LUCIANA SOUZA’S LIVE PERFORMANCE, ERROLL GARNER RE-MASTERED AND MORE

LUCIANA SOUZA’S LIVE PERFORMANCE, ERROLL GARNER RE-MASTERED AND MORE

By Dee Dee McNeil/Jazz Journalist

January 30, 2020

LIVE PERFORMANCE REVIEW OF LUCIANA SOUZA – JANUARY 18, 2020

The evening’s moderator steps onstage. He tells us that three years ago the Soraya, a magnificent Center for the Performing Arts, started a jazz club on its premise. Located in “the Valley” of Los Angeles, at 18111 Nordhoff Street in Northridge, California, on the campus of California State University Northridge (CSUN. This huge theatrical facility simulated a smaller area inside the building that features an evening of intimate jazz. It’s my first time visiting this architecturally beautiful, all glass, building. This is the ninth year of the award-winning Younes and Soraya Nazarian Center. Where have I been? The 1,700-seat theater was designed by HGA Architects and Engineers. It was recently cited by the Los Angeles Times as “a growing hub for live music, dance, drama and other cultural events.” Tonight,the small room they’ve created seats about 250 people. Several patrons swarm around the wine-tasting table and there’s a full bar available just outside the jazz room. There is table seating upfront and theater seating in the rear. My friend Dwan and I find a spot close to the stage.

The evening’s featured artist is Luciana Souza. She is a Brazilian vocalist with Sao Paulo roots. She took the stage with two other musicians who she introduced. Ms. Souza told us she met Scott Colley (bassist) in New York and fell in love with his playing. “He is an architect of our music,” she gushed. Next, she introduced Chico Pinheiro, a guitarist also from Sao Paulo, Brazil. Luciana and Chico met at Berklee College of music and Souza told us he is a great storyteller on his instrument and a very popular instrumentalist in Brazil. She went on to say that poetry deepens our humanness. “It’s always fertile ground,” Luciana asserted. That’s why she adopted some of the poetry of Leonard Cohn and set his prose to music. She spoke the words of Cohn over the silence in the packed auditorium. Then, her two-man band began to play. First Scott Colley’s bass set the tempo. Ms. Souza, standing before a snare drum and a single cymbal began gently stroking the cymbal with her brushes. She tilted her head back and began to sing. Enter Chico Pinheiro on guitar. Our concert has begun.

The second tune was more energetic with tempo changes from hot, Latin rhythms reduced fluidly to a sultry ballad. Souza plays her percussion instruments effortlessly, tossing the Portuguese language into the mix on the fade of this song. Her vocal notes fall like shiny pebbles onto a rushing musical stream. At the conclusion of this song, the applause is generous, as she tunes her tambourine in preparation for their third song. Scott opens with a deep, bass solo introduction, setting the mood and tempo. It’s a happy tune that makes me want to dance. I wish Ms. Souza had told us the titles of the songs they played. She mentioned a few along the way, but not many.

“Being from Brazil means a wealth of music we get to drink,” she spoke to the attentive audience. Speaking of drinks, we sat there sipping our wine, enjoying the music with beverages sponsored by WINC, an online wine distributor. Luciana Souza told us one composer she loves is Milton Nascimento. She explained, he was born in a hilly state inside Brazil, lush with mountains and she tells us his music is open and elevated like his countryside. On this tune, she features the poetry of Charles Simic, a Serbian/American poet and former co-poetry editor of the Paris Review.

Continuing,Scott pulls out his bow and the bass trembles in a beautiful way. There are no words on this tune. Souza scats her way atop the music, making warm sounds like tropical bird calls and mountain winds. She is consistently singing and playing percussion, which is impressive. However, I do wish her percussion had been more dynamic, instead of just the whisper of rhythm. It was teasingly pleasing. A few bursts of percussion to vibrantly support these amazing musicians would have escalated her production and elevated her percussive playing. Her voice, however, is a lovely instrument and one of the songs she sang was very much a ‘saudade’ ballad that hauntingly floats across Chico’s beautiful guitar background. It’s almost a blues. On this song, the improvisation between guitar and bass is palpable and excites everyone at my table. Luciana Souza sings long, legato lines, holding the final notes of her phrasing tenderly, as though they are her babies. She swings on the end of this tune and scats. On this song, I finally hear some energy in her percussive playing.

Luciana Souza adds a small taste of activism to her program on her second set. She tells us, “we are living in strange times. I couldn’t vote in Brazil for a while when the military took over. So, I have seen some things,” she shared and then sang:

“These are the roads we travel. I don’t know how to get back to you. … These are the wars we fight. These are the tears we shed. … I don’t know how to get back to you.”

Scott Colley, during his bass solo, is brilliant and her voice is like a soft blanket that gently covers his booming bass sound. His instrument bleeds through, accenting the lyrical content.

“These are the duties of the heart. These are the books we read. These are the roads less travelled. I don’t know how to get back to you,” she sings, floating on a second-soprano cloud across a misty, emotional stage.

I long for a program insert,in the main Performing Arts Booklet,that listed tune titles. I enjoyed her patter between songs, describing her beloved Brazil and sharing spoken word or stories about the poets,but I wish she had told us the titles of her repertoire as she celebrated “The Book of Longing” (her latest CD release) that tributes poets like Leonard Cohen, Emily Dickinson, Edna St. Vincent Millay and Christina Rossetti with original music.

* * * * * * * * * * * * * *

REVIEW OF SIX ICONIC ALBUMS BY THE GREAT ERROLL GARNER Mack Ave Records

Album REF:Now Playing; Erroll Garner; A Night at the Movies; Dreamstreet; Close Up in Swing; One World Concert; Campus Concert; and A New Kind of Love.

I was overwhelmed to receive six classic albums of music by the iconic pianist and composer, Erroll Garner. He is a pianist I grew up listening to and greatly admire. These are the first six released out of a dozen CDs recently re-mastered. They are released on the Mack Avenue Record label. The first one I listened to was lush with strings and a full horn section. It was created from themes Mr. Garner composed for the Paramount film, “A New Kind of Love.” It was Garner’s first and only film score. Leith Stevens conducts the 65-piece orchestra. Erroll Garner expanded on this film score to create this album, “A New Kind of Love.” Some of my favorite songs were “You Brought A New Kind of Love to Me” that opens this album and a beautiful arrangement of his popular “Louise” composition.

Another of Erroll Garner’s CD releases is “One World Concert.” Originally, it was Mr. Garner’s second concert album after his magnificent success with one of my favorite Erroll Garner albums, “Concert by the Sea.” It’s a trio effort with Eddie Calhoun on bass and Kelly Martin on drums. Right away you are drawn to the pounding rhythm in Garner’s left hand, while his right hand masterfully improvises.It sounds like two people are playing the piano instead of one. He was a flamboyant genius. On this album, Mr. Garner covers ten standards we all love including, “The Way You Look Tonight,” a sweet rendition of “Happiness Is A Thing Called Joe” and a surprisingly classical introduction for “Mack the Knife” that pleases his ‘live’ and enthusiastic audience. This is a gem! It captures the spirit and brilliant style of Erroll Garner in the early days of his popularity. Over the span of a 40-year career, Erroll Garner published more than 200 compositions. His famed “Misty” is ranked by ASCAP as the twelfth most popular song of the 20th century. Since 1954, no other song has been recorded by more jazz artists except Duke Ellington’s “Satin Doll.” “Misty” is a part of this CD production.

On the “Campus Concert” CD he performs the Hoagy Charmichael standard, “Stardust” in a unique and stellar way, making it sparkle and shine like the stars themselves. He adds new voicings to the chord changes and as always, his left hand performs in amazing ways to lay-down the basement for his right hand to build upon. As a pianist myself, I recognize the strength he had in his hands to play in this amazing way and it leaves me awestruck. The audience agrees, with applause that shatters the silence when he pauses in between songs. Also, there is that distinctive little moan he throws into the mix every now and then to remind you that it’s Erroll Garner at the piano.

“CloseUp in Swing” is another Erroll Garner trio production and does not disappoint. It gifts us with ten recognizable standards and the eleventh song is a Garner original titled, “Octave 103.” Next, I popped “Dreamstreet” into my CD player. One of the things I love about the music of Erroll Garner is the innovative way he introduces tunes. You never can be certain what is coming up next. He has an astute ear for arranging and you hear it clearly in his music. This album was originally released in 1959 and sat ‘on the shelf’ and unreleased during a time Garner was fighting for control of his catalog. It was finally marketed in 1961 and features one original composition titled, “By Chance” and nine other songs with an Oklahoma Medley that blends Oh, What A Beautiful Mornin’ with People Will Say We’re in Love and Surrey With the Fringe on Top in a most unique way.

Finally, “A Night at the Movies” features Erroll playing some of his favorite movie tunes and adding one original composition called, “You and Me.” As usual, he features an extended introduction on solo piano before breaking into a moderate tempo’d melodic composition propelled by his left-handed, rhythmic chords. Listening to Erroll Garner again, after so many years, is pure pleasure.

Garner and his manager, Martha Glaser, founded Octave Records. The12 releases currently being released make up the Octave Remastered Series and is being distributed by Mack Ave Records.
* * * * * * * * * * * * *
JOHN VANORE – PRIMARY COLORS Acoustical Concepts, Inc.

John Vanore, trumpet/flugelhorn; Ron Thomas, piano/Fender Rhodes/Yamaha DX-7; Terry Hoffman,recording engineer/Olari MX-70/Sony F-1/Studer 810 2 track/mixing.

John Vanore on trumpet and Ron Thomas on piano and keyboards combine their talents for a lush, full sound. In the duet setting, their music is completely spontaneous. The concept was to pick a tune and record it with only one take. A few times they overdubbed some DX7 programming or cymbals. They also experimented with layering instrumentation on Lionel Richie’s famous “Lady” tune and on “Vanore’s original composition, “Origins of Rude.” But even then, they enhance the music with one-take only.

Surprisingly, the original recordings of these songs took place in 1984 and 1985 on cassette tapes. These tracks were discovered in 2019, with many unusable cassette tapes discarded because of shredding during the passing of time. However, these seven tracks were saved and are more than worthy of introspection and offer an hours-worth of a unique listening experience. Fortunately, they offer amazing clarity and creativity. Ron Thomas (at the time of these recordings) was a pioneer of sorts with the use of the Yamaha DX-7 synthesizer. He was a visionary player that Vanore had gigged with around town over 30-years ago. Their camaraderie and closeness are obvious on this recording. From the liner notes, I learned that the setting was a rehearsal room at Widener University. That was Vanore’s alma mater. He would later make a career there as an educator. Gradually, he outfitted the rehearsal room with recording equipment and with Terry Hoffman’s assistance as their producer and go-to-engineer, they created these beautiful interpretations of familiar songs like “Yesterdays”, Johnny Mandel’s “A Time for Love” along with the ever popular “Secret Love.” Pianist, Ron Thomas penned the opening tune, “Final Down” and Vanore offers two original songs. I found his composition titled, “Return” to be a wistful and melodically beautiful ballad. This is a jazz duet that is a testimony to both technical mastery and the intimacy that musical friendship affirms. The duo’s improvisational empathy was captured on 2-track, transferred to cassettes and ultimately has become this awesome compact disc.
* * * * * * * * * * * * * *
DELFEAYO MARSALIS & UPTOWN JAZZ ORCHESTRA – “JAZZ PARTY” Troubadour Jass

RHYTHM SECTION:Kyle Roussel & Ryan Hanseler,piano; David Pulphus, bass; Joseph Dyson, Jr., drums/percussion; Alexey Marti, congas/percussion; Raymond Weber, Jr., & Willie Green, drums; Detroit Brooks, guitar; TRUMPETS: Scott frock, Andrew Baham, Dr. Brice Miller, John Gray & Michael Christie; SAXOPHONES: Khari Allen Lee, alto/soprano; Roderick Paulin, tenor soprano; Amari Ansari, alto; Scott Johnson, tenor/alto; Roger Lewis, baritone; Gregory Agid,clarinet; Trevarri Huff-Boone,tenor/baritone; TROMBONES:Terrance Taplin, Delfeayo Marsalis, Christopher Butcher & T.J. Norris; VOCALS: Tonya Boyd-Cannon, Karen Livers, Dr. Brice Miller & UJO.

A strong vocalization by Tonya Boyd-Cannon, scats its way into my room, singing a horn line and soon joined by the horn section. She sings the title tune, promising us “We’re gonna have a jazz party and have some fun. So, if you’re feeling bad, come on and party til the blues is gone.” This sets the happy, celebratory tone of this Delfeayo Marsalis production.

Acclaimed trombonist, producer and composer, Delfeayo Marsalis, has spent most Wednesday nights leading his dynamic Uptown Jazz Orchestra for the past ten years. In residency at Snug Harbor in New Orleans, this recording marks his seventh release as a bandleader and features several of his original compositions. He has also arranged six out of the eleven songs featured on this album. The horns swing sumptuously and the tracks give you a sense of excitement. It makes you want to join the party.

“Jazz, the indigenous American music, is a music of celebration and optimism,” Delfeayo Marsalis shares.“The Uptown Jazz Orchestra is such a fun band that I wanted to capture its uniqueness. The idea was to keep the wide variety of styles that we play but to really capture the joy that is a central trademark of the band.”

The joy is definitely captured throughout this celebration featuring great musicians and wonderful compositions. On “Seventh Ward Boogaloo” tenor saxophonist Roderick Paulin represents the great New Orleans saxophone tradition with his soulful solo and Kyle Roussel is stellar on piano. For a brief moment, this tune sounds a whole lot like ‘He’s got the whole world in his hands.’ Then it takes off on its own melodic path. I love the way Marsalis incorporates modern jazz into the mix of his arrangements. You can hear it brightly color the orchestra when they play “Raid on the Mingus House Party.” That arrangement was so good, I had to play that track twice before I could continue listening to this album of brilliant, celebratory jazz. It was a good one! “Mboya’s Midnight Cocktail” brings the blues to the forefront and adds spoken word by Karen Livers to the mix. It is meant to create a common barroom scenario and it does.

Delfeayo Marsalis and his Uptown jazz Orchestra wraps the legacy of Jelly Roll Morton, Lee Dorsey, Sidney Bechet, Allen Toussaint and Louis Armstrong into an unraveling ball of musical yarn that weaves itself into a shawl of beauty we can proudly wear and say, “Made in America.”
* * * * * * * * * * * * * *
AARON DIEHL – “THE VAGABOND”
Mack Ave Records

Aaron Diehl, piano; Paul Sikivie, double bass; Gregory Hutchinson, drums.

The first thing that captures my attention, as I review this trio, is the beautiful yet Simplistic way Aaron Diehl forms musical phrases and melodies. His style is quite unique,using arpeggios and music box treble notes that dance and flutter into the universe. The first original composition by Aaron Diehl is titled, “Polaris” and sets the high bar for what is to come. I note that occasionally the pianist repeats musical phrases to emphatically make his point and perhaps to embellish his style. This technique produces effulgent results. His fingers dance over the keys expressing celerity. There are moments drenched in classical European style, but that quickly turns into improvisation, both creative and fluid. Aaron Diehl has composed seven of the eleven songs and he has arranged everything on this album.

Amply supported by Paul Sikivie on bass and with Gregory Hutchinson manning the drums, this is an enjoyable adventure into the mind and mastery of Aaron Diehl. In 2002, Diehl was awarded “Outstanding Soloist” during the Jazz at Lincoln Center’s Essentially Ellington Competition and invited to tour Europe with the Wynton Marsalis Septet. More recently, he’s served as the long-time musical director for Grammy Award winning vocalist,Cecile McLorin Salvant.
* * * * * * * * * * * *
SINNE EEG & THE DANISH RADIO BIG BAND – “WE’VE JUST BEGUN” BFM Jazz

Rhythm Section: Henrik Gunde, piano; Per Gade, guitar; Kasper Vadsholt, bass; Soren Frost, drums; Trumpets: Dave Vreuls, Bjarke Nikolajsen, Thomas Kjergaard, Mads La Cour, Gerard Presencer & Lars Vissing; Saxophones: Peter Fugolsang, Nicolai Schultz, Hans Ulrik, Anders Banke, Frederick Menzies, Anders Gaardmand &Jan Harbeck. Trombones: Peter Dahlgren, Vincent Nilsson, Kevin Christenson, Annette Saxe & Jakob Munck. Guest Musicians:Rune Harder Olesen & Luis Conte, percussion; Background vocals: Sille Gronbert, Birgitte Soojin, Ninna Milner Juel, Maja Hanghoj, & Alice Carren.

Here is the kind of jazz voice that snatches your attention from the very first note to the last. Her plush, tonal quality and ability to ‘swing’ endears Sinne Eeg to this reviewer. Not to mention, she is an excellent composer. The first song, co-written with American lyricists Mark Winkler and S. Nyman, is stunningly apropos to begin this album of fine music. It swings hard and also lets the orchestra show off the stellar talents of their all-star players. Tenor saxophonist Hans Ulrik plays a head-turning solo and Peter Jensen’s arrangement is exciting and beautiful. I had to play this one twice before continuing on to another Eeg original composition.

“Like A Song” is arranged as a waltz. Sinne Eeg has written both music and poignant lyrics. Henrik Gunde’s piano solo is well played and succinct. Her third track is also an original composition, a ballad called, “Those Ordinary Things.” The starting line reminds me just a tiny bit of Janis Ian’s writing style.

“I co-wrote the lyrics to that with a Danish colleague, Helle Hansen. I started writing the song about how we, in general, tend to miss the little details in everyday life and how we often don’t understand the importance of things until they’ve gone. As I wrote the lyric, I decided to turn it into a love story,” the songwriter explained.

The other original song on this ten-song production is “Samba Em Comum,” a tune this vocalist co-wrote and she sings in both English and Portuguese.

“I’ve been listening to so much Brazilian music. You can probably hear that in some of my own compositions. My husband has lived and worked in Brazil and he shares this passion for Brazilian music with me. He speaks the language and helps me with the pronunciation,”Eeg shares in her liner notes.

On “Come Love” Sinne Eeg shows she can put authentic blues tones into her jazz story, additionally scatting with ease and precision.

Scheduled for a February 21st release, here is a vocalist, a linguist, and a composer who has joined forces with the amazing Danish Radio Big Band and producer, Andre Fischer, to present an exciting array of original music, standard songs and big-band-beauty. Conducted by Nikolai Bogelund with arrangements by Jesper Riis, Peter Jensen and the late Roger Neumann, Sinne Eeg’s voice floats above the lovely music like an ivory lily pad on a Claude Monet painting. Like those classic artworks, she is one of a kind.
* * * * * * * * * * * * * *

ARTISTS USE JAZZ TO CONNECT MUSIC GENRES IN UNIQUE WAYS

By Dee Dee McNeil
JANUARY 10, 2020

Program director and jazz pianist, Billy Mitchell, has announced the 2020 WINTER SESSION begins Tuesday, Jan 14th 2020 for the WATTS-WILLOWBROOK CONSERVATORY & YOUTH SYMPHONY. Applications are now available on-line at: http://www.sappa.net Ages 6 – 18 years old are welcome. Sign your child up now.

BIG BAND OF BROTHERS – “A JAZZ CELEBRATION OF THE ALLMAN BROTHERS BAND” New West Records

RHYTHM SECTION: Andy Nevala, piano/Fender Rhodes/Hammond B-3 organ; Matt Casey, electric slide guitar; Tom Wolfe, electric guitar; David Ray, Chris Kozak & Abe Becker, acoustic/elec. bass; Mark Lanter, drums; Dave Crenshaw, percussion. SAXOPHONES: Dick Aven, tenor & soprano saxophones; Jimmy Bowland, alto saxophone; Steve Collins, baritone saxophone; Mace Hibbard & Kelley O’Neal, alto saxophones. Nathan McLeod, tenor saxophone. TRUMPETS: Rob Alley, Mart Avant, Barney Floyd & Chris Gordon, trumpet/flugelhorn. TROMBONES: Billy Bargetzi, Chad Fisher & Bill Huber, trombone; Brandon Slocumb, bass trombone.

This recording sounds like a bright, boisterous party. From Andy Nevala’s jazzy piano introduction, to the first slide guitar magic of Matt Casey, to the brilliant vocal stylings of Marc Broussard; I am enchanted by the premier tune, “Statesboro Blues.” To my surprise and satisfaction, this Big Band of Brothers has taken on a project of paying tribute to the legendary Allman Brothers. They’ve wrapped the blues inside the arms of jazz, with the crush of rock music evident in their soulful, appreciative hug. Their 2nd track features the talented Wycliffe Gordon on soprano trombone and the third track features Ruthie Foster singing the gospel-influenced, blues tune, “It’s Not My Cross to Bear,” with the prevalent Hammond B-3 organ played by Nevala. Dick Aven showcases a soulful, saxophone solo and the Big Band of Brothers shines on this tune with their powerful horn arrangements. Mark Lanter, on trap drums, is a strong force throughout, with adequate assistance from percussionist, Dave Crenshaw. On “In Memory of Elizabeth Reed” they blend a Latin arrangement with smooth jazz quite nicely.

https://www.youtube.com/results?search_query=big+band+ of+brothers+-+a+jazz+celebration+of+the+allman+brothers+band

The Big Band of Brothers has released their album in celebration of the 50th Anniversary of the premier recording by the Allman Brothers Band, whose album hit the streets back on November 4, 1969. Fifty years ago, it was celebrated as a Southern Rock recording. Gregg Allman and his brother Duane (along with their band members) travelled from Macon, Georgia to New York and cut their first classic, authentic southern rock and roll album. Many of the songs on the Big Band of Brothers CD are pulled from that first album including, Dreams, Whipping Post, It’s Not My Cross to Bear and Don’t Want You No More.

During an early interview, with journalist Bob Beatty, the original Allman Brothers Band admitted their love of jazz and how their drummer, “Jaimoe” (Jai Johnny Johanson) introduced them to Miles Davis and John Coltrane, saying “Kind of Blue” was always spinning on their turntable. They also loved Coltrane’s “My Favorite Things.”

Those familiar with the Allman Brothers music would have to agree it is richly inspired by the blues and gospel of the African American community. The Big Band of Brothers manages to generously mix that blues and gospel rooted music, along with strong rock and roll sensibilities, into a musical stew pot of improvisational jazz and groove. This is a party waiting to be played.
* * * * * * * * * * * *

MATT HERSKOWITZ – “MIRROR IMAGE” Justin Time Records

Matt Herskowitz, solo piano/composer.

One of the most difficult things a musician can do is to produce a completely solo album. It takes courage, creativity, and mastery to stand alone on the performance stage and offer your solo talent to the world. As I listen, it is immediately obvious that this pianist is steeped in classical music and technique. However, there is also a blues curve in some of his presentations and a strong need to improvise, which is the mark of a true jazz musician.

Based in Montreal, Canada, Matt Herskowitz has composed and arranged everything you will hear on this album, except the beautiful standard, “My One and Only Love.” That song closes this album out. On his third track, I hear subtle shades of “Body and Soul,” inside the strains of his pretty ballad titled, “Song for Katya.” The title tune, “Mirror Image” is more energetic, as his fingers briskly dance across the 88-keys. It allows his piano technique to shine brightly, including the fade of the song when he adds unexpected percussion with his fingers. “Reve Cinematique” is the seventh track and features a magnificent melody. Interestingly, his poignant tune called, “The Last Hope” incorporates gospel and blues onto his classical canvas.

His liner notes probably express, in Herskowitz’s own words, the reason and inspiration for recording this work of musical art.

“For my second solo album with Justin Time, I wanted to explore what’s become an increasingly prominent theme in my playing and composition: the reconciliation of my jazz and classical sides. I’ve been blending elements of both for a few years now. But one always seemed to favor the other. And, after two albums of Bach arrangements, a Chopin project with my jazz trio and a few other hybrid outings, I wanted to explore this fusion as it relates to my own music as well as through classical compositions. But this time, just me and the piano; pure and simple.”

Amidst the tinkling arpeggios of his piano technique and the often-challenging composer melodies he has created, there is a haunting tenderness to the music of Matt Herskowitz. You can also hear his love of classical composers like Robert Schumann and J.S. Bach. When he fuses the two art forms together, European classical music and America jazz, he brings something fresh and whimsical to the ear.
* * * * * * * * * * * * *

JOHN BAILEY – “CAN YOU IMAGINE?” Freedom Road Records

John Bailey, trumpet/flugelhorn/composer; Stacy Dillard, tenor/soprano saxophones; Stafford Hunter,trombone; Edsel Gomez,piano; Mike Karn, bass; Victor Lewis,drums/cymbals/percussion; SPECIAL GUESTS: Janet Axelrod,flute/alto flute/bass flute; Earl McIntyre, bass trombone/tuba.

The opening tune is called “Pebbles in the Pocket” and it’s a John Bailey original. According to the composer/trumpeter, this composition represents the pebbles of wisdom that we each carry around with us, and it’s an ardent tribute to loved ones, mentors or anyone who has come before us and shared important knowledge. It gives each horn player ample time to step forward and solo. As for the title of this album, John Bailey describes it in this way:

“Can You Imagine is an open question,” Bailey says. “Here we are in 2019 and there’s a lack of compassion and basic decency in our leadership and in our culture. I’m just asking, where would our culture be today if someone like Dizzy Gillespie had actually occupied the White House in 1965.”

Bailey is talking about a time when Dizzy Gillespie announced his candidacy for President of the United States in 1964. Of course, the iconic jazz trumpeter was probably being satirical, proudly naming members of his cabinet as being Duke Ellington as Secretary of State, Louis Armstrong as Secretary of Agriculture and Miles Davis as CIA Director. I recall 1964 as being one of the most heated and revolutionary periods of the Civil Rights movement. Unfortunately, we still wrestle with many of the same challenges and conflicts today that plagued us then. Looking at our political situation in 2020, perhaps it wouldn’t have been such a terrible idea to let jazz musicians attempt to run our country. Bailey is offering this album title as a rhetorical question in response to the fact that, as of the beginning of this new decade, too many of us seem not to have learned the lessons of empathy and human decency offered graciously and continuously by our country’s artistic giants. If artists inspire peace, love and empathy, maybe we should reconsider taking music and art out of our public education systems.

Consequently, the centerpiece of Bailey’s album is his three-part, twelve-minute “President Gillespie Suite.” It traces the candidate from when Gillespie promised to rechristen the ‘White House’ into the ‘Blues House.’ Earl McIntyre’s bass trombone is featured with his classic plunger solo style over the theme. Bailey’s trumpet sets the tone and sings the pretty melody. In the suite’s second movement, Bailey incorporates a whisper of ‘Salt Peanuts’ and Stevie Wonder’s “Do Yourself a Favor” tune. Stevie’s lyrics read, “Do yourself a favor, educate your mind.” This entire album seems to encourage this theme of education and elevation. The great drummer, Victor Lewis, has contributed a couple of original songs on this project including, “The Touch of her Vibe” and “From the Heart.”

It seems John Bailey has a love affair with John Birks “Dizzy” Gillespie; both his music and his politics. This is John Bailey’s second album as a leader and it reflects his desire to advance social justice in America and beyond. After decades of being one of the most in-demand trumpeters in jazz, John Bailey first stepped out-front in 2018 with his critically acclaimed recording,‘In Real Time.’ On this second project release, he has rallied a group of all-star musicians including saxophonist Stacy Dillard, pianist Edsel Gomez, bass man, Mike Karn and trombonist, Stafford Hunter. The only female in his ensemble, flautist, Janet Axelrod, adds beauty and feminine softness on Stacy Dillard’s composition, “Elite State of Mind,” and Stacy Dillard sparkles on his saxophone solo. Axelrod’s flute mastery is also featured on “Valsa Rancho.”

This is an album of fine music, with a deep political consciousness and a prayer that music can inspire positive growth and change in a troubled world. It celebrates the influence of Dizzy Gillespie, who always represented brotherhood and world peace. It closes with the popular song, “People” (people who need people are the luckiest people in the world) poignantly sung by John Bailey’s trumpet, beautifully accompanied by pianist Edsel Gomez. Their duet is classic! If music were a magic wand, I would wave this album generously over the entire universe.
* * * * * * * * * * * * * *

NEVER WEATHER – “BLISSONANCE” Ridgeway Records

Dillon Vado,drums; Justin Rock,guitar; Tyler Harlow,bass; Aaron Wolf, saxophones; Josh D. Reed,trumpet.

Oakland,California drummer and vibraphonist,Dillon Vado,had a dream. He wanted to form a group, as a young bandleader and composer, to not only play his music, but to express it with a distinctive and unique sound. Carefully selecting his musicians, he has put together an ensemble of merit that he named, “Never Weather.” Vado has composed every piece of music on this CD with the exception of the Thelonious Monk composition, “Introspection” and a song by Justin Rock (the guitarist) titled, “There Is No Secret.”

Growing up in San Jose, Vado started playing drums at eight-years-old. In addition to this “Never Weather” album, he wears his drum hat in other ensembles including “Beyond Words: Jazz & Poetry.” That’s a project he co-leads with poet, Amos White. He plays vibraphone and marimba in a group called “The Table Trio” and for the past five years he’s performed with various Northern California music masters. Taking all that musical experience and wrapping it, like a present, in a creative ball of composition and technical ability, the result becomes this project.

As the ensemble moves, seamlessly, from one composition to the next, there is a hard edge to most of these arrangements. “Blissonance”(the title tune) reminds me of a calm piece of water and a time for meditation. The dissonance in harmonics simulates the ripples on the surface, just like we have ripples of discontent in our otherwise peaceful lives. Josh D. Reed finds a place to solo his trumpet above the repetitive chord changes, until they fade away altogether. This gives Dillon Vado and Josh Reed an opportunity to dance as a duo; drums and trumpet alone on this imaginary lake.

These compositions take us into the creative mind and experimentation of Vado as a composer. They also explore opportunities for the ensemble players to express themselves in unique and improvisational ways. There are thick patches of Avant Garde jazz obvious in this groups make-up. On their short interpretation of the Monk tune, “Introspection,” bassist Tyler Harlow steps into the spotlight to sing a solo song on his double bass, along with Aaron Wolf on soprano saxophone. I wish this cover tune had been allowed to play longer. It was nice to hear Monk’s defined melody.

Never Weather’s CD cover is striking, with a span of sea and one soul individual on a surf board riding a huge wave. It’s a photograph by award winning National Geographic photographer,Tom Schifanella. I wish more artists realized the importance of the artwork on their product. Obviously, Dillon Vado took the task of picking his cover artwork very seriously. I applaud that. The cover art reflects the CD title, “BLISSONANCE.” Blissonance is explained as “when an otherwise blissful experience in nature is wedded to or disrupted by the recognition that one is having an adverse impact on that place they are enjoying, just by being there.”

Enough said!
** * * * * * * * * * * * *

BONZO SQUAD – “THERE’S ALWAYS TOMORROW” Independent Label

Corbin Andrick,reeds; Andrew Lawrence,keys/lasers; Andrew Vogt, bass/pedals; Zack Marks,drums.

The Bonzo Squad represents a number of strong R&B-influenced tracks that lack improvisation. Clearly, these musicians know how to provide strong back-up tracks. Take for instance their infectious tune titled, “Remedy.” It’s probably the best song on this album.

http://www.youtube.com/watch?v=QC-WliQdrxA

It’s obvious, they are a tight ensemble band and each player has composer skills. But they only produce background tracks. They write strong, repetitious chord changes, but no one steps out front to solo and put the sparkle on this project. Bonzo Squad is an ensemble in desperate need of a lead singer or lead instrumentalist.
* * * * * * * * * * * * * *

JASON MILES –”KIND OF NEW – BLACK MAGIC” Robeadope Records

Jason Miles, piano/keyboards/composer/arranger; Reggie Washington, electric bass;Gene Lake,drums; Steven Wolf & Jimmy Bralower,drum programming; Philip Dizack,trumpet; Jay Rodrigues,saxophones/bass clarinet/flute.

Producer and keyboardist, Jason Miles, has led an interesting musical journey, interacting with a number of iconic jazz, R&B and pop musicians over his career. He was the synthesizer programmer on Miles Davis albums like “Tutu” in 1986 and in 1989,“Amandia” and “Music from Siesta.” According to Jason Miles, it was Miles Davis who amplified his career.

From his biography,I learned that Jason has a hunger for music and an appreciation for many genres of music. This album release features fusion jazz, but as a teenager, he was consumed by an interest in Thelonious Monk, John Coltrane, Wes Montgomery and of course, Miles Davis. He probably never imagined that one day he would actually find himself in the studio with Miles.

For eighteen years, Jason Miles studied piano with Lucy Greene, who encouraged him to find his own voice. He soaked up the music of chick Corea, Monk, Bud Powell, Herbie Hancock, Joe Zawinul and Bill Evans. But it was the Miles Davis recording of “Bitches Brew” that changed his life in 1970. This was the closest thing he had ever heard to what he wanted to play. It was where he felt his piano style could find total expression. The pianist fell in love with fusion jazz. Jason Miles was fascinated with the use and expression of synthesizers and electronic keyboards. This love of electronic music led him to collaborations with Miles Davis, Luther Vandross, Grover Washington Jr., David Sanborn, Marcus Miller, Michael Brecker, The Crusaders, Ruben Blades, Freddy Cole, Joe Sample, Herb Alpert, Vanessa Williams and the release of his own CDs. He’s also added the finishing touches to legendary music by Michael Jackson, Whitney Houston, Aretha Franklin, George Benson and Chaka Khan.

Once again, with this album release, he steps outside the role of finishing touches and collaborator, to bandleader and composer. Out of ten songs on his recent release,he has penned nine songs and covered one Miles Davis composition titled, “Jean Pierre.” That song is one of my favorites on this album along with “Kats Eye” (co-composed with trumpeter, Ingrid Jensen) and the organ propelled “Street Vibe,” that features a healthy dose of Gene Lake on drums and the horns of trumpeter, Philip Dizack, along with saxophonist, Jay Rodriguez. These musicians make this music come alive. Also, the title tune (Black Magic) features the prominent electric bass of Reggie Washington and is smooth jazz with a touch of funk and quite airplay friendly. Jason Miles manages to always find a way of inserting groove, melody and fusion funk with his keyboard and electronic programming abilities.

About the title of this new project, Jason Miles explained:

“My entire career as a keyboard player/synthesizer programmer has evolved with a certain kind of magic. So, I decided to call the album, Black Magic.”
* * * * * * * * * * * * *

ERIK JEKABSON SEXTET III – “ONE NOTE AT A TIME” Wide Hive Records

Erik Jekabson, trumpet/flugelhorn/composer/arranger; Dave Ellis, tenor & soprano saxophones; Dave MacNab,guitar; John Wiitala,bass; David Flores,drums; John Santos,congas/percussion; Afotcja,vocal & poetry; Mads Tolling & Alisa Rose,violin.

David Flores on drums makes himself known on the first song of this album. It’s titled “Days of Haze” and the drummer takes an explosive solo. The 2nd track, “Dusk” slows the pace and gives Erik Jekabson an opportunity to introduce his tenacious trumpet. He adds a slow, funk tune with “Brother Todd.” This is one of my favorite tunes and it features a very expressive solo by Dave MacNab on guitar. A slow percussive beat introduces the title tune that includes a spoken word prose piece by the poet, Avotcja. It sums up the collective consciousness of this recording and its titled, “I Cry Creativity.” The horns set the stage for the poetry to begin, using long tones and adding string instruments to set the mood.

“I was asleep,” the male voice speaks. “Secure and comfortably asleep; dreaming of peace & love; hypnotized by a mirage of unity and togetherness. Dancing away demons of war and hate in what I thought was a land of plenty; In what I’d been taught was the land of the free. And I opened my eyes, was slapped in the face by a wide awake nightmare; a senseless suicidal madness of world of selfishness, insatiable gluttony and rampid homelessness created by shortsighted masters of fantasy, so used to dealing from their deck of unfulfillable promises that they could no longer feel anything real. … all I could do was cry. … if we artists could bottle our tears, no one would ever die of thirst. … We artists might be able to heal the world, one note at a time.”

The poem was far more powerful than the music. After the poetry stopped flowing,I wanted Erik Jekabson to jump in there and give me that same powerful realness and honesty that the poetry exalted.I wanted Erik to solo like his life depended on it. But he just kept the same repetitive background music going and that was certainly a lost opportunity.

On the 6th track, “Full House”Jekabson steps brightly into the spotlight with his horn and redeems himself. The percussion mastery of John Santos is infectious and delightful. Also, Dave Ellis on tenor saxophone takes a spirited solo. Another favorite on this production is a tune titled, “Shaker Funk” that lends itself to energy and gives space for the musicians to stretch-out and improvise. Erik Jekabson has a beautiful tone on his trumpet and flugelhorn. However, his compositions are often lugubrious and lack verve. With more compositions in keeping with the energy first presented on track one, this could have been a more exciting production.

Well respected in the Bay Area of Northern California, Erik Jekabson is said to have been key in bringing several of the exceptional local talents into the national spotlight. As a composer and bandleader, Jekabson is well-known as the founder of an ensemble called, “Electric Squeezebox Orchestra,” but also has a dedicated following for this all-star sextet. As an educator, he’s a regular instructor at JazzCamp West, The Stanford Jazz Workshop, the Lafayette Summer Jazz Workshop and the Brubeck Institute. He runs the Young Musicians Program at the California Jazz Conservatory. When he’s not performing with his popular sextet, another group called ‘The String-tet,’ or his orchestra, you may have seen him on stage or in the studio with Illinois Jacquet, John Mayer, the Howard Fishman Quartet or Galactic. Erik Jekabson holds a Batchelor’s Degree from the Oberlin Conservatory of Music and a Master’s Degree from the San Francisco Conservatory of Music and is a published author of two books on jazz duets for trumpet.

* * * * * * * * * * * * * *

2020 – A YEAR THAT PROMISES SWEET, MUSICAL SURPRISES

By jazz journalist, Dee Dee McNeil
January 1, 2020

ANTHONY JEFFERSON – “ALL I AM” Independent Label

Anthony Jefferson, vocals; Corey Allen, piano/keyboards; Federico Mendez, guitar; Pengbian Sang, bass; Esar Simo, bass; Guy Frometa, drums; Sly de Moya, drums/percussion; Tom McCauley, guitar/percussion; SPECIAL GUESTS: Mark Rapp, trumpet; Patricia Pereyra, vocals; Gustavo A. Hostos, vocals; The CORRY ALLEN STRINGS: Milena Zivkovic, Igor Vasiljevic & Zvezdana Radojkovic. The CORRY ALLEN HORNS: Ernesto Nunez & Pedro Liberato, trumpet; Sandy Gabriel, alto saxophone; Jesus Abru, tenor saxophone; Gabriel Parra, baritone saxophone; Carlos Torres, trombone. Background Vocals: Sabrina Estepan, Benny Hiraldo, Emmanuel Pena & Fende Sincere.

His voice is butter smooth. The opening tune invites you into the world of Anthony Jefferson who says, quite believably, “if you look in my heart, you’ll find that I’m someone who loves you; that’s what I am.” And I believe him! Written by Al Jarreau and George Benson, this opening song was so melodic and the lyrics so poignant, I pushed replay. Anthony Jefferson has a voice that’s fireplace warm and just as inviting. His tone and phrasing sometimes reminds me of Nat King Cole. Coincidentally, the second track on this album, “Marnie,” happens to be a composition by Bernard Hermann and Nat Cole penned the lyrics. It opens with the Corey Allen strings beautifully setting the mood. Arranged like a Latin ballad, Jefferson’s baritone voice soars emotionally above this lovely production. He has used some of the finest musicians in the Dominican Republic to record these eleven romantic tunes.

Anthony Jefferson has been living in the Dominican Republic for a decade, but was born and raised in New Orleans, the heartbeat of jazz music. He studied piano from age five to thirteen and sang in his church choir. Drawn to California, he moved to Los Angeles and attended Los Angeles City College, studying musical theater. Later, he auditioned to attend the school created by Walt Disney, the California Institute of the Arts (CalArts), to hone his vocal skills. He was accepted with a full scholarship and studied classical music first, then transferred to the jazz department. After two years, the Dean suggested he attend Berklee College of Music in Boston. So, the globetrotter headed East. When Jefferson’s mother passed away, soon after his studies at Berklee were completed, he returned to New Orleans. There he was mentored by Ellis Marsalis and enrolled in the University of New Orleans.

When Anthony Jefferson sings “Besame Mucho” his rendition is both classical, sexy and soulful. He begins in Spanish. He’s then joined by award-winning Dominican singer, Patricia Pereyra. She too oozes emotion during her amazing vocal contribution. Together, this arrangement is stunning and features the talented Federico Mendez who adds a captivating guitar solo.

This entire album is romantic and combines selections from the great American Songbook, (Night and Day, Summertime, Willow Weep for Me), mixed with more recent and popular songs like “Rainy Night in Georgia” and the R&B hit record by Billy Paul, “Me and Mrs. Jones.” There’s also an original song by Jefferson and his writing partner, an outstanding trumpeter, Mark Rapp. Their song is titled, “In The Presence Of.” Anthony Jefferson adds the pop tune, “You’ve Got A Friend” which may be popular during his stage acts, but for this reviewer, he peels the polish off of an otherwise sparkling, jazz-fused presentation.

Although I can hear shades of Al Jarreau in the voice of Anthony Jefferson and the influence of Nat Cole, he is definitely his own man and a compelling artist. One of the things that can crown an artist with success is when that artist has a signature sound. The other thing is the ability of such an artist to record both the emotion and tone of their voice during a studio session. Some artists are amazing in person, but cannot transmit that when participating in a recording session. Anthony Jefferson can clearly do it all. Every song on this project is effectively produced, well-sung and believable. Additionally, the musicians featured on his project are crème-de-la-crème. Sandy Gabriel on alto saxophone is dynamic and inspired. I love the instrumental tracks. Listening to this production is a wonderful way to begin the New Year. Anthony Jefferson’s romantic release will be available January 20, 2020.
* * * * * * * * * * * * *

JULIEN HUCQ – “LIGHT BLUE” Early Bird Records

Julien Hucq, alto saxophone; Claudio Roditi, trumpet; George Cables, piano; Marcos Varela, bass; Victor Lewis, drums.

Employing the line-up of these iconic musicians, how can reedman, Julien Hucq, present us with anything but a powerful and enjoyable project? This album is named for the Monk composition, “Light Blue,” so I had a preconceived notion that it was going to be a bebop jazz album. It starts out with straight-ahead energy on “Mudd’s Mode” and I am not disappointed. On track #2, “Light,” Claudio Roditi is outstanding on his trumpet and during his solo exploration of the chord changes, the rhythm section really swings hard. George Cables skips along masterfully on the piano keys and bassist, Marcos Varela holds the tempo and solidifies the rhythm section, in step and locked tightly with Victor Lewis on drums. Julien Hucq has written this original tune and it’s melodically catchy. Roditi has composed track #3, “This One Is For Us” with co-writer Ricardo Silviera. It brightens this production with a Latin theme and dancing horn harmonics. Julien Hucq’s alto saxophone glides through the changes of this song like warm honey, sweet and fluid during his solo. Varela steps stage center on his double bass and commands the attention, followed by a brief drum improvisation by Victor Lewis. On the familiar, “Here’s That Rainy Day,” George Cables is the star on piano, giving an emotional and inspired delivery on the 88 keys. After performing the title tune, this ensemble closes their recording with another composition by Hucq titled, “6-X.” It’s a spirited piece, with horn harmonies dominant between Julien Hucq and Claudio Roditi to introduce and end this arrangement.

Julien Hucq is a native of Charleroi, Belgium and comes from a family of musicians. He is heralded as a composer, arranger, performer and bandleader. Hucq currently resides in New York City, since relocating to the United States in 2012. Determined to make jazz music his life and career path, Hucq graduated with a Master of Arts degree from the Aaron Copland School of Music at Queens College, City University of New York. He received his Bachelor of Arts degree from the Jazz Department of Conservatoire de Lausanne, in Switzerland in alto saxophone and composition. Also, he is proud of his Diplome d’Etudes Musicales from the Jazz Department of Conservatoire National de la Region de Paris, CNR, France, in alto saxophone.

On the whole, this is an album deeply influenced by Bebop and straight-ahead jazz. Julien Hucq shows great promise as a composer and by surrounding himself with stable and legendary talent like George Cables, Victor Lewis and Claudio Roditi, he offers us this, his sixth album release. This is a talented, alto saxophone player, soaring towards rainbow dreams and striving for the ultimate pot of gold.
* * * * * * * * * * * * *

MARIA MENDES – “CLOSE TO ME” featuring Metropole Orkest & John Beasley Justin Time Records

Maria Mendes, vocals/percussion/composer; John Beasley, keyboards/orchestration/ arranger/percussion/conductor; Karel Boehlee, piano; Jasper Samsen,acoustic bass; Jasper van Hulten,drums/percussion; Vincent Houdijk,vibraphone; Metropol Orkest.

The challenge of reviewing this beautiful piece of music is that I cannot speak nor understand the language. However, I can clearly feel the passion when Maria Mendes is singing, and I enjoy her lovely soprano tones. She explained her project in this way:

“Fado music is eternal and undeniable for the Portuguese. It is our way to evoke ‘saudade;’ Longing for the past and hoping it becomes present once again. But it is also universal. We all have those feelings in life. I still remember hearing Mariza singing ‘Barco Negro’ at age 18. The emotions I felt that day are indescribable. It all changed for me in that very moment. The words, melody, delivery … all I could do was surrender,” Maria Mendes confesses.

I found the beauty of Maria Mendes’ voice and the mastery of producer, arranger, John Beasley to be a perfect match. Of course, I would love to know what her lyrics are saying. Perhaps she could have indulged we English-speaking fans and included an English lyric sheet for the benefit of those who do not speak Portuguese. Still, the orchestra is magnificent and the John Beasley’s production and musicianship is infectious.

Maria spoke about the orchestra. “Working with John Beasley and the Metropole Orkest has really opened up new, musical possibilities. We found a lighter, more adventurous spirit that is still respectful to the poetry and intensity of the tradition. It felt like many of these songs were calling to us, yearning for a connection to a new age. And we answered in a new language. … I have been able to explore my relationship to my homeland and what being Portuguese means to me. I cherish my heritage, but I also realize that being so far away from home over the past 13 years has made me the artist and woman I am. I am thankful for that.”

Maria Mendes has been living in the Netherlands for several years, yet her connection to Portugal is absolutely strong and undeniable. She has composed three songs on this CD. They are Danca do Amor, Fado Da Invejosa and Tempo Emotive. Maria considers herself a singer/songwriter and Consequently, this project unfolds as a symphonic jazz approach to Fado.

“It is not Fado,”Maria clarifies. “I only used the music and poetry from this genre, but made a completely personal interpretation of it, with new arrangements.”

The thing this reviewer can attest to, while listening to Maria Mendes’ range and presentation, is that she often sounds like a jungle bird. She seems aligned to nature in her vocal delivery and there is a freedom in her singing that sounds improvised and uncharted in a lovely way.

“I turned to some of our greatest musical masters including Carlos Paredes and Amalia Rodrigues. They also inspired me to write my own songs; to combine my love of jazz with my affection for Portugal. A project was taking shape and magical things began to happen,” Maria marveled at the power of music and culture to wrap their arms around each other.

Incorporating the repertoire of Portuguese greats such as Carlos Paredes and Amalia Rodrigues, Maria Mendes explores her love for jazz, tenderly blending that musical love into her affection for Portugal. Her musical gurus, the Brazilian legend, Hermeto Pascoal, even wrote a Fado song especially for her to interpret; “Hermeto’s Fado for Maria.” To explore this new music, the multi-GRAMMY award winning Metropole Orkest stepped forward. They include thirty musicians led by conductor and Grammy Award-nominated jazz pianist and composer, John Beasley. Beasley wrote the orchestrations and plays piano and percussion on this unique project. “Close To Me” is the third album for Mendes and was released internationally. Although there will be those of us who do not understand the language, that does not keep us from relating to the passion and beauty of Maria Mendes’ amazing voice. Her vocal interpretations are expressive, emotive and honest; full of deep, down human feelings, coming from an emotional space, where we all can relate.
* * * * * * * * * * * * * *

LILA AMMONS – GENEALOGY Independent Label

Lila Ammons,vocals; Robert Everest,guest vocal; Bryan Nichols, Javier Santiago & Benny Weinbeck,keys; Jeff Bailey,acoustic & electric bass; Arthur “LA” Bruckner & Kevin Washington,drums; Robert Everest,acoustic guitar; David Feily,electric guitar; Pete Whitman,tenor saxophone/flute.

As soon as I saw the name ‘Ammons’ I wondered if Lila Ammons was related to the late, great Gene Ammons. It turns out, she is his niece. For many years, I was a big fan of the Gene Ammons jazz saxophone style. He leaves big shoes to fill. Lila Ammons celebrates his legacy richly on her “Genealogy” release. Like her famous uncle, Lila has a distinctive sound and approach to interpreting some of the familiar jazz standards we have embraced over the years. She is both expressive and emotional on tunes like Ellington’s “In A Sentimental Mood.” She sometimes takes melodic liberties with the original melody, but never before she sings the song down once the way the composer wrote it. This is an old-school, unspoken law passed down from jazz master to jazz master. With her wide range and tone, Lila breathes new life into songs like “No Moon at All” and “Old Folks.”

She surprises me by singing in Portuguese on “E Precisco Perdoar,” where she’s joined by the smooth vocals of Robert Everest. The combination of their voices is silky smooth and compelling. Kevin Washington’s bright drums propel this spirited Brazilian tune forcefully.

Lila Ammons is diverse in her eclectic choice of tunes. Track #5 is a low-down blues titled,“Blues, You’re the Mother of Sin,” and features Benny Weinbeck presenting a soulful, bluesy piano accompaniment. On Track #6, enter Pete Whitman, fluid on his tenor saxophone and pulling us back to the jazzy side on the tune, “I Feel You” composed by Bill Cantos. At times, Lila’s vocal style reminds me of Esther Sattersfield, but for sure she has her own vocal identity. I felt some of the arrangements were unappreciative of this singer’s talents, like the Monk tune, “Man, That Was A Dream” or (Monk’s Dream). Lila Ammons is undeterred by the dissonance and stays on melodic point, but the arrangement takes away from her smooth delivery of this famous Thelonious Monk composition. Her attention to an emotional delivery on ballads like “Sophisticated Lady” showcases Lila’s control and classical technique. Lila Ammons summed up her expectations for this production in her liner notes.

“Music has taken me from opera to classic blues, to jazz, and this CD is a reflection of all of these experiences and expressions. I’ve wanted to sing jazz for a long time and also to find a way to celebrate my family legacy. “Genealogy” is allowing me to do both. I am celebrating my grandfather, Albert Ammons and uncle, Gene Ammons; paying homage to jazz heritage.”
* * * * * * * * * * *

BRIAN SCANLON – “BRAIN SCAN” Independent Label

Brian Scanlon, tenor & alto saxophones/composer; Ed Czach & Tom Ranier, piano; Trey Henry, acoustic & Elec. bass; Peter Erskine, drums; Avery Scanlon, Andrew Synowic & Larry Koonse, Guitar; Joey De Leon, percussion.

The first thing I noticed about this album release is that ‘brain’ is an anagram for Brian and ‘scan’ is the front half of Brian Scanlon’s last name. This gave me a clue into the artist’s personality and I presume he’s a deep-thinker and probably quite intelligent. Reading from his biography, I discover this saxophonist has created quite a career over the past three decades as a studio musician, making a lucrative living performing on movie soundtracks like Crazy Rich Asians, La La Land, The Secret Life of Pets and TV shows like The Simpsons, Family Guy, Mad Men, Murder She Wrote and American Dad. This exemplifies that Brian Scanlon is a studied musician and one who reads music swiftly and accurately. Those kinds of quick-reading players usually get the movie and TV calls. Scanlon has worked in a variety of band settings, including holding the first tenor saxophone chair with Gordon Goodwin’s Big Phat Band and he was part of the Life in the Bubble CD, recorded by that band. They won a Grammy in 2015 for Best Large Jazz Ensemble.

While growing up in New Jersey, young Scanlon began playing the saxophone in the fourth grade. He was probably inspired by his grandfather, who was a professional sax man. He remembers sitting on his grandfather’s lap and blowing into the horn while his grandpa fingered the levered keys. Years later, he would attain his Master’s degree in Jazz Studies and Contemporary Media from the Eastman School of Music in Rochester, New York. Shortly after graduation, he landed a job with a touring company for the musical, Pippin’. Because of this tour, he relocated to Los Angeles at age 26 and quickly found session work. The rest is history. He’s been a closet composer for twenty-five years and he finally decided to step into the spotlight and record his own CD, featuring his original music.

His music is a lovely blend of straight-ahead jazz and smooth jazz. Scanlon knows just when to add the funk to his arrangements and has employed a number of West Coast jazz musicians who more than adequately interpret his compositions. Scanlon’s original music is diverse and reflects his eclectic attitude towards music. After all, he’s played in so many various situations and with a variety of talents including Ben Vereen, Dizzy Gillespie, Doc Severinsen, Seth McFarlane, Bob Dylan, Arturo Sandoval, Randy Newman, Tony Bennett and Phil Woods, to list just a scattering of the various influences who have shaped his musical taste. Over time, he has mastered just about all the saxophones and woodwind instruments, but he’s featured on tenor and alto saxophones during this project. Some of my favorite pieces are his quite original arrangement of “Harlem Nocturne” and his original composition titled, “El Entrometido,” where Tom Ranier offers an outstanding piano solo and Peter Erskine trades fours and then takes time to show us his excellence on the trap drums. Joey De Leon adds brightness with his percussion input. On Harlem Nocturne, you can hear Scanlon’s love for the music of John Coltrane and Charlie Parker surface. Also, his love of blues pours through the bell of his horn like honey.

Another favorite, that’s more smooth jazz flavored, is “Re-Entry” that he wrote as an homage to Grover Washington and David Sanborn. This explores the more commercial side of Scanlon and gives guitarist, Andrew Synowiec a time to shine. Scanlon’s horn solo reminds me a lot of Ernie Watts on this tune. His saxophone is both melodic and forceful, stepping away from straight-ahead and putting his feet solidly into an R&B groove with a flair for contemporary arranging. This song makes me think, hand me my dancing shoes! I like the way Scanlon paces his album. I hear so many projects that just get stuck in one specific tempo and never explore their instrumental uniqueness or potential. You won’t find that true with Brian Scanlon. He is both unique, exploratory and his compositions are well-written and melodic. This project is never boring. Quite the opposite. An example is the pretty ballad he wrote for Nancy, (“Not Watching”) that brings peace and pleasure to the ear. It still exudes energy, with that slow-jam-funk riding underneath provided by drummer, Peter Erskine. Here is a project full of creativity, technique and musical surprises.
* * * * * * * * * * * * * * * *
VALERY PONOMAREV BIG BAND LIVE! – “OUR FATHER WHO ART BLAKEY:THE CENTENNIAL Summit Records

Valery Ponomarev, bandleader/trumpet/arranger; Victor Jones,drums; Rusian Khain, bass; Mamiko Watanabe,piano; Todd Bashore & Chris Hemingway,alto saxophones; Peter Brainin & Steve Carrington,tenor saxophones; Anthony Nelson,baritone sax; Stafford Hunter, Alvin Walker, Jimmy O’Connel & Jack Jeffers,trombones; Rick Henly, David Neves, Antoine Drye & Waldon Ricks,trumpets.

In tribute to the works of the great drummer and bandleader, Art Blakey, and in celebration of what would have been his 100th birthday, Valery Ponomarev assembled some of New York City’s finest jazz cats. This is Ponomarev’s second big band recording and he has used this recording to show his passion about never forgetting the music, nor the spirit of Art Blakey and his Jazz Messengers.

Opening with Wayne Shorter’s “Tell It Like It Is” Valery Ponomarev takes a trumpet solo, along with Peter Brainin on tenor saxophone. Alvin Walker offers a featured bass solo and there’s a spirited drum solo by Victor Jones. Like the announcer says at the racetrack, We are off and running!

Bandleader and trumpeter, Valery Ponomarev, carries his father’s Russian name, but he never knew his father. He has often said that Art Blakey became his father figure during the time he arrived in America and played as part of the Jazz Messengers. That was from 1976 to 1980. Blakey’s group set high standards for all the bebop and hardbop groups that followed. Ponomarev still marvels that as a totally unknown musician from Russia, Art Blakey chose him to fill the trumpet spot in his Jazz Messenger group. Just contemplating the legacy that followed still gives Valery pause. He marvels at the iconic names of those who (after him) became part of the Jazz Messenger legacy like Clifford Brown, Kenny Dorham, Donald Byrd, Lee Morgan, Freddie Hubbard, Bill Hardman, Wynton Marsalis and so many other talented trumpet players.

Although Valery Ponomarev is only featured on trumpet twice during this project, he is proud of his inspired arrangements and the talented musicians who play those arrangements. This jazz journalist was struck by the baritone saxophone solo of Anthony Nelson on “One by One,” and Mamiko Watanabe’s creative and improvisational piano solos are stellar throughout. It is obvious that Mr. Ponomarev knows how to capture the energy and essence of Art Blakey. The band ‘smokes’ on “Caravan” and features a fiery solo by Todd Bashore on alto saxophone, with Nelson on Bari sax again and Valery Ponomarev on trumpet. Once again, the sensuous fingers of Mamiko Watanabe pull the best out of the 88-keys. There are a number of other soloists who are super stars in their own rights like Stafford Hunter on trombone and trumpeter, Antoine Drye. The appreciation and responsive applause from a ‘live’ audience solidifies this reviewer’s opinion that Valery Ponomarev’s big band makes magical music. Peter Brainin dances his tenor saxophone all over the tune, “Webb City” written by Bud Powell. On “Quick Silver” the horn lines swing and sing at a brisk tempo. Their repeated harmonic refrain pulls the curtains open for various soloists to step forward and bask in the spotlight. Chris Hemmingway shines on his alto sax and Waldron Ricks is bright and formidable on trumpet.

You will enjoy playing this gutsy, energized, hardbop album over and over again.
Special thanks to arranger, bandleader Valery Ponomarev for his fabulous tribute album and Happy Birthday to Art Blakey. May his musical candles never be blown out and may his amazing legacy be celebrated, like a jazzy birthday party, from one generation to the next.
* * * * * * * * * * * * * * *

DAVE SOLDIER – “ZAJAL” Mulatta Records

Dave Soldier, guitar/keyboards/composer/arrangements; Ana Nimouz, Triana Bautista, David Castellano, Barbara Martinez, Ismael Fernandez, Anais Tekarian, vocals; Maurice Chedid,oud/vocals; Ratzo Harris,bass; Chris Washburne, Dan Blacksberg, trombones; Phillip Payton, Rebecca Cherry,solo violins; Alan Kushan,sentur; Lefteris Bournias,clarinet; Mahmoud Hamadani,recitation; Jose Moreno, hand percussion/trap drums/vocals; Robby Ameen,timbales; Ismael Fernandez & Sonia Olla, palmas/jaleo; Neli Tirado,palmas; Roxy Young,additional keyboards & samples.

I learned,from the publicity package,that Dave Soldier is celebrating popular songs from 1000 years ago that intersected and embraced Muslim, Jewish and Christian cultures in Southern Spain. Zajal features the lyrics of medieval Andalusia. The lyrics are by the major Arabic and Hebrew poets of medieval Spain. There is one song by the Persian contemporary of these poets, Rumi, who writes in Farsi. Many of these songs are still sung and celebrated in places like Lebanon. Dave Soldier became fascinated with this music during a trip to Spain. This is definitely a World Music production. It features vocalization in foreign languages including Arabic, Hebrew, early Spanish and Farsi from Andalusia. This reviewer was captivated by the Arabian influences, the minor modes of Jewish music tradition and the similarities between the three religious cultures translated to music. The first tune titled, “The Spy” is full of energy and rhythm. Lead singer,Ana Nimouz, has a beautiful, hypnotic tone to her voice.

Dave Soldier’s guitar implementation is prominent on the 5th track, “Bi-moa” which means, ‘Without Myself.’ This one is sung in Farsi. Track six is the only one where Dave Soldier wrote both music and lyrics. He calls this composition, “The Stars of Country Music Greet the Spring.”

Although many of the musicians on this album are jazz musicians, this is not jazz. Still, I found Dave Soldier’s production quite entertaining and very unique. Since we are living in an ever-expanding time of connection to the world (thanks to technology), I think this music is important to review. If you are looking to bathe your ears in some music that is fresh and culturally different, this recording may be the very thing to get your creative juices flowing. It is certainly a sweet, musical surprise.
* * * * * * * * * * * * * * *