By Dee Dee McNeil/Jazz Journalist
JULY 16, 2019

Music expands boundaries & enlightens our consciousness. More And more, artistic people are using their art and music to speak out against injustices and to use their art forms to unite us. Jazz has been scientifically proven to affect the type of brain waves we produce, both stimulating the brain and relaxing it. Happy brains make better learners. It’s proven that children, and people in general, learn more quickly when music is employed as their teaching tool. Just think about the huge challenge that creating improvisation makes to the musician. It also affects the listener. Jazz encourages minds to think critically. There’s amazing scientific evidence that jazz enhances the ability to memorize and stimulates basic mental biology. The composers and players of jazz I’ve reviewed, are offering musical messages to help change our world and stimulate our thoughts.


Lafayette Gilchrist, pianist/composer.

In 2017, Lafayette Gilchrist was deemed a ‘Local Legend’ by Baltimore Magazine. In 2018, the astoundingly talented Gilchrist won the Baker Artist Award. This is an annual award which includes significant monetary prizes and a feature on Maryland Public Television’s Artworks program. On this recording, Lafayette Gilchrist takes a step away from his group performances with the New Volcanoes (who were crowned “Best Band” by the Baltimore City Paper) and the Sonic Trip Masters All-Stars to perform solo. This recording of all-original compositions is the result of a ‘live’ solo performance at the University of Baltimore’s Wright Theater.

Lafayette Gilchrist explains the title of this recording in his liner notes:

“Dark matter keeps everything from drifting apart. Dark matter permeates everything. It’s difficult to get one’s head around it, but the aspect of it that fascinated me was it being this invisible force that holds the universe together. That came to mind because the tunes on this album are so different, one from another, that I felt the title suggested a binding of a kind; a desire for the listener to hear it all as one sound.”

Gilchrist seems to have an insatiable desire and fascination with connecting and understanding styles and artistic influences. In his scientific search for answers, he incorporates his deeply personal feelings about life, moods and ideas into his creative compositions. Gilchrist uses the piano to explore his emotional connection to the universe. His well-honed ability to keep his left hand steady and rhythmic in the bass register and still interpret innovative improvisation with his right hand, as if the two hands are on two separate bodies, is a clear display of Gilchrist’s piano mastery. This is quite evident on the “Spontaneous Combustion” tune and on the opening number, “For the Go-Go.” He has composed “Black Flight” as a tribute to the celebrated Tuskegee Airmen. He had an opportunity to perform for veteran members of this historic group of black, fighter pilots who fought during World War II. That experience inspired Gilchrist to compose this tenth song of his eleven recorded originals. On “And You Know This” it once again sounds like two people are playing the piano. Lafayette’s left hand is powerful, never losing the rhythmic time, and there is a great deal of the blues pumped into this song. It becomes one of my favorites of his eleven compositions. “Happy Birthday Sucker” is another display of the same; a rolling bass line with a contrary motion in the upper register that celebrates the melody. Throughout this recording, I hear a little Thelonious Monk influence, some Duke Ellington, and a taste of stride rooted in New Orleans blues.

As an accompanist, he has performed with well-respected music artists like Cassandra Wilson, Macy Gray, Oliver Lake, and William Parker, to name only a few. Gilchrist also toured with David Murray as part of his octet and quartets for thirteen years. In this latest project, Lafayette Gilchrist steps out singularly, to offer us his piano brilliance combined with his composer skills, and to introduce us to the “Dark Matter” of his mind. It’s as mysterious and deep as the scientific dark matter that holds our universe in place.
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Zach Brock,violin/composer; Matt Ulery,bass/composer; Jon Deitemyer,drums/ composer.

The first cut on this CD is the title tune and it showcases the strength and talent of these three very individual musicians. They have come together to explore separate musical journeys, uniting to make one, powerful trio statement. These three iconic Chicago talents have played music together for nearly fifteen-years. Each musician is secure and seasoned in his own right. Together, they create a fresh palate of art, painting sound colors on the canvas of our ear.

Brock, the violinist, composed the first song, the title tune, “Wonderment.” Matt Ulery lays down a melodic bass line that establishes the rhythm and mood of the song. The violin sings sweetly, while Ulery dances along with Jon Deitemyer on drums. The rhythm contrast against the violin ballad is moving and emotional. Ulery uses bass staccato strings to create interest and Deitemyer doubles the time. I am totally engaged by this unique trio of bass, drums and violin. The drummer, Deitemyer, has written the second song, “Mobile,” with Brock plucking the violin seductively and Ulery walking the bass beneath the production in a semi-march, along with the trap drums. This composition celebrates movement, with Deitemyer locking the rhythm into place beneath the improvisational motion of his two comrades. Each musician is a composer and all the recorded music is original. This ensemble is rich with crescendos of energy, tender with sweetly sung melodies and daring with provocative performances by each individual instrumentalist and composer. Somehow, they meet in the middle, and have created an unusual and very pleasant work of musical art.

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Aaron Whitby, piano/Fender Rhodes/Synthesizers/vocal FX; Charlie Burnham, violin/vocals/composer; Fred Cash, electric bass; Gary Fritz, percussion;Jerome Harris,acoustic bass; Rodney Holmes,drums; Keith Loftis, tenor saxophone. SPECIAL GUEST VOCALISTS:Lisa Fischer, Tamar Kali, Rome Neal & Martha Redbone.

The funk just leaps off the CD player and it’s hot and in your face; delicious as the aroma of bar-b-que cooking at the park. Aaron Whitby’s piano playing is hard-hitting, fusion-funk and his musicians seriously lock into his 88-key-grooves. Whitby has composed seven of these eight songs. The one song he ‘covered’ is “The Eye of the Hurricane” by Herbie Hancock. Otherwise, he lets his creative juices flow and serves up some pretty awesome classic jazz-fusion compositions to wet our palate. Whitby uses synthesizers and vocals to pump the various arrangements up. After working many years as a studio musician and playing it all; jazz, R&B, pop, folk and world music, he finally sank his teeth into composing and producing a debut album. His compositions lend themselves to chord changes that inspire improvisation and funky musical trenches that captures the listener’s attention and inspire dance moves and finger-popping. Favorite tunes are: “Sleeping Giant”, that incorporates chants, vocals and the hot licks of Rodney Holmes on drums and Gary Fritz on percussion. They admirably support Aaron Whitby’s inspired piano playing. A male voice chants, “We are the Sleeping Giants.” A female voice shouts, “Sleeping giants – you have the power. Wake up!” In this way, Whitby incorporates some social consciousness into his musical commentary.

Another favorite original composition by Aaron Whitby is the title tune,“Cousin from Another Planet.” I can tell that Whitby is a Chick Corea/Herbie Hancock fan. He knows how to capture a ‘hook’ and enhance the rhythm, fueled by funk. That’s what makes a hit record. The guest vocalists sound as funky and fiery as Whitby on piano. Also notable is Fred Cash on electric bass. Keith Loftis adds a tenor saxophone solo that brings back the days of ‘live’ Rock & Roll shows, reminiscent of the funk that Ernie Watts brings to the stage.

This is an exciting project of original compositions and the keyboard and piano skills of Aaron Whitby grandly embellish his production. Whitby is able to blend many different styles of music into a cohesive package of creative fusion. “The Invisible Man Breathes” is an excellent vehicle to show-off the many faces of Whitby, using time changes and every key on the piano to accentuate his composer vision. Always melodic, Charlie Burnham brings his violin to the party and shines like flickering birthday candles. This recording is full of surprises. From funk, we move into an Arabian production with Middle Eastern flair and the Loftis saxophone replaces the violin with intensity. Avant-garde music parts the clouds momentarily, like a ray of sunshine and splashes across space and time. Aaron Whitby seems to be expressing musically all the moods and mess humanity can make in this one, single song.

“Mrs. Quadrillion” is fun to listen to and very smooth jazz with a funky under-tow. Burnham is back with his violin and Whitby knows just how to introduce you to a melody. He gives his musicians ample time to develop their improvisational solos, and then brings us all back to the comfortable ‘hook’ of the song. Rodney Holmes takes an exciting solo on trap drums.

You will discover that Aaron Whitby is a storyteller, a band leader and an admirable composer. You will hear something new and fresh each time you play this album. Expect the unexpected.
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MATTHEW WHITAKER – “NOW HEAR THIS” Resilience Music Alliance

Matthew Whitaker, piano/moog synthesizer/keyboard synthesizer/Hammond B3 organ/composer; Dave Stryker, guitar; Yunior Terry, bass; Ulysses Owens Jr., drums; Sammy Figueroa, percussion. SPECIAL GUESTS: Gabrielle Garo, flute; Marc Cary, Fender Rhodes.

“Overcoat” is the first cut on this album and it introduces us to this artist. Right from the first notes, you hear the drama in Matthew Whitaker’s music. True, he’s a technically strong pianist, but there’s more than technique here. There’s emotion bursting at the seams. He’s empowered with creativity and emboldened by the excitement emanating from his inner-action with his peers. On Ahmad Jamal’s composition, “Tranquility,” Whitaker calms the mood and concentrates on presenting his tender side on piano. Matthew has composed “Underground” and exhibits his talents on synthesizers and his ability to embrace electronic jazz as well as straight-ahead and bebop flavored music. This song reminds me of a young Herbie Hancock. On “Bernie’s Tune” we are right back into straight-ahead territory with a tenacious walking bass by Yunior Terry fueling the piece. Like a California wild fire, it starts out small and hot. But it doesn’t take long for the group to ignite in full fledge flames and burn-up the performance space.

Whitaker takes to the organ on “Yardbird Suite” and keeps the jazz hot and moving fast. Ulysses Owens Jr., with ever present drum skills, is an important part of the ensemble’s motion and rhythm.

Whitaker was a Hackensack, New Jersey baby, born three months premature, weighing less than two pounds. The retinopathy of prematurity caused the newborn blindness. By the time he was five years old, Matthew Whitaker exhibited perfect pitch, a love of music, could play piano by-ear and also experimented with percussion instruments, the clarinet and the bass guitar. As a teen, he attended the Pre-College Jazz Program at the Manhattan School of Music. Matthew claims his main influences are organists, Jimmy Smith and Joey DeFrancesco, piano legends, Art Tatum, Barry Harris, Erroll Garner, Thelonious Monk and Oscar Peterson. At fifteen years old, Matthew Whitaker performed at “Showtime at the Apollo.”

Another original song from his “Now hear This,” album, is “Miss Michelle.” It’s a happy-go-lucky tune that features Dave Stryker on guitar. Another original composition by Whitaker is titled, “Thinking of You” and it’s pensive and melancholy. Once again, he takes to the organ to express himself and the melody he shares is lovely and emotional.

“I have been blessed with a God given gift and my prayer is that I can continue to be a blessing and inspiration to others. One of my Heroes is Stevie Wonder.”

Matthew Whitaker will begin touring the East Coast on July 26,2019, performing at the Telluride Jazz Festival in Colorado on August 9th and in San Diego on October 23rd at The Loft/University of California San Diego. If you’re able, catch this exciting, talented pianist at one of his upcoming concerts. For a complete schedule go to:
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Antonio Adolfo, piano/arranger/producer; Lula Galvao, acoustic & elec. Guitars; Rafael Barata, drums; Jorge Helder, double bass; Dada Costa & Rafael Barata, percussion; Jesse Sadoc, trumpet/flugelhorn; Marcelo Martins, soprano & tenor saxophones/alto flute; Rafael Rocha, trombone. SPECIAL GUESTS: Serginho Trombone, valve trombone; Mauricio Einhorn & Gabriel Grossi, harmonica; Claudio Spiewak, shaker /acoustic guitar.

Influenced by soul music, smooth jazz and West Coast cool, Rio de Janeiro native, Antonio Adolfo, successfully blends his Brazilian culture with American jazz. Early in his career, he became one of the cornerstone composers and arrangers of what became known as Samba jazz. Spurred by the famous Brazilian musicians such as Moacir Santos, Sergio Mendes, Elis Regina and Raul de Souza , Antonio Adolfo soon made a very strong name for himself on the Brazilian music scene. His latest release celebrates that era of music, thus the title, “Samba Jazz Alley.” On the first tune, “Ceu E Mar” Jorge Helder makes a strong statement on double bass. Antonio Adolfo’s piano technique is powerful and stimulating. His music dances and celebrates joyfully. The second cut on this album tributes another powerful pianist/composer, Herbie Hancock. Jesse Sadoc plays a mean trumpet and the percussive work of both Rafael Barata and Dada Costa apply gas to this musical engine. Adolfo uses his amazing horn players to punch and color his arrangements, featuring (along with Jesse Sadoc) Marcelo Martins on woodwinds and Rafael Rocha on trombone.

This is an album of passionate music, with the rich Brazilian culture wrapped around the freedom music of jazz. For this production, Adolfo incorporates some of the best Brazilian musicians on the planet. Brazil’s current harmonica sensation, Gabriel Grossi and legendary harmonica player Mauricio Einhorn make a brief appearance on track five. Every song is celebratory and offers the listener musical exploration into the Samba legacy. Antonio Adolfo’s arrangements, along with this invigorating ensemble of musicians, are bound to lift spirits and make you happy.

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PACIFIC HARP PROJECT – “PLAY” Independent label

Megan Bledsoe Ward, harp/arranger; Noel Okimoto, vibraphone/bongos/marimba/congas; Todd Yukumoto, saxophones; Jon Hawes, bass; Allan Ward, drums; SPECIAL GUESTS: Allen Won, soprano saxophone; Kenny Endo, Taiko & Fue; Jamie Jordan, vocals.

The Pacific Harp Project includes instruments of Japanese culture, like the fue, that is a double reed, flute-like instrument, made from bamboo and producing a high-pitched tone. This group of musicians is dedicated to exploring realms of music for harp and rhythm section, with emphasis on jazz, pop and original compositions. Each member musician is also a composer. The concept of this project is tantalizing.

Megan Bledsoe Ward introduces the first tune with arpeggio beauty on the harp. She has written the first song titled, “Lily Lou” and it falls into the category of smooth jazz.

Noel Okimoto plays vibraphone and he has composed the next song titled, “The Vastness.” It’s very melodic and Okimoto explains it was written with a specific drum in mind.

“I wrote “The Vastness” for an instrument called a RAV Vast, which is a turbo charged steel tongue drum. This RAV is tuned to a D major scale and I had a lot of fun coming up with a song just based on this scale.”

There are some compositions that are more operatic than jazz, like “La Lettre” that is sung by Jamie Jordon. There is absolutely nothing about that composition (arranged by Ward) that remotely could be classified as jazz. That’s puzzling to me. Why include songs that break the consistency of this musical project? There is something very simplistic about the Pacific Harp Project. It’s disappointing. I wish I could have heard more uniqueness and more jazz harp. This is no Alice Coltrane-like project or Dorothy Ashby.

On “Sunflower (Himawari), the feu and the taiko instruments are featured by Kenny Endo, along with Megan Bledsoe Ward’s harp. These instruments sweetly complement each other. When Jon Howes on bass and Allan Ward, on drums, enter the arrangement, they set up a compelling groove. All the musicians are classically trained and based in Hawaii. Their music is ‘laid-back,’ with (at times) an almost chamber -like music format. This particular song is in the realm of world music and quickly becomes one of my favorite songs on their album. The Allan Ward drum solo is an unexpected treat. He is musically dynamic throughout this production. When I first heard about this project, I was truly excited to experience a jazz harpist. The liner notes clearly say this project is meant to celebrate the harp. After listening, I came away feeling sadly disenchanted.
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Lauren Henderson, vocals/composer; Michael Thurber, bass/composer/producer; Sullivan Fortner & Damian Sim, piano; Gabe Schneider,guitar; Mark Dover,clarinet; Emi Ferguson,flute; Jon Lampley,trumpet; Allan Mednard & Joe Saylor,drums; Moses Patrou,percussion; Tessa Lark, violin soloist; Lavinia Pavlish & Brendan Speltz, violins; Charles Overton,harp; Rose Hasimoto,viola; Tara Hanish,cello; Leo Sidran,guest vocals.

This is Lauren Henderson’s sixth album release. Not only is she a vocalist, Ms. Henderson also is a composer and arranger. She performs in both English and Spanish, reflecting her Panamanian roots. She embraces Latin, soul and fusion elements in her jazzy presentation, mirroring her African American paternal roots. Lauren has received degrees in both music and Hispanic Studies at Wheaton College in Massachusetts. While living in Puebla, Mexico, she studied traditional music of the Yucatan at Benemerita Universidad Autonoma de Puebla and has also studied flamenco and jazz at La Universidad de Cordoba in Cordoba, Spain. Consistently hungry for knowledge and growth, Lauren Henderson received an Executive Master of Business Administration from Brown University in 2019 to assist her in the management and success of her Brontosaurus Record company. She recently signed one artist, other than herself, to the label. A flautist, singer and composer, Magela Herrera, who has released one critically acclaimed CD.

The title of Henderson’s latest release is Alma Oscura. That translates to ‘dark soul’ in English. The concept is to address various cultural stories reflecting the African diaspora and Henderson’s multi-cultural heritage and American upbringing.

“My father is pretty much a jazz historian and I probably got 99% of my early music education from him,” says Henderson.

She has composed four of the eight recorded songs. Joining forces with producer, arranger, theater composer, bassist, Michael Thurber, who composed the second song on this project, “Something Bigger,” and collaborates with Henderson as a songwriter and bandmember. Henderson considers Thurber one of her dearest friends. You may have seen him on the talk show featuring “Stephen Colbert” because Thurber is the bass player in Jon Batiste’s band on The Late Show.
She is vocally accompanied on the first song, “From the Inside Out” by the sexy, smooth vocals of Leo Sidran. He co-wrote this song with Alex Cuba. Sidran’s voice is like butter. His Spanish is the butter knife, smoothing the story across this warm space and translating Henderson’s English words into an emotional plea. Their duet is compelling, starting from the folksy guitar introduction by Gabe Schneider. The melody is haunting, dancing atop a lush string arrangement. Emi Ferguson’s flute is hypnotic. Lauren Henderson sings:

“Deep inside your soul, underneath the skin; Where no one ever goes and no one’s ever been.I know there’s a part of you that lives in doubt. I can see your heart, from the inside out.”

Lauren Henderson has a style of her own, a tone tinged with a tremolo that embellishes her emotional delivery. She takes on political activism with her composition titled, “El Arbol” that translates to “The Tree.” The lyrics tell of story about an interracial couple who are lynched because of their love, but it’s sung in Spanish, as is the fifth song titled, “Ven Muerte” and the title tune. “Protocol,” another Henderson original composition is infused with a Flamingo production followed by “Dream,” another ballad. Clearly this vocalist is a very romantic composer. The premiere song on this project continues to be my favorite and should receive plenty of airplay on jazz and world music radio stations.

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Rebekah Victoria,vocals; Deszon Claiborne,Colin Douglas & Akira Tana,drums; Joe Gilman,Frank Martin & Murray Low,piano/keyboards;David Belove & Marc van Wageningen, electric bass;John Wiitala,acoustic bass; Michael Spiro,conga/percussion; Rick Vandivier,guitar;Tommy Kesecker,vibes; Kenny Washington,vocals; Erik Jakobson & John Worley,trumpet; Mary Fettig,alto sax/clarinet/flute; Melecio Magdaluyo,alto,tenor & baritone saxophones; Wayne Wallace,trombone/arranger/producer; Dave Martell,tuba; Eugene Chekhov,1st violin; Niki Fukada,2nd violin; Edith Szendrey,viola; Monica Scott,cello.

Rebekah Victoria is a cabaret singer who has recorded with spectacular jazz arrangements. Her idea was to update the great American Songbook with more Twenty-first century arrangements. The songs go as far back as the 1910’s, 20’s, and 30’s. A few are more modern compositions from the 1990s.

Wayne Wallace, the Grammy-nominated trombonist, composer, arranger and bandleader is the master-mind behind these stellar arrangements and he also heads Rebekah Victoria’s label, Patois Records. Every single track on this ten-track album is superb, beginning with the 1909 hit song, “Some of These Days.”

When Kenny Washington makes a guest “scat” appearance on “Whispering” it lifts this project to a real jazz status. Although Ms. Victoria has a crystal-clear soprano voice that she infuses with emotion, I don’t believe every vocalist who sings the American Songbook is a jazz singer. Without a doubt, the musical tracks are jazzy and extremely well-played. But tracks can’t make the singer a jazz vocalist. The Lambert, Hendricks and Ross hit record, “Twisted” gives Rebekah Victoria a chance to swing, but it never happens. She performs the song in her own unique style, that being more like a Broadway singer. If you’re claiming to be a jazz singer, you have to be able to ‘swing.’ I will say, on the song, “Opus One,” Rebekah almost succeeds in swinging these lyrics. Surprisingly, she includes pop tunes in her repertoire like, “These Boots are Made for Walking” (a hit for Frank Sinatra’s daughter), and “Unbreak My Heart” (a hit by Toni Braxton) are great songs, but not jazz songs. However, the Wayne Wallace arrangements are tightly produced and the horn sections are soulful. Rebekah Victoria’s voice gets lost in the interpretation of these popular songs. Carol King’s “It’s Too late” is arranged like a Bossa Nova in a very pleasant way. Victoria’s voice floats comfortably on top of this arrangement. All in all, this reviewer loves the music, but the vocals have a long way to go before this vocalist can claim to be a jazz singer.
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Nick Hetko, piano/composer; Rich Syracuse, bass/composer; Jeff ‘Siege’ Siegel, drums/composer.

This production offers a strong, unified, jazz trio of technically astute musicians who are also composers. Opening with the Rich Syracuse composition titled, “Sleeper” they establish their mastery from their very first tune. Each player takes an outstanding solo, introducing themselves to sensitive and attentive listener ears. The pianist, Nick Hetko, recently won the Grand Prize of the Lee Ritenour Six String Competition. He has also performed with icons like James Moody, Chris Potter and Dave Holland. A talented bandleader and pianist, Lee Shaw, mentored the fledgling Hetko and as he explained, gave him the confidence to persevere in the intimidating jazz music world. Nick Hetko was just a high school junior when Dr. Shaw introduced him to her rhythm section and included him in a number of recording demo sessions.

At first, no one suspected that Dr. Shaw was ill. Her trio was busy touring Europe and performing on stages across America. Shaw, Siegel and Syracuse had a close bond. Dr. Lee Shaw was fondly referred to as “The First Lady of Jazz,” by her fellow musicians. Upon her passing, it was natural for Nick Hetko, her student and someone who was by then quite close to her colleagues, to step into her seat at the piano. Consequently, these three musicians, (Rich Syracuse, Nick Hetko and Jeff Siegel), have dedicated their album to her precious memory. One of my favorite songs on this recording was written by Nick Hetko titled, “Captain of a Sinking Ship” where “Siege” Siegel shows off his drumming prowess. It’s an energetic tune with strong Latin overtones and lots of space for these musicians to show-off their ‘chops.’

Rich Syracuse is a composer and bassist, prominent on the New York area scene for three decades. He had a long stint working in the Nick Brignola Quartet and has performed with Kurt Elling, Dave Liebman, the Brubeck Brothers, Mose Allison, and too many more to list. He was pianist, Lee Shaw’s bassist for over twenty-five years. When he’s not performing in concerts across the world, he educates as Professor for String and Electric Bass Studies at Skidmore College in Saratoga, New York; at Hotchkiss School in Lakeville, Connecticut and he’s bass professor and ensemble coach at the State University of New York at New Paltz.

Jeff “Siege” Siegel is also an educator,a drummer and composer,who has worked with a virtual who’s who of jazz icons. Some of the familiar names he has played with are Ron Carter, Kenny Burrell, Jack DeJohnette,Benny Golson,Frank Foster,Sheila Jordan, Helen Merrill,Mose Allison and he was a member of the Sir Roland Hanna Trio for five years.

Together, this incredible trio of excellence presents a well-produced album of beautiful, original compositions. They include one old standard, a favorite of mine titled, “I Fall in Love Too Easily.” They pay homage to the great Oscar Peterson when they play “Oscar’s Boogie.” Hetko does a stellar job on piano during this performance. Additionally, you will enjoy listening to the trio’s own, unique songwriting and arrangements. The title tune was penned by the late Dr. Lee Shaw and is quite elegantly performed, with great focus on the piano skills of young Nick Hetko. This is an album you will take pleasure in listening to, time and time again,and a trio who has excellently represented the legacy of Dr. Lee Shaw.

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  1. REVIEW: Musical Memoirs Reviews New Releases from Aaron Whitby, Ulery/Brock/Deitemyer and Hetko/Siegel/Syracuse! - LYDIALIEBMAN.COM Says:

    […] by Dee Dee McNeil, Musical Memoirs […]

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