By Dee Dee McNeil

May 26, 2021


Noah Haidu, piano; Buster Williams, bass; Billy Hart, drums.

“Slowly: Song for Keith Jarrett” is a masterpiece.  First of all, this trio is magnificent, each individual member a musician and composer.  They bring to this project, not only the best on their instruments, but their vivid memories of the legendary Keith Jarrett.  The first song, “Air Dancing” was composed by Buster Williams and I never wanted it to end.  It was incredibly beautiful. 

This project was imagined when the news broke that our beloved piano genius, Keith Jarrett, was retiring due to a pair of debilitating strokes. 

“When I heard about Keith, I was profoundly moved and I started to envision the recording with Billy and Buster, as a kind of musical response to these events and Keith’s body of work,” Noah Haidu shared.

“My father and I had a tradition of going to hear Jarrett together for several years running,” recalls Noah Haidu.  “My dad, who was largely responsible for introducing me to jazz, passed away a week before Keith’s final concert.  Dad and I had been planning to attend that show together, but his illness came on quite suddenly and a few weeks before the end, he handed me the tickets and said, you’d better find someone else to go with.  No one knew, at the time of the concert, that it would be Keith’s final performance.  Attending that concert was one of the ways I was able to mark dad’s passing and start a new chapter in my own life.  My seventeen-year marriage came to an end and I refocused my energies on performing and recording with my own group,” Noah Haidu gave us a peak into his amazing love for Keith Jarret and his life in jazz, the music his father first introduced to him.

“Duchess” is a composition by phenomenal drummer, Billy Hart.  It is Track 2 on this splendid recording that was postponed because of the COVID19 pandemic and rescheduled for a studio recording in late November, 2020.  At that point, COVID’s second surge was well underway. 

“We decided not to put off the session a second time,” says Haidu.   “… We put on our masks and played our hearts out.”

The standard jazz song made unforgettable by the great Dinah Washington, “What A Difference A Day Makes” is included in this recording, skipping along at a moderate, swing pace and showcasing the close mesh of these musicians.  Each individual is shining, as part of a tightly woven and intricate trio.

And what a difference 2020 made for Noah Haidu.  He is one of the first rising star pianists to address the remarkable legacy of pianist Kenny Kirkland on his album, DOCTONE, also released on Sunnyside Records.  Doctone was a reference to Kenny Kirkland’s nickname.  It made Noah the first jazz artist to be released in tandem with a documentary film and a book.  Billy Hart was the drummer on that historic and highly praised album.  Hart was also Kenny Kirkland’s drummer of choice. 

At age nineteen, young Noah was studying at Rutgers University with great pianist, Kenny Barron. After two years of college, Haidu left academia and moved to Brooklyn to pursue gigging and practicing.  His dream was to become an accomplished jazz pianist.  In 2011 he was heralded as a ‘rising star’ in JazzTimes magazine.  DownBeat Magazine has singled him out as an ‘innovative composer.’ Looks like his dreams are manifesting.

Buster Williams and Billy Hart were fledgling musicians when the late, great Betty Carter scooped them up back in 1969 to work a Chicago concert with her.  Both have played on classic albums by Miles Davis, but when they joined Herbie Hancock and Bennie Maupin’s sextet, Mwandishi, they toured and recorded together for four years.  So, they know each other very well, both personally and musically.  Each musician is widely praised for their amazing work in both acoustic and electric jazz, as well as being major composers and bandleaders of their own ensembles.  Billy Hart just turned eighty years old within a few days of this recording and Buster Williams just turned seventy-nine on April 17th

To join their seasoned dreams with Noah Haidu’s more current ones is pure enchantment.  The trio creates a treasured and everlasting tribute to Keith Jarrett, but also to the legacy of three incredibly talented musicians.  You hear their fervor and ingenuity on “Georgia,” a slow bluesy arrangement that pulls every drop of beauty from the song.  They also deliver over twelve minutes of awesome music when they play Jarrett’s composition, “Rainbow,” giving both Hart and Williams time to flavor the arrangement with their memorable solos.  “Slowly” was composed by Noah Haidu and dedicated to Jarrett’s solo piano style.  Perhaps the most prolific and encouraging words that Haidu received during this session came from the lips of the wise, Buster Williams.  After they completed the recording of “Air Dancing” Williams gave the younger musician some fatherly advice.

“You’re doing a beautiful job, but this time, just go for anything you hear. Don’t worry about downbeats and playing every chord.  Billy and I got that covered,” Buster assured him.

As I listen to this recording, I can tell Noah Haidu did just that.  The result is rich, beautiful, sincere and freeing.  This piece of art is technically judicious and jazzily improvisational, with a warm nod to the man, Keith Jarrett, and his unforgettable, musical gift to the universe.

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Dara Tucker, vocals/arranger/composer; Cyrus Chestnut & Sullivan Fortner, piano/Fender Rhodes/arranger; Dezron Douglas & Vincente Archer, bass; Johnathan Blake, drums; Joe Dyson, drums/tambourine; Giveton Gelin, trumpet; John Ellis, tenor & soprano saxophone/horn arrangements.

Here is a voice that is pleasing, tonally beautiful and emotionally connected to each lyric she sings.  I was so happy to hear Dara Tucker, who has picked a bouquet of songs that sweetly encourage and colorfully protest in the same intoxicating breath.  Opening with James Taylor’s “Secret O’ Life” tune, with arrangements that are creative and fresh.  Track 2 she pays homage to Stevie Wonder with his “You Haven’t Done Nothin’” composition.  I found the chord changes to be interesting, but not necessarily supportive of Stevie’s original melodic idea.  Never mind!  Dara Tucker sang the song flawlessly, no matter what Sullivan Fortner played.  One of my favorite songs is Donny Hathaway’s “Someday We’ll All Be Free.”  She is full of electricity and emotional energy on this one.  Her original composition, “Do We Sleep?” is a very beautiful ballad with a thought-provoking lyric.  Dara Tucker’s voice floats effortlessly across space, a golden bird in flight, leaving a trail of music for us to enjoy.  Her songs give voice to social justice issues, drawing compositions from the 1960’s and 70’s.  This collection of compositions, with lyrical importance, sum up the title of this album and call on humanity to wake up and to change.  Each hand-picked song encourages us to be better and to do better.  You will enjoy popular songs like “Bridge Over Troubled Water” and Bacharach & David’s “What the World Needs Now is Love.”  She reinvents Carole King’s “You’ve Got A Friend” and the traditional gospel song and slave anthem, “Wade in the Water” (arranged by David M. Rodgers) is very jazzy with a spectacular bass solo by Dezron Douglas.  Her vocals refresh standard jazz songs from the American Song Book like “Make Someone Happy” and Marvin Gaye’s pop anthem, “What’s Going on?” in a timeless way.   The ‘Marvin’ message is important all these years later.  Stevie Wonder’s “Love’s in Need of Love Today” is arranged in a fresh and inventive way.  This is a vocalist to watch on her upward rise.  She has the talent, the voice and the delivery to make a difference.

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Nick Finzer, trombone/composer; Dave Meder, piano; Quincy Davis, drums; Eric Hitt, bass; Lucas Pino, saxophone.

At the beginning of 2020, just as the pandemic was getting a foothold in the United States, trombonist, Assistant Professor of Jazz Trombone and bandleader, Nick Finzer, was prepared to release his album project titled, “Cast of Characters.”  Then came the lockdown.  He had just booked a concert tour and the group managed to perform this one “live” show and record it for video and EP release before most of his dates were cancelled.  Consequently, this digital EP and Video Production celebrates songs from his 2020 album, finally released this year. The entire production takes place before a responsive audience, with the music making a few unique twists and turns. 

They open with “A Sorcerer … Is a Myth” with Lucas Pino soaring on saxophone while the ensemble experiments with mixed meters. It begins dirge-like and develops more energy when Pino solos.

“Sorcerer is all about the inner journey we go on, through our artistic development,” explains Finzer.

“Evolution of Perspective” is a more straight-ahead tune and Quincy Davis fuels this tune with percussive energy on trap drums.  Once again, Pino soars on sax and invigorates the production.  He and Finzer are the original members of the “Cast of Characters” Project.  When Nick Finzer steps into the spotlight, only Eric Hitt backs him up on double bass.  It’s a very dynamic moment and showcases Finzer’s complete mastery of his trombone.  When Davis adds drums and Dave Meder starts comping on piano, they build the bebop energy.  Finzer flies on his trombone, a wild bird taking full advantage of his improvisational moments in space.  Dave Meder is given a piece of sky to explore the eighty-eight keys.  Both Dave and Quincy are a part of the faculty at University of North Texas, celebrated for their amazing jazz program and gifted professors.  Experienced student, Eric Hitt, doesn’t miss a beat on the bass.  His fast-walking string bass locks in tightly with the Quincy Davis drums.  This is an entertaining EP and I’m sure that once you get to view the video simultaneously, “Live from Denton” it will be like attending a well-played concert inside the comfort of your own home.  The digital EP released with Video on May 21, 2021.

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STEVE COLE – “SMOKE + MIRRORS” – Mack Avenue Records

Steve Cole, tenor saxophone/synth bass; David Mann, keyboards/synth bass/drum programming/ tenor & baritone saxophone/flute/producer/horn arrangements; Bernd Schoenhart, guitar; Trevor Neumann, trumpet/flugelhorn; Mel Brown, bass/piccolo bass/bass fills; Mark Egan, bass; Todd Sucherman & Brian Dunne, drums; Ricky Peterson, organ.

Here is a smooth jazz production with all songs composed by Steve Cole and his longtime songwriting partner, musician, producer and arranger, David Mann. The tunes are well written and well-played by a host of stellar musicians who were corralled remotely from their homes during the pandemic quarantine.

“Everybody’s stuck at home,” Cole points out with a laugh. “There are a lot of musicians that I would love to work with, but it’s impossible because they’re always on the road.  So, there was a little silver lining in the fact that I could call old friends like Todd Sucherman (drummer) and Brian Dunne (drums), or amazing artists like Mark Egan (bassist), and they were actually available.”

“Smoke and Mirrors” is a magical album that is not meant to fool an audience with trickery or sleight-of- hand, but rather invites listeners to hear an intimate and personal reflection of Steve Cole’s true self. The two songwriter’s offer titles that invite you into their thought processes for this enjoyable, easy-listening experience.  Take the opening song, “Living Out Loud.”  It’s a joyful tune, propelled by Brian Dunne’s drums and spurred by Steve Cole’s tenor saxophone.  Track 2 is seductive, featuring a sexy bass line by Mel Brown and Bernd Schoenhart’s guitar strumming away beneath Cole’s melody line on tenor saxophone.  It’s titled “Loves me, Love’s Me Not” and the melody is as strong and memorable as that old saying.  I wish they had added vocals to sing that ‘hook’ line, but it’s still a very strong production.  “Covent Garden” is another composition with a melody that begs for lyrics. There’s one thing that endears me to this project and that’s the songwriters.  They offer us well-written compositions with strong melodies and great arrangements.  Steve Cole has a thin sound on his tenor saxophone, but it’s full of emotion and passion.  He knows how to sell these songs.  “It’s a House Party” is full of funk and will make you want to get up and get busy!  It has some very interesting chord changes and the breaks are arranged to snatch your attention and compliment the groove.  This album of music is just pure fun and solid enjoyment!

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DEE DANIELS – “THE PROMISE” – cellar Music Group/La Reserve

Dee Daniels, lead vocals/background vocals/string arrangements; Felton Offard & Bill Coon, guitar; Bobby Floyd, piano/Hammond B3 organ; Michael Mitchell, keyboards; John Toney & Tim Fullerton, bass; Y. L. Douglas, Randall Stoll & Dartagnon Gunn, drums; Dave Pierce Keyboard/synth programmer; Terry Frewer, string synth programmer; Sal Ferraras, percussion; John Clayton, string arrangement; Meredith Bates, violin 1; Serena Eades, violin II; Tony Kastellic, viola; Cristian Markos, cello; Evan Bates, contrabass; Tania Hancheroff, Steve Grisette, Amy Grissette  & Martha Lynn Smith, Doug Fleming, background vocals.

Dee Daniels’ is a compelling vocalist who touches the heart with her original, spiritually-based songs of compassion and Christianity.  This is a vocalist who has travelled worldwide on the wings of her talent.  She has performed in several countries overseas and recorded nine albums.  You could say that this soulful singer has led a blessed and charmed life.

“I have a wonderful family life, many dear friends, a successful career,” she shared in her liner notes.

When she expressed a need to travel to New York City to pursue and grow her career opportunities, her loving and supportive husband understood.  It was in autumn of 2011 that she left Vancouver, Canada and settled into a Brownstone smack dab in the center of Harlem.  Blessings flowed.  She recorded two CDs and was offered a teaching position at Queens College in the Vocal Master’s Program. Her name was buzzing all over New York City and she performed in all the major jazz venues.  Imagine how shocking it must have been to be diagnosed with breast cancer in October of 2014.  This album is the result of her spiritual growth and healing.  She returned to her gospel roots and as she fought the ‘big C,’ she rediscovered, through meditation, her gift of creative songwriting.  Dee Daniels was always a songwriter, but now, Beautiful compositions flow through her like water through a sieve.  They manifest themselves during the realization of this production.  You experience Dee Daniels, a vocalist who has sung R&B, jazz, and rock music professionally, return to her roots in gospel music.  These artistic and infectious songs mirror her journey through life and her rebirth into what her publicist labels, ‘Jazz Inspirational’ music.  Her four to five octave vocal range is in sparkling, good health.  Dee Daniels has written eleven soul-warming and inspirational songs.  Sharing them with the world, she hopes they will uplift and that her music becomes a healing balm to those who listen.  I found her musical journey very inspiring and her original music wonderfully communicable with peace and joy.

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Scatman Crothers, vocals/composer; Victor Feldman, piano/vibraphone/percussion; Mike Melvoin, piano/B3 organ; Ralph Humphrey & Earl Palmer, drums; Ray Brown & Dennis Belfield, bass; Arthur Adams & Al Ciner, guitar; Sherlie Mae Matthews, Dianne Brooks, Clydie King & Grace Cosgrove, background vocals.  Featuring the Tonight Show Horn Section: Reeds: Tommy Newson & Bill Green.  Trumpets: Snooky Young, Oscar Brashear, John Audino & Jimmy Zito. Trombones:  Chauncey Welsh & Ernie Tack.

Benjamin Sherman ‘Scatman’ Crothers(1910-1986) was a true star of stage, screen and television. Now, nearly forty years after his death, Panda Digital has released a CD of Scatman’s creative jazz exploration and a couple of original compositions.  Scatman first started performing, as a teenager, singing in clubs and drumming.  He wound up performing on Chicago’s speak-easy circuit in the latter part of the ‘Roaring 20’s.  You can hear the New Orleans jazz influence in the musical arrangement of his original composition, “Scatman’s.”

Then, in 1931, Crothers found himself hosting his own radio show on WFMK in Dayton, Ohio.  He became well known for scatting over instrumental tracks while broadcasting on-air. Billing himself as ‘Scat Man,’ he formed his own trio, ‘Scat Man and His Cats.’  They toured the Southern United States extensively.  In the composition I mentioned above, (Scatman’s) he is referencing his own ‘nick name.’  The lyrics of Crothers’ songs are positive and uplifting like “Still Going Strong.”  The Michael Dees’ love song titled “You’re Pretty,” features a lovely vibraphone solo by Victor Feldman.  In fact, this album is plush with super-star jazz musicians like bassist Ray Brown, Rock and Roll Hall Awardee, drummer Earl Palmer and featuring the entire Tonight Show horn section during their prestigious time on the Johnny Carson Show.

“Louie is Your Garbage Man” sounds like an Ike Turner production, with its strong R&B roots and pounding-heartbeat-tracks. This Crothers’ tune makes you want to dance. It’s actually a tribute to the garbage man character that Crothers played on that NBC television series, Chico and The Man

The arrangements on this entire recording project are ‘dated.’ It was produced by Andrew A. Melzer back in 1975.  Melzer also penned some of the songs.  You can hear shades of the Isaac Hayes-type music on some arrangements.  “Scoot on Over to Scat’s” is soaked in the disco tradition.  On this particular song, I’m reminded of the “Shaft” movie tracks.  Speaking of films, Scatman moved to Hollywood, California in 1943 and immediately landed work on a Paramount network TV show, “Dixie Showboard.”  In fact, this artist appeared in hundreds of television programs and movies. He was an in-demand actor.  Some of the motion pictures where he made his appearance are: The Shining, One Flew Over the Cuckoo’s Nest, Bronco Billy, Aristocats, The Shootist, Silver Streak, The Lady Sings the Blues, Scavenger Hunt and Transformers: The Movie.

On Track 7, “Stanley Does It All,” you hear shades of Bobby McFerrin’s unique style.  It features just Scatman Crothers with a percussive back-beat.  He sings a’cappela, with lyrics that tribute movie mogul Stanley Kubrick.  Crothers was part of the cast in the Kubrick production, “The Shining.”  I don’t know why the editor/producer of this project continuously goes back to what appears to be a theme song, “Still Going Strong.” It opens this project, it’s stuck in the middle and closes the album out. 

Crothers was honored with a star on the Hollywood Blvd Walk of Fame, right in front of the famed Egyptian Theater.  Perhaps this music could be used as a soundtrack for a tribute film documentary.  It would be the perfect accompaniment in celebrating this extraordinary man’s accomplishments in the entertainment business.  After all, in 1934, this African American artist appeared on the Cotton Club Stage and has been recording for labels like RCA, Capitol, Decca and even Motown over his lifetime.  He even was part of the cast in a short film called “Symphony in Black, that featured Duke Ellington and Billie Holiday. Scatman Crothers would go on to act in 45 more motion pictures.  Although the musicians creating the tracks for his music are legendary jazz players, this music sounds more like a soundtrack than a jazz album. Granted, this is an untold story that should be historically documented.

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Evan Arntzen, reeds, voice; Dalton Ridenhour, piano; Tal Ronen, bass; Mark McLean, drums; Arnt Arntzen, guitar/banjo; Jon-Erik Kellso, trumpet; Mike Davis, trumpet; Charlie Halloran, trombone. SPECIAL GUEST: Catherine Russell, vocals.

Evan Arntzen is a multi-reed player, a vocalist and bandleader.  This is his third album and it’s steeped in Dixieland styled, New Orleans jazz that celebrates its title, “Countermelody.”   All of this music is a collective of African American music emanating from the first half of the 20th century.  Arntzen debuts many of his own arrangements of early, popular New Orleans and Chicago jazz compositions including songs composed by historic composers like Bennie Moten, Sidney Bechet, King Oliver and Kid Ory.  He features special guest, Catherine Russell on vocals and Evan Arntzen also sings lead on the Sidney Bechet and Mary E. Karoley 1941 composition titled, “Georgia Cabin.” 

This ensemble celebrates the album title, “Countermelody” named for 3 reasons. One, the interplay and interaction of instrumental melodies that was made famous by music born in New Orleans. Two, it celebrates music coming out of the first half of the 20th century.  Third, the music was recorded ‘old school’ with all the musicians in the same room, spontaneously improvising and interacting freely with each other.  This album was recorded during the pandemic, a time when the world around these musicians was falling to pieces and they found togetherness in playing their swing music and blues. If you love Dixieland jazz and early, New Orleans musical history, you’ll be perfectly happy with this album of music. 

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Jalen Baker, vibraphone/composer; Paul Cornish, piano; Giveton Gelin, trumpet; Gavin Moolchan, drums; Gabriel Godoy, bass. STRINGS: Jessica McJunkins & Orlando Wells, violin; Andrew Griffin, viola; Susan Mandel, cello. Ulysses Owens Jr., producer.

In May of 2019, Jalen Baker performed in what appears to be a college concert.  His potential was sparkling even then.

“I wrote all of the music based on my life experiences with things such as racism, depression, heartbreak, career disappointments, success, triumph and healing.   … Nothing is unique to just me.  These are things most of us deal with and I want people to know that they’re not alone,” Jalen Baker explains why this album of music is so important to him.

As I listen, I conclude that Jalen Baker writes music as though he’s creating suites.  On the first song, “So Help Me God,” the tempo changes and arrangements sound as though there are various songs being played.  The outstanding part of this first seven-and-a-half-minutes of music is Baker’s beauty on his vibraphone.  His talent on vibes shines throughout.  We are introduced to his string section, to Giveton Gelin on trumpet and the inspirational Paul Cornish on piano during Track 1.  Jalen Baker has composed nine out of ten songs on this, his premiere album.  Track 2 is titled “Don’t Shoot” and it calls to mind Black Lives Matter and the protests against police shootings of black and brown people.  But the composition is so pretty, it doesn’t seem to express the title.  Jalen’s busy mallets on his vibraphone tell a story, but does that story depict the fear, outrage and strength of consciousness to represent a person shouting, “Don’t Shoot?”  For me, that title just doesn’t seem to match up with this original tune or arrangement.  “Healing” is a composition that enters like a chant on the breath of wind, with its repetitive theme.  In moments where Baker solos on his vibes, we are drawn into his music by his creativity and talent.  However, his melody on this song of “Healing” does not lend itself to familiarity or a song melody I would remember to sing.  During this composition, and most of the ones that follow, I find myself disappointed in the drums.  They don’t ‘root’ the music.  I keep wondering if it was the engineer’s fault?  Where are the cymbals?  Where’s the bass drum?  Where’s the two and the four?  Where are the percussive colors to enhance Jalen Baker’s brilliance on his vibraphone?

Paul Cornish is competent and creatively expressive on piano.  On the composition, “Faith,” his harmonics are tasteful and supportive.  This song offers a pretty melody and quickly becomes one of my favorites on this album.  Bassist, Gabriel Godoy, shimmers powerfully in the spotlight during a well-executed bass solo during this arrangement. “Patience” spotlights the string section and is quite beautiful, opening the curtains to expose Giveton Gelin’s trumpet prowess. When Jalen Baker enters on his vibes, the tenderness of what he plays intoxicates the moment.  He is a fluid improviser.  However, his compositions don’t always offer melodic structure to encourage the listener to sing, hum or recall his melodies.  When you hear a Hoagy Charmichael tune, or a Stevie Wonder composition or listen to Thelonious Monk’s music, you’re always struck by the amazing melodies they offer the listener.  Speaking of Stevie Wonder, who I believe is one of our great American composers, he has penned the final tune that Jalen Baker plays on this album. Wonder’s lyrically important and melodically prudent song, “Love’s in Need of Love Today” features Jalen Baker playing this one solo, in his own outstanding and inimitable way.  There is great potential in this musician and I’m certain we’ll be hearing much more from the talented vibraphonist, Mr. Jalen Baker.

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Masabumi “Poo” Kikuchi, piano/composer. (October 19, 1939 – July 6, 2015)

This Japanese, jazz pianist and composer was born in Tokyo and studied music at the Tokyo Art College High School.  His colorful life embraced work with legendary musicians like Lionel Hampton, McCoy Tyner, Mal Waldron, Elvin Jones, Miles Davis and Gary Peacock.  Always in search of perfection and freedom in his music, Masabumi Kikuchi, has a discography that reflects a wide range of styles from straight-ahead and post-bop to fusion, vanguard, classical jazz and synthesized music. He was awarded a scholarship to Berklee College of Music and played piano for Sonny Rollins.  He’s been a band leader, a sideman and featured guest on various albums over his decades of experimenting with improvisation, electronic music and new musical forms.  This is his final musical breath, in the studio at age seventy-five, recording “Hanamichi” that celebrates his mastery and joy playing the eighty-eight keys.

Opening with “Ramona” (written originally as a brisk Spanish waltz) he transforms the Mabel Wayne composition to a slowly played ballad, that sounds poignantly like “I’ll Be Seeing You” at certain places. He employs a languid tempo, along with his pedal use that echoes the tones, ringing brightly through the harmonics that over-lap and create resonating, humming overtones.  He appears to be obsessive at the sustain pedal.  You hear the way he plays with this pedal during his presentation of the Gershwin standard, “Summertime.”  He wrings the melody out of this song, very slowly and with much emotion.   Octaves are played by his wide-spread right hand.  Masabumi Kikuchi explores each song on this solo performance, pushing the boundaries of time, tempo and harmonics in his own improvised way.  He transforms “Summertime,” then “My Favorite Things” and finally, embarks on addressing his own, two original compositions, “Improvisation” and “Little Abi” written for his daughter.  “Poo” a nick-name he was called lovingly by close friends, exhibits the spirit of freedom and exploration that makes jazz so important to the world.

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  1. REVIEWS: Dara Tucker, Dee Daniels, Evan Arntzen, Jalen Baker - Musicalmemoirs's Blog - LYDIALIEBMAN.COM Says:

    […] By Dee Dee McNeil. Musicalmemoirs’s Blog […]

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