer, Peter Eldridge. I really enjoyed Kate Reid’s rendition of James Taylor’s “Secret of Life” composition with Taylor Eigsti taking to the 88-keys, where she sings, “The secret of life is enjoying the passage of time.” Well said!

Kate Reid is a Mid-Western talent, born and raised in Cuyahoga Falls, Ohio. She received her Bachelor of Music degree in Jazz Studies from Western Michigan University. She also has a Master of Music degree in Jazz Performance and a Doctor of Music Arts degree from the University of Miami. For a while, she moved to Los Angeles to work at Cypress College as Professor of Music and Director of Vocal Jazz. Currently, Dr. Kate Reid is Director of the Jazz Vocal Performance Program and Associate Professor of Jazz Voice at the University of Miami. This project is exquisite, and in its duo simplicity, amazingly complicated. Singing a duo gig or recording with just two musicians is no easy task. Kate Reid makes it sound easy and seamless, flowing like a lovely river, from one tune to the next and intriguing us with her sensuous delivery and undeniable vocal gift.
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JOHN BAILEY – “IN REAL TIME” Summit Records

John Bailey, trumpet/flugelhorn/composer; Stacy Dillard, tenor/soprano saxophone; John Hart, guitar; Cameron Brown, bass; Victor Lewis, drums/cymbals; Janet Axelrod, flute; Leo Grinhauz, cello.

A trumpet always makes people come to attention. John Bailey’s clear tones, dramatically expelled from the bell of his horn, immediately command my consideration. Next arrives the percussive drums of Victor Lewis and then the horn harmonics of sax and trumpet that mirror New York City’s busy traffic. This tune, “Rhapsody,” is established by the rhythm section’s groove. For a moment, it sounds like smooth jazz; but quickly these musicians are traveling down several straight-ahead lanes. Stacy Dillard joins the production with his saxophone, solo cruising across the busy musical highway. The saxophone spits fire. Then John Hart climbs into the front seat, cool as ice on guitar. Thus, begins my trip with this newly released John Bailey debut album. I’m prone to categorize this production as all fire and ice, heightened by the flaming trumpet virtuosity of Bailey.

John Bailey fell in love with the trumpet at age eleven. It’s been a long and lovely love affair ever since. Seven of the nine compositions contained on this album were composed by Bailey. The second cut is dedicated to his teenaged son, Louis, and titled “My Man Louis”. It has a Pink Panther feel at first, thanks to the creeping bass line of Cameron Brown, who sets the mood and groove. Almost immediately, this tune stretches into the solar system, like a rocket ship taking off, and it’s propelled by the energetic drums of Victor Lewis and the innovative solos by each member of this talented ensemble.

This production gives me an intimate look at a trumpet prodigy who was first celebrated for his amazing talent during high school in 1984, when DownBeat Magazine cited him during their annual Student Music Awards for his outstanding performances in both classical and jazz trumpet categories. Today, after garnering several other awards, he is well known in the New York area as a sideman, studio session musician and educator. Bailey honed his gifts in college, playing with the Buddy Rich Band and he has worked with Ray Charles, Ray Baretto, The Woody Herman Orchestra, James Moody, Kenny Burrell, Dr. Lonnie Smith and a host of other icons. With the release of this production, Bailey lets us know It’s time for him to share his composer skills, musical production talents and sensuous horn playing with the world “In Real Time.”
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BOBBY SANABRIA MULTIVERSE B IG BAND – “WEST SIDE STORY REIMAGINED” Jazzheads

Bobby Sanabria, musical director/drums/cowbells/police-whistle/samba-whistle/lead vocals/producer; Darwin Noguera, piano; Leo Traversa, electric bass; Oreste Abrantes, congas/itotele batá drum; second voice on Maria; Matthew González, bongó/cencerro/primo bomba drum/lya batá; requinto pandereta/ganza/Dominican gűira; Takao Heisho, claves/Cuban gűiro macho/cencerro/Puerto Rican guicharo/okonkolo batá drum/maracas (Cuban & Venbezuelan)/shekere/tambourine/cuica/pandeiro/triangle/gong/ police-siren; TRUMPETS: Kevin Bryan, Shareef Clayton, Max Darché, & Andrew Neesley. REEDS: David Djesus, lead alto/soprano saxophones/flute; Andrew Gould, alto saxophone/flute; Peter Brainin, tenor saxophone/flute; Yaacov Mayman, tenor saxophone/flute/clarinet; Danny Rivera, baritone saxophone; Gabrielle Garo, flute/piccolo; TROMBONES: David Miller, Tim Sessions, Armando Vergara, & Chris Washburne, bass trombone; Ben Sutin, electric violin.

Afro-Cuban percussive excitement opens this CD with exuberance and joy. The famed tune, “Maria” never sounded so good or so uniquely arranged. Here is a production of timeless compositions that celebrate the music of Leonard Bernstein (with the unsung lyrics of Steven Sondheim) from the groundbreaking musical, “West Side Story.” Bobby Sanabria has reinvented the music in celebration of the 1957 stage play’s recent 60th birthday in 2017 and also to salute composer Leonard Bernstein’s 100th birthday this year. Using the stellar talents of his passionate Multiverse Big Band, Bobby Sanabria brings fresh life and exultation to this music. Sanabria explained in his liner notes:

“West Side Story holds a special place I my heart. I first saw the (1961) movie as a young boy when my parents, Jose and Juanita, took me and my sister Joanne to the luxurious Loews Paradise on the Grand Concourse in my hometown., da Bronx. At that time, there wasn’t anything that acknowledged the contributions we had made, let alone the existence of NYC’s Puerto Rican community, other than articles about gangs and crime in relation to us. … Yes – gang life in NYC back in the 50s forms the framework of West Side Story, and of course it’s based on Shakespeare’s Romeo and Juliet … but that’s looking at things superficially. It’s a complex story of romance set in the energy of the inner city amidst racism, bigotry, and what causes it; fear, that’s offset by cultural pride, humor and the spirit of fighting for what one believes in, good or bad.”

Using his musical director talent, his musicality on drums and percussion, and his deep love of Bernstein’s composition skills, Bobby Sanbria has produced and packaged his dream on disc. Utilizing the amazing talents of some of the best East Coast musicians alive, this is a recording I have listened to over and over for several days; never tiring of the CDs explosive energy and the beauty it reflects. Bobby Sanabria’s music obviously comes from the heart.
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MAGGIE HERRON – “A TON OF TROUBLE” Independent Label

Maggie Herron, piano/vocals/composer; Bill Cunliffe, piano/arranger; Grant Geissman & Larry Koonse, guitar; Dean Taba, bass; Jake Reed, drums; Bob Sheppard, flute/bass/clarinet; (HORN SECTION): Brandon Fields, Bob McChesney, Ryan Pewees. Geoffrey Keezer, piano; Gillan Margot & Jason Morales, vocal harmonies.

Maggie Herron is a prolific composer, a competent pianist and talented vocalist. Her alto vocals recall the rich, round tones of Cleo Laine mixed with the sultry, expressive voice of Shirley Horn. The catchy lyrics of her songwriting (often written by her daughter, Dawn Herron) grab the attention right away. On both the title tune, “A Ton of Trouble” and the second song, “Perfect Specimen,” Bill Cunliffe’s tight horn arrangements add brightness and accentuate Herron’s unique lyrics. “Salty Wine” is a title full of poetry and so Is the song itself. Maggie Herron composes using a lot of minor chords and melodies that etch themselves into your consciousness like love letters carved into a tree trunk. On this song, we hear Herron on piano and the sensitive guitar work of Larry Koonse. When she sings, “Dance Me to the End of Love,” (a Leonard Cohen composition) the music is arranged more folksy than jazzy. At other times, the arrangements embrace ragtime, slap-stick and on the lovely ballad titled, “There is love” she adds a soft, harmonious background chorus that enhances her production and delivery. All in all, Maggie Herron, the artist, is poetry in flesh and blood.

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WAYNE POWERS – “IF LOVE WERE ALL” Kabochie Records

Wayne Powers, vocals; Ziad Ravie, tenor saxophone; Keith Davis, piano; Ron Brendle, double bass; Al Sergel, drums.

When I listen to Wayne Powers sing, I am reminded of some of our great male vocalists of yesteryear like Arthur Prysock, Johnny Hartman and Billy Eckstine. Wayne has that air of history wrapped into his style and presentation but sung with his own unique style and verve. His album is chuck full of fourteen jazz standards that make me feel as though I’m sitting in a cozy, intimate jazz club in ‘Anywhere, USA’. Wayne Powers knows how to put emotion and sincerity into his songs. It’s easy to overlook the occasional flat notes or his penchant for sliding up to the tonal pitch. That being said, one can tell that this vocalist has lived life and he has picked songs he can relate to; songs where he can dig his heels deeply into the sturdy roots of life. I enjoy each of his presentations, some with the often unheard of or unsung verses, like on his arrangement of “Body and Soul”.

Other songs recall the magical improvisational lyrics of a King Pleasure or Eddie Jefferson. For example, Powers’ arrangement of “All of Me” that begins as a ballad, that then breaks into a lyrical, improvisational scat at a double time tempo. He makes an old song fresh and innovative, borrowing from the style of King Pleasure. Wayne Power’s shows he is unafraid to tackle the brilliance of Strayhorn, on “Lush Life” or the passionate beauty in the famed Ann Ronell composition, “Willow Weep for Me.” His musicians are competent and supportive, with Keith Davis, on piano, lending sensitive accompaniment; Al Sergel locking the time strongly in place on drums, Ron Brendle beautifully complementing the rhythm section on his upright bass and Ziad Rabie strong and creative on tenor saxophone. If you love the standard jazz love songs, here is a rich, emotional, baritone vocalist who amply interprets them for your listening pleasure..

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ERNIE KRIVDA AND SWING CITY – “A BRIGHT AND SHINING MOMENT” Capri Records Ltd.

Ernie Krivda, tenor saxophone/arranger/composer; Joe Hunter, piano; Marion Hayden & Brian Thomas, bass; Lee Bush, guitar; John Bacon & Rick Porrello, drums; Steve Enos, trumpet; Chris Anderson & Gary Carney, trombone.

This is a party album, created by a small band with a very big sound. Tenor saxophonist, Ernie Krivda has written all the arrangements for his ‘Swing City Band’ and ‘swing’ they do! “Lime House Blues” opens his CD with John Bacon peddling the music, introducing a mid-tempo swing on his drums and propelling the band ahead, like a wind-driven cyclist. “Roses” is a sultry Krivda composition. His bluesy ballad is sexy and seems plucked from another era. Krivda’s tenor saxophone style winds back the clock to the 1930’s and 40’s, when Billie Holiday and Prez were popular jazz icons. Next, Marshall Baxter Beckley sings a memorable rendition of “Summertime” that is heated up by the hot tempo and the exciting arrangement that features a strong bass line by female, Detroit, bassist, Marion Hayden. Both Ms. Beckley and trombonist Gary Carney are listed on the CD jacket “In Memoriam”.

“On the Road” is another one of Ernie Krivda’s original compositions. It’s a slow swing that allows Joe Hunter to tinkle the piano keys in a very low-down, bluesy-kind-of-way, utilizing the 88-keys upper register. Even as the horns soar and harmonize, Hunter manages to attract the listener’s attention with his tasty piano chops. Whoever mixed this CD did a superb job. Ernie Krivda writes music that sticks like glue to your melodic memory. His melodies beg to be sung and his arrangements engage both the musicians and the listener. For example, on “Easter Blue,” I am once again captivated by the rich, warm melody that Krivda establishes on his tenor saxophone. Steve Enos mirrors Krivda’s passion on trumpet during a sweetly played solo.

In Cleveland, Ohio, Ernie Krivda is a local hero and national treasure. Krivda explains, in his liner notes , that the original mission of his septet was meant to reflect a broad arena of jazz styles, exploring various eras of jazz music. His band’s name, “Swing City”, immediately identifies their rhythmic groove. This recording of their music captures the prime period shortly before they disbanded in 2002. They took pride in blending bebop with the swing era, interpreting the genius of both Ellington and Strayhorn, (i.e. Mood Indigo, Caravan and The Mooche); embracing standards like “The Man I Love” and “Summertime” in a most Swinging way, while also leaving their mark on Ernie Krivda’s original compositions, including the happy, joyful, title tune, “A Bright and Shining Moment.”

Ernie Krivda is a 2009 recipient of the Cleveland Arts Prize award for lifetime achievement in music and he’s been a driving, Mid-Western force in jazz since the 1960’s. He’s won the Jazz Legends Award from the Tri-C Jazz Festival and a Community Partnership of Arts and Culture Fellowship. You will find him bandleading his own quartet in and around Cleveland, Ohio, as well as directing the Fat Tuesday Big Band.
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GEOF BRADFIELD – “YES, AND … MUSIC FOR NINE IMPROVISERS”
Delmark Label

Geof Bradfield, tenor & soprano saxophones/bass clarinet/composer/producer; Anna Webber, flute/bass flute, tenor saxophone; Greg Ward, alto saxophone; Russ Johnson & Marquis Hill, trumpet/flugelhorn; Joel Adams, trombone; Scott Hesse, electric guitar/classical guitar; Clark Sommers, acoustic bass; Dana Hall, drums/percussion.

For this final review, I chose Geof Bradfield’s seventh album, as a leader, because his music obviously blossoms straight from the heart, like the title of this reviewer’s column. Using the supreme talents of several noteworthy midwestern musicians to explore and deliver eight of Bradfield’s original compositions, you will find this music inspirational and artistic. Each song and every instrument competently splashes color against a canvas of space, painting the music brightly and freely for our ears to digest. Jazz, being the music of freedom, is well represented on this album. Bradfield explains the title of his recording in the liner notes.

“Yes, and … takes its name from an improvisational theater game often implemented by the iconic Compass Players. … It requires you to believe that what you improvise is building on whatever everyone else is doing – even if the response is ‘Yes, and’ … it says here’s my contrasting response to that. I want to see people making some decisions. That’s what jazz is; that’s how my favorite players approach music.”
I should explain, that in 1955, a few blocks from the University of Chicago’s campus, two theater aficionados (David Shepherd & Paul Sills) launched a storefront theater ensemble they named The Compass Players. They were radical for that time and remain influential to this day.

Bradfield’s music ensemble on this production is radical also, sometimes reminding me of the Chicago Art Ensemble and at other times the recording is lush and full, sounding more like a big band than a small, nine-piece ensemble. This is particularly obvious on “Impossible Charms”, the fourth cut on this work of art. Anna Webber shines on flute during her solo on cut #6 titled, Anamneses. It’s fourteen minutes long, but I was never bored. There is plenty of improvisational spirit shown by these players and Geof Bradfield is an exceptional composer/arranger and reed man. No wonder that this project was commissioned by Chamber Music America’s New Jazz Works through the generous support of the Doris Duke Charitable Foundation. You can enjoy this ensemble up close and personal at the upcoming Chicago Jazz Festival on August 30, 2018 or simply pop this stellar recording into your CD player and musically embrace them at your leisure.
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SUMMER JAZZ FEATURES PIANO POETRY AND VOCAL VARIATIONS

July 13, 2018

By Dee Dee McNeil / Jazz Journalist

LYNNE ARRIALE TRIO – “GIVE US THESE DAYS” Challenger Records

Lynne Arriale, piano; Jasper Somsen, double bass; Jasper Van Hulten, drums; Kate McGarry, vocals.

As a bandleader, Lynne Arriale uses her 88-key instrument to inspire. The conversation that develops between herself and her accomplished players is the epitome of jazz expression. That is to say, the music of freedom develops because of the individual talents of musicians who blend their emotions and techniques to enrich the music and to inspire each other and the world. The power of improvisation is truly an example of the power of democracy. Jazz music allows each musician to solo and thereby express themselves, but at the same time, masterfully and artfully blend with the other musicians in a supportive, compatible way.
Lynne Arriale has composed six out of the nine songs recorded on this project. She opens with Joni Mitchell’s popular “Woodstock” tune. All arrangements are by Arriale and I found the title of this project provocative, prayerful and positive. Yes. We need to be reminded of the blessing each day becomes; a day given to us to learn, to live and to love. Explained in her liner notes, Lynne Arriale has approached this ambitious musical concept in hopes of unbridling a sense of wonder and freedom. Known by many as a piano poet, her creative genius has evolved on this recording and she says her inspiration for “Give Us These Days” was the poetry of Jim Schley entitled, “Devotional.” She dedicates this project to the memory of Peter Schmidlin, drummer and founder of TCB Music, the Montreux Jazz Label.

Double bassist and co-producer of this project is Jasper Somsen. Both he and drummer, Jasper van Hulten are from the Netherlands. The tightness of the trio’s sound makes me believe they have been playing together for some time. Together, they have created a priceless piece of music and a hope that their listeners will not only enjoy it but be inspired by the music to count each day as a blessing and a gift.
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ROSS NIXON – “THE REMOVALIST” Independent label

Ross Nixon, piano/composer; Curtis Lundy, bass; Victor Lewis, drums

A melancholy and very beautiful arrangement of an original tune titled “The Removalist” begins with Curtis Lundy’s big bass sound out front and prominent. Then Victor Lewis joins on drums. They set the groove and the rhythmic trampoline is established for Ross Nixon’s piano fingers to jump upon. This is a Nixon composition and one of six original songs on his CD. The delightful old standard, “Crazy He Calls Me” is beautifully interpreted by Ross Nixon as a dreamy ballad. “The Take Down” races off his Compact Disc with energy fused by the masterful drums of Victor Lewis and Curtis Lundy is pumping his bass in a fast-stepping walk. Nixon cuts-time across the rhythm path and dances atop the speedy arrangement, sometimes letting his fingers fly to express improvisational creativity and joy. When Victor Lewis takes a solo, it is exciting and technically astute. Here is a premier recording for this Australian pianist that is well produced and a lovely listening experience. It can be found on CD Baby.

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MND FLO – “FROM TIME” Independent Label

Sharik Hasan, piano/voice/composer; Simon Moullier, vibraphone/synthesizer/ percussion/voice;Alexander L.J. Toth, double bass/elec. Bass/guitar/Fender Rhodes/piano/synthesizer/voice & sound design on all tracks; Anthony A. Toth, drums/percussion/trumpet/voice.

The strands of a guitar sparkles across space from my CD player. A drum rim shot adds smooth jazz rhythm to the premier piece on this recording and a voice recites poetry. I think to myself, this first recording from a group of musicians who met at Berklee College of Music, promises to be both creative and unique. These four young men, who have formed a mind flow union (i.e.: their Mnd Flo group) are combining cultures, traditions and creativity in hopes of bringing something fresh to jazz.

Together, their members embrace Hungarian, Trinidadian, Indian, Canadian, French and American cultures. As students in Boston, Massachusetts, their original group was a trio including Sharik Hasan and Alexander and Anthony Toth. The addition of Simon Moullier, on vibraphone, came later. Their goal on this project seems to be combining creative expressions to create something fresh and new employing their own musical interpretations. The result is a sound relatable to ‘New Age’ music that blends their ethnic roots and they use electronic elements to enhance a fresh approach to their musical expression. Some of it sounds like modern jazz, for instance on cut #4 titled “Scalaphunk”. There is an element of contemporary music seeping through their repetitious grooves and rhythmic backbeats. All tracks were composed by Sharik Hasan except a collaboration with Alexander L.J. Toth and Defne Sahin on track one. Tracks three and five were composed by the TothBros. Like all artists, these young men seem to be reflecting dreams and expression, using music as their paint brush on the canvas of life. Each man is multi-talented, as you can note above where I have listed the many instruments each one brings to this project. I imagine the longer they work together, play together, stay together, they will accrue a sound and style unique and memorable for their “Mnd Flo” group. This is a well-executed beginning to a rich and buoyant career.

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JOCELYN MICHELLE – “LIVE AT VIVA CANTINA” Chicken Coup Records

Jocelyn Michelle, organ; John Rack, guitar; Steve Mann & Bill Noble, alto/tenor saxophones; Andrea Lindborg & Tony Farrell, trumpet; Sammy K, drums/percussion; Al person, percussion; Laura Dickinson, vocals.

The opening tune, “Groove Yard” could have grooved harder for me. Just turning up the speed a hair would have punched this tune right into the pocket and opened this CD up with more of a bang. As it is, the moderate tempo still introduces us to Jocelyn Michelle as a skillful organist. Although the majority of her life and music has been happening on the Big Island of Hawaii, she returned to Los Angeles to record this project. Southern California was once home to both Jocelyn Michelle and her husband, guitarist John Rack. Cut #2, “Englewood Cliffs” bursts forth with the energy I was expecting from an organ ensemble, led by the guitar work of John Rack and propelled by drummer, Sammy K. Jocelyn Michelle invites the tenor saxophone solo to lay down a red carpet of excellence before she enters with her organ solo, enhanced by Sammy K’s spontaneous drum work. I actually recall this song from her “Time to Play” album that I reviewed in 2016.

Jocelyn Michelle was born in Florida, raised in New Jersey and attended the University of Miami School of Music. Her musical parents noticed their daughter’s ability to hear a tune and play it on their piano when she was just a small child. Thus, began her piano lessons at age seven. She also played guitar. While working the club circuit in Miami, she met her husband, John Rack, and became the keyboard player in his band. Soon they became life partners as well as musical partners. They resided for many years in Los Angeles and moved to Hawaii in 2013.
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MAURICE FRANK – “MAD ROMANCE AND LOVE” Jumo Music

Maurice Frank, vocals; John DiMartino, piano/arrangements; Eric Alexander, tenor saxophone; Aaron Heick, soprano saxophone/clarinet/alto flute; Paul Meyers, acoustic guitar; Luques Curtis, acoustic bass; Obed Calvaire, drums; Samuel Torres, percussion.

Maurice Frank has a unique sound and a lovely voice. He introduces me to the Cole Porter song, “Dream Dancing.” I am surprised I’ve never heard this song before, because it’s so lovely and the lyrics are so compelling. Frank sells the song from the very first verse and snags my interest, like a fisherman’s hook. Each song pulls me comfortably along. Maurice Frank knows how to interpret a lyric and his timing and pitch proclaim that he is no newcomer to the business of jazz and singing. His voice is youthful and powerful, but the gray in his beard, pictured on the CD cover, says he’s circled a few blocks and occupied a few stages along his entertainment journey. His choice of songs is exquisite and interesting. He veers off the well-trodden musical path and offers us a glimpse of beauty in songs both familiar and unfamiliar.

The John Di Martino arrangements support Frank’s talent and vocal strong points. His musical ensemble is tight and talented. Currently residing in Florida, Maurice Frank adds a current and twentieth century sensibility to songs he grew up listening to by the famed crooners of the 1950s and 60s. This is good listening and a fitting way to introduce a younger audience to old and unforgettable jazz standards, like Billy Strayhorn’s “Day Dream” and Buddy Johnson’s “Save Your Love for Me.”
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ALEXANDRA JACKSON – LEGACY & ALCHEMY IT/IS TELECOM LLC

Due to over 150 artists contributing to this CD, I will not list them as I usually do. Information is available online.

Alchemy is usually descriptive of converting base metal into gold or a magical process of transformation and creation. From the very first percussive rhythms dancing from this amazing Brazilian musical project, I am enthralled and hypnotized. The production is rich and welcoming. The energy and multi-layered voices dance off the CD and the Portuguese language does not deter from the originality and musical excellence. One does not have to speak a language in order to understand and embrace the emotional contest. Alexandra Jackson’s voice soars, like this ambitious 2-CD-set production. She is the catalyst that ties together English, Portuguese, and a host of special iconic artists who also love Brazilian music. During this 60th anniversary of the bossa nova style, CEO and executive producer, Robert Hebert, was inspired to honor this huge Brazilian music legacy and its contribution to the world. Hebert explains:

“The highest levels of Brazilian music and American jazz have always reverberated. We created an environment and commitment to the alchemy of the music, based on humans endeavoring to evolve the legacy of the music. Brazilian, African and American music have a history of connection due to the slave trade and that’s what creates this sense of musical integrity; what ties it all together.”

Alexandra Jackson is the daughter of Atlanta’s first African American major, Maynard Jackson Jr and her mother is a noted NPR personality, Valorie Richardson Jackson. Alexandra studied jazz at the University of Miami and performed with a host of Latin bands and Brazilian ensembles. She loves the music of Ivan Lins, Gilberto Gil, Caetano Veloso and Carlinhos Brown. On the jazzier side, she is a big fan of Sarah Vaughan, Oscar Peterson, Take 6, Tony Bennett and Chaka Khan. As a member of Generation X, she also embraces the more contemporary, R & B music of artists like Maxwell, D’Angelo, the Brand New Heavies and Jamiroquai.

Currently, the fourth cut on Disc #1 of Alexandra Jackson’s CD is titled “All One” and it’s getting huge airplay across the nation on over 150 radio stations. Five songs from this album are being featured on five Sirius XM channels. This song is also soaring up the Billboard Smooth Jazz Charts. The entire Alexandra Jackson project is just so wonderful, I see why radio DJs are playing it and sharing it, worldwide. Not to mention, the producers of this project have included the work of over 150 participating artists to set a historical stage for the continuous engagement of Brazilian music with American artistry. On the popular cut, “All One” Al Jarreau is featured and as fate would have it, it is one of his last recording sessions before his untimely departure from this world. Also featured is the voice of Castro-Neves from 2005. It was recorded during his own last studio date and conscientiously mixed into this session.

Alexandra Jackson’s voice is the fire and passion that colors each tune in her own unmitigated way, blending with masters like Miles Davis on trumpet, and the superstar Brazilian composer, singer and percussionist, Carlinhos Brown. She makes lilting, joyful music with Paulo and Daniel Jobim on “A Feliciadade” which reminds us of the impact Brazilian music made in the 1959 Black Orpheus film that helped launch samba and bossa nova to the ears of the world. You will hear Hubert Laws and Rod Temperton, Oscar Castro-Neves and Dona Ivone Lara on these familiar and beautiful songs. On “Anjo De Mim” written by Ivan Lins, Vitor Martins and Will Jennings, one of the composers, Ivan Lins, is featured on vocals. His and Alexandra Jackson’s voice blend naturally, like moonlight and dark, romantic nights. The lyrics are lovely.

On “Corcovado,” Miles Davis can be heard on trumpet, joined by Antonio Carlos Jobim and Ivan Lins, and accompanied by the Bossa Nova Noites Orquestra. How extraordinary for Jackson’s sultry vocals to become blended into this piece of historic tape. And all this is found on disc #1 of the double set. Remember, there are two discs. The music is happy, soulful and the production, featuring the talents of co-producers, Larry Williams, Rod Temperton, Arthur Maia, William Magalhaes, Ricardo Silveira, Max Viana, Chris Walker and Robert Hebert is stuffed with culture and delivers icons, and seventeen exuberant, musical offerings. Not only does Ms. Jackson sing lead vocals, she sings all the background vocals and even adds a ‘mean’ whistle on several tunes. Sometimes I hear an Earth, Wind & Fire influence in her productions, for instance in their fresh approach on “Girl From Ipanema”. Chris Walker’s voice shines on “Turns Your Heart Around” as he duets with Alexandra Jackson. Great song! The producers have paired this talented lady with several varied male voices. On Track #3 of disc two, percussionist, Pretinho da Serrinha sings an ebullient duet with Alexandra Jackson that shakes the cow webs from stagnant feet. You are compelled to dance. Rod Temperton and Lionel Richie have penned “Our Time Now.” With the vocal help of Siedah Garrett, Chris Walker, Rod Temperton and Armando Marcal, Alexandra Jackson embraces good company to perpetuate a positive message of humanity embracing golden dreams and celebrating life. This inspirational lyric easily describes Jackson’s entire project.

This recording is an important one and I could not stop playing it, over and over again. I savored each song, each note, like a delicious dessert, it tastes sweet to my ears.
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ANTONIO ADOLFO – ENCONTROS ORQUESTRA ATLANTICA AAMO712

Antonio Adolfo, piano/vocals; Nelson Faria & Claudio Jorge, acoustic guitars; Leo Amuedo, electric guitar; Jorge Helder, double bass; Rafael Barata, drums; Dada Costa, percussion; Jesse Sadoc, trumpet & flugelhorn; Gesiel Nasciento, trumpet; Danilo Sinna, alto sax/flute; Marcelo Martins, tenor saxophone/flute; Levi Chaves, baritone/soprano saxophones; Aldivas Ayres & Wanderson Cunha, trombone; Marcos Nimrichter, accordion; Ze Renato, vocals; Members of Orquestra Atlantica.

Until now, Antonio Adolfo has mostly been a featured pianist with small ensembles. I recall reviewing him in 2016 when his album, “Tropical Infinito” was released. This project is a dream come true for Adolfo. As a talented pianist/bandleader, he has always wanted to record with a big band that understood Brazilian music and how beautifully it combines with jazz. It was in 2012 when Antonio Adolfo witnessed a Brazilian jazz orchestra in Rio de Janeiro, Brazil called Orquestra Atlantica. He knew immediately that he had found the big band that he wanted to record his original music. As a composer, Adolfo recognized using this top-grade orchestra to interpret his compositions would cast a bright and beautiful spotlight on his writing ability.

Antonio Adolfo enjoyed arranging a new version of his biggest hit record, “Sa Marina” that he composed in 1967. With lyrics written by Alan and Marilyn Bergman and in English named, “Pretty World,” his song has been recorded by more than 200 artists. Below is an example, sung by Stevie Wonder.

On this big band arrangement of the same song, after his spontaneous piano solo, he features Marcelo Martins on tenor saxophone and also Levi Chaves on baritone sax and trombonist Aldivas Ayres. They put new fire and passion into his song.

All the music on this album explore Adolfo’s original compositions with the exception of “Milestones,” the Miles Davis jazz standard. On this arrangement, Adolfo has combined bebop jazz with Frevo and shares his piano solo with accordionist, Marcos Nimrichter. The entire production has a smooth, cohesive sound and blends his Brazilian culture with jazz in a very contemporary way. The horns fly like startled birds and are beautifully arranged.

On “Luizao,” written as a tribute to the late bassist, Luizao Maia, who was an innovator in reinventing the way that a samba is played on the bass instrument. He was also once a member of Antonio Adolfo’s small ensembles. During this straight-ahead big band performance, Adolfo chooses to highlight valve trombonist, Serginho. All in all, this is an expansion of Antonio Adolfo’s exceptional talents and a beautifully arranged album of his compositions, grandly interpreted in a big band, orchestrated way.
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HENDRIK MEURKENS & BILL CUNLIFFE – “CABIN IN THE SKY” Height Advantage

Hendrik Meurkens, harmonica; Bill Cunliffe, piano/string arrangements.

I was eager to listen to this project. The temptation was the wonderful, ethereal music that a master pianist like Bill Cunliffe and an extraordinary harmonica player like Hendrik Meurkens might create. I was not disappointed. This duo is quite exceptional. On their recording, they have tackled Broadway tunes, covered respected jazz composer’s and added original material with the same dedication and talent necessary to make this project absolutely memorable. As mentioned in their liner notes, perhaps this project was inspired by the Toots Thieleman and Bill Evans classic collaboration. Or, perhaps it was their longtime friendship and the promise of one day recording together that brought these two musicians jointly on such a tender and challenging musical journey. Meurken’s composer abilities are stellar, beginning with “Afternoon”, the second cut on this disc. It’s a very melodic piece, with unexpected musical twists and turns. The composition is richly enhanced by Cunliffe’s sweet string arrangements. This is such a beautiful tune that I found myself playing it over several times and enjoying it more with each replay. Another song, “Prague In March,” is beautifully penned and harmonically soloed by composer, Hendrik Meurkens. His compositions touch a creative spark in me.

You will hear the music of Wayne Shorter, Joe Zawinul, Jobim and even Bobbi Gentry’s hit pop song, “Ode to Billie Joe”. Cunliffe showcases his composition skills with the tune, “You Don’t Know” and “Time to Say Goodbye” co-written with T. McConnell.
This recording exemplifies a clarity and delicate balance between two musicians who set out to create a duo work of art. The simplicity of the project leaves plenty of space for each one to step forward creatively and spontaneously, threading improvisational dexterity through a needle of technique and talent. This project is stitched together like a million-dollar museum quilt, rich and brightly colored; warm, historic and beautiful.
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Breaking Free – New Music and Unique Expressions

June 10, 2018

BREAKING FREE – NEW MUSIC AND UNIQUE EXPRESSIONS
By Dee Dee McNeil/Jazz Journalist

June 10, 2018

CATHY SEGAL-GARCIA – “THE JAZZ CHAMBER” Dash Hoffman Records

Cathy Segal-Garcia, vocals; Bevan Manson, piano/producer; Tom Rizzo, Dori Amarilio, Jamie Rosenn, guitar; Edwin Livingston, Kenny Wild, Domenic Genova, bass; Joe LaBarbera, Matt Gordy, Steve Hass, drums; Lolly Allen, Nick Mancini, vibes; Chuck Findley, brass; WOODWINDS: Rob Lockhard, Bob Sheppard, Catherine Del Russo, Phil Feather, Greg Huckins, Jeff Driskill, Matchell Manker; STRINGS: Amy Hershberger, Ben Hudson, Rafi Rishik, Susan Rishik, Jennie Hansen, Alan Busteed, Andrew Shulman, Irina Voloshina, Armen Ksajikian. GUEST BASS CLARINETIS/SOLOIST: Bennie Maupin. GUEST VOCALISTS: Kate McGarry, Mon David, Tierney Sutton, “Fish To Birds”, Ashley Maher, Emile Hassan Dyer, Cecily Gardner, Mon David Adrianne Duncan, Tracy Robertson.

The beautiful and very familiar song, “Star Eyes,” is the opener for Cathy Segal-Garcia’s new album. It’s a stunning arrangement. “Star Eyes” was written by Gene de Paul and Don Raye for a 1943 film called “I Dood it.” Over time, it’s become a jazz standard. Cathy’s amazing arrangement perpetuates the idea of Cathy Segal-Garcia as a vocal risk-taker. Here is no easy arrangement to sing, yet this vocalist makes it sound simple. You have to be serious about pitch and timing when you sing with these extraordinary string players. Under the direction of Bevin Manson and co-producer, Dennis Dreith, this jazz chamber orchestra moves like a wild, Santa Ana, California breeze, twirling and changing direction at will. Somehow, the vocalist manages to stay focused on the sensitive and lovely melody of an old and beloved composition. The first ‘cut’ is truly Impressive.

Her next song, a Don Caymmi composition, “Velho Piano” is sung in Portuguese and features Grammy-nominated vocalist, Kate McGarry. The husky, alto tone of Segal-Garcia’s voice suits Brazilian music. She wraps her voice emotionally around the melody and although I don’t understand the language, I believe her. She and Kate McGarry blend nicely on this duet arranged by Dori Amarilio. “Time After Time” by legendary rock artist, Cyndi Lauper, is well executed in Segal-Garcia’s own immitigable way. This vocal artist also shows off her lyrical skills by putting words to Vince Mendoza’s composition, “Ambivalence” that she has renamed, “This Moment.” Cut numbers eight and nine are performed as a duet, a medley combining one of my favorite Les McCann/Roberta Flack hit records, “Compared to What?” with the composition, “Universal Prisoner” and features special vocal guest, Tierney Sutton. Cathy Segal-Garcia and Ms. Sutton wave their social consciousness, like a flag, on this production. Although we are living in a time where it is imperative that more people speak up and speak out, I’m not sure that the “Compared to What” tune was a good choice for these stylized voices. I do appreciate Cathy Segal-Garcia’s ability to always explore outside the box and how she looks for unusual ways to present the usual. I always applaud her creativity. She and Sutton include spoken word opinions along with the string orchestration that tempers the arrangement from funk to a more symphonic chamber approach. There are long phrases of free-form scatting that appear to be spontaneous and uncharted. One thing I love about Eddie Harris and Les McCann is the way they put the groove and energy into their songs of protest and jazz. I think that’s what I miss the most about this arrangement. That being said, I have to praise these two talented vocalists for stepping outside the expected arrangement and offering two Eddie Harris and Les McCann recorded songs with a more unexpected and unique production. That’s what makes this entire CD production an artistic exploration. I encourage listeners to tune in and decide for themselves.
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DAYRAMIR GONZALEZ – “THE GRAND CONCOURSE”
Machat Records

Dayramir Gonzalez, piano/Fender Rhodes/synthesizer/composer/vocals; Antoine Katz & Alberto Miranda, Elec. Bass; Carlos Mena & Zwelakhe-Duma Bell Le Pere , Acoustic bass; Zack Mullings, Keisel Jimenez Leyva, Jay Sawer, Willy Rodriguez, Raul Pineda & David Rivera, drums; Paulo Stagmaro, Marcos Lopez, Mauricio Herrera, Congas; Mauricio Herrera, Pedrio Martinez & Paulo Stagnaro, Bata Drums; Paulo Stagnaro, Gregorio Vento & Yosvany Terry, Surdo/ Cajon/Giro/Pandeiro /miscellaneous percussion; Marcos Lopez, Timbal; Harvis Cuni, Trumpet; Oriente Lopez & Kalani Trinidad, flute; Rio Konishi, Dean Tsur & Yosvany Terri, alto saxophones; Edmar Colon & Dean Tsur, tenor saxophones; Ameya Kalamdani, acoustic & electric guitars; CHORUS: Tatiana Ferrer, Jaclyn Sanchez, Nadia Washington . LEAD VOCALS: Pedrito Martinez, Nadia Washington, Gregorio Vento. VIOLINS: Ilmar Lopez Gavilan, Audrey Defreytas Hayes. Tatiana Ferrer, viola; Jennifer Vincent, violoncello; Caris Visentin Liebman, oboe; Amparo Edo Biol, French horn.

There is something infectious about Cuban music. It captures your imagination and inspires your spirit. Dayramir Gonzalez is a Cuban pianist with a very exciting and energetic style. He is the product of Havana and Cuban traditional music, mixed with a large dose of contemporary Afro-Cuban jazz, perfectly blended into the vanguard New York jazz scene. Gonzalez plays with tempos and time, teasing us with melodies and percussive beats that infatuate and motivate. Starting with the first tune called, “Smiling”. It’s fast paces and just under two-minutes long, but it sticks with me and makes me pay attention. There are ghostly voices mixed down into the track and rhythms that pulsate. The second cut is more esoteric and electronic. Once again, Gonzalez and his enchanting piano arrangements build the excitement, using percussion, voices, synthesizers, but most of all it is the driving piano and his talent at the keyboards and on the keys that propel this music like a shooting star across the sky. “Moving Forward” will certainly make you want to move. Gonzalez is a competent composer and has written every song on this production. I found this entire work to be fascinating, hypnotic , well-produced and beautifully arranged.

“Sencillez” features a lovely flute solo by Oriente Lopez, who flies over the chord changes like a beautiful, wild, drunken bird. Then Gonzalez takes over and his piano fingers fly over the keys with the same elegant energy that Lopez brought to the piece. Background voices add chants while drums and percussion lift the piece higher. “ Lyesa Con Miel” features the strong, melodic lead vocalist, Pedrito Martinez. I love the Afro-Cuban feel of this song. His is an album plush with talent and creativity.

Dayramir Gonzalez grew up in Cerro, a humble Havana neighborhood, during a very tough economic time in Cuba’s history. This lack of financial stability did not stop the growth and promotion of music education on the island. His father, Fabian Gonzalez, is a well-known and successful Afro-Cuban jazz trumpeter. Gonzalez was attracted to the piano early and his talent was evident to many. He attended the famous Cuban National High School for the Arts (ENA) and at age sixteen began working professionally with various groups, including recording with Cuban drum legend, Giraldo Piloto and his group, “Klimax”. In 2004 he won first place in performance at the annual JoJazz Festival and competition, popular as one of Havana’s top venues for up and coming jazz artists. In 2005, he won first place in the composition category. In leaps and bounds, he became a skilled artist, bandleader and composer. His first album would win three Cubadisco awards. Those are awards comparable to our Grammys. He walked away with Best Debut Album, Best Jazz Album and Best Engineered Recording. In 2009, Gonzalez received an invitation to audition to attend the highly praised Berklee School of Music in Boston. He was the first Cuban national to receive a full scholarship. By 2011, he was signed to record for Berklee’s Jazz Revelation Records. In 2012, he was invited to perform at Carnegie Hall as part of their Voices of Latin America series.

This production is stellar, creative and the culmination of cultures, hard work, practice, talent and tenacious determination. Bravo!
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ADI MEYERSON – “WHERE WE STAND” Independent Label

Adi Meyerson, bass/composer; Joel Frahm, tenor & soprano saxophone; Freddie Hendrix, trumpet; Camila Meza, guitar/vocals; Mike King, piano; Kush Abadey, drums.

This is the premiere album release for Adi Meyerson, composer and bassist. She has composed all of the music, a labor of love for the past five years, that reflects her life in New York City and celebrates the legacy of her father who left this earth too soon.

“Rice & Beans” is the opening tune and begins a journey of Straight-ahead jazz. Her ensemble is cohesive and they present her original compositions with energy and swing. The second cut on this album, “A “D” Train” continues to race with Freddie Hendrix on trumpet and Joel Frahm playing saxophone and taking time to call our attention to their talents with ample solos. I’m impressed with Meyerson’s composition skills. She writes beautifully. The third song that is called “Eunice” finally let’s me hear Adi Meyerson play her double bass. I thought she was mixed too far down in the former two tracks. Now she is solo and out front where she belongs. The tune begins without accompaniment. It’s bass a’Capella for several bars, until she sets down a deep blues groove. That’s when Mike King enters on piano. Next the two horns join them, playing a very modern jazz melody on top of a blues shuffle bass line. Several bars later, we are all the way into the blues, with Hendrix stepping out front to serenade us once again on his fluid trumpet. “Little Firefly” features Camila Meza on vocals. She’s also a fine guitarist. I’m a “Hard Bop” kind of girl and this album hits a spot dead-center in the pit of my heart and soul.

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FLAVIO SILVA –“BREAK FREE” Independent Label

Flavio Silva, guitar/composer; Seamus Black, tenor saxophone; Alex “Apolo” Ayala, bass; Curtis Nowosad, drums. SPECIAL GUESTS: James Francies, piano & Rhodes; Michael Mayo, vocals.

“Africa” is a composition by Flavio Silva and opens his second album release titled, “Break Free.” Silva is a jazz guitarist who blends together African, Afro Brazilian and World Music to take the listener on a cultural and adventurous musical ride. Silva’s music has contemporary overtones. On the very first number, the guitar sets up the groove with a beat pattern calling to mind a Temptation’s R & B tune. But believe me, Silva is jazz all the way. No compunction. The expressive tenor saxophone solo by Seamus Blake quickly lifts this tune to another level, with Curtis Nowosad on drums, spinning the rhythms around and around like the propellers of a jet plane. He sends the group flying! The drums are paramount in tying this ensemble together and are prevalent in ‘the mix’. Flavio Silva plucks his guitar strings to regain our attention and then improvises around the melody with short spasms of string energy. Silva has composed seven of the eight songs on this album and arranged one cover song by the great Brazilian vocalist/composer, Chico Buarque titled, “Samba e Amor.” Silva’s “Royal Song” features the scatting skills of Michael Mayo on vocals. The melody is complicated and challenging. Mayo makes the intervals sound easy and fluid. But after a while, I want to hear some lyrics. I want to know the story behind the “Royal Song.” Silva’s original song, “Prayer #2,” is another one of my favorites on this album. The unique drum groove adds to the interesting melody. Special guest, James Francies, spiced the production up with his piano solo on the title tune, “Break Free”. All in all, here is a debut recording by a talented young guitarist on the scene who offers his original composition skills as an additional gift to the listener.
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SAM JAVITCH QUARTET: PEOPLE AND PLACES
Independent label

Sam Javitch, piano/composition; Rich Perry, tenor saxophone; Adrian Moring, bass; Matt Niedbalski, drums.

The first outstanding statement I hear on this CD is by pianist Sam Javitch. His solo on “The Pitch to Rich” races out of the gate right after Rich Perry,on tenor saxophone, establishes the melody. This pianist is someone to watch and enjoy. He’s assertive on his instrument and unafraid to color outside the proverbial lines. As a student of Mulgrew Miller, James Weidman, Harold Mabern and Cecil Bridgewater, you would expect nothing less than this musician’s dynamic approach to the keys. His compositions are melodic and interesting. This album is a tribute to the many people and places that have helped to shape him into the musical person he is today. He has written “Lifted: A Song for Grew and Those Who Knew” as a nod to his mentor, the late, great Mulgrew Miller. It’s plush with gospel chords and emotion. “Level Up!” is another one of my favorite tunes on this production of fine music. Javitch raises the bar and picks up the tempo, exploring the upper register of the piano and punching the chordal rhythms appropriately with his left hand. Matt Niedbalski pushes the rhythm with flaming drum sticks and Adrian Moring locks his bass into the mix. When Rich Perry enters with his rich tenor saxophone sound, the composition is expanded with the fury and freedom that jazz can sometimes inspire. This is a great song.

Sam Javitch began to study piano at age three, after it was recognized that he not only had a keen interest for the instrument, but also that he had perfect pitch. He’s a familiar presence on the New York contemporary jazz scene.
Rich Perry adds excitement and innovation on his tenor saxophone. Bassist Adrian Moring and drummer, Matt Niedbaski studied at William Patterson University with Sam Javitch and one of their favorite professors was Mulgrew Miller. They bring a commonality and a hunger for jazz excellence to the bandstand. This is a young and thriving quartet who each obviously bring their heart, soul and talent to the music.
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LARRY GOLDINGS, PETER BERNSTEIN, BILL STEWART – “TOY TUNES” Pirouet Records

Larry Goldings, Hammond organ; Peter Bernstein, guitar; Bill Stewart, drums.

“Toy Tunes” marks this trio’s twelfth album together. The first tune on this CD left me feeling unsatisfied and I was surprised because I’ve heard these musicians and I know they are way better than the average cats. Each musician’s resume reads like the who’s who of jazz. That being said, Larry Goldings composition, “Fagen” just didn’t move me. It’s a tribute to Steely Dan’s Donald Fagen, who Goldings says introduced him to a whole new world of harmony and song structure. I found the melody repetitious and annoying. “Don’t Ever Call Me Again” begins with drums rumbling the rhythm and setting the pace. That was exciting. Then, Bernstein climbs on board with his guitar, passionately singing out the melody. This is a composition by drummer, Bill Stewart. Like the Goldings composition, “Fagen,” this song is also repetitious, with a sing-song melody and intervals and harmonics that sound strangely off-key. I start thinking, ok – maybe this is the premise of their trio sound; to be a little off-center or Avant Garde with their arrangements and harmonies. There is a stellar drum solo on this song that showcases Bill Stewart’s talents. I was waiting with baited breath to hear the Bernstein tune, “Lullaby for B.” It’s a lovely composition with an unexpected structure and pretty melody. I’m a lover of the Straight-ahead, Bebop era organ trios, so this trio’s style and presentation challenges me to embrace them with a more open mind. Obviously, they are all great players and competent composers. Their music is complex and doesn’t always groove the way Jimmy Smith, Shirley Scott, Jimmy McGriff or Jack McDuff did. The closest we get is “I’m In the Mood for Love” where they do lay down a groove and then totally rearrange the tune. So, I finally get it. These three musicians are uniquely presenting their individuality and technical virtuosity on a modern jazz exploration of arrangements and original compositions. As the tune fades out to the patter of Stewart’s brushes on his drum kit, I find myself enjoying this little break and percussive showcase. Their interpretation of Carla Bley’s “And Now The Queen” remains memorable. It establishes their unorthodox contemporary approach, yet always celebrating the odd melody written by Bley in her four complex bars. Bill Stewart’s “Calm” tune settled me down. I found it quite beautiful and enjoyed hearing the trio play it, featuring Peter Bernstein’s sensitive guitar work. The album closes with “Maybe” a Strouse & Charnin song that made me happy as it skipped along and showcased Larry Goldings toying with his organ in the most opportunist way. Basically, here are three amazingly talented musicians who enjoy their musical playground to the ‘max’. Thus, the title of their production is “Toy Tunes”. I love Wayne Shorter’s compositions and obviously so does this trio, naming their entire art project for his, “Toy Tunes.”

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MISHA PIATIGORSKY TRIO – STAINED GLASS & TECHNICOLOR GROOVES Natural Drummer Label

Misha Piatigorsky, piano; Charlie Dougherty, bass; Sam Fishman, drums; Jeremy Fishman, saxophone/percussion.

I was attracted to this CD by its colorful jacket. Bright reds, oranges, deep, dark greens and silhouettes of jazz musicians and camels in black were painted into a picture of something mysterious, but happy and promising like the title:“Stained Glass & Technicolor Grooves.” What could this be about, I wondered.

It seems Sam Fishman had a dream of bringing a taste of New York City jazz clubs to his hometown of Glen Rock, New Jersey. So, he made it happen. On January 8, 2017, he took a quartet of musicians he contracted and they recorded this gem of an album ‘live’ at the Glen Rock Jewish Center. The music is as vibrant and colorful as this album title and its CD artwork.

Misha Piatigorsky is a sensitive and proficient composer. The very first tune, “Where’s the Sun?” is provocative and exciting. It makes you want to hear more. He begins very classically, then suddenly bursts into a groove and the musicians join him. The time fluctuates, so they have to be sensitive and inspired. “Nachlaot” is more contemporary and modern. At first, before it kicks into high gear with blues overtones, the pianist and bass player tease the audience with a music-box sounding introduction. I can almost see the ballerina twirling before the tiny, music-box mirror as the music plays. Misha Piatigorsky is an assertive pianist who performs with great expression and technical adeptness. He makes the music blossom right in front of your senses and at the same time, draws you tenderly into his compositions. Sam Fishman is strongly supportive on drums and he knows just when to crescendo with the trio and when to lay-back and solidly set the groove. They play with tenacious intensity and the pianist’s charisma leaps off their disc. I can only imagine how it had to feel, being there in person, to witness this show of stamina and power. On “Superhero,” (another Piatigorsky composition) Charlie Dougherty takes an opportunity to solo atop a very Latin groove. The pianist even throws some Stevie Wonder improvisation into his solo, taken from his popular song titled,“As “, off Wonder’s “Songs in The Key of Life” album. “Close Your Eyes” follows and is done at a moderate tempo; a shuffle/swing. Very nice. However, after all the band’s high energy tunes, I would have loved a ballad. Jeremy Fishman adds his saxophone interpretations on Mongo Santamaria’s “Afro Blue” composition. It adds a nice musical spice to the trio.

It is this trio’s spontaneity and energy that fuels and propels their project, like a rocket ship blasting off into the universe and taking us all with them. Fasten your seat belt!

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A Passionate Violinist and Conductor Makes Orchestral Magic

May 29, 2018

A PASSIONATE VIOLINIST AND CONDUCTOR MAKES ORCHESTRAL MAGIC
By Dee Dee McNeil/jazz journalist

May 29, 2018

Dr. Yvette Devereaux lets no grass grow under her feet. She’s a shaker and mover! I’m sitting in a Pasadena restaurant awaiting her arrival, when she bursts into the room with an energy that’s palpable. She smiles at me as she slides into the booth. Her skin tone is deep chocolate and she has this beautiful glow that looks like she’s just been dipped in warm oil at a day spa. Yvette Devereaux is one of those super-women who juggles a multitude of projects with precision. I’m pleased she could fit me into her schedule for this interview. One moment she’s playing a violin solo on a Tyler Perry’s hit television show called, “The Haves and the Have Nots”; the next moment she’s rushing to the studio and being featured on Justin Timberlake’s CD “The 20/20 Experience”. No big deal. She’s performed with Timberlake previously, like during the 2013 Grammy Awards show. After all, she’s been around a slew of famous celebrities and power-people. In one way, it humbles you. But she continually exudes confidence and she’s worked hard to achieve her independent spirit.

YVETTE DEVEREAUX:“Well, I started playing violin at seven and studied piano at three years old. When I was in elementary school, they said you had to be in Fourth Grade to join the orchestra. I was in third grade. I had picked up my love of violin from my sister, Cynthia. She played violin. My other sister, Jacqueline, played clarinet. So, we all played instruments. My mother was a pianist and vocalist. She taught piano to all the kids in the neighborhood. So, at first, I started taking piano lessons from my mother at two years old. She couldn’t take it and decided to find a piano teacher for me. I studied piano at three years old and later picked up my sister’s violin, which was too large for me, but I wanted to learn to play. In 3rd grade the teacher came around and told us we could be in the orchestra in 4th Grade and I wanted to know, can I at least try to be in it now? She said no! Then, I started playing my violin right there in front of her and she said, Oh yeah. You can be in the orchestra right now.” (laughter)

As we chit-chat and share laughter during her biographic antidote, I realize that even as a child, Yvette Devereaux was a precocious and determined, individual thinker.

YVETTE DEVEREAUX:“I grew up in Compton, California on Stockwell Street. That’s what my small company is named after; Stockwell Music. That’s where everything started. Compton thrived with the arts when I was in school. First of all, we had a full music program. Teachers travelled to other schools, so all students had music in their curriculums. The woman who was over all this, Mrs. McMasters, she was a conductor. She was the one who actually told me I could join the orchestra in third grade instead of fourth grade. But to see her at the podium in elementary school, she was pretty much my first role model for a conductor. And she was a woman who, no matter what, was hands-on for everything and encouraged her students. They had a music team in the school district and they called them travelling music teachers. One travelling music teacher was Mr. Houl. He played horn instruments. He headed a band, where my sister played the clarinet. My other sister played flute, bells and violin. My sisters were in both ensembles with Mr. Houl, all in one school; Segundo Elementary. I was also involved in our All District Choir in Compton, where students throughout the entire school district would come together (weekly) and sing! And I mean sing! We had the ‘Compton Boys Choir’ and the Compton Choraliers. We toured throughout the State and made television appearances. All our choirs were led by a wonderful woman, Esther Cleavers. I was in school orchestras from elementary school to high school, in addition to an All District Orchestra, thanks to Mrs. McMasters and my string teacher, Joseph Taylor. Both were very instrumental. I had those same group of teachers in my life all the way through school until college. It’s not always about funding. It’s about having a vision and implementing it. We need to make sure all kids have music in school. You don’t even have to have instruments. You can clap. You can sing. The kids are there. They’re waiting to be taught.”

For a moment, Dr. Devereaux let’s her passion for youth shine to the surface. Her face becomes animated and expressive. I witness her sincerity as she remembers the kind of loving attention she and her schoolmates received years ago. She’s concerned that regular music inspiration is often unavailable in our schools today. Dr. Devereaux continues.

“So, around 5th grade or so, when schools were still going up to 6th grade and then you graduated into Junior High, an Elementary school graduation was a big deal for the teachers, because it was their last performance with us. We had a graduation choir and everybody had to sing a song. I can’t remember her name right now, but she was the head of our graduation choir and she was also the pianist. She said ‘Ok children, I want you to sing this song.’ She was trying to conduct and play piano at the same time. It was difficult, so she looks at me and says, I want you to conduct the choir. That’s how it happened that I conducted the graduation choir. Then I had to pick up my violin, because I played a solo for graduation as well. I was nine-years-old. As a kid, your teacher instructs you to do something and you just do it. But as I think back, it had a great impact on me. Because I always can visualize that day. I can see that day so clearly and it’s kind of strange because my classmates accepted me as a conductor. They were all senior violin players and it was odd because they all listened to and followed me. At that moment, I felt like it was fun. But then it started to snowball.

“In Middle School, my string teacher, Joseph Taylor, was very instrumental and hands on with all his students. Most of his string students are still playing professionally. He played all the string instruments and was very, very smart and very talented. He took over this woman’s place, who was quite powerful and she played all the instruments. Her name was Mrs. Brown. She was over the entire string program. She either retired or moved on, but Mr. Taylor took over. He became my private violin teacher and he pushed us. We were playing Mozart, Beethoven, everything at Vanguard Junior High school.”

Yvette Devereaux was determined to walk her dream pathway up the rainbow and down the other side. She wanted more than the ultimate pot of gold. Ms. Devereaux was determined to be respected as a prepared and distinguished orchestra conductor. She is living proof, dreams do come true. She has conducted at her Alma mater, Chapman University, where she received her Bachelor’s Degree in Music, Orchestral Conducting and violin. In 1993, Ms. Devereaux was chosen to compete in the Antonio Pedrotti 3rd International Competition for Orchestra Conductors in Trento, Italy. She also conducted the Chapman University Chamber Orchestra and University Symphony on a tour to Hong Kong, the People’s Republic of China, Spain, Hawaii and various American cities. She was a participant in the Carnegie Hall Corporation program for conductors with Pierre Boulez and spent two summers at the Conductors Guild Institute, held on the campus of the University of South Carolina. But what Ms. Devereaux really wanted was to study at the famed Peabody Conservatory of Music.

YVETTE DEVEREAUX:“I wanted to go to one of the best conservatories in the world. Even my teachers said, you will never get in. It’s so difficult. So, I said, Ok, but I ignored that advise. I decided to get some extra lessons outside of my university mentor, sense he didn’t believe in me. Peabody sent me all these requirements in preparation for their audition. They were very, very challenging. I said ok, I can take a challenge.

“I took a year off after undergraduate work. I said to myself, Oh, I’m going to get in! I stayed with my parents and didn’t do anything but practice, study; practice, study. I took lessons from various people like Daniel Lewis, who was the Conductor of the USC Symphony Orchestra. I also enrolled in some of his classes and workshops. In addition, I took a few lessons with William Shatner, who was also at USC. But it was Daniel Lewis who was so instrumental and he was the one who really said, you do these things and you’ll accomplish your goals. He gave workshops in various cities and I would be there, whether it was in Ohio, Minnesota, or where ever. He was and is still a great coach and conductor. And when I finally got to the Peabody auditions, I paid for my own airfare. That was hard. I arrived alone and stayed at a hotel. I had no idea how far it was to walk from the hotel to the audition place, but I walked straight to Peabody. My name was on the list and I checked in. I’m looking at all the other people and I’m listening to everyone else tuning up and the guy in front of me was on the podium for half an hour. I thought – Oooo, this is scary. Then I heard, ‘Ms. Devereaux, you’re next.’

“In the orchestra, there were about fifty people. You had to buy the scores in advance. The process of elimination is on several levels. I mean you have to have the money to buy the scores, get the plane ticket, reserve the hotel room. I was teaching students on the side, so I could buy those scores and be certain I was prepared. When it was my turn to audition and conduct the symphony orchestra, they had me play one of the hardest pieces of Igor Stravinsky titled, “The Rite of Spring.” I had to know every note played by the orchestra. So, I get up there and there’s a panel of four. The main conductor, who everybody wants to study with, is Frederick Prausnitz. Conductors all over the world want to study with Frederick. I saw that he was on the panel and that he was the one who’s going to tell me what to do. His assistants were next to him. He says, ‘Ok, Ms. Devereaux, you can begin.’
“Thank God I had my undergraduate experience with conducting, under the tutelage of John Koshak, because I knew how to run an orchestra. John Koshak had heard about me when I was attending high school in Compton (California). He’s the one that was instrumental in making sure I got into Chapman University as an undergraduate. I had to audition in front of him on the violin in order to get into the school of music. Consequently, I was admitted as a Violin Major with emphasis in Education (I thought!). But things changed immediately during my 1st semester after taking my theory class with Professor and Dr. Noael. The first thing a theory student learns in 1st year theory is ‘how to conduct’ and knowing the beating patterns. Originally, I had this theory class with Mr. Noael. So, I’m doing my thing and he goes, ‘Stop’. He said, ‘You have a conducting hand. After this lesson’s over, I want you to go and see John Koshak and tell him you’re interested in conducting’. I went and John Koshak also had me conduct a few beating patterns. Mr. Koshak said, OK, I’ll take you as my conducting student, meaning you’ll work for me the next four years, learning to be a conductor. That was the beginning of everything.”

Yvette Devereaux surprised her instructors and peers when she was accepted and earned a Master’s degree in Music and Orchestral Conducting at the Peabody Conservatory of Music on the campus of John Hopkins University in Baltimore, MD. Additionally, she earned a Doctorate of Philosophy at Felton University. Consequently, she is now, Dr. Yvette Devereaux. Dr. Devereaux is both the first woman, and the first African-American woman, to be accepted into the conducting programs at both Chapman University and the Peabody Conservatory.
But things don’t always go as planned. Dr. Devereaux has always been competitive and tenacious. When she was approached to compete in the Mario Gusello 4th International Conductor’s competition in Pedrotti, Italy, she was one of three Americans who became semi-finalists. She told me about that experience.

YVETTE DEVEREAUX: “I did two competitions in Italy, but this was the first competition. You have about 2000 applicants and only fifty get chosen. First of all, they send you their repertoire three weeks in advance with scores to study. When you get there, you have no clue which one you are going to do. So, you’ve got to be prepared for all of them. There were eight scores, from light things like Mozart pieces to pieces by John Cage, all these modern pieces that take a lot of studying. … I had no idea what it would be like and when I got there, I joined conductors from all over the world who were also there to compete for this one prize. For my first piece they chose Antonin Dvořák Symphony #7. I went, Yeah! Thank you! Because that’s one of my favorites. When Dvořák came to America, he went to New York and heard black music, later creating the New World Symphony. But I was so happy to conduct his Symphony #7 during this competition. I got through the first round. You come the next day and see your name posted to realize you’ve made the first round. After the second round, there were twenty of us left. I made that round. In the last round, there were about eight of us left. I was called as the first one. When you’re the first, you have to set the bar. The musicians have to get comfortable with the piece and I was the one who actually taught them the piece. So, I made it to the third round. That was fine.

“I went by myself to Italy and to attend my first competition. I loved it over there. I felt like I was with people I knew, because as soon as I got off the plane I was taken care of. The car was there. We went and got some food. Then, when I went to Venice, it was so much fun. On the way home, I had to lay over in Milano or Milan, and that’s when it all went downhill. Some Gypsies followed me. I turned around and all my stuff was stolen. No passport. No money. Everything was in my briefcase with my scores. I put my briefcase on the ground while I was waiting for the bus outside the train station. I was so stunned! I went back into the train station and they were all laughing, like it was a joke. I asked, how can I get to the airport? They said a police report would help me to go to the consulate. So, I filled everything out. I said where is the consulate? They said fifteen blocks away. It was beginning to drizzle outside and I had to figure out how to get on a bus and get to the consulate with no money. A guy inside the terminal said to me, you look very sad. Something wrong? I told him my story and he said, here’s some tokens. These tokens will get you to the airport. Because I still had my luggage, but not my briefcase. I figured at least I could get to the airport to put my luggage into something (a locker) while I figured it out. And he said, by the way, the consulate closes in about an hour.

“So, I go to the airport and see about retrieving my ticket. They tell me they don’t see my name on the flight. I told them my ticket was stolen. I called my friend in America. It was about three-o-clock in the morning in Los Angeles and told him to go down to the airport and pay an extra $50 to get my name back on the roster. I knew I had to get back to Milan and to the train station so I could go to the consulate and get a new passport. Later, arriving at the consulate, a man said no – no – no. You cannot come in here. We are closing. I was looking at him saying, you don’t close for thirty minutes. He finally agreed, after a lady who worked there insisted he let me in and help me get my passport. He didn’t want to do it. They wanted me to come back tomorrow. Then he said I had to go down another fifteen blocks to get my passport photo taken and then go back to the consulate. I walked really fast and down into a dungeon-like basement to get the photo. I arrived back at the consulate, two-minutes before the door closed. I got the passport, But the train had left. Now I was hungry, with no money and no way to get to the airport. The consulate said they would give me a voucher for the hotel across the street from the train station, where they had prostitutes, rats and roaches. I had to stay there until morning and they gave me McDonalds vouchers. I went to the hotel and it was disgusting. So, I wired my friends for money. Then I went outside to a decent restaurant for a good meal. They told me I had to be at the train station at 6 in the morning in order to catch my plane that left at 9am. In that nasty hotel, I didn’t take off my clothes. I sat in a chair until dawn and then dragged myself over to the train station. I got on that train. It took an hour and a half to go from Milan to the airport. I had to get my baggage and check in. They charged me fifty dollars because they said my luggage was too heavy. When they said this plane goes to the United States of America, I praised God. I was so happy. I was exhausted and traumatized; No credit cards. No money. No driver’s license. When I got to JFK, thank goodness my parents were there. They didn’t know the whole story about how I got robbed and what I went through. My mother had prepared a homecooked dinner for me and that was lovely. The next day I had a recording session for Prince with Clare Fischer. That was the next day after all that drama. I had to get up and be there. No one knew what I had been through. But I was determined to be there, to work with the iconic Clare Fischer. I was so exhausted on that session. And that’s the story of my first overseas competition.

“In 1997, my sister Jackie got married 3-weeks before my next competition and no one wanted me to go anywhere by myself again. So, she came with me and made sure everything was taken care of this time and her honeymoon was with me. We travelled to Pescara, Italy and that was the best competition ever. I made it to the Semi-Finals, part of just eight contestants. There were only two Americans that got in and it was so rewarding. After each round I finished, I would go back into the audience and hold my sister’s hand. We’d wait to see if my name would be called. Wow! I get chill-bumps even now, just picturing my sister and I sharing that moment. I love her!

“When we came back through New York, Kermit Moore, the great cellist, conductor and composer, asked me how I would like to do two weeks at the Blue Note with McCoy Tyner? That was unbelievable. I was pinching myself. McCoy in my ear every night? Whoa! I was in the string quartet with his band. 1998. I will never forget it. It was hard ‘cause I ended up staying at a person’s brownstone in Harlem. The subway train stops at one-o-clock in the morning and my sister wasn’t used to travelling like that, at that hour, and neither was I. After she left early, I still had to do it by myself. McCoy Tyner heard that I was doing that and had a car pick me up. That last night with him was so amazing. They were swinging so hard and McCoy looks over and says to me, ‘Take a solo.’ Ooooo! I was part of the ensemble the whole time, but at that minute he pointed to me and said take a solo. Oh my God. He is such a great person and an amazing musician. He’s one of my idols.

“Another one is Donna Summers. She knew what was happening. And Smokey Robinson is also another one of my favorites. When you’re on tour as a Pop artist, and they see there is only one black girl in the entire orchestra, they were conscious. Donna Summers would always look over at me and say, you’re going to do the solo, right? You’re going to have to step out here, she’d say, motioning to me. That’s rarely done when you’re with a whole string orchestra. Because of Donna Summers I got solos at MGM Grand and I got solos at the Hilton Hotel in Las Vegas. And Smokey Robinson is so generous and nice to work with. He never put himself above us. When we ate, he’d eat with us. He was always so respectful. Also, Vanessa Williams was the greatest. Although she won Miss America and acted and sang, she was still so gracious. We’d do a lot of concerts together and particularly at the Grammys. She said, ‘You’re not like the regular string players. A limo will pick you up; all four of you.’ So, she sent a car for our string ensemble. When we played for the Arsenio Hall show, we had our own room where our guests were treated well with snacks, chocolates, and candies everywhere. With Vanessa Williams, she’d even pack a box of candy for each of us to say thank you. Of course, I can’t forget Barbra Streisand, who was just unbelievable. When we worked with her on recordings at Capital Records, she was very gracious and we were just hanging out with her the whole time. It was so nice recording and hearing her in my ear. And as a woman, she was running the show. I learned so much watching her. She was such an example. She was also produced by Diana Krall. To see this duo of women, working together, it was unbelievable. That was one of the best recordings I have ever done. I spent four days with them; and Johnny Mandel was the arranger. OMG. I loved working with Johnny. He’s so smart. Just two notes and he changed the entire song. It made everything better. When Diana Krall did her record, “Love Scenes” with “Peel Me A Grape” on it, I was right there with Johnny Mandel for that too. Then there is Gerald Wilson. To see Gerald Wilson at work on that “Detroit” album was just amazing. I learned so much.”

Yvette Devereaux is concerned about our children and the lack of music and art programs offered in our public education system. You’ll find Dr. Devereaux consistently invested in the art of teaching, the act of mentorship and devoted to servicing our community.

In 1983, she began teaching violin, conducting, voice, and composition in her studio. In 1993, she founded the Progressive Arts Academy. It was an After-school and Weekend Performing/Visual Arts Program for ages 3 to adult in her hometown of Compton California. She has shared her talents at various teaching positions including the So. Pasadena Music Center & Conservatory, the Wildwood Music Camp, Mount St. Mary’s College, Compton Community College, and Dr. Devereaux has helped design the curriculum of her Alma Mater Chapman University and the Peabody Conservatory of Music. For her tireless work, she has received numerous awards and honors, including the Community Leadership Award, sponsored by the Los Angeles Christian Methodist Episcopal Church & she received the Certificate of Appreciation from former Los Angeles Mayor Tom Bradley. Ms. Devereaux is an advocate for education. She is a frequent lecturer, adjudicator, educator and coach for many organizations, schools and institutions throughout the United States. She has recently written and published arrangements for youth string orchestras & is currently seeking opportunities to coach youth orchestras. She told me about a recent experience conducting an amazing youth orchestra in New York state.

“I received a call from representatives of a New York, Long Island Festival. They said, they found me on the Internet and would I be interested in conducting the youth orchestra in 2014? It was the Long Island Festival for High schoolers. So, I get there and I was blown away. These young people were really talented. I think most conductors turn down opportunities like that, because you’re not sure what you’re going to get. Perhaps they don’t want to be embarrassed. These youth were playing really challenging pieces and I didn’t expect that they would execute that well! When you deal with young people and they haven’t developed their tone yet, it’s a little hard. Sometimes they don’t have the best instruments, so the sound isn’t what I’d like to hear. No problem. I had to make adjustments. I dealt with that. Great composer, Aaron Copland, wrote “Hoedown”, a really challenging piece. It’s for more professional players like The L.A. Philharmonic. This young girl, who played the xylophone in the orchestra, nailed it. Nailed it! I mean, Nailed it. They played it well. It’s on my website. http://yvettedevereaux.com/

“I only had two days of rehearsals and then the concert. Those young people pulled it off. When you’re dealing with youth orchestras, most young people want to play well and they want to sound well. Sometimes teachers don’t have the time to look for repertoires that are appropriate for young people. So, that’s when I closed my door one summer and wrote over seventy arrangements for youth orchestras. I tell orchestra teachers that they are available. Some teachers don’t understand that all the students in the orchestra can play, regardless of their level. Children don’t have to sit out. It’s because of the repertoire. Instructors don’t always choose the right music. I write scores that are playable. So, I’ve been asked to come back this year and do two more festivals in Long Island, New York with ninth and tenth graders and over a hundred and fifty students.”

Dr. Yvette Devereaux is inspiring. When she is not acting as concertmaster of a String Ensemble for the hit TV Show, “The Voice,” or playing for Aretha Franklin’s performance at President Obama’s Inauguration, you may have seen her as the lead violinist for the 2011 Grammy Awards show featuring Bruno Mars. She regularly appears with sensational, jazz saxophonist, Kamasi Washington, most recently this year at the Coachella Festival in California. She has appeared as a solo violinist at the Hollywood Bowl with Stevie Wonder, with Hank Jones, Gerald Wilson, Joe Lovano, Kenny Burrell and as she mentioned, made a solo appearance with the Disco Diva, Donna Summers in Las Vegas. She has been a principal violinist for Luciano Pavarotti. I asked her about that.

“You know, I was so taken by his voice. I heard recordings and I had seen him on television, but in person was amazing. I just wanted to be sure I played my notes right. He was so knowledgeable of what he was doing and so knowledgeable of the orchestra. You had to be on your game. He had travelled and gone from playing at the Met and playing at the Opera House. He was so used to being around greatness, so I was very fortunate to be sitting there as a principal and just playing my notes.

“You know, I think I’m grateful for my teachers. You have to develop, whether it’s your technique or your knowledge. You have to put all this behind you until you’re considered to be an artist. If you’re trying to learn an instrument, you have to learn that instrument and everything about it. It doesn’t happen overnight. And we have to practice. You can’t let one or two days go by without working on your talent. It’s amazing. I practice every day. I have to. Because I want to stay on it. I make sure I’m qualified always. Do you know what happened with Leonard Bernstein? The conductor was sick or something and at the last minute, that’s how Leonard Bernstein got the job with the New York Philharmonic. He was called to conduct a difficult piece by Stravinsky, and that was the beginning of his conducting career. Who knows when it will happen? You have to be prepared!”

And prepared she is! That preparation allowed her to become the first woman to hold the position of Music Director and Conductor of the Southeast Community Symphony in Los Angeles. Just hand her the music, a violin and/or the baton, sit back and watch a prepared, passionate, professional work her magic.

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NOAH PREMINGER & ROB GARCIA, DEAD COMPOSERS CLUB “CHOPIN PROJECT” – Featuring Nate Radley & Kim Cass
Connection Works Records

Noah Preminger, tenor saxophone; Nate Radley, guitar; Kim Cass, bass; Rob Garcia, drums.

Speaking of classical orchestration and magical music, here is a unique project. All the compositions are by Frederic Chopin, cleverly played in a very free and jazzy style. Classical music lends itself to jazz, because jazz is based on the European classical scales with the addition of slave songs, blues and work songs and most importantly, improvisation that expresses a longing for freedom. Jazz music has developed into America’s unique classical music and it’s a national treasure. These musicians somehow easily make the connection between modern jazz and the iconic 19th century composer, Chopin . From the very first hauntingly beautiful “Nocturne Op27 Nᵒ1 in C# minor” with the bass setting the tempo and Noah Preminger playing the melody at a faster pace than you might expect, I find myself intrigued. Kim Cass continues to make a bass statement, even when simply locking in with the drums and tightening the rhythm section. Rob Garcia is ever present, steady and supportive as a flexible and necessary net beneath this musical high wire act. He adds color and strength to the tracks with his busy drum sticks.

I love the drum solo on Prelude Op28Nᵒ 24 in D minor. Rob Garcia is spectacular during his solo percussive escapade. In the liner notes he explains.

“These are great songs that can be played with many different treatments. There’s a lot of room for us to just be ourselves.”

I never noticed before that some of the melody of this “Prelude Op28 Nᵒ24” has parts that are uncannily similar to the Nat King Cole jazz standard recording of, “Nature Boy.” It’s the very first line of this song that is eerily similar to Chopin’s composition. Check out Nat King Coles beautiful vocal on it below.

Preminger, who often recalls the smooth riffs that Stan Getz used to play, is a native of Canton, Connecticut and this is his twelfth album release as a bandleader. Downbeat Magazine has heralded him as among the top tenor saxophonists in their annual polls. I am infatuated with his whispery, airy tone and tenacious, solid sound.

Garcia is active in the current Brooklyn jazz scene and is respected as both a sideman and bandleader. He’s appeared on over forty albums, including Grammy winners. His 2009 CD, “Perennial,” was named one of the 10 Best Jazz Albums of that year by the New York Observer. He’s been a major force in artist-run jazz organizations and is the founder/artistic director of Connection Works and a member of the Brooklyn Jazz Underground, as well as a founding member of the Douglass Street Music Collective.

Together, these two dynamic artists successfully celebrate and elevate the amazing music of Frederic Franciszek Chopin, along with their bandmates. It’s a magnificent listen.
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FIRST CLASS ENTERTAINMENT AT AFFORDABLE PLACES IN LAS VEGAS

May 22, 2018

By Dee Dee McNeil / Jazz Journalist
May 22, 2018

This past Mother’s Day Weekend, my beautiful daughter and I decided to go to Las Vegas. While there, I was bent on finding a club or hotel act that played good blues. We usually buy show tickets, but this time, I was hoping to find out where the local entertainers were performing. After several calls to friends and other entertainers, I discovered some pretty incredible talent in Las Vegas at very affordable places. Our first stop was on West Las Vegas Blvd, far from ‘the strip’ and near Martin Luther King Blvd. The hotel is called, “The Silver Nugget “and inside you will find a comfortable showroom and bar that features a five-piece blues and R&B band. There was an opening act and a main act. The star was Lady Brandy.
When we entered the ‘no-cover-charge’ club and ordered drinks, the first thing we noticed was the well-dressed woman in a sparkly sequined dress, burgundy hair and dangle earrings. She approached us after we were seated and gifted we three women (my daughter, my Las Vegas buddy, Stephanie, and myself) with glowing, red, artificial roses that lit-up with tiny lightbulbs nestled in the petals. She was friendly and engaging. It didn’t take long to discover she was originally from my hometown of Detroit, Michigan; a product of Motown. She was also the featured act for the evening.

Her show began with Michael ‘Mico’ Welch taking the stage. Michael sang “Lovely Day” to open the show and put soul into the already soulful Bill Wither’s tune. Next, he performed the Otis Redding hit record, “Sittin’ On the Dock of the Bay.” He had the audience in the palm of his hands sporting an excellent voice, stage persona and friendly patter in between his songs. This was followed by the Jeffrey Osborne hit record, “Love Ballad.” Michael Welch performed in the most amazing way as he sang, “What we have is much more than they can see” with the audience responding verbally; singing along. People rushed to the small dance floor and held each other tightly.

This was followed by Al Green’s standard hit, “Let’s Stay Together”, Michael Welch turned up the heat, and raced around the room, jumping on the empty chairs surrounding the bright red table cloths and he sang to the attentive crowd, making musical love to the Mother’s Day guests. The opening act ended his powerful set with the Teddy Pendergrass tune, “You’re My Lady”.

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Then came the star of the show, Lady Brandy, poured into a purple sparkle dress with four-inch, gold high heels and a voice that was powerful and authentically blue. She sang to her audience, “You better own it, if you want to make my day” and told us with conviction, it takes a real strong technique to handle Lady Brandy. We believed her.

When she sang the Staple Singers hit, “I Know A Place, I’ll Take You There,” there was solid audience participation. This was followed by “Who’s Makin’ Love to Your Old Lady, while you’re out makin’ love?” She has a delightful and sincere way of chatting with her audience, the same way she approached us when we walked into the club. She makes you feel at home and that each song is a personal story she’s sharing specifically with you.

People were joyful and got up to dance around her. Some danced with her. She’s a show person; an entertainer. She knows how to work the room. Blues songs ranged from “Down Home Blues” to Erykah Badu’s “Call Tyrone.” She told the ladies in the audience, becoming very confidential, that one of the band members was her husband and that they had been having problems. Then she inserted the song, “While you been steppin’ out, someone else is steppin in” and when she got to the line that says, “I got a new way of wearin’ my hair,” off came her wig, flying across the room and up on the stage for her husband to retrieve. Beneath the natural-looking wig, her hair style was like a 1920’s Betty-Boo-look, with dark, shiny waves pressed beautifully against her head. This was followed by “Sexy Man, What Your Name is?” Lady Brandy walked the room, got down on her knees, told us stories of life and love, all supported by a tight blues band and lots of drama. This is a very affordable treat for blues lovers any Friday or Saturday night at the Silver Nugget Casino in Las Vegas where they pour strong shots and offer entertaining blues.

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On Mother’s Day, we got a message from Las Vegas vocalist, Bobby Rose, that there was an amazing female singer called, Madame Dee, featured as part of the Soulful Sunday entertainment package at Cork & Thorn Floral shop. Yes, I said Floral Shop. During the week this unique venue sells flowers. They offer floral education and fun, providing numerous flower design and arrangement courses and infusing a first-person experience at their shop with sparkling libations and cheese platters. Then, comes Sunday. They feature live music and the amazing Madame Dee.

As we enter the Tivoli Village mall, Cork & Thorn is a small shop with lovely, ornate dry-wood floral designs hanging from the ceiling on thin wires. A trio of musicians is set up against the wall and a woman in a full length, sparkling blue dress is singing the Rufus/Chaka Khan song, “Everlasting Love” with so much emotion and power, I am stunned. Madame Dee has a style and vocal ability similar to Patti LaBelle. She is captivating and a true show-woman. At times, she put the microphone down by her side, because her vocals were so powerful and persuasive, she didn’t need the microphone. At the end of her songs, she stretches her arms wide, cues the band and tantalizes the audience, with her head thrown back. Her voice is magnificent.

From what I understand, this venue offers Sunday entertainment featuring this dynamic vocalist every Sunday at 330 So. Rampart Blvd., #180 in Las Vegas, NV. I promise you, her performance is extraordinary and she presents a concert that is mesmerizing. Here is another ‘no cover charge’ venue that is artsy, comfortable with couches and warm with good vibes. Everyone is dressed to impress in their Sunday go-to-church clothes and Madame Dee looks like a Main Stage Las Vegas, Showroom celebrity. You’ll think you are at the MGM Grand instead of a modest flower shop. Her voice is a gift and a blessing. What a wonderful way to spend Mother’s Day or any day at all!

In addition, at the end of her last set, she invited a host of local entertainers to her bandstand. We enjoyed the silky-smooth vocals of Bobby Rose.

There was a visiting singer from Chicago, with a close- cut blond afro and a big, beautiful voice. She was introduced as a background singer for Patti LaBelle. Speaking of Chicago, I hear that my friend Ghalib Ghallab is back on the strip entertaining. He plays piano and sings. See http://ghalibghallabjazz.com/tour_calendar/

We also enjoyed Yohon Harbin, who presents a tribute to Ron Isley around town. He was another stellar vocalist, formerly the lead singer with the legendary Drifters.

I hope this article gives you some ideas for the next time you visit the city that never sleeps. There’s no place like Las Vegas, and no limit to the incredible entertainment you can enjoy.

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JAZZIN’ IT UP

May 18, 2018

JAZZIN’ IT UP
By Dee Dee McNeil/Jazz Journalist

This month of May, I’m JAZZIN’ IT UP with Ukrainian influences, featuring BOB ARTHURS and STEVE LAMATTINA who transform Ukraine folk songs to jazz. San Diego pianist, DANNY GREEN, who adds strings to his trio. Canadian trumpeter, GABRIEL MARK HASSELBACH releases Mid-Century Modern music. NICK FINZER offers his rich, sincere trombone beauty, while JAMIE SHEW celebrates the love she found and lost with ‘Eyes Wide Open.’ Finally, the FRED HERSCH TRIO records ‘Live’ in Europe. Here’s my take on these newly released Compact Discs.

GABRIEL MARK HASSELBACH – MID CENTURY MODERN, VOL. 1
Windtunnel Records

Gabriel Mark Hasselbach, trumpet/flute/flugelhorn/valve ‘bone/vocals; Miles Black, piano; Laurence Mollerup, bass; Joel Fountain, drums; Ernie Watts & Cory Weeds, tenor saxophone; Mike Taylor, vocals; Olaf deShield, guitar.

Once again, Gabriel Mark Hasselbach has produced an album of fine jazz, combining the Straight-ahead style with modern jazz and what he refers to as Mid-Century music, all woven together like the lovely, colorful threads of a Canadian poncho. You can wrap yourself up in his music and feel warm and satisfied.

There is a beautiful vocal on “Nature Boy” sung by Mike Taylor. His voice is smooth and sweet as warmed caramel candy. It was a nice surprise to hear a vocal on Hasselbach’s normally all instrumental project.

The third tune, “Blues on My Mind,” features Cory Weeds on tenor saxophone. He swings hard, along with pianist Miles Black. This tune moves from a moderate blues into a straight-ahead double-time tempo. There’s a horn refrain that harmonically pulls the piece together, as a comfortable reference point throughout. “Terra Firma Irma” is another one of my favorite compositions on this album and it features the great Ernie Watts on tenor saxophone. However, it’s the fiery Gabriel Mark Hasselbach, on trumpet, (sometimes flute), that brings this project to a boil. He keeps the music alive and swinging throughout. Hasselbach always manages to insert bold funk and lovely melodies into productions that make you want to dance, sing and swing.

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DANNY GREEN TRIO PLUS STRINGS – “ONE DAY IT WILL”
OA2 Records

Danny Green, piano/composer; Justin Grinnell, bass; Julien Cantelm, drums; Kate Hatmaker & Igor Pandurski, violin; Travis Maril, viola; Erica Erenyl, cello.

San Diego pianist and composer, Danny Green, has arranged a unique group of original songs, expanding his composition and arranging skills by adding a string quartet to his most recent production. The first tune, “Time Lapse to Fall,” is rich with classical overtones. The next cut, “As the Parrot Flies” is lush with strings and uses a pizzicato technique on strings at the top of the song that plucks at the listener’s attention. The piano sounds like a restless bird throughout and Julien Cantelm on drums makes his sticks move across his instrument like wings.

If you are a lover of Chamber Music, this album will satisfy that appetite, along with the creativity that jazz always brings to the table. The improvisational piano playing of Green steadily unfolds as he improvises. The string arrangements add depth to this recording. The string quartet features San Diego Symphony violinists Kate Hatmaker, Igor Pandurski and Travis Maril on viola, along with cellist Erica Erenyl.

Green is a native of San Diego from an academic family with both parents becoming educators. He earned his B.A. in Piano Performance from UC San Diego, where he studied jazz piano with Grammy-winning producer, Kamau Kenyatta and classical piano with John Mark Harris and Luciane Cardassi. His taste for music has evolved from grunge rock, to Ska music and Latin music influenced by The Buena Vista Social Club documentary that tickled his interest in Cuban music. Later he embraced the Brazilian music style and was finally drawn to jazz pianists like Herbie Hancock and Bill Evans. He attained his Master’s Degree in Jazz Studies at San Diego State University, studying under the tutelage of Rick Helzer. Now Green is a bandleader with his own ideas about arranging, composing and recording. I found this musical project to be easy listening and quietly beautiful. But I never heard the fire and excitement that Evans, Hancock, Monk, Gene Harris, Billy Childs or Tommy Flanagan would bring to the bandstand. For my taste, I wish he had added one fast-moving, spontaneous, hard-swinging composition to this mix. He explained his project this way.

“As a composer, I always strive to tell stories through music,” says Green. “Adding strings to my music provides new and exciting ways for me to expand on those stories and heighten the emotional impact.”

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JAMIE SHEW – “EYES WIDE OPEN”
Independent Label

Jamie Shew, vocals/all arrangements; Larry Koonse, guitar; Joe Bagg, piano/Hammond B3; Darek Oles, bass; Jason Harnell, drums.

One thing that is immediately obvious is that Jamie Shew can ‘Swing’ the music. Her first tune is an original composition, complete with syncopated rhythms and a strong Swing-feel. It’s titled, “Get Out Of My Head” and features Joe Bagg laying down a memorable organ solo and it’s propelled by the strong, distinctive drums of Jason Harnell.

The arrangement on the intro to “Easy To Love” is unusual and really doesn’t add to the vocalist’s rendition of this familiar Cole Porter song. However, when the band brings the repetitious groove back at the end of this song to feature the drum solos, I admit that tied the whole thing together. I can hear a lot of Ella Fitzgerald’s influence in this vocalist’s style and presentation. I learned, from the enclosed press, she’s a proficient pianist. However, she doesn’t play on this recording, although she studied jazz piano at Washington State University and earned her Master’s degree in Vocal Performance/Jazz Studies at Western Michigan University. For the past fifteen years, Jamie Shew has been working the Los Angeles jazz circuit with her husband of twenty years, Roger Shew, a proficient bassist. Sadly, Jamie lost her beloved soulmate to Cancer. This album is a musical tribute to him and their relationship over their two decades of love. “The Answers Are You,” written by Pat Metheny and Roger Shew, seems to summarize a patch of her life with loving lyrics that celebrate being a lost soul and discovering completion when merging your life with another. Larry Koonse sounds inspired on his guitar. The melody tests Shew’s soprano range with a melody that dips and dives. “Detour Ahead” is full of emotional nuances and showcases Jamie Shew’s warm tones. On “Thou Swell,” Jamie Shew takes the liberty to scat the Rodgers and Hart tune and impresses me with her adlib and improvisational ability.

Musically, Shew has contracted a group of L.A.’s prized jazz cats, so the tracks are sensitive and well-played. This vocalist is generous to her musicians, giving them time to shine in the spotlight of their own solos and individual talents. Over the years, these musicians have been friends and bandmates with Jamie and Roger Shew. Consequently, there is a musical camaraderie on this recording that is palpable.

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NICK FINZER – “NO ARRIVAL”
Positone Records

Nick Finzer, trombone; Lucas Pino, tenor saxophone/bass clarinet; Victor Gould, piano; Alex Wintz, guitar; Dave Baron, bass; Jimmy Macbride, drums.

The Trombone is an instrument I’ve always thought of as very close to the human voice. Nick Finzer uses his own unique voice on this beautiful instrument; both rich and sincere. I wondered at the meaning of the album title, “No Arrival.” In the liner notes, Finzer explains.

“No Arrival means we’re always searching, always striving, never arriving. This piece is the journey and a musical representation of the cyclical nature of our life’s path.”

On the very first tune, “Rinse and Repeat,” Finzer lets his technique fly with the up-tempo rhythm and Swing in a straight-ahead-kind-of-way. This is one of five original compositions included in this production. Nick Finzer is a formidable composer. His melodies and chord changes lend themselves to inspirational improvisation by his band members. On “Never Enough,” pianist Victor Gould stretches-out and solidly entertains, both as a sensitive accompanist and soloist. Lucas Pino plays beautifully during his bass clarinet improvisation. However, it is the staunch, ever-driving trombone solo, tinged with blues, that puts the pizazz into this original composition. The melody sticks in your mind hypnotically. Nick Finzer explained his inspiration to create the composition entitled, “Tomorrow, Last Year”.

“Written just after the November 2016 election, this piece was a visceral reaction to the realization that the tomorrow of the past was not going to be the tomorrow of the future. Nonetheless, it wasn’t going to stop time, nor prevent me from continuing the journey that is important to me in this life. This piece is one of hopefulness in the face of seemingly darker times.”

This album is a bright light, a spotlight, leveled at a new and distinctive talent who has appeared on the jazz stage and is garnering well-deserved attention. Like Finzer told us, his music exudes hopefulness, happiness and the strength of freedom that only good jazz embodies.

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FRED HERSCH TRIO – “LIVE IN EUROPE”
Palmetto Records

Fred Hersch, piano/composer; John Hébert, bass; Eric McPherson, drums.

I enjoy listening to music in Ms. Ruby Kia, my Sportage SUV. I name all my cars. The last one was “Matilda” from the Harry Belafonte hit record “Matilda, she takes me money and run away yeah. Everybody, Matilda …” etc. Anyway, while I make those long California drives. I listen intently. I can’t read the credits, the liner notes or the publicity sheet. I am just listening and expectant about what I might hear artistically.

Fred Hersch is a name I know and recognize as an amazing pianist/arranger. The first cut sounds a lot like Thelonious Monk. The Hersch style reminds me a bit of Count Basie and a bit of Monk. But instead of the ‘Swing’ those two masters were known for, Hersch reverts to a more classical style. His music reminds me of classical meets Avant Garde.

This is a ‘Live” album, well produced and recorded cleanly. You can hear every nuance and patter of the drums and every clap of the audience hands. You enjoy the solid bass lines and the flutter of Hersch’s technically astute fingers punching the black and white keys alive with sound and rhythm. Once I arrive at my destination, I look at the Fred Hersch song list and marvel that the first tune was indeed a Thelonious Monk composition titled, “We See.” The second cut, “Snape Maltings” is a Hersch original composition. It features John Hébert bowing his big bass at times, with McPherson on drums, fluctuating between filling in and at other times, appropriately singing along with the very classical melody on his trap drums. The song, “Skipping,” does just that. Both Hersch and his trio skip along, like carefree children, playing outside on a summer day.

This project is sometimes an excursion into unknown territories, led by Hersch and his creative compositions and talented sidekicks. “Bristol Fog” is an absolutely beautiful ballad and I believe my favorite cut on this entire album of excellence. In the liner notes, they write that this is a musical dedication to the late British pianist, John Taylor. Hébert has the opportunity to stretch out on this song and his bass tone and emotional delivery are stunning. Lucky for this trio, they were recorded while performing in Brussels at the former National Institute for Radio Broadcasting. The acoustics are perfect and the spontaneity of their improvisational journey is emotionally tangible.

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BOB ARTHURS – “JAZZ IT UP! UKRAINIAN SONGS FOR THREE DADS”
Blue Griffin Recording

Bob Arthurs, trumpet/vocals; Steve Lamattina, guitar.

The concept of this production is simple. Two musicians, Bob Arthurs and Steve Lamattina, were approached by a Ukrainian record producer, Irena Portenko, and asked if they would consider using their duo instrumentation to record popular Ukrainian songs with jazzy arrangements. The producer named the project for her father, her uncle and her daughter’s dad. Thus, the title, “Jazz It Up – Ukrainian Songs for Three Dads.” The result is a fresh perspective on traditional folk songs from the Ukraine.

Bob Arthur is a jazz trumpeter, a vocalist, band leader and recording artist. As an educator, he has served on the faculty of the Music Conservatory of Westchester in White Plains, New York for over three decades. This CD is his fourth release as a leader. Previously he released an album where he sang in Ukrainian. He sings on this CD also, featured on “Moon in the sky,” and “Walking Around the Garden,” once again singing in the language of the Ukraine. Steve LaMattina served on the faculty of the Music Conservatory of Westchester until 2006. So, I assume that he and Bob Arthurs are old friends and teaching mates. His proficiency on guitar is obvious, as he strums the rhythm and keeps the time steady. LaMattina is the only instrument supporting Arthurs’ horn and vocalization. The duo production is simplistic, but effective. This is a fine introduction to Ukrainian folk music, all jazzed up with a newly painted face.

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JAZZ IS THE COMMON DENOMINATOR, FROM MR. ROGERS TO EARTH, WIND AND WONDER

April 28, 2018

JAZZ IS THE COMMON DENOMINATOR, FROM MR. ROGERS TO EARTH, WIND AND WONDER
By Jazz Journalist Dee Dee McNeil
April 27, 2018

KEVIN BALES, KERI JOHNSRUD, with BILLY THORNTON & MARLON PATTON
BEYOND THE NEIGHBORHOOD – THE MUSIC OF FRED ROGERS

GabNat Music

Kevin Bales, piano; Keri Johnsrud, vocals; Billy Thornton, bass/vocals; Marlon Patton, drums.

A flurry of piano notes from the flying fingers of Kevin Bales open the first song in a tribute to the music of Fred Rogers. Who is Fred Rogers? You may more quickly recognize him if I call him, “Mr. Rogers,” the television celebrity who made so many children happy for nearly thirity-five years. This album shows us the jazzy genius of this man. His songs are smart, positive and melodic. Beginning with “It’s You I Like” that lyrically reminds us, “It’s not the things you wear, it’s not the way you wear your hair. It’s you I like.” You hear this song one time and already you can hum the melody. That’s the sign of an outstanding songwriter. Keri Johnsrud is the vocalist who interprets these catchy songs. Their trio swings hard and non-stop. Bales is an expert on the 88-keys and Marlon Patton rides the rhythm, fluent on his drum kit. Billy Thornton takes an impressive bass solo on this first song, after which, these four musicians have established their territory. What they bring to the table is laid out like a jazzy tablecloth on their very first tune. The group is Straight Ahead and no nonsense when it comes to their arrangements.

True, Mr. Roger’s music catered to children on several shows like ‘Mister Rogers’ Neighborhood,’ ‘The children’s Center’ and ‘The MisteRogers Show.’ In fact, Kevin Bales and Keri Johnsrud grew up listening to these catchy melodies and poignant lyrics. A couple of years ago, in casual conversation, they realized both of them had enjoyed and become attached to the Fred Rogers compositions as children. Upon research, they discovered that Rogers had actually composed every song heard on his programs. His simple messages of friendship, love and emotional connections not only apply to children, but easily apply to adults. This is quite evident on tunes like “Just for Once.” This composition explores friendship and is arranged with exotic sounding drums beats, bringing to mind Ahmad Jamal arrangements and memories of Jamal’s popular “Poinciana” hit record. Patton employs mallets and the lovely softness they bring to music on “Find A Star”.

This is an album worthy of listening to, not only because the trio is talented and resourceful, but also because these arrangements establish Fred Rogers as a competent and sensitive composer/lyricist. Keri Johnsrud has a very pretty, pop voice and does a fine job of sharing the Roger’s melodies with us. However, I would not call her a jazz singer. That diminishes this production in a subtle kind of way, because the trio is definitely jazz. “Beyond the Neighborhood” has certainly awakened this jazz journalist to the music of Fred Rogers. So, I would acknowledge, mission accomplished!
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DON BRADEN – “EARTH WIND AND WONDER” Creative Perspective Music

Don Braden, tenor saxophone/flute/alto flute; Brandon McCune & Art Hirahara, piano; Joris Teepe & Kenny Davis, bass; Cecil Brooks III & Jeremy Warren, drums.

This is a tribute album to the magnificent, musical contributions of Earth Wind & Fire and Stevie Wonder. Jazz reedman, Don Braden, has celebrated the popular music of these two Grammy-winning artists with his tenor saxophone, flute and alto flute. He shows the world that these pop icons and popular musicians are also incredible composers. As we know, a great song can be interpreted any number of ways. Every cut on this recording is superbly produced and Braden’s exciting ensemble of memorable musicians do not disappoint. Starting with the familiar classic, Earth Wind & Fire’s hit record, “Fantasy,” (composed by Verdine & Maurice White and E, Dek Barrio) the Braden ensemble kicks into high gear and speeds Straight-ahead with no compunction. Braden’s flute on “Visions” is beautifully executed. The melody of this Wonder tune is already lovely and I’m happy that Don Braden chose his flute to interpret it. Starting as a ballad, it doesn’t take the band long to march into a slow-swing groove. Michael Jackson’s recording of the Stevie Wonder and Susaye Green song, “I Can’t Help It” is one of my favorite pop songs. Braden transforms it into a beautiful jazzy arrangement. Braden has also offered two original compositions, “The Elements” and “The Wonder of You”. Both are well written compositions that leave plenty of room for his band members to showcase their extraordinary skills.

Don Braden’s love of Wonder’s music and Earth Wind and Fire songs started in Louisville, Kentucky, when he was just a young man. It was not only the melodies and the danceability, but the messages within these songs that caught Braden’s ear. Braden says he soaked up the joy, strength and love that embodies the African-American spirit in this modern music. Now, he shares that experience with us, in his own unique way, never forsaking the premise and importance of jazz. This is not Smooth Jazz. This is the real deal. Braden has taken the contemporary, musical standards of his generation and converted them into arrangements of the only original artform heralded as the United States’ indigenous, classical music; Jazz. The way I see it, this is the new American Songbook and these are the new composers of the twenty-first century. I applaud Don Braden and his worthy musicians for gifting us with this wonderful work of artful music and for honoring some of our modern-day composers.
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JARED GOLD – “REEMERGENCE” Strikezone Records

Jared Gold, Hammond B3 organ; Dave Stryker, guitar; Billy Hart, drums; Jeremy Pelt, trumpet/flugelhorn.

Billy Hart, on drums, fuels the first and title tune, “Reemergence” composed by the featured artist, Jared Gold. Gold is a fresh, jazz -organ, recording artist making waves on the East Coast. This is his eighth recording, and he’s surrounded himself with a group of excellent musicians to support his musical concepts. Dave Stryker is not only a proficient guitarist, but a record producer with his own label, a composer and a very busy New York musician. Drummer, Billy Hart, is legendary and was once the drummer of choice with the great Jimmy Smith. Trumpeter, Jeremy Pelt, is a refreshing addition to the organ trio. The first thing that stands out about Jared Gold is his ability to take familiar songs like Stevie Wonder’s “Lookin’ For Another Pure Love’ or the Lennon/McCartney standard, “She’s Leaving Home” and turn them into harmonically fresh works of art. Gold’s creativity with harmonics is formidable. Gold started out as a piano player, but quickly found his expressive niche on the organ. He was born in Englewood, New Jersey February 27, 1980 and has worked extensively with Oliver Lake and John Abercrombie. This ninth album as a leader solidifies his unique approach to his instrument and his excursions into arrangements that are unique, like the title tune that roots itself in an unusual fourteen-bar blues pattern. On the tune, “Sweet Sweet Spirit” he takes us to church. Songs like “Ornette Coleman’s Blues Connotations” show the listener that he can groove with the best of them and also gives Hart an opportunity to break free and exuberantly solo on the drums. Jared Gold comes into sight and prominence once more, just like the title of this CD proclaims.


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JONATHAN BARBER – VISION AHEAD
Vision Ahead Music

Jonathan Barber, drums, vocals; Taber Gable, piano, Fender Rhodes, synthesizer; Andrew Renfroe, guitar; Godwin Louis, alto saxophone; Matt Dwonszyk, bass; Denise Renee, vocals; Sasha Foster, vocals.

Listening to this project In my car, I was immediately impressed by the drummer on this session. I was driving, so I hadn’t pre-read the publicity notes or looked at the CD cover credits. I just popped the disc into my player. This is an album of grooves and funk; fire and spice with bursts of creativity like whispering voices in the background or saxophone sweetness added at unexpected times.

There’s a lot of synthesized music, with Taber Gable strongly present on piano, Fender Rhodes and synthesizer. Matt Dwonszyk locks the rhythm section in place with his strong bass licks. Andrew Renfroe plays a mean guitar on cut #3. When I look to see who composed that song, it was none other than Renfroe.

Jonathan Barber has composed eight of the twelve songs on his debut recording. Some tunes remind me of modern jazz, others are more contemporary. You get a sense that these young musicians have listened to the likes of George Duke and Herbie Hancock. They like to groove. Jonathan Barber is the powerhouse behind this group, always at the forefront of their energy and persuasive with his drum licks and percussive powers. Vision Ahead is a tribute to his dead brother who he unexpectedly lost in November of 2016.

“My music not only helped me through my grieving process but sparked a fresh musical style in hopes of carrying on the spirit of this American art form; jazz.”

Barber is a terrific and gifted drummer. His songwriting skills are more grooves than substance. I didn’t find many melodies that leant themselves to being easily repeated. Some are extremely complicated, like the 7th cut, “Airport” where Barber adds vocals to his resumé. He penned the lyrics on this Eldar Djangirov composition. Eldar is a super-talented young pianist who has been Grammy nominated. The intervals of this song are challenging and Barber has added a huge amount of echo to this production. Is that to mask his vocal shortcomings or for the effect of the huge, hollow buildings that house airport facilities?

“Time Will Tell” adds the pretty background voices of Denise Renee and Sasha Foster, rich and warm, proffering a hip-hop groove wrapped around Barber’s drum expressions. He sings on this tune also. I prefer the singing he does on his drum kit. Once again, this composition is repetitious to a fault. For the most part, Barber’s compositions are strictly grooves that make for pleasant listening and background music. But there are no Duke Ellington, Billy Strayhorn, Herbie Hancock, Freddie Hubbard standard jazz tunes on this album. There is, however, some serious and outstanding drumming taking place.
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FOR NOW – “ELSEWHERE”
Independent Label

Isabel Crespo, vocalist/producer/composer; Skyler Hill, guitar; Gregory Santa Croce, piano; Mike Luzecky, upright & electric basses; Connor Ken, drummer/percussion; Brendon Wilkins, flue/alto saxophone; Kevin Swaim, flugelhorn; Devin Eddleman, tenor saxophone; Kenny Davis, trombone; Background vocals: Zach Yaholkovsky, Gabrielle Byrd, Jordan Coffin, Lizzi Trumbore, Anna Jalkeus, Carleigh Reese, Madison Russell & Sara Finkle.

I always keep an ear peeled for recording projects that are fresh and unique. Today I was introduced to a group of musicians who call themselves, “For Now.” They are propelled by their vocalist, who has composed all the melodies and lyrics. The first cut “We’re Home” is very pop oriented with interesting lyrical prose. Vocalist, Isabel Crespo, has a lovely range and crystal-clear tone. Her intervals in this song are refreshing, challenging and jazzy. Her sense of harmony is evident as soon as the band arrangements kick in. She sings lines that are poetic and unique like, “Our thoughts caught like kites in a tree, we are watching them all as they try to break free.” When she harmonizes with Skyler Hill on guitar and Gregory Santa Croce on piano, she tosses the lyrics aside to scat like an instrument. I am drawn into her musical space. This group is uniquely interesting. The scatting continues on cut #2 called, “Into the Yellow Room,” where a sense of Avant Garde enters the picture. Her voice sings without words and leaves plenty of room for the musicians to stretch out and improvise. Connor Kent is a strong drummer who pushes them forward with hurricane-force gusto. Ms. Crespo used vocal over-lays and harmonies to propel this tune. The third composition, “Caught In the Double Bind” is Herbie Hancock-ish with the piano driving the song and the production touching on funk, contemporary jazz and the lyrics reflecting feminism.

Isabel Crespo sings, “When I’m right, there’s always something wrong. ‘Cause it’s a problem that I’m strong. … “ She seems to be speaking as a woman in a leadership position or simply a woman in control. She sings, “I can be nice, very inviting … but if I leave, you might just think I’m mean. … How dare I think, that we’re both equal … what a disgrace, you’d think I’d know my place. …”Maybe I’ll leave, all the decisions up to a man. He’d have a better plan.”

Her activism comes across in various ways and on various compositions. She addresses feminism and racism, while breaking the boundaries and walls that sometimes restrict creativity. “On Color” she asks questions that prod our sensitivity about the racial problem in America with lyrics that reflect her anathema.

Isabel Crespo’s voice is not the typical tone of what I think of as a jazz singer. It’s very popish. Then she sings something like composition #9 titled, “Tesseract” and I recognize this composition and her band are clearly jazzy, very modernistic and improvisational, lending themselves to blend jazz and world music in a sort of salacious musical meeting of both mind and instrument. This is an art project. Her compositions become a collective vehicle to expose everyone’s audacious talents.
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DAN BLOCK – “BLOCK PARTY – A SAINT LOUIS CONNECTION” Mile High Records

Dan Block,tenor saxophone/clarinet; Rob Block, guitar; Neal Caine,bass;Tadataka Unno,piano; Aaron Kimmel,drums.

Although this CD is titled “Block Party,” (I suppose a play off of Dan’s last name), it doesn’t sound like any block party I ever attended. That is to say, this is not loud, raucous, dance music. Instead, it sounds like a cool jazz club on a warm summer night. His liner notes explain that this music is meant to represent a time to join together with family, neighbors and friends in a timeless tradition of sharing music that spans several generations of jazz.

Dan joins his brother and guitarist, Rob Block, for the first time on this recording session. So that could well be another reason for this celebratory ‘Block’ party.

“We’re very different people, but he brings something intangible out in me and vice versa,” Dan Block explained. “You’re completely free to be yourself when you’re sharing the stage with your bother.”

Also from St. Louis, Neal Caine, was a longtime bassist for Harry Connick Jr.’s band and joins the Block brothers on their exploration of roots and music. Dan Block is well-regarded in mainstream jazz circles, but when I listen to his clarinet playing, I hear a lot of traditional jazz in his style, as well as tastes of Dixieland jazz. He’s diverse, moving easily from tenor saxophone to clarinet and has a long career of backing up such notable musicians as Wynton Marsalis and the Lincoln Center Jazz Orchestra, Frank Wess, Toshiko Akiyoshi, Natalie Cole, Anne Hampton Calloway, Bobby Short, Linda Ronstadt and Rosemary Clooney. Classically trained at Juilliard, he has played nearly every style and genre of music. On this easy-listening project, his horns are warm and welcoming. His brother, Rob, is no slouch on guitar, boldly playing a memorable solo on “Dinner for One Please, James.” The tune “No, No, No” sounds incredibly close to the melody of “I Should Care.” They play it as a Latin flavored Salsa tune where Kimmel, on drums, can kick it happily into dance-mode. I enjoyed the ensemble’s interpretation of Thelonious Monk’s “Light Blue” classic, where Tadataka Unno takes a successful opportunity to express himself on the grand piano. All in all, this is a lovely album of familiar tunes, well-played by seasoned veteran musicians in jazzy celebration of St Louis culture and brotherhood.
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EDWARD SIMON – “SORROWS & TRIUMPHS
Sunnieside Communications, Inc.

Edward Simon, pianist/composer; guitarist, Adam Rogers; David Binney, alto saxophonist; Scott Colley, bass; Brian Blad, drums;Rogerio Boccato & Luis Quintero, percussion. SPECIAL GUEST: Gretchen Parlato, vocals; Chamber Quintet, Imani Winds.

This album is the result of support from Chamber Music America’s New Jazz Works, funded through the generosity of the Doris Duke Charitable Foundation. “Incessant Desires” and “Venezuela Unida” were created with support from SFJAZZ. At a time when jazz music is not always supported or played on our airwaves, and while sadly, our government is busy cutting back all support to the arts, it’s good to see that financial assistance was available to support Edward Simon’s latest project. It’s well worth the funding.

Edward Simon has composed and arranged every song. He produced this recording by himself with the exception of “Triumphs” that he co-produced with his alto saxophonist, David Binney. There are two suites of music. One is titled, “Sorrows and Triumphs” and the other is called, “House of Numbers”. Simon calls his quartet, “Afinidad” and they beautifully express his musical concepts. The blending of percussion, a tight rhythm section and the sexy sax work of David Binney is enough, but the addition of a chamber quintet known as Imani Winds brings these arrangements to a soaring climax. There is melodic excitement, all twisted together like a tightly rolled ball of yarn. Then a kitten comes along and dismantles the ball, chasing it and splashing the colorful notes, like pieces of fabric, all over my room. Edward Simon’s music is full of pulse and pictures. He conjures up stories within his creative arrangements. “Rebirth” celebrates his piano work and invokes the kitten and the ball of yarn. The Imani Winds make the music move with orchestral breezes. The grooves change and keeps the listener interested and attentive. Edward Simon’s music is inspirational.

Simon, a native of Venezuela, has made quite a name for himself as a jazz pianist, a unique composer/arranger and he is a Guggenheim Fellow and member of the SFJAZZ Collective. He came to America at age twelve and attended the Performing Arts School in Philadelphia. His family is musical. His father played guitar and sang. Chucho Valdes was Simon’s first influence on piano and later, after watching a tape of Dizzy Gillespie and Stan Getz, he was bitten by the jazz bug. Edward Simon won an NAACP Image Award for Outstanding Jazz Album referencing his “Latin American Songbook” and four and a half stars in DownBeat Magazine in 2016 for that same recording. This new work appears to be following in the same successful direction. Listening to it brought me great peace of mind and enjoyment.
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MEET MULTI-GENERATIONAL BASSIST, MARION HAYDEN

April 11, 2018

MEET MULTI-GENERATIONAL BASSIST, MARION HAYDEN

By Dee Dee McNeil / Jazz Journalist

April 11, 2018

I took a brief trip to Detroit, Michigan last month. During my visit, I prowled the city in search of ‘live’ jazz. I was not disappointed. My hometown has consistently birthed and/or inspired a long and stunning succession of jazz icons including Kenny Burrell, Milt Jackson, Della Reese, Harold McKinney, Aretha Franklin (who sang and recorded jazz on Columbia before her hit, R&B records ), Tommy Flanagan, Paul Chambers, Barry Harris, Elvin Jones, Yusef Lateef, Ron Carter, Curtis Fuller, Frank Foster, Roland Hanna, Donald Byrd, Kenny Cox, Sonny Stitt, Alice Coltrane, Dorothy Ashby, Roy Brooks, Pepper Adams, Charles McPherson, Betty Carter, Geri Allen, Rodney Whitaker, Phil Ranelin, James Carter, Regina Carter and Thad Jones. Let me add, this is just a short list. Our own California-based vocalist, Barbara Morrison, who manages the Leimert Park Performing Arts Theater in Los Angeles, has deep roots in Detroit. I want to introduce you to another amazing woman and working musician in Detroit who is a multi-generational bassist, educator, recording artist, wife and mother. In celebration of Jazz Appreciation Month, meet Marion Hayden.

Marion Hayden is a double-bass player who has excelled in a mainly male dominated music industry, especially when it comes to females who play the upright bass. She is a phenomenal player; a fast and competent reader of musical charts and she exhibits exquisite tone. Not to mention, her timing is unreproachable. We recently met in her Detroit, Michigan home, where she fixed me a cup of Good Earth, Orange Spice Tea. Sitting in her comfortable kitchen, I found her smile as warm as the tea cup she handed me. Marion Hayden has a way of making people feel comfortable, both on and off stage.

MARION: “My whole thing is multi-generational. I was probably about fourteen or fifteen when I had my first gig with (reedman) Wendell Harrison and I just know that having that relationship with him, and with Marcus (Belgrave), (trumpeter/composer/original member of the Ray Charles band), Buddy Budson and Ursula (Walker), (pianist/producer/arranger and his vocalist wife) iconic drummer, Roy Brooks, those experiences I had were deeply formative for me as a musician. Deeply, deeply important! They made such a difference in my whole understanding of the music and how you put the music together. You know, how to work in an ensemble. My understanding of the whole musical concept was greatly enhanced by my relationships with those people over the years.

“I switched from cello (her first instrument) to bass when I was twelve. I was always a lover of jazz. My father was a huge jazz lover and had a big record collection. He actually played Piano. His listening choices were, … Oscar Petersen and that was probably his big favorite. I remember very distinctly, he had a record player with a long cord that stretched so he could put it outside while he was mowing the lawn. Right in the driveway, he would play some Oscar Petersen or Miles Davis while he was mowing the grass.”

NOTE: A young Marion Hayden would have been listening to the bass work of the great Ray Brown, who was part of the early Petersen trio, along with guitarist Herb Ellis, and Miles Davis would have featured Paul Chambers on the double bass.

MARION: “Then, my cousin, Kamau Kenyatta, you know him. He’s a wonderful pianist and saxophonist. At that time, he and a number of other young people spent many hours in our little young people incubator, playing music with each other. I learned a lot from Kamau. You know, how sometimes you can have a peer mentor? He’s like a brother to me and a peer mentor”

NOTE: Kamau Kenyatta produced groundbreaking, GRAMMY-winning, jazz albums on Gregory Porter and is currently based in California.

MARION: “I listened to a lot of Paul Chambers, a lot of Ray Brown and then one of the records that was really important to me was a record that Quincy Jones did in 1970 and it’s called, “Walking In Space.” It was a big band production, but it had a little contemporary feel at the time. That was one of the records that really helped me to understand the playing of the music and how big bands work. I also really loved Thad Jones’ music. My dad was a big fan of Thad Jones/Mel Lewis. In fact, he took me to see Thad Jones and Mel Lewis once.”

“My other favorite album in the whole world was the Nancy Wilson, Cannonball Adderley album. That was the first record I ever tried to transcribe. The first tune I ever tried to transcribe was “Never Never Will I Marry” from that record.”

NOTE: She was only ten-years-old when the famed Cannonball Adderley collaborative album was released, featuring up-and-coming vocalist, Nancy Wilson. This had to be another album Marion heard her dad, Herbert Hayden, play on his portable record player.

“You know, I had a chance to work with Nancy. Sometimes life will send you that quirky opportunity. It was maybe fifteen years ago, 2003 or 2004, and I was on a date with “Straight Ahead” (the all-girls group she has performed with for decades). I got a call from a friend who was working at the DSO (Detroit Symphony Orchestra) at that time, doing a lot of their programming. He said Nancy’s bass player, John B., couldn’t make the gig. What happened, after 911, they started making it very hard to get basses onto the airplanes. It just got crazy. I can’t even tell you how crazy it got and expensive. So apparently, something happened with John at the airport and he just couldn’t get into Detroit. I could have loaned him a bass. Anyway, my friend John at the DSO said, can you work with Nancy? I was like, YEAH! Needless to say, I could not have been more scared. I didn’t even have a chance to look at any of the charts and back in those days, the internet wasn’t rollin’ like that anyway. They weren’t sending pdf charts and all that stuff. It was paper charts. She had sent her charts ahead of time to the orchestra of course. But not for her bass player, because she had her established trio. I showed up there and tried to keep my little wits about me. That was one of the most thrilling things that happened in my life, because Nancy Wilson is such a hero to me. And she was so beautiful to me. She really treated me nicely. Let’s just be honest. She’s coming in. She doesn’t have her regular bass player and on top of that, a girl shows up on bass. I don’t know how many times even women don’t work with other women. I have to tell the truth about this bass. But I could imagine she was looking at me, a younger woman, and wondering, can she handle this? Is she going to F-up my show? She had to go on complete faith, because when I showed up, at that point, there was nobody else. Those other cats in the orchestra, they might be able to read some notes, but …. of course, I know the idiom. Basically, I had one rehearsal to look at her music. She did some things that I knew. The trio was me, Roy McCurdy and Llew Matthews. Her musicians were very gracious to me. A lot of times, people don’t know this, but the thing not to do, is to not be gracious. They accepted me and made me feel comfortable. I’m going to give myself a B plus. Later, her pianist, Llew Matthews, wrote a very nice compliment to me after that concert.“

I had to stop Marion right there. I know Nancy Wilson’s longtime musical conductor, Llew Matthews, very well. I am positive he would not have given her a compliment, and certainly not written her a letter of commendation if she hadn’t performed an A-plus, number-one job. She told me she had kept that E-mail letter from Llew for all these years. Marion Hayden went into another room and humbly retrieved the printed page to show it to me. It was then and only then that I remembered Llew Matthews sending me that very e-mail to compliment Marion Hayden on her bass excellence accompanying the great Nancy Wilson and working superbly with him and Roy McCurdy. He knew I was from Detroit and that I knew Marion. He hadn’t known how to contact her. So, I had actually forwarded his letter to her and then, totally forgotten about it. We had a laugh about that.

MARION: “Then, I had the chance to work with Llew again. Probably about three or four years ago down at Notre Dame with Jeff Clayton, fabulous alto saxophone player, sounding like Cannonball Adderley and he had Llew Matthews with him. I reminded Llew about the first time we had met and how meaningful that was to me.”

It hasn’t always been a smooth musical path for Marion Hayden. After attending Cass Technical high school and graduating from Henry Ford high school, she took classes at Michigan State University and later attended the University of Michigan, gaining a liberal arts degree with a minor in Entomology. That minor in the study of insects led the developing bassist to a day-job with the Michigan Department of Agriculture. In the 1970’s, Marion found herself frustrated and unsure of her musical career direction. She took a two-year hiatus before the encouraging of mentors, Kenny Cox and Roy Brooks cajoled her back to her instrument.

MARION: “I was in my early twenties and I just got frustrated. You know, it’s like when you say something to your children and it’s something that they probably need to hear and they get a little hurt. You know, when a person has been willing to give you some critical feed- back, especially when you needed it, even if you didn’t like it. But when that person turns around and says something good to you, then that means a lot! So, I love the ones who loved me. I just completely loved Ken Cox. I love Ken’s music. Ken just became someone I completely cherished. I’m very active in keeping his legacy alive. It meant so much to me when somebody turned around and said something like, I feel like I have Paul Chambers behind me … or said, you remind me of Doug Watkins. … Then you feel like you’re on the right path and steeped in the bass legacy. Probably one of the things that has been the most difficult for me is the loss of some of my mentors in the last several years. They just poured so much music into me and I thought, that can’t be the end of it. You’ve got to keep that legacy alive and continue to share it. So, I try to really pour that into the young folks I mentor. It’s just got to go down like that.”

While still working days, at night Marion woodshedded and joined the jazz nightclub circuit, playing with masters like trumpet icon, Marcus Belgrave, pianists, Charles Boles, Teddy Harris Jr, Buddy Budson and Kenny Cox. She added her sturdy bass lines to groups headed by reed master, Donald Walden and saxophonist, George Benson. She found herself very busy in the 1980s. She was part of the Ray Brooks historic group, “The Artistic Truth.” She worked on symphonic and cinematic music, pulling from her classical training. In the late 1970s, she worked with the all-female group, “Venus.” In 1989, She was one of the founders of another all-girls quintet that became quite popular in and around Motown. They called themselves, “Straight Ahead” and featured, Miche Braden on vocals, violinist, Regina Carter, pianist Eilene Orr, drummer Gayelynn McKinney and Marion Hayden on bass. When Braden moved to New York City to pursue an acting career, they replaced her with Cynthia Dewberry. In 1990, “Straight Ahead” opened for the amazing activist/pianist/vocalist Nina Simon at the Montreux-Switzerland Jazz Festival. Soon after, they were signed to Atlantic Records and cut three albums. Another member soon left to pursue a solo career. That was their violinist, Regina Carter, who has found great success on her own. However, the “Straight Ahead” group remains active to date, with the core members, Hayden, McKinney and Orr remaining in tact and close musical friends.

I told Marion that I remember interviewing Betty Carter and how she told me it was difficult to be female in the business of jazz. One reason was because she heard things in her head so far outside the box. Betty instituted a whole new realization of jazz and musicality, thinking more like an instrument than a vocalist. She said her male counterparts gave her a hard time, often not willing or unable to play the arrangements she heard in her head. Consequently, that led Betty Carter to learn to write her own arrangements. Once it was documented on the page, they had to play it. I asked Marion Hayden if she had encountered challenges because she was a female bassist?

MARION: “Well – you know what? It’s hard to say. But I’ll say this. I’m sure there were opportunities that I should have had. But I’ve not always been a person to dwell on such. My way, has always been to blossom where you are planted. Whatever circumstances that were given to me, I tried to enhance those circumstances fully. I tried to be tactful and make my presence known on my instrument. I tried to be a musical force for whoever I was working for. So, that made my presence there meaningful. I’m certain that there were some opportunities that I was probably over-looked for, but I prefer not to really dwell on that. I feel the ones that have come to me have been the ones that were meant for me. Detroit is not New York. True. It’s much smaller. But I have an entire college and jazz incubator in Detroit that I don’t know if I could have gotten in New York. I had my New Orleans education and introduction to traditional music through Charlie Gabrielle. Actually, he was the one that brought it to Marcus Belgrave. Charlie Gabrielle is the head performer with the Preservation Hall Jazz Band. I don’t know where you would get any better than that! My Ragtime tradition and education came through my girlfriend, Tasilemah Bey, who is probably one of the few black women in the world to spend her entire life studying the music of Scott Joplin. She’s fantastic.

“I got my education in Avant Garde and Free Jazz with Marcus Belgrave, Wendell Harrison and with Spencer Barefield, who brought in people like (legendary saxophonist/composer) Roscoe Mitchell and I worked with Lester Bowie. It’s been a complete education and I’m not sure that I can find that education anywhere else the same way. So, I’m thankful for the opportunities that I’ve had. I believe more will come to me.

“One of my little stories is, and I tell this with love, because I truly love Donald Byrd. He gave me a really beautiful interview before he passed. I worked with him as a teenager and later, as an adult on the gig. Drummer, Roy Brooks put me on the gig. Roy Brooks was a huge supporter of my musicianship. So, we had a quartet with Donald Byrd at Baker’s.”

NOTE: Baker’s Keyboard Lounge is one of the oldest running jazz clubs in the United States.

“He kept a little baby metronome on a little string around his neck. He came up to me and said, we’re going to play “Lover Come Back To Me” about here, 300 beats per minute. Super-Duper fast! I think he was trying to intimidate me. (LAUGHTER)

MARION: “He didn’t know, I cannot be intimidated. He played it wherever he did it at that time and I was up for it. I was about twenty-six-years old. But he didn’t know that I was already in the habit of doing fast tempos, because I was raised by such great players. And I have to say one thing. I really loved these players. They were primarily men that raised me in the rhythm section sense. Because I was female, they didn’t expect any less of me. The bass is a work chair and the rhythm section is the engine of the band. No part of the engine can be weak. Somebody might like you, but they won’t hire you in their rhythm section if you can’t take care of business. That much I already knew. I always felt pretty confident that whatever situation I was in, I could handle it. … The bass is a pretty serious part of the engine. They might take away the piano, but they won’t get rid of the bass. Most people are not going to do without a bass.”

When Marion Hayden was growing up, she enjoyed and participated in confident-building programs like, ‘Metro Arts’ in Detroit. She has made it a point of creating and participating in community and private programs that encourage art and music appreciation in youth. The multi-generational aspect continues to motivate Marion, because she recognizes that what she learned from listening to and performing with music masters, those born in another generation, primed and inspired her. Now it’s her turn to share knowledge with young musicians from another generation. She explained her passion for these programs to me.

MARION: “Well, primarily I teach and I’m involved in some institutional programs; programs that are supported by the Detroit Jazz Festival. I’m the Resident Artist at an elementary and middle school via the Detroit Jazz Festival. I also teach through Michigan State University, a night class for teenagers. I directed a mentoring program that is an outreach program on behalf of the University of Michigan. We went into Detroit Public Schools and brought students from U of M down to work with public school students. I directed a Summer Camp for several years. Those have been very important contributions in a formalized way. I also believe, even more importantly, in the ‘informal’ programs. It’s a unity of one-on-one, in an African centered way. In other words, you come to my house. We play music. I also find performance opportunities for young people.

“Another little thing that I’ve been working on, kind of a little spiritual resurrection of some of Detroit’s places that ‘used to be’. Because one of the things that occurred to me, when you stay in the same place for a long time, … one of the things I noticed about black folks is that our precious cultural things that we develop, using music and art, a lot of times they don’t go on to institutions that are really lofty, high-funded institutions. They go on in little churches; you know? Our music gets developed in bars; in somebody’s basement; in somebody’s house. The cultural things we create in these circumstances are really important. But the environment in which they’re developed are often ephemeral. Playing music in the club, for example. The next thing you know, somebody else leases the club or they come through and bulldoze it. Because they like to bulldoze our black community, so they can put up whatever. Consequently, it occurs to me, that part of our legacy should be preserved. You and I. You have me, I go to your house and we work on music. So, as well as being involved in these beautiful, formalized programs, I try to have a more accessible, informal relationship with these young people. That’s important, because when you study music a certain way, then you start to hear things in thirty-two bar phrases. You know what I mean? And all that stuff is OK. But, you can also totally do it YOUR way.

“I remember, I’d go around the corner, park the car and go into Teddy Harris’s house. I’d go right down to his basement. Say ‘Hi’ to Martha (his wife) on my way down. See all those pictures on the wall of music people. I can’t remember who, but I had a conversation with someone who said, so-and-so is a mentor to you, right? Did they sit down and teach you things? But that’s not how I exactly learned. For me, it was more of an observation.”

Note: Teddy Harris Jr. always had a house full of musicians. He formed and rehearsed a big band regularly made up of seasoned players and young people learning to play. He wrote charts for people and for a while, acted as musical conductor for Motown acts like the Supremes. As well as being steeped in jazz, playing piano and a competent reedman, he was also an arranger and music educator, informally available to the community in his basement studio.

MARION: “I grew up under my mother. My mother was super beautiful and she would show me the details of how to set a table and those things were definitely specific. She was a super fabulous cook. Some things, like cooking, she’d go to the cook book and if it said ‘fold’ she’d show me how to fold the eggs in. Other kinds of things, I just learned by watching.

“The same is true in music. If I spent time on the bandstand with you, I learned by watching. You become one of my mentors. I took a lot of notes. First of all, if someone has you in their sphere on a regular basis, then there’s a reason why they had you there. I didn’t always need someone to sit down and tell me blah – blah – blah. But over time, they may be showing me what they did or how to put a show together; or how the business gets done, or how they write a grant. That’s mentoring as well. The lesson is in the living.

“Recently, I was on a recording session and it was really lengthy. But there were some things that the piano player was doing that were really extraordinary. His comping was really engaging me. Ken Cox and I were both huge fans of Horace Silver. So was Marcus. We loved Horace. One of the strongest parts of Horace Silver as a composer was that his piano comping was not random. His comping was deeply rooted in whatever composition he was performing. People forget about how important piano comping is to setting the rhythm section up to really be an important platform for the soloist or vocalist. Sometimes we get caught up in our egos and we feel the most important contribution we can make is during our solos. But my feeling is, as rhythm section players, you’re contributing on a moment-to-moment basis to the entire musical experience. So, your solo is, frankly, probably ten percent of the whole thing. The solo is fabulous, don’t get me wrong. But if you brought the entire ensemble to a really high level of musicality and expression, what higher importance could you have leant to the whole experience? I’ve had some great time on the stand with some wonderful comping pianists, that were not super fabulous soloists. But just to be in that space with them, and be a part of that engine, is just really what it’s all about.”

Jazz is a music always evolving. I asked Marion Hayden what she saw happening with young musicians today, compared to those coming up in yesteryears.

“I do see a lot of enthusiasm about the music. I really love that. I think that as much as they know, they still need those of us in the earlier generations to fill in the gaps. Just like I needed the musicians of my generation to fill in gaps for me and introduce me to somebody I didn’t know about or give me a different point of reference. … The pursuit of music is difficult and it’s very personal. A lot of times, young musicians may feel like, is anybody hearing me? They may feel a little different. I tell them, yeah – here’s some more people who were different. Don’t worry about that. Some of the people that I really like a lot were very, very different.

“I have a really good student out of Cleveland. You know I taught at the Tri C in Cleveland, Ohio, (Cleveland Community College) for seven years. I have a wonderful student down there. His name is Dean Hewlett. He’s fantastic. He’s one of my students that is just a tremendous young bass player. We have a couple of wonderful young students here in Detroit. One is Jonathon Cotten and another is Brian Juarez, both wonderful, young bass players. Brian’s from California. Then I have a really lovely, super young student who is in the sixth grade. His name is Troy Perkins.”

When Marion Hayden isn’t teaching at the University of Michigan, or giving private lessons, you’ll find her on the bandstand as part of several local ensembles. She is also a member of the Modern Jazz Messengers, led by drummer Sean Dobbins. Before his unexpected death, she was part of the Allan Barnes jazz ensemble. She still tours and does occasional concerts with the “Straight Ahead” girl’s group. She has created the Detroit Legacy Ensemble to carry on the jazz music of her mentors and to celebrate the music of some of our iconic ancestors. You may find her on the stage of The Dirty Dog Club or Baker’s Keyboard Lounge, the oldest jazz club in the United States, or performing in concert at various stadiums, theaters and/or festivals. She is part of the faculty in Michigan’s Department of Jazz and Contemporary Improvisational Studies and often directs the Carr Center’s summer jazz program. In 2016, she won the Jazz Hero Award from the Jazz Journalist’s Association. She was recently featured on Blue Note TV with an ensemble of outstanding Detroit jazz musicians and performs regularly at the Detroit Institute of the Arts, sometimes supplying music for her husband, abstract painter Safell Gardner’s art shows. Somehow, in between raising two very creative sons as a dedicated mother and loving wife, she has managed to host panels for “Meet the Composer,” participated in the Detroit Council for the Arts, and served as part of the committee for the Detroit Historical Museum. I asked her, as one performing mom to another, how she balanced her career demands with her personal life.

MARION: “I just have to say, my husband is a lovely man and he is just super-supportive. Between him and my mother, who really helped us raise these two boys, she never turned me down. I’m talking about road gigs and that kind of stuff. A lot of times, nobody wants to be bothered with your kids; their daddy or their grand mama’s. So, they had a grandmother who was right there. Also, I took my husband, children and mother on a lot of trips with me. That was one of the things that I made a decision about. I did not want to be a musician that went on the road and said ‘Bye bye, I’ll see you later’. So, whenever it was possible, I took my husband and my children on tour with me. They went to Mackinaw twice with us. Once, I took my husband, children, mother and her girlfriend to Jamaica with me. They had a great time. We’ve been on short appearances with me, like to Chicago and we flew down to Atlanta for tour dates. Whenever I could take my family with me, that was one of the ways I coped. It was a financial sacrifice for us sometimes, but it was a gift to have them with me. I could include them as a part of my life on the road. It was good for them and nice for my mother; a little vacation for her.”

Watching their mother perform, sometimes getting the opportunity to tour with her and also observing their talented dad paint and create beauty on canvas, both of her sons have followed a path of creativity.

MARION: “I encourage my youngest son, whose name is Michael Tariq Gardner, but he goes by Tariq. He plays drums in a really beautiful jam session that’s run by John Douglas, who is a wonderful trumpet player. He used to be in Teddy Harris’ band and was one of the younger cats. I totally appreciate him for giving my son an opportunity. Because that’s how you really learn how to play. Tariq’s in school and has some really, really beautiful teachers, but there’s no doubt in my mind that the major part of your growth as a musician will be on the bandstand. That’s really how all the wonderful things that you learn in school, that’s where all that comes together. It takes a good amount of time on the bandstand to really understand the music. He’s got a beautiful sound, a little different sound. Kamau says he reminds him of Joe Chambers plus Tariq is a composer. There’s not a lot of composing drummers. My oldest son, Asukile, just turned twenty-eight and he’s a visual artist like my husband.”

Like Marion Hayden told me, at the beginning of our conversation, it’s all just multi-generational. You encourage and keep passing the legacy on. This talented woman is a perfect example of walking the walk and setting a strong example of not only what to do, but how you do it. I’m honored to document a piece of her legacy as a creative and tenacious life lesson for us all.

http://www.bluenote.com/blue-note-tv/marion-hayden-uncrowned-king-detroit-jazz-cit