HOPEFUL, NEW JAZZ RENEWS OUR OPTIMISM

By Dee Dee McNeil / Jazz Journalist

November 20, 2020

THE UNITED STATES AIR FORCE BAND – WASHINGTON D.C. -“THE 2020 JAZZ HERITAGE SERIES” – Independent Label

Technical Sgt. Chris Ziemba, piano; Technical Sgt. Cameron Kayne, bass; Master Sgt. David McDonald, drums; Master Sgt. Geoff Reecer, guitar; Technical Sgt. Paige Wroble, vocals; SAXOPHONES: Technical Sgt. Kristian Baarsvik, lead alto/flute; Technical Sgt. Mike Cemprola, second alto/flute; Master Sgt. Tedd Baker, lead tenor/clarinet; Master Sgt. Grant Langford, second tenor/clarinet; Master Sgt. Doug Morgan, baritone/bass clarinet. TRUMPETS: Sr. Master Sgt. Brian MacDonald, lead trumpet; Chief Master Sgt. Kevin Burns, split lead; Master Sgt. Luke Brandon and Musician 1^st Class Jonathan Barnes, third; Technical Sgt. Logan Keese and Master Sgt. Graham Breedlove, fourth. TROMBONES:  Master Sgt. Ben Patterson, lead; Master Sgt. Jeff Martin, second; Master Sgt. Kevin Cerovich, third; Master Sgt. Benjamin Polk, bass trombone.  

Dave Richards has composed and arranged “Power Outrage” a tune that opens this dynamic, big band recording.  The United States Air Force Band (Washington, D.C.) proudly brings people together through the power of music, and powerful they are!  Colonel Don Schofield is the commander and conductor of this recording that features the United States Air Force Band “Airmen of Note.”  Their production features three iconic jazz musicians as special guests; John Fedchock, Christian McBride and Randy Brecker. They also feature the distinctive vocals of Paige Wroble, singing “Honeysuckle Rose” on Track 2 with great success, scat-singing in a free and spirited way.  John Fedchock makes a stellar solo appearance on trombone, as part of the band’s Jazz Heritage Series and their plan of action on this recording is to collaborate with some of the top jazz musicians in the world.  Fedchock’s smooth, seamless sound can be heard on “Honeysuckle Rose” and “East of the Sun (And West of the Moon).” These special guests are meant to call attention to the legacy of America’s original art form of jazz in a healthy and definitive way.  Also, the performances on this disc gives the listener a sample of the excellence and professionalism by Airmen stationed around the world, who’ve come together as part of this musical production.  For example, Master Sgt. Geoff Reecer, who takes a dynamic guitar solo on this familiar “East of the Sun” jazz standard.  Fedchock has arranged this Cedar Walton tune, “Ojos de Rojo.”  David McDonald solos brilliantly on drums and Ben Patterson is amazing on trombone during this arrangement.  I also enjoyed the tone and dynamic baritone saxophone solo by Doug Morgan.  Christian McBride steps into the spotlight on his bass during a self-penned composition McBride wrote called, “Getting’ To It.”  Grant Langford, on tenor saxophone and Luke Brandon on trumpet are featured.  The last three songs, on this album of twelve, feature the arranger/composer talents of trumpeter, Randy Brecker.  The final tune, “Straphangin’” was composed by Randy’s talented brother, Michael Brecker.   

“Airmen of Note” offer us a dozen well-arranged standard and original compositions that swing hard and are played beautifully.  This album is bound to reignite a passion for big band jazz and introduce you to some excellent armed service musicians who bring verve and splendor to the bandstand.

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THE MARIEL BILDSTEN QUINTET – “BACKBONE” – Outside In Music

Mariel Bildsten, trombone; Stacy Dillard, tenor & soprano saxophone; Sean Mason, piano; Ben Wolfe, bass; Evan Sherman, drums; Keisel Jimenez, percussion.

Mariel and her quintet recorded this project just before news of the pandemic, in January of 2019.  Things were looking hopeful, happy and prosperous back then.   You hear that in this recording; a joy de vivre and a mood of delight and playfulness.  At that time, Bildsten had just finished a week-long run at Dizzy’s Club Coca-Cola in New York City, where she lives.  “Backbone” was recorded on one, cold, January night after that run at Dizzy’s.   The quintet was hot-to-trot, tight and familiar with the material and with each other.  The result is a half hour of music that features Mariel Bildsten’s trombone talents and also showcases the talents of her bandmembers. On the Kenny Dorham tune, “Monaco” they get loose and move at a brisk pace, giving Ms. Bildsten a platform to show-off her technique and spontaneity on the trombone.  I enjoyed her Bluesy arrangement of “The Man That Got Away” by Harold Arlen.  She and bassist, Ben Wolfe, take an intriguing duo walk, just trombone and bass, chatting with each other in a warm, wonderful way.  The quintet’s Latin arrangement of “The Lamp is Low” is tastily accentuated by the invigorating percussion of Keisel Jimenez and enhanced by the bright piano solo of Sean Mason. 

Mariel Bildsten is a product of the New School for Jazz and Contemporary Music and she graduated in 2015.  She’s inspired by J.J. Johnson, Curtis Fuller and Lawrence Brown.  Ms. Bildsten has studied with Elliot Mason, Steve Turre, Vincent Gardner, Sam Burtis, Jimmy Owens, Reginald Workman, Mike LeDonne and Jane Ira Bloom.  This is Mariel’s debut release and it’s a nice introduction to the woman and her horn.  I hope to hear much more from her, perhaps with a bit more fire and groove.  But this is a strong start towards bigger and better things. 

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ALEX WINTZ TRIO – “LIVE TO TAPE” –  Outside In Music

Alex Wintz, guitar/composer; Dave Baron, bass; Jimmy MacBride, drums.

Guitarist, Alex Wintz, has composed four songs on this seven-tune recording.  He opens with his original composition, “Idris,” a piece that runs nearly ten minutes long.  However, the trio keeps us totally interested and entertained, taking this time to amply showcase the talents of each musical member.  Jimmy MacBride is fluid and creative on drums, skipping along at a moderate pace.  Towards the last minutes of this arrangement, Dave Baron provides a solid, bluesy bass line to the mix and the music of the Wintz guitar becomes a slow blues.  It’s an attention-getting moment.  Next, I can picture myself walking happily down a sunny, tree-lined street during the Wintz’s composition, “On A Summer Day.”  This trio covers Herbie Hancock’s song “Textures” on Track 3.  Dave Baron opens this piece with a bass introduction.  Alex Wintz enters on guitar and delivers the melody in a warm, distinctive way.  In this trio format, the guitarist is solely responsible for painting an intricate and detailed picture for the listener.  Alex Wintz does not disappoint.   In collaboration with engineer and producer, Evan Sutton, Wintz and his trio have recorded, using vintage recording equipment, and making this recording on an iconic piece of analog tape, using the Studer A827 machine.  Consequently, the title of this CD became, “Live to Tape” and was recorded (similar to the old days) in only one session, one take, direct to tape.   It’s a beautiful guitar trio album and the musicians fit comfortably together, like hand in glove, giving us an hour of enjoyable and well-played jazz.

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THE AUBREY WILSON QUARTET – “HONEYSUCKLE ROSE”  –

Aubrey Wilson, vocals; Chris Bruder, piano/Wurlitzer; Tom Altobelli, bass; Sean Bruce Parker, drums; SPECIAL GUESTS: Luis Deniz, alto saxophone; Scott Taplay, guitar.

Aubrey Wilson has a lilting, lovely, soprano voice. This production is fresh and combines jazz with funk and contemporary arrangements that elevate these wonderful, old standards to higher heights.  Her trio is so creative and complimentary to this vocalist’s style.  They immediately captivate me with their unique approach while playing these familiar songs.  Opening their debut recording with the familiar standard jazz composition, “Nature Boy,” I am enthralled by the drum groove of Sean Bruce Parker, who firmly plants the roots of funk into the tune.  Special guest, Scott Taplay, adds his blues guitar licks to the mix.  Taplay lifts the song to new horizons with his amazing guitar solo.  He seems to imagine what Jimi Hendrix could have sounded like if he had recorded jazz.  Another special guest musician is Luis Deniz, who adds alto saxophone to the arrangements on both “I Will Wait for You” and “Lullaby of the Leaves.”   I have never heard “Honeysuckle Rose” arranged in a jazz/Hip Hop vein.  It’s quite effective and very compelling.  This Toronto-based jazz vocalist, with her band of excellence, intrigues me with their unusual arrangements.  Aubrey Wilson’s exquisite soprano vocal capabilities seals the deal. “Alice In Wonderland” is performed as a jazz waltz.  “When Sunny Gets Blue” is an easy listening experience, along with “When I Look In Your Eyes” and “Norwegian Wood.”  The vocalist’s interpretation of jazz standard, “Stolen Moments” shows us that she is indeed a jazz singer.  She starts out a ‘Capella, with no instrumentation at all except her sparkling, crystal-clear voice.  When the band does join her, they add a very contemporary spin to the straight-ahead jazz standard featuring a bluesy solo by pianist Chris Bruder.  Additionally, they give the drummer an opportunity to sing his own percussive song.  I am impressed by the piano background chords placed delicately beneath the drum solo without being obtrusive or repetitive. 

Aubrey Wilson comes from a musical background.  Her father was a vocalist with a successful barbershop quartet.  They toured across Canada and the United States.  He inspired her love of music, singing and performing.  She performed in her high school jazz band and attended Mohawk College’s Applied Music Program.  There, she met three of the members of her band; pianist, Bruder, Altobelli on bass and Parker on drums. This is her debut recording and offers us a warm introduction to the Aubrey Wilson voice and Quartet.  Sit back and enjoy their bright and uniquely different arrangements and Aubrey Wilson’s delicate vocal expressions. 

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SIMONE KOPMAJER – “CHRISTMAS” – Lucky Mojo Records

Simone Kopmajer, vocals; John de Martino, piano; Geri Schuller, piano/Hammond B3 organ/keyboards/jaw harp; Boris Kozlow & Beate Wiesinger, bass; Reinhardt Winkler, drums; Aaron Heick, soprano & alto saxophone/clarinet; Terry Myers, tenor saxophone; Dominik Fuss, trumpet; Florian Fuss, saxophone; Georg Stepanek, bassoon; Lukas Ganster, dulcimer; Heinz Steinbauer, diatonic accordion; Stefanie Sommerhofer, Katrin Kanya, Melanie Unger-ofner & Tini Kainrath, background voices. Victor Gernot, Allan Harris & Wili Resetarits, duet vocalists. The Schick Sisters, Anna Catharina & Ina Regen, featured vocals.

Simone Kopmajer has a very inviting vocal tone and a warmth to her production that draws this listener into her project, like a fireplace on a cold, winter evening.   She opens with the familiar “Santa Baby” Christmas song, once made popular by Eartha Kitt. This is followed by “Jingle Bells,” arranged in a very jazzy way.  Simone shows off her jazz chops by scatting her way through this holiday song in very inventive, improvisational and impressive ways. 

Track 3, “Leise Rieselt Der Schnee” is sung in German, a reflection of her homeland of Austria and featuring The Schick Sisters.  These sixteen holiday songs have been recorded in various studios in both the United States and Austria and cover Christmas classics from all over the world.  I am prone to the arrangements that celebrate jazz.  However, you will hear folk songs sung in German and using traditional folk music instruments.  The Latin Christmas song, “Feliz Navidad” is also included and a couple of duets, like “Baby, It’s Cold Outside” featuring Viktor Gernot and Allan Harris on “The Christmas Song.”  It’s a perfect stocking stuffer, that will bring a musical celebration of the season to your household.

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SARAH ELIZABETH CHARLES & JARRETT CHERNER – “TONE” – Baldhill Records

Sarah Elizabeth Charles, vocals/composer; Jarrett Cherner, piano/composer.

The central message of this “Tone” project is perhaps, ‘love the world;’ a repeated message occurring at the end of the opening track titled, “Conscious Mind.”  This project didn’t start out with a subject or theme in mind.  It just sort of morphed into the love-lane; love in a broad sense of the word. 

“Much like the tradition of metta meditation in Buddhism, you start by practicing being kind to and loving yourself,” Cherner explained their creative concept.

When I listen to this duo music, I hear beautiful melodies, shaped like ripples in a lake, reaching out towards the far away sand.  The motion of the music is magical.  I wish I could understand the lyrics better.  Sarah Elizabeth sings beautifully, but she doesn’t always enunciate the words clearly.  Consequently, the meaning of these lovely songs gets lost in the musical interpretation and I really wanted to hear the written and sung prose.  I even put on headphones so I could better hear her words, but it didn’t help.  They should have included the lyrics in the CD jacket.  I did feel a great deal of spirituality in this project and the layering of vocals, along with Jarrett Cherner’s masterful piano playing, is both intriguing and beautiful. 

“…As you develop that heart muscle, you expand outward, you cultivate loving-kindness for your friends and family; for your acquaintances; for difficult people in your life and eventually for all beings,” Jarrett asserts. 

“Hanging on to Time” is quite lovely as a melodic composition.  I did manage to hear some of the lyrics that beg us to “welcome change with each breath” but again, the words were often lost or unclear.  On Track 3 titled, “Shine On” Sarah Elizabeth Charles sings, “No one’s perfect.  You’re better off finding something new … and shine bright as you can.”  I love the contrast of her layered alto vocals against Cherner’s piano playing.  On this song I can understand her lyrics much better as she encourages the listener to “Shine – shine on and love yourself.”  This duo’s music is hopeful, with an interesting crossover appeal to their arrangements.  On “Speak” Jarrett Cherner sounds like he’s playing an electric keyboard instead of a grand piano.  Perhaps it’s only an illusion, enhanced by the way Sarah Elizabeth Charles is singing through some electronic vocal analyzer.  This is a very artistic project and fun to listen to. As I said previously, it brings hope and entertainment in a beautifully wrapped package of sound and experimental music, sometimes sung without words.  At times, the two musicians reversed roles and Sarah Elizabeth Charles sat at the piano and played, while Jarrett Cherner sang.

“…We also experimented with reversing roles, where I would sing and Sarah would play piano, just to see what that would generate,” Jarrett explained in their press package.

On Track 5, “Wild One,” I have to eat my former words, because on this tune I can understand much of the song lyrics.  It seems that ‘love is a wild one,’ and I get that.  Sarah Elizabeth Charles is as vocally intoxicating as Joni Mitchell and just as free.  Only difference is, with Mitchell you can understand every word.  But Charles’ voice, her instrument, is pure and delightful to the ear.  Jarrett Cherner’s creative accompaniment on piano adds tension and support in the same breath, and this music is like a rare oil painting on mahogany.  It’s bright, brilliant and strong as the wood itself.  When Jarrett Cherner plays solo, it’s with such emotion and introspection that I become easily lost in his musical messages, in a pleasing kind of way.  This is an album of beauty and hope.  The music is fresh, unique and compelling.   Like the theme of this column, it makes me optimistic.

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JAZZ REFLECTIONS ON A PANDEMIC

By Dee Dee McNeil / Jazz Journalist

November 8, 2020

FRED HERSCH – “SONGS FROM HOME” – Palmetto records

Fred Hersch, piano

During these tumultuous times of mask wearing, hand sanitizer used like a hand lotion, alcohol bottles absent from store shelves and having to distance from friends and loved ones, here is some pleasing and relaxing solo piano music to sooth our souls.  Fred Hersch was among those of us locked down and he took to Facebook airwaves, offering his friends and fans a “Tune of the Day.”  This is the results of him sharing heartfelt music with us, during our time of need, using his music to both calm and entertain us.  It also inspired this album that celebrates his “Songs From Home.” 

“It’s kind of a comfort food album with a little badass stuff in there too.  I didn’t want to make an easy listening record, but I did want to play some music that would make people happy,” Hersch explains.

You will enjoy familiar pop and jazz standards like Wouldn’t It Be Loverly, Wichita Lineman, After You’ve Gone, Solitude and When I’m Sixty-four, to name just a few of the eleven tunes on this delightful album.  Hersch has also added two original compositions to the mix.  “West Virginia Rose” is quite beautiful.  The second song is titled, “Sarabande.”  

Fred Hersch has been nominated fifteen times for a Grammy Award and is a brilliant composer, improviser, accompanist, bandleader, educator and recording artist.  His technique and sense of jazz improvisation stuffs this offering, like a brightly colored piñata, with creative gifts that bring joy and happiness to the heart. 

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ORLANDO LE FLEMING – “ROMANTIC FUNK: THE UNFAMILIAR” – Whirlwind Recordings

Orlando Le Fleming, upright & electric bass; Sean Wayland, keyboards/synthesizers; Kush Abadey & Nate Wood, drums; Philip Dizack, trumpet; Will Vinson, alto saxophone.

This funky bass line of Orlando Le Fleming opens the first cut of this production, along with the funk drums of Kush Abadey.   Bassist, Orlando Le Fleming has composed every one of the eight songs on this album. 

“In under two days in the studio, this album was all played live, with very few edits and overdubs.  The musicians are of such high quality that the risk taking paid off.  For me, the inexpressible magic of the group and moment in time was captured.  When Writing this album, I was very conscious of the improvisational sections being tailored for the specific musicians, allowing them freedom to express their quirks.  I encouraged risk taking and tried to make it fun for them without being too much of a control freak,” bandleader and bassist, Orlando Le Fleming asserted.

Philip Dizack enters on trumpet and introduces us to a melody that quickly becomes an exploration of improvisation.  This project is a warm mixture of straight-ahead and smooth jazz; funk and fusion.  Will Vinson’s alto saxophone spreads across this first tune like hot syrup on a stack of sweet, musical pancakes.  I’ll take a platter full of this “Romantic Funk” anytime.

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MAX HAYMER – “WHIRLWIND – LIVE AT SAM FIRST” – Emerald City Records

Max Haymer, piano; David Robaire, bass; Dan Schnelle, drums.

This is a delightful album of trio jazz that features the composer skills and piano genius of Max Haymer.  As a former top athlete, he attended UC Irvine on a soccer scholarship and spent four years playing Division 1 soccer.  You can hear his strength and power when he plays the piano. 

“I find that the physical act of playing the piano has a lot in common with sports.  They both require stamina and you have to physically train to perform at your fullest potential.  They both also require your composure under pressure while being fully aware of what your teammates or bandmates are doing as well,” Max Haymer explains his approach to his instrument.

The title tune, that Max has composed, is a lovely waltz.  David Robaire introduces himself to us on the bass with a long and inspired solo.  Haymer is quite lyrical in his approach to playing and composing.  He develops his melodies with care and compassion, introducing them to us note by note.  When he stretches out, his technique develops in a tenacious way with crescendos of energy and climatic, power-driven chords.   At the end of track 2, the trio’s attentive audience bursts into appreciative applause.  This album was cut ‘live’ (before the pandemic), at this stellar jazz spot, a short jaunt from the LAX airport; a club called, ‘Sam First.’ 

Haymer has been greatly influenced by his years of playing with Arturo Sandoval’s band.  He’s also the West Coast accompanist for singer, Jane Monheit.  A young Max began studying classical piano at age seven and became interested in jazz piano at fourteen.  He was a student of Los Angeles-based pianist, Tamir Hendelman during high school and continued his education at UC Irvine, where he graduated Magna Cum Laude with a Bachelor of Music degree.  During his time at the Irvine University, he studied with Kei Akagi, who was a member of the Miles Davis band in the late eighties.

“Kei was an important influence on my playing and composing.  He used to say that the best melodies are the ones that fight gravity,” Max mused.

Drummer, Dan Schnelle and bassist David Robaire, are long time bandmates of Max Haymer’s.  Both have sparkling credentials, working with a number of A-list musicians before joining this trio production.  Together, they are a tight and cohesive group.  I enjoyed their interpretation of the familiar “Speak Low” tune as a warm bolero.  Other favorites are: “Gold Plated Dime” where Dan Schnelle takes the opportunity to introduce us to his prowess on the trap drums.  Another very beautiful ballad that Max Haymer composed is titled “Welcoming,” where his fingers turn into colorful, glow-in-the-dark butterflies flitting across the keys.  His exceptionally swift interpretation of “Love for Sale” showcases his technical brilliance. Actually, each tune on this project is a listening experience I enjoyed; almost like removing the silk fabric covering an artistic palette to proudly exhibit the art beneath.  We uncover his genius, song by song.

This is a passionate and dramatic pianist who finger paints vivid pictures with his musically inclined hands.   His creativity radiates bright colors that help express the energy and excitement he transmits through his piano instrument and within his well-written compositions.

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PETER LEITCH AND HIS NEW LIFE ORCHESTRA – “NEW LIFE” –  Jazz House

Peter Leitch, bandleader/composer/arranger; Peter Zak, piano; Dennis James, arco bass; Yoshi Waki, bass; Joe Strasser, drums’ Chad Coe, acoustic guitar; Phiol Robson, electric guitar; Duane Eubanks, trumpet; Bill Mobley, trumpet/flugelhorn; Tim Harrison, flute; Jed Levy, tenor sax/flute/alto flute; Steve Wilson & Dave Pietro, alto & soprano saxophones; Carl Maraghi, baritone saxophone/bass clarinet; Matt Haviland, trombone; Max Seigel, bass trombone. PRODUCERS: Peter Leitch & Andy Farber.

Every great album of music has a story behind it.  It’s the emotional and/or challenging times in our lives that create, with spontaneity, compositions and productions that explore our lessons of life. Ultimately, it’s with great trepidation and honesty that musicians sometimes share these musical observations. With open arms and open ears, the audience welcomes the concerts and compositions into open hearts; thankful for the cultural richness that music can bring. 

When Peter Leitch was diagnosed with stage four lung cancer in 2012, he had a serious choice to make.  He could undergo a career-ending operation that could lengthen his life or die within months.   Eight years later, although he can no longer play his beloved guitar, he has begun a “New Life” that explores his other talents of composer/arranger extraordinaire.  Bandleader, Peter Leitch explained in his liner notes:

“The title ‘New Life’ refers not only to my own personal odyssey, but also to the music itself; to the act of breathing new life into the raw materials, the blues forms and song forms that have long been the structural basis of Black American music, and by extension and osmosis, all of American music.”

On Track 3 of Disc 1, you clearly hear the blues living inside Phil Robson’s guitar solo and a kind of Yusef Lateef blues-throw-back by Steve Wilson’s bluesy saxophone solo on “Sorta, Kinda.”  On Disc 2, it’s clearly reflected in the 12-bar blues of “The Long Walk Home” and also on “Back Story.”  Also, of note, is the Leitch tribute to iconic saxophone player and composer, my old friend, “Clifford Jordan,” (R.I.P.).

The first thing that stands out on this album is the plethora of amazing compositions that Peter Leitch has written for his New Life Orchestra.  His sense of beauty and diversity are reflected in these melodies, in a spectacular way.  It took Leitch a couple of years to compose, arrange and orchestrate this seventeen-piece ensemble project.  His goal was to write arrangements that expanded the voice of a medium-sized orchestra into a much bigger band-sound.  His carefully structured arrangements leave plenty of room for the individual musicians to improvise and express themselves in fluid and tasty ways.  This is a double set album full of carefully crafted original compositions, wonderful arrangements and a band of A-list musicians who have gathered to celebrate Peter Leitch’s “New Life” in the best possible scenario.  In addition to his original songs, Leitch has added a lovely arrangement of Monk’s “Round Midnight” tune and Jed Levy’s composition, “The Minister’s Son” as well as reimagining the Rodgers & Hart familiar standard, “Spring is Here.”  This is an enjoyable, entertaining and smooth-sailing orchestra that takes us on a cruise through musical times and tempos.  They give us a peek into the life-lessons-learned by Peter Leitch.  

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ALONZO DEMETRIUS – “LIVE FROM THE PRISON NATION” – Onyx Productions

Alonzo Demetrius, trumpet/composer; Yesseh Furaha-Ali, tenor saxophone; Daniel Abraham Jr., piano/keybass; Benjamin Jephta, upright bass/electric bass; Brian Richburg Jr, drums.

When composing this recorded production, Alonzo Demetrius had a lot to get off his chest.  He was inspired to write this music while attending classes at Berklee College of Music.  He was working on his Master’s Degree and studying with iconic drummer and educator, Ralph Peterson and saxophonist Tia Fuller.  As a college student and talented trumpeter, Alonzo Demetrius recognized that he was coming up during a conflicted and revolutionary time in our nation.  With racial injustice in plain sight and political, congressional people feeding on social injustice and private interests, Demetrius had strong feelings.  After all, we pay congress their salaries to represent we the people.

“Inspired by the teachings of political activists … as well as interviews with current and ex-convicted felons, I created this album as a reflection of my ideas based on personal experience and the experiences of other Black people in my life,” Alonzo Demetrius writes in his liner notes. 

With the horrific backdrop of a global pandemic, the deaths of George Floyd, Breonna Taylor and the shooting of Jacob Blake, amidst the many brutal killings of Black lives by policemen and vigilantes across our great country, Alonzo is speaking his truth through the bell of his trumpet.

“The shootings … have sparked a resurgence of the Civil Rights Movement.  Sixty years in the making, this movement has finally begun to take root in the hearts and minds of people all over the world.  With this album, I aim to continue the global conversation and provide a platform for those whose voices are often left out,” Demetrius proclaims.

Trumpeter, Alonzo Demetrius, establishes a unique style on this, his premier recording, letting the two horns (his trumpet and Yesseh Furaha-Ali’s tenor saxophone) sing in unison to establish the melodies of his compositions.  He also incorporates protest speeches by Mumia Abu Jamaal and chants from recent protest marches.  By incorporating electronics and spoken word about dilemmas of today, he establishes his activist voice and gives the listener pause for thought.  On Track 1, “Expectations,” you hear the voice of Angela Davis, speaking about prison reform, just before Alonzo Demetrius steps forward with his trumpet. He is answered by the tenor sax of Furaha-Ali, as though the two horns are experiencing a social commentary; a chat between two old friends.  Then they sing in unison, before branching off into their solo improvisations.  The solid bass of Benjamin Jeptha holds the composition together like super glue and is sensitively attached to the pointed rhythms of Brian Richburg Jr., on drums.  Track 2, “The Principle” settles down the tempo and excitement.  It’s a rather melancholy musical statement that again features the two horns singing unison melodies and occasionally breaking out in warm harmonic conversation.  Track 4 previews a speech by Mumia Abu Jamaal about ‘Movement’ and is titled “Mumia’s Guidance” to celebrate this activist’s words and struggle.  Alonzo’s entire production was recorded ‘live’ at Berklee College of Music in May of 2019. 

Alonzo Demetrius Ryan Jr. began his musical journey studying piano at age eight and singing.  By age ten, he had fallen in love with the trumpet and was focused on classical training. Believe it or not, at age eleven he formed his own jazz sextet and began seriously performing and chasing his musical dream.  In 2019 he received his Masters from the Berklee Global Jazz Institute Master’s Program.  Demetrius is uniquely recognized for his implementation of electronic processing into his ‘live’ performance package.  Many young musicians are now incorporating movies, slides, electronic enhancements and in the case of Alonzo Demetrius, activist speeches into their work.  He’s entertaining us, while tickling our brains with an educational feather.

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NATSUKI TAMURA & SATOKO FUJII & IKUE MORI – “PRICKLY PEAR CACTUS” – Libra Records

Satoko Fujii, piano/composer; Ikue Mori, composer/electronics; Natsuki Tamura, trumpet.

“Right before the pandemic, the three of us had a European tour, followed by a recording session in New York City. …The tour was in January and the recording session took place on February 12.  Back then, we had no idea of what was coming and how different the world would become.  All of our concerts and tours were cancelled.  So, we stayed at home and talked by email and Zoom.  Then we began this project,” Satoko Fujii explained.

The “Prickly Pear Cactus” album grew out of friendship and isolation.  It is the result of devastation on the entire global community by the insidious Coronavirus pandemic.  Although these musicians worked half a world apart from their homes, on their laptops and in their individual home studios, they still found a common thread that strung them together like shiny, new pearls. Natsuki Tamura swapped sound files over the Internet, adding his trumpet parts and creative ideas.  Satoko Fujii sat at her grand piano in New York and Ikue Mori was based in Kobe, japan.  The project started with a Zoom session, when Fujii mentioned she was biding her self-quarantine time recording piano solos at home.  Mori suggested she send a sound file to him and that’s how the collaboration began.  Then they asked Tamura to add his trumpet.

Satoko Fujii is celebrated as a virtuoso piano improviser, an original composer and bandleader and appears on more than one-hundred albums as either a co-leader or bandleader of various Avant-garde projects.  Her projects embrace contemporary classical, Avant-rock, folk music, synthesized jazz, large ensembles and duos; even solo projects.  Natsuki is internationally recognized.  He’s applauded for his jazz lyricism and dramatic approach to playing his instrument.  His projects have included adding his trumpet to Avant-rock jazz fusion with a group called First Meeting and he’s also been bandleader of his own quartet and performed with a group called Junk Box.  He focuses on combining European folk music and sound abstraction and has recorded three albums of solo trumpet and seven duet CDs with Satoko Fujii.  Ikue Mori is a native of Tokyo and relocated to New York in 1977.  As a drummer, she formed the seminal No Wave Band DNA.  They created a new brand of radical rhythms and dissonant sounds.  In the mid-80s, Ms. Mori began to experiment with drum machines. By 2000, she was using her laptop computer to expand her signature sound and to broaden her scope of musical expression.  This is a project that is totally improvised around a theme and embellished with electronic rhythms and sound patterns that add an ethereal content to this music.  All the titles embrace nature in eclectic ways like “Guerrilla Rain” that begins with electronic sounds and staccato piano notes that scurry up and down the keyboard and chords that jump like popping corn kernels.  “Mountain Stream” squeals and roars, like a jungle habitat at midnight. And then there is “Overnight Mushroom” that runs over ten minutes long.  This is a unique, artistic journey that stimulates your mind and imagination.

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JENI SLOTCHIVER – “AMERICAN HERITAGE” – Zoho Records

Jeni Slotchiver, piano.

Here is an artistic perspective by pianist Jeni Slotchiver that spans 125 years of music, from Louis Moreau Glottschalk’s “The Banjo,” written in the 1800’s, to “Down By the Riverside” published in 1979.  Glottschalk’s compositions and style predated the era and birth of Ragtime and jazz and was influenced by Caribbean, Latin and African music, as well of slave songs and rhythms.  Jeni uses her classical piano technique and emotional delivery to celebrate music from the Civil War to Civil Rights.  Although more classically trained, than displaying the freedom and improvisation of a jazz pianist, this is still a historically important look at “American Heritage” in music.  Here are eighteen, well-played songs, interpreted by Jeni Slotchiver, and embracing the full range of American music from gospel spirituals to African American work songs and secular tunes.  With this album, Ms. Slotchiver celebrates the African American musical contribution to American culture. Of the eight composers she tributes, six are African American and two are women.

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SCOTT ROUTENBERG – “INSIDE” – Summit Records

Scott Routenberg, keyboards/programming/vocals/composer; Howard Levy, harmonica/bamboo flutes/ pennywhistle; Sofia Kraevska, vocals; Chris Whiteman, acoustic guitar; Jonathan Raveneau, violin; Phil Doyle, tenor saxophone.

This is a dramatic merger of jazz and classical music created by pianist/composer, Scott Routenberg, while self-quarantined during the 2020 pandemic.  As he sat, like many of us, reflecting on his life and experiences, Scott recalled the garden around his house that was overflowing with a variety of spring and summer flowers.  He was inspired by that colorful garden of memories and created a song called “Pentamerous;” meaning a five-petaled flower.  It becomes Track 3 of this musical production and features the sweet voice of Sofia Kraevska improvising atop the chord structure.  Routenberg has composed every song on this eleven-song project.  It’s a musical diary about his days in lock-down at his home with a room full of musical instruments to keep him busy and happy.  On May 7^th, he recalled the so-called ‘supermoon’ that appeared at the height of the pandemic.  He composed “Flower Moon,” a song that encourages Scott Routenberg to take an opportunity to improvise and show his piano skills, improvising above his programmed tracks.  There is a tango-feel incorporated into this arrangement.  On “Hidden Stars” he reflects on how city life can obstruct our view of the heavens.

“Hidden Stars recreates the two time I saw just how small we really are in the universe from the top deck of a cruise ship in the middle of the ocean and at Bryce Canyon in Utah.  Swirling, sparkling polyrhythms and swarm string swells support Sofia’s completely improvised vocalise,” he explains how this original song came about.

Ms. Kraevska’s improvised vocal melodies are quite hypnotic and memorable.  On “Home Sweet Home” Howard Levy is featured on harmonica.  Levy makes that harmonica talk, like a living, loving individual. The song moves from classical and jazz to a more Americana feel in the arrangement.  Jonathan Raveneau’s violin lends even more authenticity to this concept.  Routenberg knows how to layer grooves on the keyboard and with programmed drums and synthesizers to create moods and a stage for his guests to perform.  When interpreting his original “Fireflies” composition, for example, Scott uses various synthesized keyboard sounds to help us picture the brightly active and glowing flies he used to watch on hot July, Indiana evenings.  During his closing track, he uses the keyboard sound of raindrops on a window to amplify nature’s presence as humanity took refuge from COVID19 into their homes.  Tenor saxophonist, Phil Doyle, is a guest on this track titled, “The Day We Went Away,” but I found the featured appearance lacking in creativity.  Scott Routenberg asks us to use our imaginations while listening to his creativity, his frustrations, his joy, “Meltdowns” and “Days of Wrath” during his 2020 seclusion and unforgettable studio production.

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JULIAN GERSTIN – “LITTORAL ZONE” – Independent Label

Julian Gerstin, percussion/composer/vocals/bottles/ocarina/whistles/berimbau/ drums/shakers/ bells/wood percussive instruments and miscellaneous percussion; Anna Patton, clarinet; Steve Rice, marimba.

For this reviewer, there has always been something hypnotic, comfortable and inspirational about percussive instruments and drum beats.  Consequently, I was very interested to hear what Julian Gerstin, an expert on world rhythms and percussion instruments, had recorded.  His seventeen original songs celebrate Gerstin as a soloist on percussion.  While the world was taking protective and stressful steps through the tribulations of a pandemic, Julian Gerstin was concentrating on celebrating mollusks.  He has incorporated a number or Rasps into this production including guiro, reco-reco, quijada and even a wheelbarrow.  His shakers include oil cans, a whiskey flask, an espresso maker and cocoons (along with traditional shakers like maracas and shekere).  He performs on over four dozen instruments.   His music is dedicated to and named after his favorite mollusks.  Sea shells and mollusks dot his CD cover, inside and out.

“Over the years, I’ve enjoyed looking into tidepools with their seaweed and starfish and crabs, and especially, mollusks.  These pieces are semi-composed and semi-improvised and while inventing them I gave them molluscan names that fit their moods. … Only a few of these species, Crepidula, Littorina and Purpura, actually live in the “Littoral Zone,” Julian Gerstin explained.

He hopes that the crowded life of a tidepool evokes some spontaneous connection to his percussive sensibilities and the listener’s imagination.  Gerstin has an MFA in Music Composition and PhD in Anthropology.  He has studied percussion from a long list of international percussion masters in places like Ghana, Martinique, Cuba, Brazil, The Balkans and the Middle East.  Slip into your headphones and enjoy a very unusual and rewarding exploration of rhythm and culture.

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PAPO VAZQUEZ MIGHTY PIRATES TROUBADOURS – “CHAPTER 10: BREAKING COVER” – Picaro Records

Papo Vazquez, trombone/vocals/agogo bells/synth keyboard; Ivan Renta, tenor & soprano saxophone; Rick Germanson, piano; Ariel Robles, bass/chorus; Alvester Garnett, drums; Carlos Maldonado, percussion/congas/ Barril de Bomba/Pandero de plena/ bongos/minor percussion/chorus; Reinaldo Dejesus, Barril de bomba/ congas/Pandero de plena/minor percussion/chorus.

Papo Vazquez makes me feel joyful from the very first strains of Mr. Babu, I find myself wiggling in my computer chair and glancing towards my dancing shoes. The original music that Papo Vazquez writes is forceful, incorporating his signature fusion of jazz and Puerto Rican culture.  This album is his tenth record release as a leader and demonstrates why his four-decade career has made him a Grammy-nominated Latin music icon.  This release is a true product of the COVID19 pandemic.  His plans to record in April were derailed by the virus.  Finally, in June, when lockdown regulations loosened, he and his Mighty Pirate Troubadours started rehearsing.  This wonderful work of artistic beauty and excitement spotlights the smooth and emotional trombone of Papo Vazquez, along with his arranger and composer skills.  The seven Mighty Pirates Troubadours lend their brilliance to the project and Vazquez has invited special guests to add spice to an already red-hot project.

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CÉRÉMONIE / MUSIQUE – “WHAT HAPPENS IN A YEAR” – FiP Records

Josh Sinton, baritone saxophone/bass clarinet; Todd Neufeld, electric guitar; Giacomo Merega, electric bass.

As this year races to an end, Cérémonie Musique, (a trio of musicians) wanted to summarize their feelings and express their musical and emotional views referencing 2020; i.e. “What Happens in a Year.”  This was certainly no average year in the history of America.  We experienced a very challenging world pandemic that, to date, has killed nearly 300,000 Americans.  The year featured a very hot and disturbing political climate, an election for president and racial unrest.  The economy was challenged, while the government searched for a vaccine to save people.  Businesses closed and lots of people were out of work and hurting.  On top of all that, citizens were expected to live their lives in a normal, everyday fashion, and many were doing just that. The title of this album came from their guitarist, Todd Neufeld.

“I thought about three guys slogging out through these days of teaching, work, fatherhood, marriage and having this kind of musical ceremony when they met each week to make new music,” Todd shared his inspiration for this Avant-garde music and the title of their CD.

However, the original concept, by Josh Sinton, was far from what became the result of a simple studio rehearsal.

“Originally, my thought was to get the three of us together to improvise and record it.  Then, I’d go home with the field recording and turn it into compositions,” explained the baritone saxophone and bass clarinet player. 

“After our very first meeting, it was clear that the spontaneous improvisations, with their mysterious, enticing musical expression, made formal pre-written compositions superfluous,” Josh continued to analyze this very unique project and how it came about.

There is an openness and a thought-provoking essence to this modern jazz music of ‘Cérémonie Musique.’  As I sat listening to it, there were moments of unique expressiveness represented in their Avant-garde, collaborative, song development.  The trio is playing totally free, using improvisation and their camaraderie with each other, to colorfully paint this musical palate. 

“I’ve always viewed composition and improvisation as nearly identical creative activities, although the results of each can often be confused,” Josh Sinton mused.

Virtuoso bassist, Giacomo Merega, has been a popular and busy player in the New York improv and new-music scene.  He spoke about the concept of ‘ceremony’ in the title of their group.

“A ceremony is a ritual and if I didn’t have rituals, I’d be like a chihuahua in a jungle.  I wouldn’t last a day.  Among my rituals are making espresso, having breakfast with my daughter and improvising with Todd and Josh,” Merega explained in their press release.

The result of this musical meeting, and ultimate freedom of expression, is a very compelling and artistic production that captures a moment in time as three master musicians express themselves without boundaries.

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MEN IN JAZZ / 2020

By Dee Dee McNeil/Jazz Journalist

November 1, 2020

KEMUEL ROIG – “GENESIS” – Independent Label

Kemuel Roig, piano/keyboard/percussion/composer/arranger; Lowell Ringel, bass; Hilario Bell, drums/percussion; Jose ‘Majito’ Aguilera, percussion; Chris Potter, Ed Calle & Roilan Vazquez, tenor saxophone; Randy Brecker, Mercy Brass, Julio Padron, Osvaldo Fleites & Gerardo Rodriguez, trumpets;  Alain Perez & Joel Hernandez, vocals; Bayron Ramos, trombone; Milton Sesenton, orchestra arranger & conductor.

Kemuel RoIg is no newcomer to music, performance, touring or recording, but this is his first jazz CD.  After touring as part of the illustrious trumpeter, Arturo Sandoval’s band, as both pianist and composer, Kemuel Roig is stepping into his own bandleader spotlight.  Eighteen years ago, he arrived in the USA from Camaguey, Cuba and settled in Florida.  With solid footing in his Christian belief, he has released four previous works that were well-received in New Age music circles and categorized as Christian music.  Roig has also established himself as a strong session man, performing or recording studio sessions with the likes of Al di Meola, Isaac Delgado, Brian Lynch, Giovanni Hidalgo and Aymee Nuviola.  But on this project, he spreads his fingers across the 88-keys and reaches for his dreams.

“Genesis” demonstrates the journey of my life thus far and is a testimony to a life spent learning about the music that I love and respect deeply; jazz!”  Kemuel Roig states.

The first track is titled “All God’s Chillun Got Rhythm” and it’s gleeful, featuring the drums of Hilario Bell and the percussion of Jose ‘Majito’ Aquilera.  It’s quite contemporary in arrangement and gives Kemuel Roig an opportunity to lead the ensemble in a forceful, yet melodic way, issuing in the orchestrated horns with much flare.  This song features improvisational solos by Ed Calle on tenor sax and trumpeter, Mercy Brass.  The second tune is quite beautiful, titled “Genesis 41 (Recurring Dream)” that, in the bible, translates to Joseph’s test deciphering Pharoah’s dreams.  As the story goes, Pharoah dreamed of seven fat cows coming up out of the river followed by seven lean and starving cows.  The lean cows ate up the healthy, fat cows. Then Pharoah dreamed of seven healthy corn stalks and seven thin ears of corn that appeared and devoured the seven healthy corn stalks.  Joseph warned Pharoah that Egypt would have seven amazing and plentiful years followed by seven years of famine.  And so, it came to be.  This is one of seven original compositions that Kemuel Roig has penned and his piano performance on this lovely ballad is emotional and passionate.   Lowell Ringel plays a noteworthy bass solo during this arrangement. This arrangement is performed without horns, using only bass, drums and Roig’s brilliant piano playing.  I had to play this song twice to soak up all the nuances of beauty.

You will find Kemuel Roig paying tribute to God throughout this recording, also showcasing his Cuban roots and traditions in Latin music, while incorporating jazz and Gospel music.  He also is saluting the many amazing musicians who have inspired him to become an awesome pianist, composer, arranger and bandleader. Track 3, “Pare Cochero” brings his Cuban roots to the surface and encourages me to grab my dancing shoes. Alain Perez begins to sing; the horns blare and the party begins.

“We must never forget the Genesis of our voyage.  … In its infancy, the smallest steps appeared as blurry, momentary dreams.  We must always pay humble respect to the traditions that led us to this point in history and the truth of our evolved “Genesis,” says Kemuel Roig.

“Inner Urge” is jazz at its best with bold contemporary touches.  Chris Potter sparkles brightly on tenor saxophone and Hilario Bell shows off his mastery on trap drums in a dynamic way.  Kemuel Roig plays both keyboards and grand piano.  “Conversation” featured Randy Brecker on trumpet solo and is another original composition by Roig. There is a new age kind of repetitive line that runs through this song like the wire that holds a string of pearls in place.  Brecker is the bright emerald dangling from the pearl necklace.  Roig’s piano touches represent the diamonds that dot the necklace and circle the emerald.  This is a sparkling piece of music. 

One thing happened, while I was listening to Kemuel Roig, that was very unusual.  My daughter heard this music drifting to her part of the house and came to ask me who was playing?  She said the music was touching her heart and soul.  She said it was so spiritual that she had to come ask me who it was.  That has only happened a couple of times when I’m reviewing music.  She’s very selective about music and she’s also a very spiritual young lady.  When she told me, his music had touched her soul, she held her palm across her heart with sincerity.  This happened during the final song called, “Prayer.”

That says it all!

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NOAH HAIDU – “DOCTONE” – Sunnyside label

Noah Haidu, piano/keyboards/arranger; Billy Hart, drums; Todd Coolman, bass; Steve Wilson, alto & soprano saxophone; Gary Thomas, tenor saxophone; Jon Irabagon, Tenor & soprano saxophones; Dan Sadownick, percussion.

This album by Noah Haidu is a tribute to Kenny Kirkland, who was born September 28, 1955 and died from congenital heart disease in November of 1998.  He was 43 years old.  “Doctone” was released October 2, 2020, just a few days after what would have been Kirkland’s 65^th birthday.  Kirkland was one of the dominant influences on Noah Haidu, and as Haidu said in his liner notes:

“Doctone is the first recording dedicated entirely to Kirkland’s original music.  I view Kenny as the most unique composer and pianist of his generation.  Because he died young and avoided the spotlight, his brilliant compositions have been overlooked for too long. … Kenny was known as Doctone by his close friends.  I never got to know Kenny, but after working on this project, I sometimes feel as though I did.”

Haidu opens this recording with “Doctor of Tone.”  Noah introduces the composition rubato, with only piano and drums.  It’s just a minute and twenty-seven seconds long, but serves to prepare the stage for “Midnight Silence” to enter.  That’s the title of track 2.  It moves from a sultry, pretty, moderately-tempo’d ballad to a slow swing, propelled by the great Billy Hart on drums.  Hart has worked with Kirkland in the past and has first-hand knowledge of Kenny Kirkland’s greatness. Since the 1970’s, Billy Hart had performed with Kirkland on various fusion, Afro-Latin and avant-garde projects.  Consequently, Noah felt he was the perfect drummer for this project.   

Noah Haidu’s first connection with Kirkland began in Haidu’s youth, when he was intrigued with Kenny Kirkland’s jazz solos and keyboard grooves that sparked the ‘post-Police’ tours with Sting.  With Sting Kenny recorded: The Dream of the Blue Turtles (1985); Bring on the Night (1986); Nothing Like the Sun (1987), Nada Como el sol (1988), The Soul Cages (1991), Mercury Falling (1996).

Noah’s “Doctone’ production is a multimedia project.  There’s this recording, an original book by Haidu (containing interviews with many of Kenny Kirkland’s contemporaries) and a film directed by Jeffrey Chuang.  Chuang’s documentary about Kirkland’s life was released on Sept 28, 2020.

“I typically set out to build a cohesive statement with each album so that the pieces fit together like chapters in a book.  This project was different.  I didn’t’ work through the repertoire on many gigs or do a lot of rehearsing, though I’ve always been moved by these songs.  The result was that in the studio, I had a visceral response to material that was fresh and emotionally compelling,” Noah Haidu clarified in his press release.

Kirkland’s two most familiar compositions are, “Steepian Faith” where Steve Wilson’s soprano saxophone explores the melody on this recent recording and “Dienda”, that Noah Haidu has divided into a part one and part two.  This arrangement changes meters and tempos numerous times.  This seems to happen a lot throughout Mr. Haidu’s interpretation of these Kirkland songs.  You will hear several rhythmic ideas explored during the ensemble’s playing both “Chambers of Tain” and Kirkland’s tune, “Fuschia.”  I enjoyed the fiery, hard bop approach on “Chambers of Tain” and another one of my favorites on this project was “Mr. J.C.” that was played straight-ahead in an uncompromising way. Gary Thomas is brilliant on tenor saxophone and Noah Haidu clearly shows off his technical abilities and creativity during a tenacious piano solo.  Hart pushes and prods the music forward on trap drums with obvious energy.   Todd Coolman can be heard walking briskly beneath the excitement on his double bass.  Most of all, aside from the excellent musicianship on Haidu’s album, the public’s introduction to the composer skills of Kenny Kirkland is palpable with this new project.  Thanks Noah!

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MATT ULERY – “POLLINATOR” – WoolGatheringRecords

Matt Ulery, sousaphone; Paul Bedal, piano; Quin Kirchner, drums; Steve Duncan, trombone; Dustin Laurenzi, tenor; James Davis, trumpet.

This is the tenth album release from Matt Ulery, a celebrated composer and bandleader.  If you are a fan of the Roaring 20’s era and the sounds of King Oliver, jelly Roll Morton and/or Duke Ellington, then you will totally enjoy this album of original music, composed in celebration of that era. 

“With respect, we’d like to present this art project with joy, humor and sincerity in celebration of the innovators that helped give birth to this revolutionary age of American art music,” explained Matt Ulery.

“So Long, Toots” is one of eight compositions that Matt Ulery has composed.  It rolls off my CD player like a train pulling out of the station.  You can hear the train whistle in the horn arrangements and feel the powerful movement of a steam powered locomotive.  The trumpet of James Davis is exhilarating.  The tune, “Jelly” may be a musical nod to the brilliance of Jelly Roll Morton.  It’s a happy-go-lucky song that features Dustin Laurenzi on a smooth tenor saxophone solo with Matt Ulery’s sousaphone dancing strongly beneath the arrangement and competently replacing the double bass.  Unison horns sing the joyful melody of “Cakes” and then invite Steve Duncan to step out front on his slide trombone to solo.  Paul Bedal takes an opportunity to showcase his skills on piano. 

Ulery draws a parallel between the prohibition period that stained the 1920’s jazz age and issued in the popular ‘After-Hours’ clubs.  These private clubs sprang up to supply music and alcohol to their willing patrons.  Unfortunately, this current, pandemic, health crisis does not lend itself to crowded clubs, restaurants, concert venues, schools or almost anywhere that you can stand shoulder to shoulder with your fellow man. Today, we are advised to stand six to 12 feet apart, wear masks, don’t hug, wash your hands and carry disinfected-wipes around with you. This has probably encouraged jazz listeners to listen to a lot more music at home, both new and old.   Matt Ulery’s album is a pleasant, musical diversion.

“We didn’t expect to be releasing this record in such an extreme time of prohibition, but we’d like to invite you to put this album on, move to it, let some light in and feel free and good,” Ulery writes in his press release.

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DOUGLAS OLSEN – “2 CENTS” – Independent Label

Douglas Olsen, trumpet/flugelhorn; Dino Govani, tenor & alto saxophone; Tucker Antell, tenor Saxophone; Angel Subero, trombone/guiro; Yaure Muniz, trumpet; Tim Ray, piano; Dave Zinno, bass; Mark Walker, drums; Ernesto Diaz, congas.

Douglas Olsen has composed six out of nine songs on this, his debut recording.  He’s been a busy musician in the New England area, playing his trumpet and flugelhorn in a variety of jazz settings.  Olsen’s worked with the John Allmark Jazz Orchestra, Felipe Salles’ Interconnections Ensemble, Aretha Franklin, several Latin jazz orchestras and the Smithsonian Masterworks Jazz Orchestra, to name just a few.  He also leads his own Doug Olsen Quintet.

Opening with “Tailwind,” this composition encourages Mark Walker to solo distinctively on his trap drums.  It’s followed by the title tune, “2 Cents” that has a catchy melody, performed by harmonious horns at first, then parting the curtain so Dave Zinno can feature a solo on his bass instrument.  Dizzy Gillespie’s “Algo Bueno” is a spirited example of Olsen’s love of Latin flavored jazz and of course, of his admiration for Gillespie.   “Rat Race” is Straight-ahead jazz and rushes from my CD player like turnpike traffic at midnight.  It puts the pedal to the metal.  Douglas Olsen shows his mastery as the notes ripple out of the bell of his horn.  Dino Govoni follows suit, racing to the spotlight with a flurry of joyful saxophone notes.  The trumpet and saxophone hold a musical conversation, talking to each other, trading fours, then joining in the harmonic delivery of the song’s melody. The ensemble’s closing composition, “Passage” is an exciting arrangement that lets drummer, Mark Walker stretch out with spark and fire on his trap drums.  It also encourages the various musicians to fly free and improvise at their highest levels.  Tim Ray provides an exquisite interpretation on the 88-keys.  His solo reminds me of wild geese that flap and fly at an incredible pace to avoid the hunter’s bullet. 

This is a stellar premiere recording for Douglas Olsen, spotlighting his awesome strength as a composer, a bandleader and a very effective and memorable trumpet and flugelhorn player.

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RICHARD BARATTA – “MUSIC IN FILM: THE REEL DEAL” – Savant Records

Richard Baratta, drums; Paul Rossman, percussion; Bill O’Connell, piano/arranger; Paul Bollenback, guitar; Michael Goetz, bass; Vincent Herring, saxophone; Carroll Scott, vocals.

Right off the bat, the first tune flies off this spinning CD player like a fast ball. “Luck Be A Lady” roars into view as an up-tempo Samba.  It gives Richard Baratta an opportunity to introduce himself to us boldly on his drum kit.   “Everybody’s Talkin’” swings hard.  Half way through, it flips into double time and the musician’s race for the exit.  Bacharach’s familiar song, “Alfie” settles the mood and is performed as a brush-stroking ballad with the spotlight shining brightly on Bill O’Connell at the grand piano and Vincent Herring on saxophone.

It’s been more than thirty years since Richard Baratta disappeared from the jazz scene and this is his sparkling reemergence to the world he loves.  Like so many talented musicians, Baratta soon realized that a musician’s salary wasn’t always complimentary to raising and supporting a family.  So, in 1984 he became a scout for the film industry, finding locations where films could be shot.  Baratta climbed from the gig of Location Manager to the prestigious ranks of Executive Producer.  He was part of over fifty films including such gems as Donnie Brasco, The Wolf of Wall Street and The Irishman. Most of the film world, where he worked, didn’t have a clue about his amazing drum skills, until Baratta started moonlighting at ‘The Astor Room’ in New York.  Soon the jazz world was buzzing about this talented and precocious drummer.  Lucky for us, Richard Baratta is back on the jazz scene in a very powerful way.  His trio from the Astor Room (now called George’s) has spilled over into this recording production.  There is a warm cohesion between guitarist Paul Bollenback, bassist Michael Goetz and Baratta.  Paul Rossman, on percussion, is Baratta’s cousin and longtime rhythm partner.  He has long appreciated the talented Bill O’Connell on piano and O’connell took pleasure in arranging the music they play on this project.  Vincent Herring’s saxophone adds the final touch to this energetic and expressive musical achievement. “Chopsticks” never sounded so good as when these musicians tackle it and transform the tune to a Latin classic. 

Every song on this album celebrates a film that this musical repertoire became a part of.  Remember “Luck Be A Lady” was featured in Mrs. Doubtfire.  “Everybody’s Talkin’” touched us in Midnight Cowboy.  “Alfie” is the title tune of the film Alfie and “Chopsticks” was in the 1988 film, Big. You will enjoy the “Theme from the Godfather” and “Seasons of Love” from the Rent movie that features the vocals of Carroll Scott.  Consequently, this prize-winning music and concept ties the two lives together of Richard Baratta (film maker and jazz drummer) in a beautiful way.  He plays all styles with ease and spontaneity.  Their New Orleans style arrangement on the Beatles familiar “Come Together” tune is spectacular.  Drummer, Richard Baratta is back and in full force! 

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DUSTIN LAURENZI’S – “NATURAL LANGUAGE: A TIME AND A PLACE” – Woolgathering Records

Dustin Laurenzi, tenor saxophone/composer; Jeff Swanson, guitar; Mike Harmon, bass; Charles Rumback, drums.

Dustin Laurenzi is a Chicago composer and tenor saxophonist.  He has a silky, smooth tone.   At times, his horn sings unison with the guitarist, like on Track 2, “Albert” and Track 4, “Blocks.”  Charles Rumback rides free and captivates with his busy trap drums, while Mike Harmon, on bass, holds the tempo in place. That’s somewhat of a reversal of roles.  The bassist solidifies the rhythm section on “Albert,” while the drums brightly color this eight-minutes of abstract modern jazz.  Track 3 is titled “Ridgeway” and is a ballad of sorts, giving Mike Harmon an opportunity to showcase his solo bass skills.  There are only five tunes on this entire album, more like an EP than a CD.  However, each song is long-winded, with the final tune, “Slate” taking all of ten minutes to play-out.   Once Dustin Laurenzi establishes his original melodies, his composition arrangements repeat themselves melodically, over and over, as he improvises on top.  Some of these arrangements leave me wanting more; more musical exploration and more innovation.

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WILL BONNESS – “CHANGE OF PLANS” –

Will Bonness, piano/composer; Julian Bradford, bass; Fabio Ragnelli, drums; Jon Gordon, alto saxophone; Jocelyn Gould, vocals.

“Burning Bridges” opens this CD.  This composition is volcano hot with Will Bonness, on piano, the obvious star.  Jon Gordon is featured on alto saxophone and flies like an eagle.  The drums are given an opportunity to thoroughly explore those burning bridges and drummer, Fabio Ragnelli does not disappoint.  He’s on fire too! 

Track 2 settles these musicians down with the familiar standard, “In the Wee Small Hours of the Morning” and features vocalist, Jocelyn Gould interpreting the ballad.  At first, there is only a duo arrangement, featuring the fresh and innovative chording of Will Bonness on piano and the jazz singer.  When Jon Gordon enters on saxophone, he sweetly enhances the production.  Will Bonness has mixed up the tracks by featuring various members of his ensemble. Sometimes he features a duo and other times uses a trio of his musicians, a quartet or a quintet.  It keeps this album interesting and diversifies the production, along with his repertoire choices.  He has composed five original songs and added a smattering of familiar jazz standards like “I Love You” and Bonness even re-arranged an alternative rock song ,“Bullet with Butterfly Wings,” originally recorded by The Smashing Pumpkins in 1995. These are some of Canada’s A-team musicians.  Sit back and enjoy.

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STEVE FIDYK – “BATTLE LINES” – Blue Canteen Music (BCM)

Steve Fidyk, drums; Joe Magnarelli, trumpet/flugelhorn; Xavier Perez, tenor saxophone; Peter Zak, piano; Michael Karn, bass.

Steve Fidyk is a drummer and composer, who was inspired by his father, who played tenor saxophone.  At age eight, young Steve was encouraged to play drums by his family, with his dad, sax-man, John Fidyk, sometimes allowing him to play on gigs, as a substitute drummer, with his Pennsylvania jazz band.  While majoring in music at Wilkes University he played drums in their big band and became very interested in jazz.  He has studied with Joe Morello, Ed Soph, John Riley, Ralph Peterson, Robert Nowak and Angelo Stella.  For over twenty-one years, Steve Fidyk has been the drummer and featured soloist with the Army Blues Big Band and a premier 17-piece jazz ensemble stationed in Washington DC.  Consequently, he has performed for seven US Presidents and even more dignitaries.  He also traveled throughout the Middle East supporting our troops.

His current aggregation features some of the top players on the East Coast.  Opening with “Ignominy” an Eddie Harris straight-ahead jazz tune known for its unusual 20 measure length.  This tune gives Joe Magnarelli on trumpet, and Xavier Perez on tenor sax, an opportunity to stretch out and strut their talents across the studio stage.  Peter Zak takes a piano solo as well, but he really impresses me on track 2, written by Steve Fidyk and titled “Battle Lines.”    Zak flies across the piano keys at a rapid pace, spurred by the serious and energetic drums of Fidyk.  It’s a great tune!  This one is followed by another Fidyk original song called “Loopholes.”  It’s rooted in the blues and very funky.  Steve has composed seven of the eleven songs on this CD and each one exhibits his tenacious composer skills.  On his “Bebop Operations” composition, Fidyk introduces it to us with a distinct drum lick.  Then the horns take over. The drummer writes very melodically and his melodies always make me want to sing-along.  I did think that “Social Loafing” sounds a lot like “Social Call,” composed by Jon Hendricks and Gigi Gryce. 

When he isn’t recording and touring, he is an active member of the jazz studies faculty at Temple University, The University of the Arts in Philadelphia, PA and serves as an educational consultant for Jazz at Lincoln Center’s Essentially Ellington Program.  Steve Fidyk is also a journalist and contributes columns on a regular basis to Modern Drummer Magazine.

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