Archive for January, 2016


January 23, 2016

CD Reviews by Dee Dee McNeil/Jazz Journalist – January 23, 2016

Combing through a stack of new CD releases, here are my views on projects by the Lew Tabackin Trio, Lori Bell’s Quartet, Deborah Shulman, Svetlana and the Delancey Five, Theo Saunder’s Sextet, Groove Legacy, Cyrille Aimee and Infinite Spirit. Enjoy.

LEW TABACKIN TRIO – “Soundscapes”
Independent Label

Lew Tabackin, tenor saxophone/flute; Boris Kozlov, bass; Mark Taylor, drums.

On a cold, wintery, California afternoon, Tabackin and his trio warmed my house with the rich sounds of jazz. As raindrops fell and mud slid down the parched, burned, Los Angeles hillsides, I found fireplace comfort listening to Tabakin’s new CD, “Soundscapes.”

The opening tune is John Lewis’ composition, “Afternoon in Paris.” played at a moderate, Swing tempo, that features each outstanding artist of this trio standing solo-strong. Tabackin’s original work titled, “Garden at Life Time” was beautifully played on his flute and complimented by Kozlov’s bass line that repeated like a Hip Hop ‘loop’ beneath the lovely melody. On another original composition, “B flat, where it’s at” Taylor holds the unusual trio together with drums that lock the groove in place like a Brinks truck. Strangely, I didn’t miss the piano or guitar normally associated with a jazz trio. As these artists paint daydreams, Mockingbirds and sunsets with melody, rhythm, harmony and improvisation, I realize why this project is titled, “Soundscapes”. This is a melodic landscape, both remarkable and artistic, featuring reeds, bass and drums. It’s fresh, innovative and pleasing to the senses. Tabackin serenades like a bird trapped in a man’s body.

I was surprised to read in Tabackin’s linear notes that this recording took place at Steve Maxwell’s drum shop in Manhattan, except one tune; a stunningly beautiful arrangement of “Yesterdays” that they recorded in Tabackin’s basement. I have even more respect for this project as a “live” recording; so clean, well-mixed and seemingly perfectly arranged, that I supposed it to be a studio session. As Tabackin explains:
“Most of the tunes require little explanation. I was trying to retain some of the more traditional jazz values in an open, communicative way. Not much was pre-set. The three originals are a kind of a Japan Trilogy. ‘Garden at Life Time’ was inspired by the garden of Yoshinobu, the last shogun of the Edo era. The garden is adjacent to a wonderful jazz club (Life Time) owned by Mr. Yutaka Kubota, who loves to play bebop piano and is a great supporter of jazz and other arts. ‘B flat, Where it’s At’ is a light-hearted tune written for B Flat, a wonderful venue in Akasaka (Japan) where Mr. Akira Suzuki has given us unconditional support for several years. A little explanation of my ‘cerangement’ of ’Sunset and the Mocking Bird’… I tried to incorporate as much Bird shit as I could, even quoting a little yard Bird in my opening solo.”
With this CD, Tabackin gives us a lesson in pure, untampered improvisation performed by three master musicians who uphold the name of Jazz with pride, professionalism and an abundance of creativity.
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SVETLANA AND THE DELANCEY FIVE – “Night At the Speakeasy” featuring Wycliffe Gordon
OA2 Records

Svetlana Shmulyian, vocals; Adrian Cunningham, woodwinds/vocals; Charlie Caranicas, trumpet; Dalton Ridenhour, piano; Vinnie Raniolo, guitar; George Delancey, bass; Rob Garcia, drums; Special Guest: Wycliffe Gordon, trombone/vocals.

If you love the music from the 1930’s, this CD is the perfect choice. From the very first cut, (“All I Want”), composed by vocalist Svetlana Shumulyian, you are transported to a time of ‘Flapper’ dresses, tight fitting skullcaps and cups full of Moonshine. The arrangements set the mood for the musicians to perfectly interpret. An Ellington and Strayhorn tune, “Just A Sittin’ and A Rockin’” is fresh to my ears and recalls that space and time when Speakeasies ruled and liquor was banned for public consumption. On the third cut, “You Won’t Be Satisfied” Shamulyian has written a verse to the song that introduces us to the multi talents of Wycliffe Gordon. Their vocal duet recalls the Ella Fitzgerald and Louie Armstrong collaboration albums. Wycliffe and Rob Garcia have done most of the arranging on this production and they’ve succeeded in establishing the musical setting for, “Night at the Speakeasy” in support of their CD title. Shmulyian has a voice that swings and she also scats with precision and ease. Her vocals seem perfect for this ragtime, hot jazz, Speakeasy project, reminding us when bands featured girl singers and dance floors were full of folks doing the Jitterbug and the Lindy Hop. The Delancey Five back-up musicians have recreated a sound and energy of yester-year magnificently. This is a tightly polished band who reminds us of New Orleans jazz roots and their historical significance, while fully entertaining us. But it’s Shmulyian’s interesting vocals that carry this band and keeps things interesting.
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LORI BELL QUARTET – “Brooklyn Dreaming”

Independent Label

Lori Bell, flute; Tamir Hendelman, pianist; Katie Thiroux, bassist; Matt Witek, drums.

I first heard flautist Lori Bell on the San Diego, California jazz scene some years ago. Nine CD releases later, she continues to grow and blossom. On this latest recording, Bell proudly celebrates her Brooklyn East Coast roots, although she has lived a number of years on the West Coast. Bell’s competence on flute has garnered both fame and respect worldwide during performances and for her composition and arranging skills. This is a creative work that ‘swings’ and purrs, showcasing her virtuosity and hard core improvisational skills, as well her as softer side. To support Bell’s amazing talents, the flautist has surrounded herself with some of Southern California’s celebrated jazz artists, who are also solo recording artists in their own right. Tamir Hendelman on piano lends visceral support, as does Katie Thiroux with solid bass accompaniment. Matt Witek holds them all in place like a steel pipe fitting. He staunchly secures the grooves and the rhythm. Bell has composed six out of nine songs and arranged everything on this project. Each tune shines like a precious stone in a glamorous necklace.

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DEBORAH SHULMAN – “My Heart’s In the Wind”
Summit Records

Deborah Shulman, vocals; Terry Trotter, piano; Larry Koonse, guitar; Ken Wild, bass; Joe Labarbera, drums.

Shulman has a sweet soprano sound and her choice of songs celebrate iconic composers like Johnny Mandel, Harold Arlen and Stephen Sondheim. She reminds me of “The Sound of Music” with her Julie Andrews tonal quality on “The Shining Sea” written by Mandel & Peggy Lee. Trotter’s arrangement is noteworthy. One of my favorite songs is “My Foolish Heart” and Shulman sings it with sincerity. However, the guitar and the piano seem to be battling over the same space. The result is far too much harmonic contrast behind her vocals. Even when Koonse struggles to solo, (and a wonderful solo it is), the piano is continuously in the way. There is an art to each instrument complimenting the other, especially when accompanying a singer. It just felt way too busy until the rubato on the end, when I sighed in relief to be able to actually hear what the vocalist was feeling. This is an easy listening recording with several ballads strung together like lullaby songs. I could barely hear the bass and drums in the mix, and this could have elevated some of the productions, if only those important instruments had been pulled closer to the forefront.

Shulman is a native Angeleno who was inspired by a family with deep roots in music. Her father was a singer and her parents lived as newlyweds in the back of their little music store at Carnegie Hall. She grew up with music as an integral part of her life and has appeared in numerous stage productions including her portrayal of ‘Jellylorum’ in the second National Company of CATS at the Schubert Theater in Los Angeles. She’s also a product of her studies at the Civic Light Opera Workshop at the L.A. Music Center.
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Independent label

Theo Saunders, piano; Henry Franklin, bass; Kendall Kay, drums; Louis Van Taylor, alto saxophone; Chuck Manning, tenor saxophone; George Bohannon, trombone; Special Guest: Sal Marquez, trumpet.

“Nuttiness” is a medley of Thelonius Monk songs strung together like black pearls. Saunders is obviously a lover of Monk’s music and technique. You can hear it in his piano excellence. In the opening cut on this production, he has assimilated Los Angeles community all-star jazz players to interpret “Nutty/Friday the 13th/Little Rootie Tootie/Hackensack/Misterioso/Let’s Cool One and Brilliant Corners” all composed by Monk and elucidated beautifully in one song. This entire compact disc is an arrangement mastery. Saunders’ has taken some of his jazz heroes and iconic jazz composers and combined their classic jazz masterpieces into magical medleys. Up next came Joe Zawinul’s “Mercy, Mercy, Mercy” blended into Horace Silver’s “Song for My Father”. Saunders title’s this one, “Father Mercy’s Song”. George Bohannon’s trombone solo is memorable. Next comes “Also What” that mixes the Miles Davis compositions “So What” and “All Blues” together in a delicious stew of flavors with Sal Marquez spicing things up on trumpet as a special guest. Henry Franklin, (a master recording artist in his own right), opens this piece with his formidable bass expertise and an improve solo. When Saunders enters, he promptly sets the mood for this Miles Medley. I love Bohannon’s trombone on this interesting production. Kendall Kay is as tasty as ever, locking in the flavors and putting the pots on to boil with drum mastery. Taylor and Manning are two of my favorite reed players around this Southern California town. They each bring extraordinary energy and creative improvisation to these exquisite Saunders’ arrangements. I am particularly enthralled with how Saunders combined John Coltrane’s “Naima/Equinox” tunes to create his self-titled, “Naimanox.”

Theo Saunders describes this recording project in his linear notes.
“I first met assemblage artist, George Herms, (NOTE: who designed his CD cover) in 2010 and we began collaborating (along with Bobby Bradford) on a performance piece that was staged for three nights in 2011 at the Redcat Theatre in Los Angeles. It was titled “The Artists Life”, a Jazz Opera, and included Bobby Bradford’s Motet (7 pieces) on stage as well as my sextet, which I called the Lesstet; (6 pieces !). George has been a jazz fan for most of his adult life and a number of his works are dedicated to some of his favorite musicians; Monk, Trane, Miles and the like. He inspired me to write some music assemblages that reflected his work. This recording is an expansion of those original arrangements. I call it “Jassemblage”. I’ve used many of the iconic jazz compositions from the last half century or so and assembled them in a way so that, not only do the melodies, harmonies and forms weave in and around each other, but the improvisations are based on a combination of the chord changes from each song, as well as the forms of each one.”

That being said, here is an album of great depth, unforgettable historic relevance, and a superb listening experience. Not only is Saunders proficient on the piano, he is a masterful arranger with fresh, creative ideas. Saunders and his sextet celebrate some of our true jazz giants, standing very tall on their own.

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Independent label

Bill Steinway, fender Rhodes; Travis Carlton, bass; Lemar Carter, drums; Tim Curle, percussion; Chris Lovejoy, percussion; Sam Meek, rhythm guitar; Paulie Cerra, tenor saxophone; Andrew Lippman, trombone; Special guests: Larry Carlton, guitar; Robben Ford, guitar; Kirk Fletcher, rhythm & lead guitar; Lee Thornburg, trumpet/valve trombone; Ricky Peterson, B3 Hammond Organ.

This recording is the results of several Los Angeles musicians forming a band to re-live the Funk music era in a big way. Thus was born, ‘Groove Legacy’. The very first cut titled, “Sweetness,” struts off this Compact Disc, energetically propelled by Travis Carlton’s heavy bass line and Lemar Carter slapping his drums like a jockey slaps his horse. We are off and running! Tenor Sax man, Paulie Cerra and pianist Bill Steinway have composed nine of the ten songs and they are each brilliant in their own funky right. “Cornell,” is a composition that features Larry Carlton on guitar as a special guest and Ricky Peterson on B3 Hammond Organ. It is the only composition that Cerra co-wrote with Travis Carlton and it’s a groove binder with strong horn licks and blues undertones. This band reminds me of ‘The Crusaders,’ blending old-school 1970 fusion funk with the newer Smooth Jazz in a very complimentary way. The members of this group each have their own biographical legacy in the music business, having worked with a number of iconic artists, from Al Green and Stevie Wonder to Sara Bareilles and Carrie Underwood. This is Soul Jazz at its best, combining the excitement and groove of R&B with Rock fusion and reminding us how Miles melted straight-ahead jazz into a ‘Bitches Brew.’ The melodies are beautiful; the harmonics are ear-enticing and the musicianship is masterful. This is a group that has embraced a vintage sound to create their own ‘Groove Legacy’.
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CYRILLE AIMEE – “Let’s Get Lost”
Mack Ave Records

Cyrille Aimee,vocals; Adrien Moignard, guitar; Michael Valeanu,guitar; Sam Anning, bass; Rajiv Jayawera, drums; Matt Simons, vocal on “Each Day.”

Here is a voice that sits up front and in your face with minimum accompaniment featured in a very acoustic production. Aimee has a pure, youthful sound with a unique, compelling twang to her vocals. She creates a category all her own. It made me question, would I call it jazz? Not exactly, but certainly adult contemporary listening. That is until she sings “Let’s Get Lost”. Her scat abilities are unique, impeccable and pleasing to the ear. I have to delete my first impression of Miss Aimee. The Harry Revel/Mack Gordon tune, “There’s A Lull in My Life” is beautifully produced and I fell in love with her take on this tune. She sells the lyrics and the melody with clarity and sensitivity. This is the merit of an artist and a genuine and heartfelt vocalist. Aimee is not just another singer. She’s an artist in development, whose lovely tone and control draws you into her music like a musical hypnotist. She is accompanied by an Australian rhythm section, that knows just how to compliment Aimee’s unique sound. Using two guitars, drums and bass creates a superb trampoline for Aimee’s voice to bounce around on and tantalize us with sounds that range from banjo boogies to jazzy Django gypsy music. The musicians bring jazz to the forefront with their excellence and improvisational spirit. Singing in French and Spanish, Aimee Cyrille spotlights her International roots. She was raised in France by a French-Dominican parentage and you can hear the cultural influences in this, her second self-produced album. Kudos to her co-producer, Rob Dupont, who brought out the very best of Cyrille Aimee in the recording studio. Her passion and musicality is perfectly captured and the results in intriguing. Finally, she is also a songwriter and her compositions reflect undeniable jazzy roots. To finally make me a complete believer in her jazz capability and improvisational skills, she scats through Oscar Pettiford’s “Laverne Walk,” where I hear shades of Ella Fitzgerald. Here is a singer that can do it all and does it with shiny excellence. Cyrille Aimee is a sparkling vocal star on the rise.
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INFINITE SPIRIT: Revisiting Music of the Mwandishi Band
FMR Records

Bob Gluck, piano/electronics; Jabali Billy Hart, drums; Mganga Eddie Henderson, trumpet; Christopher Dean Sullivan, bass.

Typical of the Mwandishi Band, the element of freedom is strong in this production and represents jazz at its best. Jazz is freedom of expression and perhaps that’s why it was so feared and was banned for years in Communist countries like China and Russia. At times, I get weary with people claiming their latest release is jazz, when it actually lacks the most important element of pure jazz; improvisation! You will find lots of that in this recording; a tremendous amount of freedom and improvisation! Hart sets the mood on drums painting rhythm pictures, reminding me of rain forests and yester-dreams. This music makes me feel like I’m In a jungle somewhere lush, green and full of insect and animal sounds. Cut one is a Herbie Hancock composition titled, “Sleeping Giant.” I’m sure that Giant was resting in some orchid field near a waterfall and under a bright pink and purple sun. This recording makes me see colors and tickles my imagination. The players have recorded their artistry in memory of Ornette Coleman and with gratitude to Herbie Hancock, Julian Priester, Bennie Maupin, Buster Williams, Patrick Gleeson, and Fundi Billy Bonner. Gluck has arranged all the tunes, with the exception of “Spirit Unleashed” that was arranged by bassist, Christopher Dean Sullivan. Gluck and Maupin collaborated on the third cut as composers; “Sideways/Quasar”. It’s sweet, opening with a repeatable piano phrase that becomes a theme throughout. Sullivan gets to feature his bass chops on this tune before Henderson and Hart join in with their trumpet and drum mastery. This arrangement puts me in a space of ‘Sketches in Spain’; that kind of groove and freedom is infectious. Here is definitely music for our “Infinite Spirit”.

CD Reviews

January 6, 2016


CD Reviews by Dee Dee McNeil / Jazz Journalist


Independent label

Lynda Reed, vocals/background vocals; Frank Zottoli, piano/keyboards; Abraham Laboriel, bass; Roberto Montero, guitars, backing vocals, Cavaquinho (and percussion); Enzo Todesco, drums; Abe Laboriel Jr., drums/tambourine; Justo Almario, flute/tenor and soprano saxophones; Rigue Pantoja, keyboards; Dave Compton, Chromatic Harmonica; Edgar Sandoval, violin; Leo Costa, percussion; Munyungo Jackson, percussion; Joe Fabio, percussion; DJ Theory (Nick Fabio), Vinyl scratch.

Lynda Reed’s whispery vocal style is infectious. She’s a local singer, based in Los Angeles County, who has a passion for lyric writing and jazz. Her soft tones gel perfectly with the Brazilian and Latin arrangements on this CD, starting from the very first cut, “Loving You” (formerly titled “Ponte Das Cordas”). Roberto Montero composed the song and once Reed heard it, she was inspired to put words to the haunting melody. According to Reed, Roberto has “…been my guiding light and melhor amigo throughout this entire project…” The joyful “Fiesta Lynda” was written by Abraham Laboriel to celebrate this multi-talented woman’s graduation from Boston, Mass General Hospital Institute. She first heard the song at the Baked Potato in Studio City when he surprised her with a loving introduction to his composition. It was an instrumental, until Reed picked up her pen and added lyrics. Laboriel’s amazing bass artistry is stellar throughout this CD as is Montero’s fluid and expressive guitar work. This singer/songwriter has surrounded herself with the best of the best and it shows in the arrangements and execution of these songs. “Remembering” is also a Laboriel Sr composition that Reed wrote lyrics for and the harmonica addition is genius. I am quite surprised and captivated by the unusual arrangement on “Stormy Monday.” Who could have thought that this familiar blues song could be transformed so completely by Montero into a fresh work of art? The title tune, “Our Tree/Tronco Do Jequitiba” is a Bossa Nova and Reeds light, bright voice fits perfectly inside the arrangement. Her lyrics tell stories of love, life and lessons learned. Not only does Lynda Reed write poetry, lyrics, and sing; she also has painted the cover art for her “Our Tree” CD. This artist offers us sixteen songs, including some jazz standards, but most of my favorites are Reed’s original compositions.

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JL Music

Roy McGrath, tenor saxophone; Joaquin Garcia, piano; Kitt Lyles, bass; Gustavo Cortinas, drums.

McGrath and his band are based in Chicago. Cortinas, the drummer, has New Orleans roots and was raised in Mexico City. Bassist, Lyles, is from Greenville, South Carolina and currently resides in Evanson, IL. Pianist Garcia is his own music director and is working on his premiere cd scheduled for a spring 2016 release. McGrath has San Juan, Puerto Rican roots and sang in choirs before picking up his horn and pursuing jazz. They all converged at Northwestern University, where each musician in the group received a Masters Degree. McGrath says in his press literature, this recording is an attempt to portray, in sound, a diary of the last four years of his life. It’s also a tribute to his grandmother, Martha Albelo, who had an amazing influence on his character and life path. Consequently, he has dedicated this musical tribute to her in name and spirit with the CD title: “Martha.” McGrath is showcased as a composer and arranger, as well as a reed man. Here’s a smooth recording with blues undertones and for the most part, easy listening jazz, with most of the tunes moderately tempo’d. I would be remiss if I did not mention the nearly unreadable inside album jacket and remind the CD designer that it’s hard to read font the size of ant footprints and that the names of the players are important and did not standout in orange against a green backdrop. Thank goodness for the accompanying press information from Jazz Promo Services. Musically, this work is beautifully melancholy and makes me want to curl up beside a roaring fireplace and cuddle with someone special.

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A New Way of Thinking, LLC

Kevin O’Neal, voice/contra bass/piano; Ribbecke Halfling 5 string acoustic bass guitar; Patrice Quinn, vocals; Otmaro Ruiz, piano; Jeff Goodkind, piano; Bruce Forman, nylon string guitar & Ribbecke Halfling guitar; Sid Jacobs, Ribbecke Halfling guitar; Aaron Serfaty, drums; Henry Mejias, percussion; David Cowan, drums.

This is a recording of the Great American Songbook with a sprinkling of Ellington and Strayhorn to keep the jazz premise strong. Los Angeles based O’Neal enjoys arranging and finding new, unique ways to present well-worn standards like “The Way You Look Tonight”. He uses timing to stretch the limits of this beautiful song, with the drums doing a swing, double-time underneath his unique freedom of rhythm, while singing his melodic lines. O’Neal’s vocals sweeten the arrangements to express an unforgettable lyric in an unforgettable way. Actually, I am pleasantly surprised to hear O’Neal sing. I know him as a bassist/arranger and producer around town. His smooth vocal style is appealing and honest. I believe him when he sings the lyrics of “Jersey Bounce” and others. “Frim Fram Sauce” is a 1940s, popular addition to the Great American book of standards. O’Neal and Quinn present it as a creative duo. I enjoyed Forman’s guitar solo on this slow swing number. The duet sounds like both artists are having a joyful time and their playful exuberance rubs off on me. Some of the songs chosen are sweet surprises like Billie Holiday’s composition co-written with Reginald Lewis, “Now or Never,” arranged as a Bossa Nova. “Pannonica” also is arranged with a Latin theme, but for me the gorgeous melody of Monk’s composition is lost, rather than supported by this arrangement. It could be that the vocals were challenging and perhaps O’Neal should have employed another vocalist on this particular tune to embellish his arrangement. For the most part, here is a recording full of well produced music and talented musicians. O’Neal himself is a multi-talented player, manning a number of instruments on this project (as listed above), as well as singing, producing and arranging. Quinn has a pleasant tone to her voice and shines on “Cai Dentro” singing in Portuguese a song that the great Brazilian singer, Elis Regina popularized. Quinn and O’Neal blend like peanut butter and jelly on the duets they sing, including the rarely heard “What Am I Here For” by Ellington/Laine. This is a musical sandwich worth taking a bite into and savoring.

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Independent label – TNT Cd101

Art “Turk” Burton, conga drums/samba & bird whistles; Vincent Carter, soprano/tenor saxophones; Mwata Bowden, baritone saxophone; Ari Brown, tenor/soprano saxophones; Douglass Ewart, alto saxophone; Taalib-Din Ziyad,vocals/flute; Kirk Brown, piano; Theodis Rodgers Jr., piano; Harrison Bankhead, acoustic & fender bass; Donald Rafael Garrett, bass;
Reggie Nicholson, drums; Avreeayl Amen Ra, drums; Sammi “Cha Cha” Torres, bongo drums, cowbell, shakere, guiro(chant on track 5); Luis Rosario, timbales & Brazilian percussion.

In the early 1970’s, when I first met Sherry Scott, Don Whitehead and Wade Flemmons, (who, at that time, were some of the original members of the fledgling Earth, Wind and Fire group) my friends were always singing the praises of the AACM (Association for the Advancement of Creative Musicians). The group was based in Chicago, where Scott, Whitehead & Flemmons had once resided. This organization was founded on the important traditions of Black American Music and Sherry Scott had cut her jazz teeth singing with this respected organization of Avant Garde musicians. Fifty years ago, Jack DeJohnette, Henry Threadgill, Roscoe Mitchell and Muhal Richard Abrams birthed the AACM. The idea was to inspire members to compose and perform distinctive and often Avant Garde jazz music. So I was particularly interested in reviewing a CD that celebrates the 50th anniversary of the AACM, an organization still alive and well. It features jazz masters along with up-and-coming jazz musicians based in the Chicago area. The legendary Art “Turk” Burton on congo drums appears, along with Ari Brown on tenor and soprano saxophones. From the very first cut, you feel that Midwest energy. It slaps you in the face like a wet, winter wind off the Great Lakes. “Cuba: A Tribute to Chucho” is beautifully performed with emphasis on Turk’s strong and articulate percussive work and a memorable soprano sax solo by Vincent Carter, with Theodis Rodgers Jr. tearing up the keys on piano. The music is celebratory of Cuban jazz pianist and band leader, Chucho Valdés and composed by Burton. “When Sunny Is Blue” follows with musical energy high and palatable, featuring a ‘Live’ Jam session with youthful reed players challenging each other on the busy bandstand. The tension builds, with the explosive energy dancing off the recording. However, the bad notes and poorly executed riffs of young people “showing off” (perhaps polishing their craft on the bandstand instead of practicing at home) is somewhat disappointing. The Mongo Santamaria composition, “Afro Blue” follows with unforgettable lyrics by Chicago’s own Oscar Brown Jr. It’s beautifully performed with exemplary percussive work and a bass line similar to one I heard on a Dianne Reeves recording. The down-side of this excellent production is the vocalist, Taalib-Din Ziyad, who is slightly off key throughout. This takes away from the over-all spirit and excellence of the composition. With technology in studios, those notes could have easily been fixed. It’s too bad no one took time to fine-tune the vocals. On the other hand, the musicianship is outstanding and “Turk” shines on his conga drums, as does Reggie Nicholson on trap drums. The reed players are exciting and the rhythm section dynamic. Ziyad redeems himself on flute when he solos quite elegantly on “A Love Supreme”. This is a recording full of excitement and improvisation, featuring several solid compositions by Art T. Burton. I applaud the ACCM group for holding true to the premise of recording ‘live,’ featuring original compositions and promoting the philosophy of developing one’s own sound. The experimental factor is ever prevalent in this recording. Known more today as the Art Ensemble of Chicago, this AACM organization continues to spearhead a legacy that started in the 60’s and proudly still pushes the boundaries of our jazz music scene today.

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Independet label

Kim Nazarian, vocals; Jay Ashby, trombone/co-producer/arranger/engineer; Gary Burton, vibes; Paquito D’Rivera, clarinet; John Pizzarelli, guitar; Sean Jones, trumpet; Roger Humprhires, drums; Jamey Haddad, drums; Peter Eldridge, vocals; Mark Shilansky, piano; Mark Soskin, piano; Marty Ashby, guitar; Jiro Yoshida, guitar; Dwayne Dolphin, bass; Leo Traversa, bass; Greg Nazarian, sax; Anna Nelson, ensemble clarinet; Jesse McCandless, bass clarinet; Alexa Still, flute; Steve Hawk, trumpet; Catlin Merhtens, harp; Ian Ashby, vocal.

I was eager to hear this CD, because Kim Nazarian gained initial fame as a founding member of the internationally acclaimed jazz vocal group, ‘New York Voices.’ I am a big fan of that group. Nazarian has special guest jazz icons on this project like Gary Burton, Paquito D’Rivera, and John Pizzarelli. They pop up to add zest to an already spicy CD, with Nazarian being the hot sauce on the meat of the matter. From the very first tune, a medley of “Robbin’s Nest”and “Boneology,” Nazarian lets you know she’s not just another pretty face on an album cover. This is a really talented vocalist, with control, tone, and swing wrapped up tightly in an impressive package of well-chosen compositions that are tied together by excellent Jay Ashby arrangements. The vocalist tributes Betty Carter with the song “Tell Him I Said Hello,” citing Carter’s early days as a big band vocalist. “Gotta Be This or That” is a swinging little duet featuring John Pizzarelli blending perfectly with Nazarian’s stylish vocals. “All In My Heart” shows the versatility of Nazarian, whose vocal side is now rooted more in Joni Mitchell-type melodies and Buffy St. Marie folk music. Her voice is a lovely instrument that cascades up and down the scales, supple and efficient as a flute. She exhibits her talents as a lyricist on “Still Life,” composed by her husband, Jay Ashby, who is also co-producer, arranger and engineer on this project. The Stevie Wonder composition, “If It’s Magic,” is interestingly arranged in 6/8 time and joins a string of songs that are performed more pop than jazz. However, the last song, “Road to Kursk” snatches me back to my jazz roots, featuring a wonderful horn section with tight harmonics and decorated by Nazarian scatting atop the swing with Cleo Laine tones. Sean Jones and Steve Hawk are noteworthy on their trumpet solos, as is drummer Roger Humphries. This is an artistic endeavor where the featured artist, like a high paid model, changes styles like outfits and models them on a runway that sometimes veers off the jazzy path. But her voice is always magnificent and totally impressive.

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Independent Label

Stephanie Haynes, vocals; Piano, Karen Hammack; Paul Gormley, bass; Paul Kreibich, drums.

When I first met Stephanie Haynes at Joe Spirazzo’s “Club Lido” in Newport Beach several decades ago, I was impressed with her tone and especially with her ability to ‘swing’ the music. This is the problem I personally have with a lot of the jazz singers around town. Some can’t swing! That element of our historical and indigenous American art form of jazz is one of the most important components, along with improvisation. Jazz singers should be able to ‘Swing’. Haynes could sing and she could ‘swing’. When you hear iconic jazz singers like the queen mother, Ella Fitzgerald, the human instruments of Sarah Vaughan, Cleo Laine and Anita O’Day, Nancy Wilson, Carmen McCrae, the ultimate arranger/risk-taker, Betty Carter or smooth as silk, Gloria Lynn or Peggy Lee, they could all ‘Swing.’ To me, that is one of the marks of a great jazz singer. So I respect and applaud Haynes on the title of her still unreleased CD demo; “Jazz Singer”. In the wake of her untimely death, I had to give her props on an impressive CD recorded ‘live’ with some of Los Angeles’ top jazz musicians. She deserves to be reviewed and to be revered. From the very first tune, Haynes comes out ‘Swinging’ hard as Muhammad Ali in the ring against Joe Fraser. This up-beat arrangement of “I Wish I Knew” never sounded so good to my ears. Karen Hammock is an outstanding accompanist as well as a dynamite pianist. “Serenade In Blue” is arranged as a Brazilian Rumba and Paul Kreibich sounds amazing on this cut, as does Gormley on bass. Haynes has a rich, warm sound that conjures up memories of Chris Conners and Carmen McCrae. Her recording project introduced me to some fresh, interesting songs like the Bossa Nova grooved, “This Heart of Mine” and the uptempo waltz tune, “Friendly Star,” both with lovely melodies and strong lyrics. I don’t know who the composers are, because they aren’t listed on the demo, but bravo to good songwriting and a voice who properly interprets their songs. Hopefully some record label will read this review, hear this project, and properly press it up in loving memory of Stephanie Haynes.
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JoDa Locust Street Music Label

Joseph Daley, tuba; Warren Smith, percussion; Scott Robinson, saxophones

Not only did this album title peek my interest, but the cover artwork by Jeff Schlanger captivated me, enticing me to slip this CD into my player. Joseph Daley is a composer and tuba player who has melted his heart and soul into this compact disc. Using only a trio of musicians, here is an ethereal trip into the universe of his creative mind. He’s dedicated the music to his friend, mentor and visionary composer, reed-man and pianist, Sam Rivers. The compositions explode like star-showers around my ears. This is a trip to musical outer space that explores the edges of improvisation and creativity. The instrumentation, though odd, works; (tuba, drums and saxes). A wide spotlight on low brass specialist, Daley, this obviously showcases the artists’ talents on tuba. But his co-conspirators, Warren Smith on drums and Scott Robinson are integral and important pieces of this musical puzzle. Put them together and enjoy a rocket ship ride into unexpected territory. Just as Sam River’s music was designed as launching pads for exploration and development, Daley carries on that tradition incorporating gongs, euphonium, contrabass sarrusophone, jazzophone, tympani, bass drum, Chinese cymbals and a host of other surprises. Fasten your seat belt and enjoy the ride.

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Essential Messenger EMI12015

Larry Newcomb, guitar; Eric Olsen, piano; Dimitri Kolesnik, bass; Jimmy Madison, drums.

Newcomb decided to record his latest release to challenge his spontaneity, creativity and with the premise of producing live, on-stage music. This artist boasts a Ph.D in Music History and has studied jazz guitar from icons like Bucky Pizzarelli, Pat Martino and Randy Johnston. However, it wasn’t until I got to cuts numbered two and three that I felt connected to Newcomb, the artist. When I looked on the album song list, the first thing that hit me was that both those compositions were by Newcomb himself. The standard songs of “Be My Love” and “All the Things You Are” were adequately performed, but when Newcomb and his band dug into his original compositions, the energy changed for the positive. On “Sure Thing” Kolesnik’s short bass solo is noteworthy and prominent. The other original compositions by Newcomb are “Thanks Jack!” and “Instant Water”; both enjoyable and swinging tunes. Madison gets to ‘trade fours’ on “Instant Water” and shows off his excellent drum skills. Olsen, on piano, never gets in the way of Newcomb’s guitar and is supportive in laying down a substantial groove to solidify the rhythm section.

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Jazz Guitar Records

Lou Volpe, guitar/keyboards; Delmar Brown, keyboards; Mel Davis, keyboards; Onaje Allan Gumbs, keyboard; Stanley Banks & Leo Traversa, bass; Gary Fritz, percussion; Buddy Williams, drums; Sipho Kuhene, drums.

From the first strains of “I Remember April”, Lou Volpe is off and running, with fingers flying faster than Santa Anita racehorse legs. This is an instrumental tribute to Frank Sinatra and Volpe has chosen some favorite jazz standards that old blue eyes used to sing, arranging them in Volpe’s own inimitable style. Favorite cuts are: “One For My Baby”, a very funky rendition of That’s Life”, and “The Best Is Yet To Come” as a happy Bossa Nova. “All the Things You Are” is performed at a race car speed where we get a chance to hear Traversa’s strong walking bass and the Buddy Williams signature drums padlock the rhythm into place. “I’ve Got You Under My Skin,” is played slow and arranged as a provocative ‘Cha Cha.’ “Europa” is performed very sexily! If you enjoy tight grooves, melodic riffs and a rhythm section that blends like a well-oiled machine, then you’re going to love this CD.

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