MORE WOMEN, MORE MUSIC

By Dee Dee McNeil

March 27, 2024

Actually, the origins of Women’s History Month began in 1978 in Santa Rosa, California.  It so happens that the “Education Task Force of Sonoma Country Commission on the Status of Women” planned a ‘Women’s History Week.’  Their celebration was scheduled to run the week of March 8, 1978, and to correspond with International Women’s Day. In 2024, we celebrate women’s history the whole month of March.  As this month ends, I want to mention a few more women who are making history in the jazz world. 

LYNNE ARRIALE – “BEING HUMAN” – Challenge Records International

Lynne Arriale, piano/Yamaha Clavinova/composer; Alon Near, bass; Lukasz Zyta, drums.

Lynne Arriale has been sharing her brilliant piano talent with the world for decades.  In 1993 she became the prize winner of the International Great American Jazz Piano Competition.  Consistent with her performance art, Ms. Arriale has entertained on prestigious international concert stages for over thirty years. “Being Human” is her seventeenth album. It celebrates her original compositions.  They reflect how our lives are enriched.  The Lynne Arriale Trio opens with her composition titled “Passion.”  Arriale exhibits a light, sensitive touch on the piano keys. This arrangement is smooth jazz. 

This entire project was written by Arriale to address the turmoil and division in our world. The second track is called “Courage” and features the prominent and impressive drum accompaniment of Lukasz Zyta. Her drummer is currently based in Krakow, Poland and is a faculty member at their Academy of Music since 2007.  For some reason, Arriale’s composition “Love” reminds me of a country’s anthem.  This tune is followed by “Faith” and the mood is more playful, with a petit touch of blues weaving through the arrangement. “Curiosity” shows a more avant-garde approach to Arriale’s piano playing, quite artistic and exploratory.  Another tune the trio plays is “Soul.” Suddenly, we are drenched in blues and jazz without compunction. On “Persistence,” bassist Alon Near shines, creating contrary motion bass lines that are both intricate and complimentary to Arriale’s solo piano. Each song played continues to not only entertain and engage the listener, but the compositions punctuate Lynne Arriale’s amazing piano talent and versatility.  She invites us into her music. It’s like falling down a rabbit hole and discovering awesome and unexpected gifts along the way. 

“I wrote this suite in response to the division and turmoil in our world.  The music focuses on qualities we all share, that define our humanity.  I hope this album will be uplifting and convey a sense of unity and optimism,” Lynne Arriale explains in words what she’s already accomplished in this wonderful album.

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CAMILLE THURMAN WITH THE DARRELL GREEN QUARTET “LOVE VIBRATIONS” –  Chesky Records

Camille Thurman, vocals/saxophone; Gerald Green, drums; Paul Beaudry, bass; Jordon Williams, piano; Wallace Roney Jr., trumpet.

I ran across this incredibly talented vocalist and multi-instrumentalist Online. I was absolutely blown away by her style, her crystal-clear vocal presentation, her soulful tenor saxophone playing, and she is also an amazing composer.  Additionally, she plays bass clarinet, flute, and piccolo.  She’s a creative improviser, which you will witness for yourself in the video below. 

Live from Jazz St. Louis – https://www.youtube.com/watch?v=JU-lap9oKtY

Born December 22, 1986, Camille Thurman is a member of the Lincoln Center Orchestra in NYC.  Her first couple of albums were released on Chesky Records in 2017 and 2018, making an impression on the Billboard Jazz Chart by landing on the #3 spot and the #25 chart position. 

Her three available CDs are “Origins” released in 2014, “Inside the Moment” released in 2017 and “Waiting for the Sunrise” released on Chesky Records in 2018. 

This is a video review, rather than an album review. I rarely do these, but I think this wonderfully talented lady needs to reach more ears and eyes.  Meet the dynamic Camille Thurman!

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ANDREA WOLPER – “WANDERLUST” – Moonflower Music

Andrea Wolper, vocals/composer/co-producer; John Di Martino, piano; Ken Filiano, bass; Michael TA Thompson, drums; Charlie Burnham, violin; Jeff Lederer, clarinet/flute/co-producer.

A Kenny Filiano bass line opens this album, on a tune called “Light Out of Darkness.”  I must compliment Andrea Wolper’s steady, solid vocals despite the Avant-garde background her musicians are singing. There’s clearly dissonance in the background. Still, the singer holds her own, holding the bluesy melody, like a baby, close and comfortable. Charlie Burnham adds an improvised violin solo. She follows this with “Dog Day Afternoon” a tune by Wayne Carson, originally recorded by the sweet country voice of Shelby Lynne.  Charlie Burnham takes another violin solo that’s warm and comforting. The third track is written by Wolper and starts with John Di Martino’s piano sounding like a coo-coo-clock on a tune called “Sobe E Desce.”  Wolper scats with the flute melody of Jeff Lederer, doubling the instrument’s sound in unison. There are no lyrics.  This is just Wolper’s voice becoming an instrument, trading fours with the flute, then letting Filiano’s bass trade fours with the drums of Michael TA Thompson. Track #4 is another original composition by Wolper. Titled “Still Life” with a lyric that paints a picture of a lonely woman thinking of the man who is missing.  The lyrics are more prose than poem.  She finally hits her stride when singing Abbey Lincoln’s tune, “The Music is the Magic.”  I finally hear the jazz singer appear.  Until then, Andrea Wolper was just another vocalist like a thousand others.  I can feel her emotion on this song and feel the jazz swing in this moderate tempo presentation. Filiano takes a brief but creative solo on the bass. Wolper’s scat hindered the arrangement rather than supporting it.  It was way too legato and didn’t swing. Her original song, “The Nature of Life” is quite Middle Eastern, drawing on minor chords and a melody that is performed slowly, with prayer-like chanting in the parts without lyric.  Her interpretation of the Sting composition, “I Burn for You” is another pretty ballad that she performs with Filiano picking up his bow and delivering a lovely bass solo. Most of this music is moderate tempo and leans towards ballads. 

Wolper is a native of Northern California but relocated to New York to attend the Neighborhood Playhouse School of the Theatre. She has been there ever since.  It has been 13-years since Wolper released an album, but in that space of time she has been touring and performing in top jazz clubs like The Blue Note, Dizzy’s Club Coca-Cola, Mezzrow, the 55 Bar and more.  She’s performed abroad and teaches voice, songwriting, and jazz performance.

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JANE SCHECKTER – “I’LL TAKE ROMANCE” – Doxie Records

Jane Scheckter, vocals; Todd Firth, piano/arranger; Jay Leonhart, bass/scat singer; Peter Grant, drums; Warren Vaché, cornet/flugelhorn; Nicolas King, vocals.

Here is a jazz singer whose roots are exposed as soon as she sings the first few bars of “Love, I Hear” (a Stephen Sondheim composition) that opens with Jay Leonhart’s bass line.  Scheckter steps into the song, swinging lightly, like a child skipping.  She knows how to phrase, which is oh so important to understand if you claim the title ‘Cabaret Jazz Singer.’ A sweet surprise, Leonhart sings a scat line that harmonizes with his bass solo and it’s butter smooth! 

Jane Scheckter offers us seventeen songs to listen to and love.  She’s a teller-of-tales.  Scheckter knows how to sell a song and pumps each lyric full of life, wisdom, and believability. I can hear her comfortable vocal maturity that says she’s been singing for a while. On her album cover, they note that this is Jane’s fifth album release.  Her pianist and arranger is Ted Firth, one of the sought after pianists in the Cabaret genre.  Her bassist and drummer both played with Peggy Lee, who is one of Jane Schecter’s sheroes. Jane’s repertoire is smart, familiar, and classic.  She pulls songs from the theater, as well as recognizable jazz standards.  In fact, Jane Scheckter is a former theater performer, as well as a heralded fashion designer. Her clothing designs were featured in the leading fashion magazines and modeled by the likes of Lauren Hutton. She started singing in NYC nightclubs and supper clubs, while holding down her design-day-job. These days, Schecter sings regularly in New England, in Paris, France, at the Royal Jazz Lounge in Antibes, and the Vegaluna in Cannes, France.  She brings sophistication and emotional empathy to every note of her songs like “My Foolish Heart,” and “A Beautiful Friendship.”  She shuffles along on Cole Porter’s  “After You,” and on “I’m Gonna Lock My heart & Throw Away the Key.”  Her alto vocals introduce us to a tune called “Looking Back” written by her old friend, Mickey Leonard (who died in 2015).  It was a tribute to Bill Evans and Jane asked Roger Schore to put lyrics to the instrumental.

“On this album, I feel like I’ve grown up.  This is who I am and what I do.  I just honor the music,” Jane tells us in the liner notes.

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ALLISON BURIK – “REALM” –  Independent Label

Allison Burik, composer/arranger/co-producer/Alto saxophone/bass clarinet/vocals/alto flute/ guitar; Magdalena Abrego, guitar; Sylvaine Arnaud, recording engineer/mixing/co-producer; Peter Atkinson, recording engineer/winds; Harris Newman, mastering; Renee Abaroa, bone typeface on cover.

For several years Allison Burik has gained notoriety and audience in the world of modern jazz and experimental music.  The opening “Be the Dragon” composition might just be their alter-ego talking to their inner creative self.  It blasts into my listening room, like shepherd horns gathering the flock. Allison’s singular use of reed instruments projects an emotional delivery. They add the guitar to create an eerie mood that commands this listener’s attention.  In their press package, they explain this song was built from a foundation of Burik’s oceanside guitar and bird songs, captured during an artistic residency in Skagastrond, Iceland. Allison themselves explain it in her liner notes.

“The “Be the Dragon” piece is dedicated to all the women and gender-fluid folks that defied ‘traditional’ gender roles to take up arms in battle. …  The song features an experimental contact microphone setup in which I’m wearing a collar that presses small microphones against my neck to capture the melodies I hum, while simultaneously playing the saxophone.  There are also contact microphones attached to specific keys of my sax to amplify the percussiveness of the instrument,” Burik explains.

Track #2 takes me to an entirely different space and time. Titled, “As the Norn’s Weave” it begins with their lovely voice calming the moment into submission. Their vocals appear with an acoustic guitar accompaniment.  Burik superimposes alto saxophone, bass clarinet and vocals in a lovely way.  I have always loved the sound of a bass clarinet and their tone on the instrument is warm and vibrant. Still, I wonder how they would present this ‘live’ and in-concert?  Because it appears they’re playing all the reed instruments simultaneously. Would they have to pre-record and layer the music to make these songs come to life in person?  This song was born out of the world tree of Norse myth.  It’s said, in that myth, that three Norns weave our fates with their web of wyrd, and decide the destinies of all beings in all ‘Realms.’

Burik has decided to take the less trodden musical path and use their creative sense of purpose to lean toward mythology and feminine inspiration, along with non-binary characters, and folklore to express themself.  On the third track, “Solstice (Dreams and Memories” a low growl begins the arrangement, that soon is transformed by what sounds like sea and birds. Then I seem to hear footsteps trudging on sand, beneath wind and weather.  A voice sings a carefree song as the steps are taken. Much of the music on this record was composed during their artist residency, the one Burik did in June of 2022 in Iceland.

During their composing of songs, Allison has named Solstice 1, II and III.

“These are fragments of a musical theme that has been rumbling around in my brain since the winter solstice of 2018.  They are brief musings on the passage of time, reality, and existence,” they explain.

On the final two compositions, the eighth track being “Solstice III (The Promise), Allison is joined by the guitar of Magdalena Abrego.  Also, Abrego plays on the ninth and final track called “Fragment 94.”  Allison’s vocals dip and dive during this arrangement. It’s for only a short minute and a few seconds that this song plays, but it makes quite an impact. This Solstice blends into the final song that has lyrics. It celebrates the ancient Greek lyric poet, musician, and lover of women, Sappho; a character from the isle of Lesbos, who lived from c.610 to c.570 BCE.  She is regarded as one of the most important and influential writers of her time.  Hellenistic poets deemed her “the tenth Muse.”

Sappho’s lyrics read, “And there was no dance, no holy place, from which we were absent.”

This album appears to be a spiritual journey for the artist.  It reflects not only the creativity of Allison Burik, but draws inspiration from myths, world history and folktales. Allison feels that they are using music to showcase the mixture of modern identity validated by ancient ways. Their album is meant to acknowledge the history of human beings, our mistakes of the past that are holding hands with a repetitious path to the future.  At the same time, with their music, Allison Burik celebrates the many ways of simply being human.

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HILARY GARDNER – “ON THE TRAIL WITH THE LONESOME PINES” – Anzic Records

Hilary Garder, vocals; Justin Poindex5ter, guitars/mandolin/organ/vocals; Noah Garabedian, bass; Aaron Thurston, drums/percussion; Sasha Papernik, accordion.

Hilary Gardner brings us her own take on Country/Western, Soul and Jazz music.  She has rolled up the blues, like a country/western musical burrito with a spicy sprinkle of jazz in the production.  Her voice is crystal clear, with a hint of Bonnie Raitt in her phrasing as she opens this album with “Along the Navajo Trail.” It meanders along at a moderate pace with a melody that draws me in like quicksand. 

“In the early weeks and months of the pandemic, confined to my Brooklyn apartment in the silenced city, I dreamed of wide-open spaces and the freedom to roam.  I started researching “trail songs” from the singing cowboy era of the 1930s & 40s.  … As I delved deeper, I learned that many trail songs were written not only by singing cowboys, but by jazz and film composers with lyricists like Johnny Mercer, jazz legend Benny Carter, Frank Loesser and others.  A song making its debut in a Western film starring Roy Rogers or Gene Autry would often go on to be recorded by a swinging big band. One of those  original hip cowboys was Bing Crosby.  The lines between genres were happily blurred back then,” Hilary Gardner explained her choice of expression.

Track #2 opens with the first bass line my father taught me on the piano. I recognized a boogie- woogie. Once I picked up the CD cover to investigate, sure enough, the song title supported me as “Cow Cow Boogie” blasted into my listening room.

Hilary has a smooth appealing voice. She knows how to enunciate every word to be sure you can enjoy her stories.  Surprisingly, Benny Carter is one of the composers on this song.  At the fade, Hilary Gardner throws in a little scat-like vocal when she croons, “Coma -Ti- Yi- Yi Yay! Coma Ti Yippee A-Yay.”  Some of the lyrics are a little risqué for 1943. She sings, “He was raised on the local weed, and can he swing now? Yes indeed.”  (Back then ‘weed’ was certainly not legal the way it is today.)  Justin Poindexter lays down a very bluesy guitar solo and Aaron Thurston slaps the drum rhythm into place on the two and the four. I find myself singing along with the “Coma – Ti – Yi – Yi – Yay” part.

A song titled “Call of the Canyon” is a lovely ballad.  Next, “Silver on the Sage” is an arrangement that reminds me of 1960 hitmaker Ben E. King’s tune “Spanish Harlem,” with its Latin tinges and a strong backbeat. A tune called “Jingle Jangle Jingle” gives spotlight to bassist Noah Garabedian and the chord changes reminds me of a song I learned as a child called, “She’ll Be Comin’ Round the Mountain When she Comes.”  If only the band had put some more swing on “Along the Santa Fe Trail.”  With strong shuffle drums and a walking bass, (instead of the two-feel) this song could more easily fit into a jazz vein. The bass does walk during the guitar solo and lifts the arrangement towards the end of this production.

We cannot forget that the great composer, Johnny Mercer penned “I’m an Old Cowhand (From the Rio Grande). Hilary and her band put a mild swing groove into place at a moderate tempo, like a slow horseback ride up a dusty path. You’ll want to sing along with this one.

Here is a unique album, that endeavors to show the impact of jazz on country/western music or vice versa.  For the most part, this is Country/Western and blues music for your listening pleasure.  Hilary Gardner has a voice as smooth as satin. She could certainly sing anything. But on this album release, she and her talented musicians dress each arrangement with believable and honest stories. Some of these tales may remind you of songs that Bing Crosby, Patsy Cline and Dan Hicks used to sing, or tunes from your favorite cowboy movie. This is a fresh idea that reflects another era and blends musical genres.

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KELLY GREEN – “SEEMS” – Green Soul Studios

Kelly Green, piano/vocals/composer/arranger; Luca Soul Rosenfeld, bass; Evan Hyde, drums; Elijah J. Thomas, flute/alto flute/piccolo. SPECIAL GUEST: Rich Perry, tenor saxophone.

For Kelly Green, her album titled “Seems” is meant to be a recorded statement of hope and an optimistic musical manifesto.  She has composed five of the nine songs on this album.  The production opens with a ‘cover’ song called “Down that Road” that features Elijah J. Thomas on flute.  Evan Hyde provides percussive links between musical phrases, showing off his drum skills. When Kelly Green steps into the picture with her dynamic piano solo, she brings modern jazz to the forefront of this arrangement.  On Track #2, Luca Soul Rosenfeld and Green open the song “World of My own” with just bass and vocals for a few bars. Here, Green displays her light soprano voice in stark contrast to Rosenfeld’s deep bass notes.  It is a striking arrangement, but after the first instrumental tune, track #2 takes me by surprise. It’s more pop-jazz influenced than modern jazz and spotlights the light, airy voice of the pianist.

The talented, iconic Babs Gonzalez wrote “Lonely One.”  Once again, Green’s music takes a one-hundred-degree turn. The prolific Gonzalez lends his great lyrics to Kelly Green’s interpretation.

Next, drums introduce Green’s original composition called “Street Cleaning” and sweep us back to a modern jazz genre with horn punches and straight-ahead speed. Green’s piano jumps into the up-tempo piece with both hands racing. Special guest, Rich Perry takes an exploratory tenor saxophone solo, improvising fluidly.  Rosenfeld is prominent throughout on bass. Then comes a blues titled, “By the Way” another original tune penned by Kelly that features a dancing bass solo. It’s a melodic blues that shows us a completely different side of Kelly Green’s piano style, pushed powerfully by the walking bass of Rosenfeld.

Green offers us a multi-faceted creative project that showcases her composing skills and spotlights her diversity on both the piano and vocally. Street release date is March 29, 2024.

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GRACE KELLY WITH STRINGS – “AT THE MOVIES” – Pazz Productions

Grace Kelly, alto, baritone, tenor and soprano saxophone/vocals; Cooper Appelt, upright & electric bass; Eli Bishop, classical Nylon-string guitar/tenor banjo/mandolin & mandolindo; Tamir Hendelman, piano; Adam Bravo, additional synth programming; Jake Reed, drums/percussion; Cory Wong, Shaun Richardson & Pasha Riger, electric guitar; John Schroeder, acoustic & electric guitar; Sean Jones, trumpet; VIOLINS: Eli Bishop, concert master; Steve C. Chiu, Haruka Horil, Camille Miller, Grace Rodgers & Leah Zeger; VIOLAS: Lauren Elizabeth Baba, Eli Bishop, Hailey Walterman; CELLOS: Eli Bishop, Emily Nelson Rogers, Ro Rowan & Simona Vitucci; With Bryan Carter, conductor.

Wynton Marsalis gave his credible stamp of approval when he wrote, “Grace plays with intelligence, wit, and feeling.  She has a great amount of natural ability and the ability to adapt.  That is the hallmark of a first-class jazz musician.”

On the opening tune, Grace Kelly shows us her power on the saxophone and offers us soft, compelling vocals during a tribute to James Bond, creating a medley of music from that popular film series.  Kelly has been in love with movies, movie stars and film soundtracks since childhood.  After all, she was named after the historic American actress, Grace Kelly, who starred in “Dial M for Murder” and “The Country Girl” before exiting Hollywood to marry Prince Ranier III of Monaco.

“Falling in love with Grace Kelly, having her name, playing some incredible music, including the only song she sang in a film.  This is a project I’ve been wanting to do for a long time and I’m really proud of it,” Kelly writes in her press package.

Jake Reed’s drums shine on the arrangement of “He’s a Pirate from the “Pirates of the Caribbean” motion picture.  But when Kelly plays the old standard, “The Way You Look Tonight,” I do hear shades of Charlie Parker on her song arrangement. You can detect how the legendary “Bird” influenced this talented young lady.

Although Grace Kelly has a nice voice, I prefer to enjoy her musicianship on saxophone. She sings on “True Love” and “Moon River,” but it’s her baritone saxophone solo on the “Mission Impossible Theme” that really blows my mind. I enjoyed her vocal rendition of “I Wanna be Like You” from The Jungle Book movie. Kelly is charismatic and charming on stage, as you can witness below, filmed while she was ‘live’ in concert in St. Louis.

This is Grace Kelly’s fifteenth album release in a 20-year recording career. It appears Kelly just gets better with time.       

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THE JAMIE BAUM SEPTET + – “WHAT TIMES ARE THESE” –  Sunnyside Records

Jamie Baum, flutes/spoken word/composer/arranger; Brad Shepik, guitar/singing bowls; Luis Perdomo, piano/fender Rhodes; Ricky Rodriguez, bass/electric bass guitar; Jeff Hirshfield, drums; Jonathan Finlayson, trumpet/spoken word; Sam Sadigursky, alto saxophone/clarinet/bass clarinet; Chris Komer, French horn. GUEST VOCALISTS: Theo Bleckmann, Kokayi, Sara Serpa, Aubrey Johnson.  GUEST PERCUSSIONIST: Keita Ogawa.

A single note pops rhythmically. It repeats over and over again, drawing me into this production, quicksand strong.  When the bass clarinet sings its assertive song, I am already caught up in Baum’s arrangement.  Jamie Baum lightens the mood with her flute solo.  The song is called “In the Light of Day” and it moves from dark tones to hopeful light in the matter of a perhaps sixteen bars.  Jonathan Finlayson also solos on his trumpet, with the horn section in tight harmony and shining behind him, like a sunrise. On Track #2, Jamie’s flute opens the piece and then her spoken word blows prose into my room, like smoke rings or a soft summer breeze.  The title of this album was inspired by Adrienne Rich’s 1995 poem, “What Kinds of Times Are These?”   Jamie Baum addresses this concept in the prose of Marge Piercy as she reads:

“The people I love the best jump into work headfirst, without dallying in the shallows, and swim off with sure strokes; almost out of sight, they seem to become natives of that element, the black sleek heads of seals bouncing like half-submerged balls.  I love people who harness themselves, an ox to a heavy cart, who pull like water buffalo, with massive patience, who strain in the mud and the muck, to move things forward, who do what has to be done, again and again,” Jamie Baum recites.

This album is a blend of thought provoking spoken word, creative original compositions by Baum, and arrangements that pull at the ear of the listener in wonderful ways. She adds vocals and prose, like spices to a stew cauldron. Some of these compositions are experimental jazz, mixed liberally with pops of traditional jazz. Jamie Baum tackles the political turmoil that we earthlings find ourselves locked within, using experimental jazz and the more traditional Straight-ahead jazz to provides moments of great beauty.  The music of Jamie Baum is meant to lift our hopes and spirits.

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EDY FOREY – “CULTURE TODAY” –  So Soul Records

Guilhem Forey, keyboards/piano/Fender Rhodes/composer/synth bass/vocals/miscellaneous BG vocals; Edy Szewy, vocals/lyricist/sampling; Tom Gordon, drums/percussions; Femi Koleoso, Isac Jamba, Jonathan Tuitt & Seiya Osaka, drums;  Leonn Meade, drums/BG vocals;  Adam King, Andrew Robb & Luca Alemanno, double bass; Sharay Reed, Michael League & Dean Mark, electric bass; Carlinhos Percussao, percussions; Manav Sigh, table; Toku, flugelhorn; Alex Hahn & Bob Reynolds, saxophone; Miho Wada & Sarpay Ozcagatay, flute; Dave Frazer, mix; Bob Power, mix/master.

This duo mix of Edy Szewy and Guilhem Forey brings imagination, ingenuity, and improvisation to the forefront like a rainbow.  This is music full of color and creativity, beginning with an introduction by Forey on keyboards, where his solo is embellished by reverb.  There is the hint of an old spiritual song captured during his improvised solo and I sing along, “Nobody knows the trouble I’ve seen.  Nobody knows but Jesus.”

The title tune “Culture Today” is sung by lyricist Edy Szewy and kicks off with a strong hip hop beat.  Her vocal presentation is reminiscent of Erykah Badu, but unique enough to establish her own unique style and tone. A song called “The Fire” solidifies this music as a blend of Hip Hop, contemporary and modern jazz, with Guilhem Forey spotlighted on piano.

Their arrangement and treatment of the jazz standard “Nature Boy” is creative and features a strong percussive presence by Tom Gordon. The composition is completely modernized and is one of the few ‘cover tunes’ on this project.  Most of these songs are original compositions by these two artists.

A tune called “The System” begins with Edy rapping about this world of celebrity-worship, complex with both good and evil doers.  The addition of a saxophone to this production creates a very Straight-ahead jazz feel, with the drums playing a funk beat and percussion brightly flavoring their arrangement.  You can clearly hear how Edy has been influenced by Motown’s rhythm and blues.  By mixing in the Hip Hop culture, this duo embarks on a poetic, urban-jazz debut album.

Based in the UK, the duo enters this competitive business of music with a clear message of peace and love reigning over hate and discord.  I do hear some control issues with Edy’s vocals.  For the benefit of her continued success, I hope she will seek a vocal coach to help her sustain those notes and to control pitch issues.  But the enthusiasm and uniqueness of this duo overshadows these fixable challenges.  Edy Szewy is a strong and blossoming lyricist who knows how to create ‘hooks’ in her music, that invite the listener to repeat and sing along. This is a commercial strong point. 

Her musical partner, Guilhem Forey, was born in Paris and raised in Nantes, France.  He was a child prodigy, displaying a strong interest in music as early as age three. When his grandfather introduced him to American R&B icon, Ray Charles and the music of Eric Clapton, Foley’s classical music study broadened. At age eleven, he began studying jazz piano.  On this project, Foley knows how to make ‘loops’ and establish grooves for Edy’s voice to float atop. Together, they have established an interesting sound. This music exhibits a sense of non-conformity and lyrical protest. The duo has been performing together since their teen years. Between Foley’s mastery of keyboard and commercial composing, paired with Edy’s artistry, lyricism and freedom, this debut album marks the beginning of a musical adventure plush with magical spontaneity, possibility, and promise. 
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JULIA VARI featuring NEGRONI’S TRIO – “SOMOS” – Alternativa Representa

Julia Vari, vocals; Jose Negroni, piano/Musical Director; Nomar Negroni, drums; Rafael Valencia, bass; Nathan Samuelson, trumpet.

Julia Vari is a Mexican American who sings in eight languages: Spanish, English, Portuguese, French, Italian, Hebrew, German and Catalan. On this album, the Negroni Trio accompanies her. They are a Latin Jazz, Grammy nominee themselves as a separate unit.  Julia opens with “La Bikina” sung in Spanish and featuring Nathan Samuelson on trumpet.  Track two is the familiar “Nature Boy” where Julia Vari attempts a scat solo after singing the song down once. She sings with energy and purpose, but often slides to the notes, sometimes falling flat.  Still, the diva has chosen a wide variety of songs on this, her sixth album release, and in her press package the publicist claims her other albums have become quite popular in Latin American countries.  She sings “Song For My Father” in Portuguese, which is a smart idea since I believe this is my first time hearing the lyrics sung in that Brazilian language.  However, there are several pitch problems. On their production of “Siboney” they sound fairly comfortable together.

Julia Vari works regularly in Mexico as a solo artist, singing and playing piano.  On the Mexican song, “Noche de Ronda” I felt that she and the pianist were in different keys.  I wish she had played piano herself on that one, the way she does when she performs in clubs. As a duo, her vocals just didn’t always match what Jose Negroni was playing on the piano.  She sings “C’est Si Bon” with energy and passion, inviting Rafael Valencia to take a bass solo.  I don’t know why Julia Vari thought she should sing over the bass solo.  Unless a soloist can add something amazing to lift another musician’s short time in the spotlight, then the other musician should lay-out.  I think with a proper producer, Vari would have better results.  Sometimes as an artist, you need someone else to oversee your project.  For the most part,  I didn’t think Vari and Negroni’s Trio complemented each other at all.

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JAZZ QUARTETS, QUINTETS & MORE

By Dee Dee McNeil

March 22, 2024

CHARLES McPHERSON – “REVERENCE” – Smoke Sessions Records

Charles McPherson, alto saxophone/composer/arranger; Terell Stafford, trumpet; Jeb Patton, piano; David Wong, bass; Billy Drummond, drums.

Charles McPherson has deep roots buried in my hometown of Detroit, Michigan.  Attending Northwestern High School, he was part of an after-school band that included Lonnie Hillyer (trumpeter), the now historic drummer Roy Brooks, and Motown’s awesome bass player who was a jazz bassist first, James Jamerson.  It was at a local, black-owned jazz club in the Motor City called the Blue Bird Inn and located on Tireman street that young Charles met Barry Harris.  The renowned pianist would become McPherson’s mentor, friend, and father-figure.  I think McPherson’s destiny was pretty much evident at the age of fifteen when he became acquainted with Barry. 

Seventy plus years ago, Charles Mingus invited the fledgling saxophone player, a very young and still innocent Charles McPherson, to join his avant-garde jazz band. What better way to be catapulted into the music he loved? 

On this current album release, you will appreciate the fundamental values and lessons McPherson has learned from his mentors and from life itself.  You will love his ‘swing’ and deep appreciation for melodies, rhythmic adventures, and harmonic creativity.  I can always count on McPherson’s music to be soaked in the blues.  For example, on his arrangement of “Come Rain of Come Shine,” where his horn puts so much soulful blues into the presentation, I am tempted to cry.  That’s the thing you hear, feel, find in the elders who play this music.  It’s their honesty and vulnerability that touches the listener’s soul.  Recently, Samara Joy brought her lovely vocals to McPherson’s stage at the Smoke Jazz & Super Club in New York City.

McPherson’s album’s opening tune, “Surge” is dedicated to Barry Harris, who passed away in 2021 at the well-lived age of ninety-one. McPherson says of his mentor:

“Barry established a real foundation for me on a technical level, harmony, theory, rhythm … but stressed the importance of being melodic with harmony.  He also stressed the art, as well as craft.  Inspiration and intellect holding hands.  Head and Heart!”  McPherson summarizes his lessons learned from the great pianist.

“Surge” is all of those things and more.  It swings like a grandfather clock’s steady pendulum, driven by the awesome drums of Billy Drummond.  Jeb Patton steps forward with a blues-laced piano solo that locks in with David Wong’s walking bass.  The harmony created by Terell Stafford’s trumpet and McPherson’s alto sax sings the melody. It sticks like sweet chewing gum in my brain.  All the pieces are there and in place, as we hear the puzzle come together.  A waltz follows, another McPherson original. This tune is dedicated to his trumpet friend from high school, Lonnie Hillyer.  “Blues for Lonnie in Three” waltzes across my listening room in a very freely improvised way.

McPherson may be in his eighth decade on this earth, but he has lost no creativity, determination, or command along the way.  His full potential is on display during this production.  I am caught up in the synergy between these explosive musicians.  Every song brings joy and excitement that fills my heart and home. This album will be released April 26, 2024.

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TROY ROBERTS – “GREEN LIGHTS” – Toy Robot Music

Troy Roberts, tenor saxophone; Paul Bollenback, guitar; John Patitucci, acoustic bass; Jimmy MacBride, drums.

When jazz musicians get together musically, as peers and friends, the result is usually warm and exciting.  That’s how I would describe this 16^th record release from Troy Roberts, an Australian immigrant who has settled down in NYC.  As a two-time GRAMMY nominated saxophonist, his reputation has placed him among the A-list of tenor players around New York. He’s a studio session First-Call saxophonist who can play just about anything. Some of the impressive name artists he has performed with range from the late Joey DeFrancesco to the iconic Van Morrison and the awesome Jeff ‘Tain’ Watts.  I just reviewed him on an album with Pat Bianchi as part of his trio.

On this project, Robert’s has assembled some friends to interpret his original compositions.  They open with “Green Lights,” the title tune. It’s a warm, moderate tempo funk tune pushed steadily ahead by the drum sticks of Jimmy MacBride and sung by the guitar mastery of Paul Bollenback. Five minutes into the tune, John Patitucci steps stage center to take an acoustic bass solo.  Roberts shares the spotlight with his quartet members, but when he does step out front, his tenor saxophone is rich, warm and sweet as honey. 

For Troy Roberts, the color green represents tranquility, nature, positivity, but also decay, rot, greed and envy. The two sides of the coin, so to speak.  He invites listeners to explore these themes when they listen to his music.

On track #2, you hear more of  the Roberts’ horn style when he delivers his tune, “The Question.”    The quartet blasts into another atmosphere when MacBride’s swinging drumsticks smash the up-tempo tune “Solar Panels” into my listening room.  Patitucci’s fingers march across his acoustic bass with speed and precision, while Troy Roberts blows energy, melody and fluid improvisation from the bell of his horn.  On a tune called “Harry Brown” the introduction sounds ethereal and spacey, like floating through a starry sky.  It also sounds a little ominous, like the beginning of a mystery movie, thanks to the bass work of Patitucci.  Soon, however, it moves into a blues-fueled shuffle that’s arranged quite contemporarily. Roberts’ saxophone work paints the color green all over this tune, braiding traditional jazz roots into his contemporary jazz arrangement.  Roberts’ tenor saxophone sounds absolutely beautiful on his composition, “The Scotsman’s ballad.”  The quartet blasts straight-ahead on “Stretch Armstrong” with Bollenback leading the way on guitar. When the arrangement features Roberts, they really hit their stride.  Troy Roberts lets go of all inhibitions on this project, and his tenor saxophone shines. MacBride is given a platform to showcase his drum skills, sending this project out with a percussive bang. This album will be released May 10, 2024.            

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BRAD TURNER QUINTET – “THE MAGNIFICENT” – Cellar Music Group

Brad Turner, piano/trumpet; Peter Bernstein, guitar; Neil Swainson, bass; Quincy Davis, drums; Cory Weeds, tenor saxophone.

The trumpet of Brad Turner sounds like a soulmate to the guitar of Peter Bernstein.  They have a sweet instrumental merger on this original tune by Turner called “You’re Ok.”  It ambles onto the scene of my listening room and slow swings across space. Neil Swainson introduces himself to us on his bass instrument, walking along at a moderate tempo and improvising during a tasty solo.  The tune, “Barney’s Castle” follows at a speedy pace, with Turner and tenor saxophonist, Cory Weeds singing the melody in unison, until the last note of each phrase where they break into one-note harmony.  When Weeds steps into the spotlight, it’s with tenor saxophone brilliance flying like colorful confetti out of his horn. This song is a celebration of Straight-ahead jazz, with Turner’s trumpet leading the way. Bernstein takes several bars to showcase his solo creativity on guitar.  I am caught up in this tune and captivated by each solo, including the excitement that Quincy Davis brings to the project on trap drums.  His solo is outstanding. Brad Turner has been at the forefront of the Canadian jazz scene for over two decades, releasing a steady stream of exceptional jazz recordings as a leader with this quintet, with a quartet, as a trio and as part of his acclaimed ensemble, “Metalwood.”  When this quintet slips into “Slapped My Mind” I am enthusiastic about the swing-groove and the blues-base.  On a song called “Virtue Signals” Brad Turner sits down at the 88-keys and plays piano to introduce us to his composition. I like it best when they swing, and that they do that on the title tune, “The Magnificent.” They fly on “Rosemary” like hungry seagulls diving for fish. They soar, play with energy, circle with excitement, and swoop with precision.

Every tune on this album is beautifully played and well-written. Brad Turner is a respectable composer, letting his bandmates explore each tune, to competently lend their talents and imaginative improvisations to this recording. It’s a joy listening to them.

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CHRIS ROTTMAYER – “BEING” – Shifting Paradigm Records

Chris Rottmayer, piano; Rufus Reid, acoustic bass; Matt Endres, drums; Russ Johnson, trumpet/flugelhorn.

This is pianist Chris Rottmayer’s fourth album release. He calls Madison, Wisconsin home, where Chris is a prolific composer, a jazz artist and a jazz educator. This current album is the result of studying the work of jazz pianist, Mulgrew Miller.

“The music on this album is a mix of compositions from my doctoral dissertation at the University of Wisconsin-Madison and my master’s degree work at the University of South Florida.  They are creative works born from examining Mulgrew Miller’s Playing with the Woody Shaw Quintet.  I spent time transcribing Miller and trying to digest his and Woody’s harmonic language,” Rottmayer explains.

I am intrigued from the very first tune titled, “On the Street Where Woody Lives.”   I am hooked on the energy and the compositional creativity of Rottmayer.  This is my kind of jazz.  It swings and breathes straight-ahead beauty with the contributions of the iconic Rufus Reid on acoustic bass and the sweet power of Russ Johnson on trumpet and flugelhorn.  “Re-United” is another great tune that brightly features the horn of Russ Johnson.  When Chris Rottmayer enters, he lifts the tune with his own improvisational piano solo.  Then comes Rufus Reid stepping into the spotlight and glowing. He’s an obvious master of his bass instrument, followed by a solo from Matt Endres on trap drums.  On this arrangement we meet the whole gang. 

“Pigalle” is an area in Paris not far from a place I used to live called the Hotel Ventamille. Years ago, it was a red-light district and featured an assortment of interesting characters strolling the narrow Parisienne streets.  Rottmayer plays this one as a ballad and it’s quite beautiful, with a sexy, emotional bass solo that tears at the heartstrings.  There is a tenderness to this project that drips from this recording like molasses from a tree trunk. 

“I was able to connect with Rufus Reid.  Reid collaborated often with Mulgrew Miller, and recording with Reid has helped me to connect with Miller on a level deeper than I could through listening to recordings or through personal study,” Rottmayer praises his legendary bass player and former colleague of Mulgrew Miller.

Rottmayer includes a tribute to Paris, France with five songs named after famous places in that European city, including “Rue des Lombards” that is one of the most famous streets for jazz music in Paris and a tribute to the chaotic nature of one of Paris’s busiest train stations titled “Chatelet.”

Many of Rottmayer’s tunes are inspired by Miller’s musical language while he was working with Woody Shaw.  For example, the tune “Re-United” takes the Wayne Shorter tune “United” that was famously arranged by Shaw and Miller, then changes it to 4/4 time and adds a new melody with a few formal elements borrowed from the Shaw arrangement.  “Autumn Evening” is another lovely ballad that explores more of Miller and Shaw’s modal and harmonic concepts, perhaps pulling from the Miller composition, “Song of Modes.” 

This is a tribute to the brilliance of Mulgrew Miller and Woody Shaw that spotlights both the piano and composer talents of artist, Chris Rottmayer.

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DAVID LARSEN – “COHESION” – Dayolo Music

David Larsen, baritone saxophone/composer; Zaccai Curtis, piano; Alex Apollo, bass; Wayne Smith Jr., drums; Darryl Yokley, tenor saxophone/composer.

The tight harmonies of David Larsen on baritone saxophone and Darryl Yokley on tenor saxophone opens the first tune on this album and capture my attention. Larsen and Yokley are the composers of these eight tracks.  Six were written by David Larsen and two by Yokley.  This composition is titled “Cohesion,” the album title.  Certainly, this tune unites and introduces the band, presenting a united whole. It’s based on two modes played at once. In music language, that means the first chord defines the tonal center, while the melody is based on a similar mode a perfect fifth away.   But it’s the second track titled “Down To It” that’s bebop personified. It reminds me of jazz from the 1960s. The tempo races and Alex Apollo steps out with an extraordinary bass solo. Larsen and Curtis lock horns and sing the melody harmonically.  Their melody makes me want to sing along.  This is a great song written by Larsen who steps forward on baritone saxophone to fire out his solo.  Darryl Yokely follows, also empowering his tenor instrument to do his bidding and spreading his joy.  Zaccai Curtis is notably dynamic on piano.

This quintet knows how to set a groove and swing an arrangement. Larsen is an artist based in Spokane, Washington who has performed and/or recorded with numerous artists including Ken Peplowski, Bill Mays, Delbert Anderson, Francisco Torris, the Spokane Symphony orchestra and jazz vocalist Halle Loren, to name only a few.  I love Larsen’s song, “Fedchock.”  When David Larsen steps forward to offer his baritone saxophone solo, I startled my household by shouting out “Yeah” during his soulful solo. There’s nothing I like better than a great baritone player.  This song sounds like a jazz standard.

When David heard these East Coast musicians play, Larsen knew he had to record with them. The baritone master was happy to include two original pieces by Yokley because he said,

“They reminded me of the great Wayne Shorter and John Coltrane compositions.  They are a great challenge to play over, but well worth it!”  

When this composer and baritone sax man met Yokley, Curtis, Apollo, and Smith during a countrywide tour they were making, he knew he wanted to record with them. He was sure they were the perfect group to interpret his original compositions. David Larsen brought the group out to work with students at Spokane Falls Community College and to appear as guests for their local jazz workshop.  During that invitation, Larsen asked if they would like to go into the studio to record this album. What a blessing that they said, yes!

“This project was a great stretch for me as a player and composer, but it has been an absolute joy to put together, and I hope you enjoy listening to it as much as I enjoyed making it,” David Larsen summed up this production.   

It was also a joy to listen to David Larsen’s music, his compositions and performance skills.  The addition of these East Coast musicians is both successful and gratuitous.

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ONE FOR ALL featuring GEORGE COLEMAN – “BIG GEORGE” – Smoke Sessions Records

Jim Rotondi, trumpet/composer; Eric Alexander, alto & tenor saxophone/composer; Steve Davis, trombone/composer; David Hazeltine, piano/Fender Rhodes/composer; John Webber, bass; Joe Farnsworth, drums. SPECIAL GUEST: George Coleman, tenor saxophone.

Since their inception, in 1997, I have been a big fan of “One for All” with their very hip, very smooth, very brilliant bebop sound.  Each of these musical members carries a wealth of history and awards on their shoulders. Each is a participant of “One for All.” They are educators, session players, composers, and busy, working musicians. So, you can imagine that makes getting together for an album a huge challenge.  It’s been seven years between this album and their former release, “The Third Decade.”

This time, an added bonus is the blessed appearance of reed master, George Coleman.  He comes walking into the spotlight on track #4, during a tune written by Jim Rotondi called “Oscar Winner.”  His appearance jolts the energy upward fifty percent, and the guys were already smokin’ hot! 

On the song, “Oscar Winner,” after George Coleman solos, Steve Davis brings his trombone to the party and settles in to woo us with his smooth trombone sound. Then the horns begin to harmonize in a chant-like harmony and the tension builds.  The tune explodes with a number of solo’s that are both innovative and fresh. Each one tantalizes, like hot baked rolls out the oven dripping with butter.  This is the jazz I love. Delicious jazz.  Eight minutes of pure joy! When they step back from that swinging arrangement and feature George Coleman on their absolutely beautiful rendition of “My Foolish Heart,” these musicians spray my listening room with hearts and love notes; tones and improvisations that paint an old standard new in unexpected ways. 

I love their take on Hank Mobley’s composition, “This I Dig of You” (once again featuring George Coleman).  At the respectable age of 87, George Coleman hasn’t lost his adventurist spirit or iconic talent.  He is still a force to be reckoned with.  Hazeltine’s piano solo rises to the occasion after Coleman sets the studio on fire.  Joe Farnsworth slaps his drumsticks into a power-packed solo excursion, while the horns dance, shiny as fireflies glowing in a powerful creative light.  John Webber gets the last word on bass, like an exclamation mark.  Then Webber marches into the next tune, swinging strongly on the Steve Davis original, “Cove Island Breeze” with his bass walking briskly, and arms tightly linked with the Farnsworth drummer. 

“Our favorite quickly became Cove Island because it’s a very beautiful piece so close to home.  The tune has that same kind of wistful, breezy swing,” Davis shard in the liner notes.

One of this writer’s favorite jazz standards is the sensuous ballad, “The Nearness of You.”  All For One plays it like a sincere and honest love letter. The Davis trombone sings it, smooth and mellow, while Jim Rotondi brings his big, bright trumpet sound into the picture with gusto. Eric Alexander pulls the blues into the arrangement on his saxophone, flying into the solo space like a wild bird, singing “Heaven please save, all mankind” briefly, like a love whisper in my ear.  I had to play this track twice.

The unique thing about this recording is that the musicians all walked into the studio and played a lot of these original compositions without rehearsal of any kind.  They flew by the seat of their souls, so to speak.  The result is some fresh and innovative improvisation on tunes like the opening composition by Eric Alexander, “Chainsaw” (that plays like a jazz standard), with the commanding drums of Joe Farnsworth pushing the group ahead forcefully.  Alexander’s improvising soars above the busy bass of John Webber.  David Hazeltine’s tune, “In the Lead” showcases the pianist but also brightly spotlights Rotondi’s potent trumpet. Davis’s trombone, and the smart harmonics the three horns create highlight a smart arrangement.

You have to be a master to walk into a studio, pick up the music charts, and in the midst of a room full of legends, deliver.  Now I have them with me in my listening room and their music is absolutely thrilling, swinging and all-encompassing!  This is an historic and well-produced album to add to any collection.

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THE TUCKER BROTHERS – “LIVE AT CHATTERBOX” –  Midwest Crush Music

Joel Tucker, guitar; Nick Tucker, bass; Carrington Clinton, drums. Sean Imboden, tenor saxophone.

This quartet opens with a unique take on the familiar tune, “Skylark.”  They play it in sort of a Reggae style, beginning with Joel Tucker setting the mood and tempo (7/4) with his electric guitar.  Joel and his brother Nick are important jazz forces on the Indianapolis jazz scene.  You will hear them in this intimate, ‘live’ setting of the Chatterbox Club, each quartet member taking a solo to introduce themselves to the receptive audience.  Joel Tucker has composed the next song titled “Shakshuka.”  It races ahead, saddled by Straight-ahead and driven by Carrington Clinton’s drums like a whip on a stallion’s flank. Sean Imboden is given free rein as he improvises on his tenor saxophone.  The quartet has a tight, well-executed sound, like old friends who know each other very well.  They share musical secrets and conversations with no compunction.

Joel Tucker graduated from Indiana University in 2012 and then relocated to Indianapolis where he plays with a wide variety of bands, moving from jazz to Hip hop, from Latin music to rock.  He was featured at the Indy Jazz Fest tribute to Wes Montgomery along with iconic players like Pat Martino, Peter Bernstein, Bobby Brown and Russell Malone, and he has been a featured soloist at the Montreux Jazz Festival. The bassist, Nick Tucker also stays busy.  When not playing with his brother, Joel, he takes the stage with Bobby Watson, Randy Brecker, Alan Pasqua, Rich Perry and Stefon Harris, just to name a few.  He and his brother first formed The Tucker Brothers group in 2015.  They’ve been going strong ever since, releasing an album called “Nine is the Magic Number first and that was followed by “Writing Prompt” and another called, “Two Parts.” 

As they speed through jazz standards like “Caravan” and other songs we recognize like “You and the Night and the Music” you will enjoy their unique take on each arrangement.  They also share their own composer talents with Nick contributing “Mantra” to the mix.  It reminds me a little bit of an old Negro Spiritual my church used to sing: “Were you there when they crucified my Lord,” but it veers off into its own unique melody.  I bet this song would sound great as a jazz waltz. Joel has written two more tunes, “Away” and another titled “Rhythm Changed.”  All in all, here is a group of mid-western musicians who are making their own magic, pulling musical surprises from their instruments, and clearly entertaining their captivated audience.

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MARLON SIMON AND THE NAGUAL SPIRITS – “ON DIFFERENT PATHS” – Truth Revolution Recording Collective

Marlon Simon, drums/percussion/composer/Musical Director; Edward Simon, piano/Assistant Musical Director; Boris Koslov, bass; Roberto Quintero, congas/percussion; Michael Simon, trumpet; Peter Brainin, tenor & soprano saxophone; Alex Norris, trumpet/flugelhorn; Kevin Newton, French horn; Monica Ellis, bassoon; Rhumer Mora, Bongos.

Marlon Simon brings us an album that combines Latin American rhythms, European classical music, the Latin jazz tradition, and chamber jazz.  You might say he treats each composition like a short story, some with unexpected resolutions. Opening with his composition titled, “Searching” the percussive members of his ensemble take stage center, setting the mood and the tempo. This short tune seems to be a preface of prelude for the title track, “On Different Paths.”

“On Different Paths is probably the most ambition tune on the record,” Simon is quoted in the liner notes.

This song includes rhythmic experimentation, using a ceremonial rhythm pulled from the Afro-Cuban religion and representing an orisha (a deity) by the name of Elegguá. This rhythm is mixed with Roberto Quintero playing Lalubanche figures on his congas.  This almost sounds like a mild Samba on the bass drum, but with the feel of a joropo on the snare drum. The horn harmonies soften the groove and add that hint of chamber music to the production. The tune “Walking” (that sounds much more like someone running), follows the title tune.  It features Venezuelan rhythms and a merengue groove.  Peter Brainin dances atop the rhythm section, slapping a straight-ahead feel into place on his saxophone. Track #5 is one of my favorites on this album.  It’s joyful and titled “Straight Ahead” although it is quite Latin and not at all bebop.  Boris Koslov’s bass introduces us to “Pa,” a tribute song to the father of the Simon brothers. Another tribute song follows that is meant to honor both their parents, Hadsy Simon and his wife Daisy Morillo titled “Un Canto Llanero.”  Perhaps Marlon Simon summed this project up the best.

“Music has been an unconditional companion throughout my entire life.  It has been there in the happiest and saddest time.  It’s been there to let me know where I am and where I need to be in my evolution as a human being.  It was time to take a different path, explore, and do something I hadn’t done before.  So, for this recording, I had to develop as a composer.  When you work on something, you have no preconceptions. What comes out is really you.”

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CURTIS TAYLOR – “TAYLOR MADE” –  Curtis Taylor Music

Curtis Taylor, trumpet/composer; Theron Brown, piano; Jonathon Muir-Cotton, acoustic& electric bass; Alex White, drums; David Castañeda, percussion; Marcus Elliot, tenor saxophone.

Curtis Taylor comes blasting onto the scene with a tune he calls, “Kham’s Dilemma,” composed as a tribute to his son Khamari who was born in 2018.  Theron Brown is powerful on this tune during his piano solo. Taylor explains how he composed the second track.

“After the Rain is a happy, upbeat tune.  I wrote this song during a visit to my mother’s house.  I sat at the piano and this melody started to come to me while it was raining. I was having trouble coming up with the bridge of the song, which I finally finished right after the rain ended.  So, I decided to call the song After the Rain.”

In 2010, on Gregory Porter’s initial album, (“Water”) Taylor received an unexpected call from record producer, Kamau Kenyatta.  Kamau had heard the trumpeter play in Detroit at a jam session.  He remembered him and was impressed enough to contact him to come play on Gregory Porter’s debut recording session. Curtis Taylor jumped on a plane, arrived in California, and made that happen. He is also pictured in a brief part of the “Don’t Forget Your Music” documentary about the Grammy-winning vocalist, Gregory Porter.

On track #3 of “Taylor Made,” it’s straight-ahead all the way.  The band leaps into an up-tempo mode, speeding across my listening room like meteor showers.  Taylor says he wrote this jazz tune as an effort to describe ‘nervous energy.’  The representation is clearly there, buried inside that spirited tune. The band trades fours with drummer Alex White on “Heightened Awareness.”  Alex shows off his excellent chops at the song’s ending, during his solo, but he’s also powerful throughout. Marcus Elliot opens the arrangement on tenor saxophone.  Then, trumpeter Curtis Taylor bathes in the spotlight, playing like his life depends on it. The arrangement was so good, I played this tune twice.  It became one of my favorites.  I think the mix on this song is exceptionally clean. Taylor’s music is invigorating. 

A song Curtis titled “For Her” slows the groove down to a ballad with a pretty melody.  In liner notes, Taylor says the songs remind him of a dancer he once knew. 

Curtis Taylor is a native of Ohio and brings that driving mid-western energy to this project.  He lived for a while in California and enjoyed the weather. Taylor became a guest lecturer at Cal State San Marcos.  In 2021, he moved back to the Midwest to accept a position with the University of Iowa’s Jazz Department.  Taylor maintains a very busy touring schedule to promote his new album, along with teaching at The School of Music in University of Iowa’s music department. This impressive album will be released to the public on April 12, 2024, available at Bandcamp, Curtistaylor.net, and all streaming platforms.

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BIG BEAUTIFUL BOISTEROUS JAZZ BANDS

By Dee Dee McNeil

March 15, 2024

NIKOS CHATZITSAKOS – “TINY BIG BAND 2” –  Independent Label

Nikos Chatzitsakos, double bass/arranger/bandleader; Wilfie Williams, piano; Samuël Bolduc, drums; Gabriel Nekrutman, baritone saxophone; Art Baden, tenor saxophone; Salim Charvet, alto saxophone; Robert Mac Vega Dowda, cornet; Joey Curreri, trumpet/flugelhorn; Armando Vergara, trombone; Alexandria DeWalt & Eleni Ermina Sofou, vocals.

The band hits their stride on track #3, “Fly Little Bird Fly” a Donald Byrd composition.  Wilfie Williams takes off in flight on the 88-keys, with fingers on the piano showcasing the fluttering wings of a bird. Salim takes a wild improvisational solo on alto saxophone, followed by Joey Curreri on trumpet. The horns step aside to let drummer Samuel Bolduc soak up the spotlight during a brief but inspired solo.

“Where or When” is sung by Eleni Ermina Sofou.  She has a smooth, pleasant delivery, but she doesn’t really ‘swing,’ which is something you must feel in your gut and cannot always be taught. However, the band swings this one with strong determination. I enjoyed the horn section with that baritone saxophone building a strong basement for them to stand upon. I think I would have over-dubbed the very end where the saxophone solo fade could have been stronger. 

The other vocalist on this project, Alexandria DeWalt, swings “I Didn’t Know What Time It Was” with her Blossom Dearie voice and style.  One of the blessings of being a stylist is that you have a sound easily recognizable and different from the rest of the singers on the set. DeWalt accomplishes this.  Joey Curreri takes a trumpet solo egged on by Bolduc’s brisk drumsticks. It was nice to hear Gabriel Nekrutman’s baritone saxophone also take a solo and those background horns were swinging so hard, they put fire to his feet.

The band slows the tempo on the Duke Pearson tune, “You Know I Care” featuring bandleader Nikos Chatzitsakos on his upright bass. During his arrangement, Chatzitsakos applies a ‘slide’ technique with the horn harmonics.  Armando Bergara’s trombone solo is quite beautiful.  On track #7, the familiar “Windmills of Your Mind” is a perfect tune to showcase the lovely voice of Eleni Ermina Sofou.  Art Baden adds his tenor saxophone solo to the mix. I thought the horn harmonies arranged during Sofou’s sweet delivery were a little overbearing.  Still, she held her own, strong in presenting the melody and unobstructed by the arrangement that leaned towards the Avant-garde. I didn’t mind that emotional arrangement of dissonance after she sang, but during her solo presentation, I think she deserved the same respect given to other horn soloists who step out front.  Perhaps just a nudge in the mix room could have lifted her voice above the fray. 

Nikos Chatzitsakos brings us a small group that sounds as plush and well-rounded as a big band.  He has creatively arranged these familiar standard songs, with a taste of the Avant-garde and a sprinkle of contemporary jazz to refresh the old standards.  His musicians bring zest, youth, and personality to the project.  

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RICHARD NELSON & MAKROKOSMOS ORCHESTRA  – “DISSOLVE” –

Richard Nelson, conductor/guitar/composer; Rex Benincasa, percussion; Scott Neumann, drums; Rob Garcia, drums on “Float;” Ken Filiano, bass; Matt Pavolka bass on “Float;” Arco Sandoval, keyboards/sound design; Rick Basser, keyboard,“ on Float;” Peter H. Bloom, flutes; Adam Kolker, tenor saxophone/clarinet; Tim O’Dell, alto & soprano saxophones; Alan Brady, bass clarinet; Marshall Sealy, French horn; John Carlson & Jacob Yarmus, trumpet; David Chamberlain, euphonium; Dale Turk, bass trombone.

The Makrokosmos Orchestra is a fifteen-piece ensemble under the direction of Richard Nelson that’s rooted in contemporary creative music.  Along with sax man, Tim O’Dell, who is co-leader of this organization, the orchestra performs Nelson’s original music with both modern jazz and contemporary classical music influences.  For this project, Nelson has written a three-part suite.

“Whether in Maine or New York, I’m always looking for players who are both top level improvisers, and creative agents.  In my creative work I’ve cultivated a merging of elements and impulses from contemporary classical composition and the jazz heritage, and this group has become a key outlet for cultivating that aesthetic,” Nelson explains in his press package. 

Opening with the title tune, “Dissolve” I experience fifteen plus minutes of ethereal music that employs various tempos, instruments and moods that fluidly flow into each other in sometimes surprising ways.  Nine minutes in, a bluesy tenor saxophone takes center stage, played by Adam Kolker, while a more contemporary jazz piano plunks away in the background provided by Arco Sandoval.  The horns mimic a train whistle blasting into view, inviting us on a journey of unexpected starts and stops, melodic destinations and percussive excitement. 14-minutes into the piece, it takes a turn of direction, growling beneath a busy woodwind dance. That soon gives way to a flute in the distance, completing that journey of sound and harmony. 

The second part of the suite, the “Float” composition introduces us to bassist Matt Pavolka and Keyboard player, Rick Basser.  The rest of the ensemble remains the same as they sing a rubato song at the introduction, letting a very lovely saxophone solo draw me into the arrangement.  Tim O’Dell weaves his soprano saxophone magic at the top of this tune. The tension builds and builds, finally exploding in the arms of Rob Garcia on drums.  Unexpectedly, darkness soaks up the light during this arrangement.  Then, Richard Nelson appears with his electric guitar to guide us into another brighter dimension. 

There seems to be plateaus of music, piled upon one another, with each one opening us up to another level of this ever-expanding arrangement.  It’s dramatic.  The final piece of this suite is titled, “Cohere.”  To Cohere is to be united and to form a whole.  Perhaps that title and the project itself finds conclusion and summary in the simplicity of the word ‘Cohere.’   Arco Sandoval is back at the electric keyboard, speaking to us with a black and white key conversation.  This is followed by a rhythmic battle of drums and percussion that offer me a moderate groove to tap my toes to.  Although these compositions are complex, and in some ways quite brilliant, I do miss the ‘swing’ element.  This music leans heavily to the classical side and sometimes I just want to feel jazz deep-down in my bones and not just listen to challenging arrangements played from the carefully written page of dancing notes.

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DOUG MACDONALD – “SEXTET SESSION” –  Dmac Music

Doug MacDonald, guitar; Josh Nelson, piano; Mike Gurrola, bass; Charles Ruggiero, drums; Doug Webb, tenor saxophone; Aaron Janik, trumpet.

Guitarist and composer, Doug MacDonald leads an all-star sextet of Southern California based musicians.  Although he has headed many types of jazz ensembles, and boasts twenty-six record releases as a bandleader, this is his first project working with a somewhat more modern jazz combo.  MacDonald has teamed with tenor saxophone giant, Doug Webb, and the inventive and in-demand pianist, Josh Nelson.  During this recording, Doug is playing a spanking, brand-new Fender Telecaster guitar. 

MacDonald has composed five of the eight songs on this “Sextet Session” album.  They open with his composition called, “Desert Blues.”   It swings at a moderate tempo as Doug MacDonald steps center stage and serenades us on guitar. The next musician to step into my listening room is Doug Webb.  Webb plays a soulful solo on his tenor sax tinged with the blues.  Josh Nelson has a feathery light touch on the piano and offers an inspired solo.  Another original tune by MacDonald is the third track, “Gee’s Flat” that offers a catchy melody and invites Mike Gurrola to step forward and take an impressive upright bass solo.  On the familiar standard, “You’ve Changed” MacDonald’s guitar solo double-times the ballad and skips over the pretty melody, letting his guitar strings tell the sad story in MacDonald’s own creative way.  On the tune “At” MacDonald steps from traditional jazz to a more contemporary path, with the drums of Charles Ruggiero laying down a funk beat.  Doug Webb enters on his tenor saxophone, offering an unapologetic Straight-ahead improvised solo over the funky beat. I love it!  Aaron Janik brings his trumpet to the party.  However, I’m more comfortable when they return to the Straight-ahead groove on “Try Ads.”  Once again, Doug Webb is a star on tenor saxophone.  I’m also impressed with MacDonald’s composition, “Si Minor” that gives Josh Nelson an opportunity to stretch-out and explore the entire 88-keys on his piano.  Nelson is quite inspirational and always creative. This song gave spotlight to Doug Webb and bassist Gurrola. MacDonald’s original song is one of my favorites on this album. They also give Charles Ruggiero time to shine on his trap drums.

MacDonald cut his guitar teeth working with jazz and blues greats like Ray Charles, Buddy Rich, Jack Sheldon, Lorez Alexandria, the Clayton-Hamilton Jazz Orchestra, and many others.  This album showcases his composer and arranging skills.  The all-star band he’s contracted infuses his musical ideas with professional excellence and excitement.

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ANDREW KRASILNIKOV – “BLOODY BELLY COMB JELLY” – Rainy Days Records

Andrew Krasilnikov, soprano & C-melody saxophones/composer/arranger; Alexey Bekker, piano/Fender Rhodes/composer; Nikolay Zatolochny, upright bass; Mikhail Fotchenkov, drums; Ilya Dvoretsky, flute/piccolo/also flute; Anton Zaletaev, flute; Roman Sokolov, alto flute; Oleg Gremov & Aleksandr Yasykov, clarinet; Sergey Nankin, bass clarinet/clarinet; Sergey Ponomarev, flugelhorn/trumpet; Salman Abuev, flugelhorn; Sergey Gimazetdinov, trombone; Anton Gimazeldinov, tuba/bass trombone; Lev Slepner, marimba.

After coming to America as a music student and graduating from Berklee College of Music, Andrew Krasilnikov knocked around NYC, working, performing, and gathering knowledge from the music elders.  In 2011, he returned to his home in Russia.  He took with him a deep love of big band arranging, composing, and a dream to produce an orchestrated band of his talented countrymen. This album is the fruition of that dream.  Late last year, this album was released to rave reviews.

The ensemble opens with “Nekotorost,” an original composition by Krasilnikov. The Cambridge Dictionary translates this word to mean bargain, concern, take off and admit. That left me confused, but there is nothing confusing about this beautiful piece of music.  Beginning with Alexey Bekker’s tentative electric piano introduction, they add Andrew’s saxophone floating the lovely melody on top. These two are soon joined (a few bars in) by double bassist, Nikolay Zatolochny. The three musicians set the mood and tempo. When the horn ensemble struts in with harmonic power and strength, clearly this song establishes Andrew Krasilnikov as a formidable composer. The melody is haunting and beautiful.  This reedman, arranger and composer has a way of changing the moods of these songs by dropping the plush orchestration to a whisper in the background, or completely eliminating the big-band sound to feature various talented bandmates on an individual basis. In this way, he channels his passion for arranging, purposefully leaving room for the personalities of his musicians to be explored during their solos.  His musical peers do not disappoint. You hear this on “Ariadna’s Thread” when he features bass man Zatolochny opening Andrew’s original song. Next, they hand the baton to Bekker, who takes a memorable piano solo during this arrangement. The tune “Ricochet” is rooted in the blues and Krasilnikov is masterful on saxophone. On a tune he calls, “Odnako” Krasilnikov entertains me with Straight-ahead bliss.  This one was written by pianist, Bekker and spurred ahead by the determined walking bass of Zatolochny, and powerhouse drummer, Mikhail Fochenkov. Mikhail is also featured brightly on Bekker’s contemporary composition “Buratino.” 

This album is a testament to the fact that jazz inspires people all over the world.  It is music that demands freedom of expression. Andrew Krasilnikov, along with his big band, exemplify creativity, instrument mastery, and excitement on this debut recording.

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MARSHALL GILKES AND THE WDR BIG BAND  – “LIFESONGS” – Alternate Side Records

Marshall Gilkes, composer/arranger/trombone/conductor; Hans Dekker, drums; John Goldsby, bass; Billy Test, piano; Sabeth Perez, vocals; Johan Harlen, alto & soprano saxophones/ flute/clarinet; Pascal Bartoszak, alto saxophone/flute/clarinet; Ben Fitzpatrick & Paul Heller, tenor saxophone/clarinet; Jens Neufang, baritone saxophone/bass clarinet; Andy Haderer, trumpet/piccolo trumpet/flugelhorn;  Wim Both, Rob Bruynen, & Ruud Breuls, trumpet/ flugelhorn; Ludwig Nuss, Raphael Klemm, Andy Hunter & Peter Hedrich, trombone.

Beginning with the very first cut on this production, “Fresh Start” the usually blustering big band sound of the WDR band surprises me.  They introduce a smooth jazz sounding production with big band overtones featuring trombonist, Marshall Gilkes.  The first taste of traditional jazz came when Billy Test offered us his stellar piano solo on Track #2, “Back in the Groove.”  Outstanding!

“My Unanswered Prayer” is a pretty ballad that showcases Marshall Gilkes’ warm tone on the trombone. Gilkes has composed seven songs of the nine offered.  One of the songs he did not compose is “All the Pretty Little Horses” that features vocalist Sabeth Perez, who has a voice like a horn. She colors the tune, painting the melody into my brain like a soft, warm brush.

“Sin Filtro” is an original song and arrangement by Gilkes. It has a Spanish flair that reminds me of bull rings in Spain. Those rings seated sixty thousand people and you could feel the excitement and the tension in the arena. Gilkes writes that energy into this composition, using the horns to create the mood, with his trombone solo tonally and technically impressive. This arrangement moves like a suite of music extending over nine minutes long. “This Nearly Was Mine” is quite beautiful and the final composition, “Sugar Rush” returns the WDR Big Band to the sound and texture of their performances that I remember.  These arrangements brings fire to the bandstand and feature drummer, Hans Dekker, propelling the band ahead like an engine.

Marshall Gilkes often returns to the city of Cologne. It’s like a second home. The trombonist spent four years in that cultural hub, situated beside the Rhine River.  He made his mark playing in the WDR Big Band’s brass section. That changed in December of 2013, when he returned to America.  However, this celebrated, world renowned German Big Band still keeps in close musical contact with Gilkes. They recorded their first album together with Gilkes as bandleader.  That album was called “Koln” and became Grammy nominated in two categories.  It introduced Gilkes as a composer/arranger/conductor and trombone soloist. In 2018, the band and Gilkes reunited to record “Always Forward.” This is their third production, titled “LifeSongs” and it’s Gilkes eighth album as a bandleader.

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8-BIT BIG BAND – “GAME CHANGER” – Teamchuck Records

Charlie Rosen, orchestrator/arranger/bandleader/multi-instrumentalist; Natalie Tenenbaum, Michael Mitchell, Steven Feifke, Jake Silverman, Miki Yamanaka & Jonah Nilsson, piano/keyboard; Adam Neely, Julia Adamy, Charlie Rosen, Bobby Wooten & Michael Olatuja, bass; Liann Cline, harp; Dave Cinquegrana, Nir Felder, & Charlie Rosen, guitar; Jared Schonig & Bryan Carter, drums; CELLI; Susan Mandel, Sasha Ono, Jessica Wang, Camille Dietrich, & Kristine Kruta, VIOLAS: Jarvis Benson, Kenny Wang, Laura Sacks, Matthew Beaugé, Midori Witkoski, Rosalie Samter, Sarah Haines, Tia Allen, Will Marshall & Yumi Oshima; VIOLINS: Alissa Jackman, Audrey Hayes, Camelia Hartman, Caroline Drexler, Daniel Constant, Eli Bishop, Francesca Dardani, Hannah Legrand, Josh Henderson, Justin Smith, Kevin Kuh, Lavinia Pavlish, Lucy Voin, Maria Im, Meitar Forkosh, Taniamesa, Tiffany Weiss & Tomoko Akaboshi, violin; ALTO SAXOPHONES: Andrew Gould, Josh Plotner, Adison Evans & Jordan Pettay; TENOR SAX: Sam Dillon, Zac Zinger, & Paul Jones; BARITONE SAX: Adison Evans, Andrew Gutauskas; Kyra Sims, French horn; FLUTES: Andrew Gould, Josh Plotner, Jordan Pettay; CLARINETS: Sam Dillon, Zac Zinger; Adison Evans & Andrew Gutauskas, bass clarinets; TRUMPETS: Bryan Davis, Jay Webb, John Lake, Chloe Rowlands, Max Boiko, Danny Jonokuchi, Matt Boiko, Marc Langer, Nick Frenay & Matthew Owens. TROMBONES: Jimmy O’Connell, Robert Ewards, Javier Nero, Rebecca Patterson, Ron Wilkens, Mariel Bildsten, Sara Jacovino, & Reginald Chapman III (also on tuba). VOCALS: Joel Waggoner, Clyde & Gracie Lawrence, Alan H. Green, Benny Benack III, Aisha Jackson & Johan Nilsson; BACKGROUND VOCALS: Badia Farha, D’nasya Jordan, Bryan Carter, Kate Steinberg, & Danielle Gimbal.

This is the 8-Bit Big Band’s fourth album release. They are a jazz-pops orchestra that is heavily influenced by rhythm and blues. Featuring a plethora of jazz vocalists and a horn section that recalls the days of Earth Wind & Fire and Tower of Power, they slam down tune after tune that are pulled from video game soundtracks. They are proud to be a Grammy-winning orchestra of between 30 to 65 members and this is a totally unique perspective for an orchestra to feature music from video games.

Their repertoire is unique, made from popular game music like “Super Mario 3D World” (Super Bell Hill) and “Final Fantasy 7” (Tifa’s Theme) plus many others plucked from the popular video game world. The 8-Bit Big Band puts a ’swing’ theme into many songs, with the exception of a few slower tunes included like “Pollyanna” with a funk beat and “Mabe Village” from ‘The Legend of Zelda Links Awakening’ that arranged as a slow swing.  “Tifa’s Theme” is a lovely ballad from ‘Final Fantasy 7’ featuring a stellar trumpet solo by Chloe Rowlands.  Not being a video gamer myself, I do not recognize these theme songs, but that didn’t dull the shine of a sparkling production full of orchestrated excitement, tight arrangements, and talented vocalists.  My only question is, with all those numerous participating master musicians who make up this magnificent orchestra, why is it called an 8-Bit Big Band?

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GARRY DIAL & RICH DeROSA – “KEEP SWINGIN’ the music of CHARLIE BANACOS – Outside in Music

Garry Dial, piano/arranger; Rich DeRosa, drums/arranger/triangle; Joe Hubbard, electric bass; Mike Stern & Wayne Krantz, electric guitar; Gerard D’Angelo, Helio Alves, & Plamen Karadonev. piano; Jeff Berlin, electric bass/piano/arranger; Luther Gray, drums; Mauricio Zottarelli, drums/percussion; Jeff Berlin, electric bass/piano/arranger; Matt Stavrakis, bass; Dick Oatts, alto saxophone; Terell Stafford & Phil Grenadier, trumpet; Paulo Levi, soprano saxophone; Victor Provost, steel pan/piano. The KEEP SWINGING HORN SECTION: Nick Marchione, trumpet/flugelhorn; Andrew Gould, alto sax/flute; Chris Oatts, tenor saxophone; Ryan Keberle, trombone; Gary Smulyan, baritone saxophone. GUEST BANDMEMEBERS: Jay Anderson, bass; David Witham, keyboards; John Riley & Tom Brechtlein, drums; Anne Drummond, alto flute; Paul Meyers, acoustic guitar; Itaiguara Brandão, electric bass; Rich DeRosa, drums; Margaret & Barbara Banacos, piano.

This collaborative project is co-led by renowned pianist and arranger, Garry Dial and arranger, drummer Rich DeRosa. Together, they decided to celebrate the legacy of a jazz educator and composer, Mr. Charlie Banacos.  Banacos was a musical visionary and solid jazz enthusiast who minted more than 100 courses of study that concentrated on improvisation and composition. He spent over fifty years teaching, inspiring and molding young talented jazz musicians into exceptional masters of their instruments. These ten tracks featuring the Banacos’ compositions are interpreted by devotees and friends like guitarist, Mike Stern, bassist. Jeff Berlin, tenor sax man, Jerry Bergonzi, electric bassist, Wayne Krantz and more.

They open with “Keep Swingin’” that sets the mood and tempo for this power-packed album of music. The title tune not only swings, but it’s also rooted in the blues. The arrangement features a soulful solo by Dick Oatts on alto saxophone and a bright, emotional trumpet solo by Terell Stafford. “Great Awakening” is a song reimagined by bassist, Joe Hubbard. Where the first track was full of big band swing, this song is much more contemporary. During his solo, the bass player shines in the spotlight, as well as providing a solid basement for this tune to build upon.  On the composition “Bat Cave” drummer John Riley takes a spirited solo. The horn section is dynamite and when Gary Smulyan steps out to solo on his baritone saxophone at a speedy pace, it’s better than butter!  I enjoy Garry Dial’s piano solo on “Pine Needles,” as well as the electric guitar of Mike Stern, who happens to be one of Banacos mentees. Another person inspired by Banacos brings his quintet to the party; Jerry Bergonzi on the tune, “Mummy’s Curse” with a wonderful arrangement by Garry Dial.

The Jerry Bergonzi Quintet features Jerry on tenor sax, Phil Grenadier on trumpet, Plamen Karadonev on piano, Matt Stavrakis plucks the double bass and is showcased during a short but impressive solo, as is Luther Gray on drums. This Quintet makes this Banacos tune come alive, pulsate, and dance. The amazing “Keep Swinging Horn Section” is dynamic throughout. The final tune is called “Pelaghia” and features Margaret and Barbara Banacos at the pianos.  It’s a very striking and beautiful duet.

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AFRO-PERUVIAN NEW TRENDS ORCHESTRA – “COSMIC SYNCHRONICITIES” – ARTISTIC DIRECTOR: CORINA BARTRA –  Blue Spiral Records

Corina Bartra, Artistic Director/composer/arranger; Santiago Belgrano & Holman Alvarez Davila, piano; Ben Willis, bass; Juan Carlos Polo, drums; Pedro Diaz, Peruvian cajon/conga; Dave Morgan, tenor saxophone; Cecilia Tenconi, & Marvin Carter, alto saxophone; Roger Garcia & Eli Asher, trumpet; Erick Storckman, trombone.

This is a packaged blend of Latin music, fusion, Afro-Peruvian, big band, and Straight-ahead jazz. You will experience all of that during this cosmic ride through the space of Corina Bartra’s compositions and creativity.  Bartra is the Artistic Director and composer of this project.  The music is multi-rhythmic, featuring tunes that encourage dancing to the warm Latin American beats. 

The album is plush with horns that create happy harmonies and often venture into the spotlight themselves, offering us individual and unique solos.  Many of the tunes celebrate various musical cultures other than Peruvian.  For example, “Ecstasy Green” (the opening tune) is Amazon-inspired.  “Baila y Goza” reflects not only Afro-Peruvian Festejo but also Cuban Guajira.  The “Latino Blues” composition reminds me of a tango.  When the band plays the traditional Peruvian tune “Palmere Siguayayay” you are introduced to the orchestra’s roots.  On a composition called “Tun Tun Tun – La Herida Oscura,” I am captured by the rhythms of Juan Carlos Polo on drums and Pedro Diaz on percussion.  The ensemble begins rubato, with a single horn singing it’s Latina story. Then the beat kicks in, reminding me of a slow trot across an open field.  Suddenly the tempo escalates and the horns blare.  A saxophone takes a jazzy solo and this composition becomes more like a suite of music than a single song.  One of my favorites on this album is called “Far Away” that makes me feel like I’m floating in a starry sky during the intro, then dances me onto a polished floor full of great harmonics and joyful people. It moves from Latin rhythms to Straight-ahead jazz swing, with metronome quickness and ease.

Corina Bartra was the first vocalist to blend Afro Peruvian and criolla music with jazz.  She pioneered subtle, but exciting instrumental textures in her compositions and arrangements. Critics have praised her for both her composing skills and her unique arranging for the Afro-Peruvian New Trends Orchestra.

Psychologists describe the word “synchronicity” as meaning unity in diversity.  Corina Bartra has another opinion when using this word in the album’s title.  It is meant to describe our cosmic consciousness and the realm of outer space that our music and creativity permeates. No matter the color, culture, or religion, when we breathe music into the universe, it is carried on the winds of time and, like love, it embraces our world and the universe with open arms.

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TONY MONACO TRIO – “OVER AND OVER” – Chicken Coup Records

Tony Monaco, Hammond B3 organ/composer; Reggie Jackson, drums; Zakk Jones, guitar.

In the mid-western city of Columbus, Ohio, Tony Monaco is a proud and popular citizen known for his amazing jazz organ-playing talents.  The world knows about Monaco from his thirteen album releases. Not only does he keep B3 organ jazz in the spotlight, he has composed every song on this album.  His abilities and talents match those we celebrate as jazz organ greats like Jack McDuff, Shirley Scott, Jimmy Smith, the great Larry Young, Jimmy McGriff and the late Joey DeFrancesco. In fact, it was Joey DeFrancesco who recognized Monaco’s musical talents and offered to produce his debut album back in 2000. The rest is history. Tony Monaco remains right up there with the best of the best.

Every song on this album is full of fire and melodic phrases that make you want to sing along. One of my favorites is titled, “One for Pat (Martino).  It’s a funky blues that swings hard and has a melody that sticks like glue. Monaco played with Pat Martino for three years.

With the rich assistance of drummer Reggie Jackson, who spent eleven years performing with jazz legend Dianne Schuur and a list of legendary names like Frank Foster, Benny Golson, Arturo Sandoval and Eddie Daniels, Jackson pushes the music ahead like a determined snowplow.  Zakk Jones brings his own sparkle and mastery to the party with his soulful guitar. Jones has toured the country with various groups from the Columbus Jazz orchestra to soul singers like The Coasters, saxophonist Lou Marini Jr., and trombonist John Fedchock.

Every song featured on Monaco’s jazz organ album is full of joy.  The title tune, “Over and Over (I want You)” makes me want to get up and dance. His tune “Ready Set Go” is straight-ahead jazz at its best. It was inspired by Monaco’s mentor, the great Jimmy Smith. This arrangement features Monaco, Jackson and Jones trading eights, (rather than fours) and becomes my second favorite on this spectacular album.

 “Sailboat” celebrates Latin jazz with changes very close to “Everything Happens to Me.”  They close out with a song that reminds me of the late, great soul singer, James Brown.  It’s funky and titled “Uprooted.”  Tony Monaco has something for everyone on this album. Enjoy!

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MARLON SIMON AND THE NAGUAL SPIRITS – “ON DIFFERENT PATHS” – Truth Revolution Recording Collective

Marlon Simon, drums/percussion/composer/Musical Director; Edward Simon, piano/Assistant Musical Director; Boris Koslov, bass; Roberto Quintero, congas/percussion; Michael Simon, trumpet; Peter Brainin, tenor & soprano saxophone; Alex Norris, trumpet/flugelhorn; Kevin Newton, French horn; Monica Ellis, bassoon; Rhumer Mora, Bongos.

Marlon Simon brings us an album that combines Latin American rhythms, European classical music, the Latin jazz tradition, and chamber jazz.  You might say he treats these compositions like short stories, some with unexpected resolutions. Opening with his composition titled, “Searching” the percussive members of his ensemble take stage center, setting the mood and the tempo. This short tune seems to be a preface or prelude for the title track, “On Different Paths.”

“On Different Paths is probably the most ambition tune on the record,” Simon is quoted in the liner notes.

This song includes rhythmic experimentation, using a ceremonial rhythm pulled from the Afro-Cuban religion and representing an orisha (a deity) by the name of Elegguá. This rhythm is mixed with Roberto Quintero playing Lalubanche figures on his congas.  This almost sounds like a mild Samba on the bass drum, but with the feel of a joropo on the snare drum. The horn harmonies soften the groove and add that hint of chamber music to the production. The tune “Walking” (that sounds much more like someone running), follows the title tune.  It features Venezuelan rhythms and a merengue groove.  Peter Brainin dances atop the rhythm section, slapping a straight-ahead feel into place on his saxophone. Track #5 is one of my favorites on this album.  It’s joyful and titled “Straight Ahead” although it is quite Latin and not at all bebop.  Boris Koslov’s bass introduces us to “Pa,” a tribute song to the father of the Simon brothers. Another tribute song follows that is meant to honor both their parents, Hadsy Simon and his wife Daisy Morillo titled “Un Canto Llanero.”  Perhaps Marlon Simon summed this project up the best.

“Music has been an unconditional companion throughout my entire life.  It has been there in the happiest and saddest time.  It’s been there to let me know where I am and where I need to be in my evolution as a human being.  It was time to take a different path, explore, and do something I hadn’t done before.  So, for this recording, I had to develop as a composer.  When you work on something, you have no preconceptions. What comes out is really you.”

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WOMEN ON THE JAZZ PATH WALK TALL

By Dee Dee McNeil

March 1, 2024

          During this month of March, I celebrate women who have chosen the music path in various areas of expertise.  SUSAN ALCORN is a pedal steel guitarist and composer.  SHUTEEN ENDENEBAATAR is a Mongolian jazz pianist, a composer and arranger. Classically trained vocalist, AUDREY SILVER interprets ten songs from the musical “Oklahoma.” Pianist, composer, nonagenarian, lyricist and singer, BETTY BRYANT adds humor and entertainment on her CD titled Lotta Livin,’ which seems appropriate since she’s 94 years old and still going strong. KINGA GLYK is a funky, electric bass player and vocalist. Her album is smokin’ hot with smooth jazz! AMANDA KING is featured on the ROB DIXON/STEVE ALLEE QUINTET album and CORINA BARTRA is the Artistic Director of the Afro Peruvian New Trends Orchestra, also the composer/arranger of the orchestra. Finally, Southern California based vocalist, JULIE KELLY, produced by a female jazz producer, BARBARA BRIGHTON, offers us “Freedom Jazz Dance.” Below is my opinion on what I hear from these talented individuals. Finally, the LORI BELL QUARTET pays tribute to the iconic Joe Henderson.

SUSAN ALCORN & SEPTETO DEL SUR – “CANTO” – Relative Pitch Records

Susan Alcorn, pedal steel guitar/composer; Luis “ToTo” Alvarez, guitar; Claudio “Pajaro” Araya, drums/cuatro; Francisco “Pancho” Araya, charango/quena; Rodrigo Bobadilla, flute/quena/zampoña/guitar/vocals; Amanda Irazzabal, double bass/vocals; Danka Villanueva, violin/vocals.

Susan Alcorn’s music reminds me of a historic, handsewn quilt.  She selectively combines the music of contemporary classical, country/folk, and Latin culture with modern jazz and the improvisational freedom it inspires. Thus, we have layers of creative musical arrangements that reflect colorful, cultural music. In her press package, it tells me she was inspired by travels to Chile where she discovered the “Nueva Cancion” movement.  It was a government provoked resistance, that locked hands with her dedication to community social justice. She has included an original song by the legendary Chilean composer and folk singer, Victor Jara. All the other songs on this album were composed by Alcorn, who first became interested in Chilean culture and music when she visited Chile in 2003. She met people who shared stories of activists, former exiles, and even concentration camp survivors of the Pinochet regime.  That’s how Susan Alcorn was introduced to Nueva Cancion music.

Susan Alcorn, the Baltimore-based, pedal steel guitar player, has carefully chosen the players within her ‘Septeto Del Sur’ group.  They form a cross-generational group of talented musicians.  “Canto” is the realization of pealing back the covers of Chilean history to unveil the country’s songs that documented their tragic history.

“It was an interesting time, because the coup and dictatorship of Augusto Pinochet had left a giant wound in the Chilean psyche that has still not healed,” Alcorn shared.

You will see above that Alcorn has included traditional instruments such as the quena and charango in this production.  Those instruments were banned in Chile, as was the protest music of ‘Canto’ sung and played by Nueva Cancion Chilean artists. The composer and singer, Victor Jara, was brutally murdered by the Chilean police.  In this music by Susan Alcorn, she weaves these stories of protest and brutality throughout her songs.  They flow like a salty water suite of music, moving from “Canto 1. Donde Estan” (referring to the missing persons who disappeared at the hands of the Pinochet regime) to “Canto II. Presente: Sueno de Luna Azul” (a chant often sung by Chileans as an ode to the lost or missing loved ones) to “Canto III. Lukax.”  This is a dedication to political prisoner, Lukax Santana.

Alcorn’s music is softened by the violin and flute solos by Danka Villanueva and Rodrigo Bobadilla.  But there is always an undercurrent of violence with startling, unexpected explosions of music and improvised sounds.  Supported by great musicians like Luis “Toto” Alvarez on guitar, known for his improviser skills, Alcorn’s music reflects the tragedy of war and suppression with tempo changes and creative musical passages.  Both Araya brothers, who add drums and Andean flute to the mix are from Northern Chile.  They add authenticity lending their Andean folk music roots. 

This is lovely, thought-provoking music. Susan Alcorn uses her pedal steel guitar and musical comrades to stitch her truth, like beautiful, but bloody threads through this fabric of musical history.  We may cover ourselves with her music, warm as a colorful quilt that sadly lays across the lap of tragedy to document man’s inhumanity to man.

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SHUTEEN ENDENEBAATAR QUARTET – “RISING SUN” –  Motema Music

Shuteen Erdenebaatar, piano/composer/arranger; Nils Kugelmann, bass; Valentin Renner, drums; Anton Mangold, soprano & alto saxophones/flute.

Mongolian jazz pianist, composer, and arranger, Shuteen Erdenebaatar is twenty-five years young and is the rising star from Mongolia’s capital of Utaanbaatar.  In 2023, she had already garnered an armload of of impressive awards on the European jazz scene.  To list just a few, she won the music Scholarship of the City of Munich, the Young Munich Jazz Prize, the Kurt Maas Jazz Award, the Biberach Jazz Prize and the BMW Young Artist Jazz Award.  This, her debut recording, announces her talent to the world.  Track #2, “Ups and Downs” brings to mind the early exploration of Herbie Hancock’s piano talents when he was blending Straight-ahead and abstract jazz.  Shuteen’s third composition, “Summer Haze” is presented solo piano as a sweet ballad.  It’s quite beautiful, featuring her technique & creativity.  “Olden Days” invites her band back to the production, with Anton Mangold using soprano saxophone to unveil the lovely melody Endenebaatar has composed.  Using flute to change the complexion of the music, on the tune “An Answer From a Distant Hill” also features the drums of Valentin Renner with the reed instrument dancing on top.  When Nils Kugelmann enters on bass, I find him quite interesting and musically expressive. When Shuteen’s strong piano powerfully blasts onto the scene, the music moves from smooth jazz to Straight-ahead. The pianist takes her time, building her solo slowly and precisely.  She has an inspiring way of lighting the fire beneath her band members and taking her songs from tender to crescendo in leaps and bounds.  The title song, “Rising Sun” could very well be significant of Shuteen Endenebaatar herself.  Here is a rising talent to watch as she climbs to higher heights, growing from a whisper to a lion’s roar.

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AUDREY SILVER – “OKLAHOMA” – Messy House Records

Audrey Silver, vocals/Native American flute; Bruce Barth, piano; Peter Bernstein, guitar; Adam Kolker, alto flute/bass clarinet; Kahlil Kwame Bell, percussion; Sarah Zun & Adda Kridler, violins; Kaya Bryla, viola; Maria Jeffers, cello.

A wind blows across my listening space.  It sounds like a cold winter wind, until a Native American flute warms the mood.  It’s Audrey Silver on flute and projecting the song “Oklahoma” from the musical of the same title. Since childhood, this has always been one of her favorite musical soundtracks, a record she and her father adored.  This love of musical plays and films developed into an appreciation of the Great American Songbook.  Many songs from that American collection of great composers became reworked and improvised into great jazz standards.  On this latest recording, Silver’s fifth record release, she interprets ten songs from that Oklahoma show.  Her goal was to present them as a jazz-inspired tribute to the iconic musical.  Using voice, guitar and piano for her core group, she added strings to give the project a jazz chamber musical attitude.  She, along with guitarist Peter Bernstein, and pianist Bruce Barth on the piano, offer an arrangement on the tune “Many A New Day” that’s intended to ‘swing.’ Silver sings it perfectly, but it doesn’t ‘swing.’ As the other song follow, the challenge remains the same. 

Audrey Silver was trained as a classical pianist and cellist.  She also loved singing and at Brown University she co-founded a jazz a ‘cappella group.  Her bio says that she has studied with Shelia Jordan and Mark Murphy, performed at some of New York’s respected jazz clubs and other various music venues.  The thing that perplexes me is her inability to ‘let go’ and improvise or to ‘swing’ the music.  These two things are absolutely necessary to claim the title of jazz singer.  However, she is a solid cabaret vocalist, with good pitch, a pleasing tone and perfect enunciation.  That being said, the publicity that places this album and these Rodgers and Hammerstein arrangements into the jazz category I find a bit presumptuous.  In order to label music ‘jazz’ you have to exemplify a blues base, an ability to ‘swing’ and the freedom to improvise. When I hear Emmet Cohen’s trio play “Surrey with the Fringe on Top” that’s jazz!  When Blossom Dearie or Frank Sinatra sing the same song, or Miles Davis plays the famous tune, that’s jazz.  Even though arranger, Bruce Barth has employed a jazzy five-eight time to the piece, it still lacks jazz authenticity. Audrey Silver had a great idea, but somehow this production falls short of expectations. Perhaps Ella Fitzgerald said it best when, in 1957 when she sang, “It Don’t Mean a Thing if It Ain’t Got that Swing.” 

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BETTY BRYANT – “LOTTA LIVIN’” – Independent label

Betty Bryant, piano/vocals/composer; Robert Kyle, tenor saxophone/flute/harmonica/producer; Richard Simon, acoustic bass; Kenny Elliott, drums; Tony Guerrero, trumpet; Hussain Jiffry, electric bass; Kleber Jorge, guitar; Yu “Big Poppa” Ooka, guitar; Kevin Winard, percussion.

The title of this Betty Bryant album is quite appropriate.  Lotta Livin’ expresses her silky-smooth ability to live a full and creative life for the past ninety-four years, dedicating the majority of that time to music. Her Kansas City, Missouri soulful and bluesy piano playing, along with her unique vocalizing, was influenced greatly by her friend and jazz legend, Jay McShann.  In fact, a famous photograph of Betty with Jay McShann and a group of other musicians hangs in the lobby of the Kansas City American Jazz Museum.  The same brown-tone photo is pictured on the back of this recent CD booklet that accompanies her album.  She is a Kansas City living-legend!

In Southern California and to her close friends, Betty Bryant is known as “The Cool Miss B.”  That was a name gifted to her by her longtime friend, musician, and record producer, Robert Kyle.  In 1997, Kyle dubbed her ‘Cool Miss B’ in a song. That sweet nickname has stuck with her over two and a half decades.  It completely describes Betty, with her laid-back attitude, her tongue-in-cheek sense of humor, husky voice, and her complete command of the 88-keys.  Everything about Betty Bryant is cool, tasteful, and always tinged with a warm sense of humor. Bryant is an awesome composer of music and lyrics, many that are quite humorous.

Take her tune, “Chicken Wings” on this album.  A duet, with just Bryant and Kyle, who plays harmonica instead of saxophone while performing this original song. It will have you laughing out loud.  The production is simplistic and perfect.  The song is an absolute tickle to your funny bone, and the lyrics are not only humorous, but unique. It’s a story fluidly written to unveil a testimony many of us can embrace about those delicious chicken wing snacks.

Bryant moved to Southern California in 1955 with a gig handed down to her by the late, great Earl Grant.  They were friends back in Kansas City.  Betty had been wanting to move away from home and when the pianist offered her a gig at his club, she gladly accepted.  Her blues roots shine on this album, as she plays familiar blues tunes like “Stormy Monday” always adding her own inimitable take on the tune, with an arrangement that freshens an old blues standard and establishes her mastery and individual style on the piano. When Kyle enters on his silky, soulful saxophone I am transported to a smokey juke joint with slow-dancers hugged up, bodies pressed against each other in the rock-gut blues his horn blows all over the room.  I love her renditions and arrangements of the jazz standards, like her breathy take on “Between the Devil and the Deep Blue Sea” and Latin tinged arrangement on “The Very Thought of You,” but where she truly shines is when she sings her own original compositions.  “Katydid” is another humorous, melodic and lyrically brilliant tune that Betty Bryant has penned to both stun and entertain us.  I never figured out what ‘Katy did’ but we know it was something bizarre and we listen intently to Bryant’s story, in hopes of uncovering the secret.  You see, this song, “Katydid” is not about insects, but rather about what Katy did. 

The intention is perfectly clear when Bryant plays piano and sings.  Her voice is rich with the lessons of life she’s learned on a journey of nine plus decades.  There is truth and honesty in each lyric sung and each note played.  Clearly, Betty Bryant has a Lotta Livin’ still to do, and she’s having a ball while she does it.

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KINGA GLYK – REAL LIFE – Warner Bros Records

Kinga Glyk, electric bass/vocals/producer/composer; Brett Williams, Keyboard/composer; Julian Pollack, Caleb McCampbell & Nicholas Semrad, keyboards; Robert “Sput” Searight, drums/composer; Casey Benjamin, aerophone/ composer; Michael League, co-producer/composer/keyboards/ fretless baritone electric guitar/electric sitar.

The first composition on this recording is “Fast Life” and features Kinga Glyk’s electric bass and her vocals.  Together, these two talents set a groove in motion that is both fresh and inspired. The keyboard solo of Brett Williams establishes the melody, and this listener is swept up in the electronic excitement of this band. Robert “Sput” Searight uses power-packed trap drums to spur this fusion jazz ahead, much like the whip on a horse’s tail. Searight also introduces us to Track #2, called “Unfollower” with his percussive skills.  Kinga Glyk is a terrific composer and one of Poland’s rising stars.  She has penned or co-written every song on this album and her talent is impressive. This music represents a combination of smooth jazz and fusion that twists and turns, braiding its way across my listening room with groove after groove.  A song called “Who Cares” was a collaboration between Glyk and co-producer Michael League.  It’s a great tune with lots of energy and excitement.  Kinga Glyk steps stage center on her electric bass and makes a bold statement, ending the tune with her instrument acting as an exclamation mark. “Island” is a pretty ballad with an other-worldly arrangement that makes me feel as though I’m floating above ground. The use of several keyboards and electronic effects lifts this production and takes it to a very artsy level. This tune puts me in the mood for a deep tissue massage.  It’s that kind of subtle, unobtrusive production that you might hear during a spa day.  I was interested in hearing the two songs that Kinga Glyk composed without collaborating. The first is called “Not Real” and features her funky, but melodic style. The second is titled “Unseen Bruises” and this composition is a brief ballad that sounds like an interlude and lasts only a minute and thirty seconds. Afterall, who wants to spend a lot of time concentrating on hidden bruises?  This is music that reminds me of spaceships, time travel and futuristic things.  It scratches the surface of dreams and travel, with propelled electronics that whisk the listener away to places we have yet to explore. It’s Kinga Glyk’s serious funk driven bass that makes this music pop and dance.  You really hear her power and punch on the Michael League composition called, “That Right There.” It’s a killer tune and arrangement.  Following that song, Glyk offers us a tune called “Funny Bunny” that’s humorous and significant, but only mere seconds long, like a wink or a giggle.  Kinga Glyk speaks to us with music, tasteful, modern, space-agey and unique.  This is an album and an artist to watch as she soars forward, upward, and beyond.

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SYLVIA BROOKS – “SYLVIA BROOKS LIVE WITH CHRISTIAN JACOB” – Rhombus Records

Sylvia Brooks, vocals; Christian Jacob, piano; David Hughes, bass; Kevin Kanner, drums; David Witham, keyboards/accordion; Jeff Bunnell, trumpet/flugelhorn; Brian Scanlon, tenor saxophone/flute.

Chanteuse, Sylvia Brooks uses her soprano range to interpret two fists full of American Songbook standards.  Recorded ‘live’ at Herb Alpert’s popular restaurant and jazz club called, ‘Vibrato’ in the Los Angele area, Brooks has paired her talent with Musical Director and pianist, Christian Jacob.  The audience’s applause and support is palpable.  Her emotional delivery engages them, and Brooks knows how to tell stories with her tone and attitude. Surrounded by six capable musicians, two who provide a rich horn section that sufficiently colors these arrangements, Brooks presents her strong cabaret voice. She has a tone that lends itself to the Broadway stage and she could easily be the star of a musical play.  Opening with a dramatic arrangement on “When the Sun Come Out” that’s full of horn harmonics and a bluesy piano provided by Christian Jacob, Brooks infuses drama into these lyrics. Her rendition of this song is reminiscent of Barbara Streisand’s recording back in 1963 or the famous Judy Garland recording of the same in 1958. Helen O’Connell’s unforgettable presentation of this song comes to mind when she introduced this torch song to the public back in 1941. Brooks has a voice that’s similar to these stylized singers, none of whom referred to themselves as jazz singers.

Brooks follows this tune with another sexy torchy song, the popular “Blues in the Night.”  Both songs were met with much audience appreciation.  She puts her own spin on “Guess Who I Saw Today?” that was originally written for a Broadway musical revue called “New Faces of 1952.” It became a jazz standard because of the Nancy Wilson rendition in 1960. 

Brooks inserts an instrumental in her show, that features her pianist and MD on “The Red Pig Flew Up the Hill” with Brian Scanlon sounding gorgeous on tenor saxophone and Jeff Bunnell featured on a well-played trumpet solo.  This instrumental ensemble brings ‘the jazz’ to this project.  Brooks re-enters with a duet, she and Christian Jacob present called, “The Flea Markets of Paris.” The addition of David Witham on accordion adds a Parisienne flavor to the Jacob arrangement. Sylvia’s lovely voice tells the story, with perfect enunciation and believability. Next comes the band’s swinging rendition of “Cold Cold Heart.”  The band ‘swings’ but the vocalist does not.  That’s a problem if you claim rights to the jazz singer title. The arrangement on “Night and Day” could have been raised up a step, making it more suitable to her extraordinary range.  However, on “Tender Trap” Brooks shines.  “Holding Back Tears” is a pop arrangement that she sings beautifully.  Sylvia Brooks closes with “Come Rain or Come Shine”, and these are the type of belting burlesque songs that she seems to gravitate towards, and she always powerfully delivers.

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ROB DIXON/STEVE ALLEE QUINTET featuring AMANDA KING & DERRICK GARDNER – “STANDARDS DELUXE” –  Independent Label

Rob Dixon, tenor & soprano saxophone; Steve Allee, piano; Amanda King, vocals; Nick Tucker, bass; Greg Artry & Kenny Phelps, drums; Derrick Gardner, trumpet.

This quintet embraces the lovely vocals of Amanda King on familiar standard jazz tunes like “Love for Sale” and “Caravan.”  She does a wonderful job of swinging both tunes, enunciating each lyric with casual precision and selling the song lyrics.  On the Caravan composition, Rob Dixon plays his soprano saxophone and on Love for Sale he switches to a gutsy solo improvisation on his tenor saxophone. Both sax solos are impressive.  After Dixon solos, Steve Allee tinkles the piano to invite Amanda King back to the party once more.  They slow their roll on “the Very Thought of You” where she presents her interpretation of this favorite.  She appears with just a trio at first.  On verse two, Dixon re-enters the picture and tastefully accompanies the vocalist on saxophone. 

Amanda began her career in showbusiness as an actress in Louisville, KY, then switched to singing in 2000. Once she moved to the San Francisco Bay area, Amanda King found success in recording and stage work.  She made a big splash in Northern California with her one-woman show, “It’s About Damn Time!”  This was followed by another show met with positive reviews and great acclaim, “Chanteuse.”  It soon became the title of her CD release in 2008, featuring a Bay Area trio.  In 2018, she released a holiday EP, co-produced by Barry Manilow’s musical director, Joey Melotti, featuring some of Las Vegas’s finest musicians.  That same season, she opened the show, “Ella Fitzgerald: A Centennial Celebration” in the Venetian Room of the Fairmont Hotel in San Francisco, alongside Lillias White, Freda Payne, Sony Holland & Janis Siegal.  She has also performed as the title character ‘Queenie’ in the Oakland Opera Theater’s rendition of Duke Ellington’s incomplete and rarely performed jazz opera, “Queenie Pie.” 

Amanda King is brightly featured on this new album along with the Rob Dixon and Steve Allee Quintet.  This woman has taken all her talents and combined them to become an in-demand vocalist and actress across the country.  In February of 2024, the Dixon/Allee Quintet album became available.  It’s a winner! 

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ARTISTIC DIRECTOR: CORINA BARTRA presents AFRO PERUVIAN NEW TRENDS ORCHESTRA – “COSMIC SYNCHRONICITIES” – Blue Spiral Records

Corina Bartra, Artistic Director/composer/arranger; Santiago Belgrano & Holman Alvarez Davila, piano; Ben Willis, bass; Juan Carlos Polo, drums; Pedro Diaz, Peruvian cajon/conga; Dave Morgan, tenor saxophone; Cecilia Tenconi, & Marvin Carter, alto saxophone; Roger Garcia & Eli Asher, trumpet; Erick Storckman, trombone.

Corina Bartra is a Peruvian vocalist, composer, arranger. and Artistic Director of the Afro Peruvian New Trends Orchestra. She has put together an orchestra of worldclass musicians from all over the globe, including some from her current home in New York City and including Brazilian and Cuban instrumentalists. Ms. Bartra was the first vocalist to blend Afro Peruvian music with jazz and Criolla music.  Criolla is a Peruvian music that embraces influences from Africa, Europe, and Andean music. She is a pioneer in this fusion of Latin music, South American culture, and jazz. She holds degrees in jazz percussion and a master’s in vocal performance. In 2008, Corina was a recipient of the Queens Council of the Arts Award.

By forming the Peruvian New Trends Orchestra, Bartra creates a vehicle for her melodic and original music to be heard and an opportunity for the world to be introduced to Peruvian rhythms and culture. Her songs are mixed into a stew of American jazz, African roots and the originality of her composing merits.  She has written nine of the eleven songs on this album, beginning with a composition titled “Ecstasy Green” that features satin smooth horn lines that sing the beautiful melody Corina has penned. Soon a saxophone solo steps into the spotlight and brings a feeling of Straight-ahead jazz, with the Latin percussion raging beneath.  It sounds more like a suite of music than a single song, with many mood changes and rhythmic tempos that bring surprises every sixteen bars or so. 

“Palmero Siguayayay” is a traditional Peruvian folk song with the drums pushing the tune forward like a band of marching musicians. The lovely tune called “Osiris” shows how much this Latin music has woven its way into the jazz idiom.  It also reminds me how melodic Corina Bartra is when she composes. The bass line sings it’s way into my heart, and the percussion instruments nail in place the Peruvian culture.  Still, the song is arranged in such a way that it becomes quite contemporary.

This album is adventurous, exciting, and full of Latin culture and jazzy roots.  It’s like an exotic flower blooming for the world to hear, to see, to touch, and smell.  The scent of this music is rich and spicy. It combines cultures like a gorgeous bouquet or an expensive centerpiece.  This Afro Peruvian New Trends Orchestra invites the world to come to their table, sit down and enjoy the tasty experience. Bravo Corina Bartra!

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JULIE KELLY – “FREEDOM JAZZ DANCE” – Laurelwood Records

Julie Kelly, vocals/guitar; Josh Nelson, piano/keyboard; Larry Koonse, guitar; Luca Alemanno, bass; Dan Schnelle, drums; Aaron Serfaty, percussion; Danny Janklow, alto saxophone/flute; Andrew Synowiec, guitar.

Julie Kelly grew up in Oakland, California, a city in the San Francisco area.  She and her twin sister, Kate, loved music and sang in their Catholic School choir.  The two formed a folk singing act in the 1960s and worked the coffee house circuit. They even opened for Peter, Paul, and Mary.  Meantime, she was listening to jazz, blues, and gospel.  

“When I was thirteen, I was listening to Thelonius Monk, John Coltrane, Ella Fitzgerald, Count Basie, as well as Dave Brubeck, and those wonderful albums with Miles Davis and Gil Evans.  It wasn’t long before I was sneaking into clubs in Oakland to hear people like Earl “Fatha” Hines.  The Blues is what guides me, and the great ones have shown the way,” Julie Kelly says in her online bio.

But before she had crossed that vocal threshold of jazz, in 1971 Kelly packed a backpack and her guitar, like a hippie she and a friend took buses and boats down the Amazon landing in Rio de Janeiro.  There, Kelly developed a great love of Brazilian music.

On this album she sings “A Ra” which translates to “The Frog” with the wonderful accompaniment of Josh Nelson on piano, who also co-produced this album. Impressively, Kelly sings in Portuguese.  I was surprised to hear her interpret a Gregory Porter tune, “Take Me to the Alley.”   That was no easy feat.  The tune is very beautiful, quite spiritual, and has a challenging melody.  Julie Kelly did it her way.

In 1984, she released her debut album on Pausa Records called “We’re On Our Way” and this is the voice I remember.

I also recall hearing Julie on her album “Kelly Sings Christy” and enjoying her “Never Let Me Go” album.  Her voice is no longer the powerhouse it used to be, but she still knows how to tell a story with her songs.  She is emotional and honest.  I can appreciate that. Barbara Brighton, Kelly’s old friend, produced this album.  Brighton is a very fine producer, who also produced Kelly’s former album release called, “Happy to Be.”   Julie Kelly has always known how to choose and interpret songs with lyrics she believes in and melodies that are unique and lovely.  For instance, her take on the Sting tune, “Practical Arrangement” is striking and reflects vulnerability.  The guitar additions of Larry Koonse and Andrew Synowiec on this project lend sensitive beauty.  Kelly was co-writer on “River People” a song composed with memories of her trip down the Amazon.  Her folk roots become apparent when she chooses the Gordon Lightfoot tune, “Early Morning Rain.”  The Brazilian arrangement on “Hello Like Before” is wonderful. 

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LORI BELL QUARTET – “RECORDA ME: REMEMBERING JOE HENDERSON” – Independent Label

Lori Bell, C flute/alto flute/composer; Josh Nelson, piano; David Robaire, bass; Dan Schnelle, drums.

Lori Bell has consistently produced amazing music over her decades-long career.  She is an accomplished composer, arranger, educator, and musician who has made her mark in jazz playing the flute.  This tribute recording grew out of her admiration for the iconic tenor saxophonist, Joe Henderson (April 24, 1937, to June 30, 2001). 

In the 1950s, Henderson was very active in this journalist’s hometown of Detroit, Michigan.  I wonder if the talented Ms. Lori Bell knows that while Henderson was attending Wayne State University, he studied flute and bass.  It was later that he developed his skills on saxophone under the tutelage of Larry Teal.  Some of his college comrades were Donald Byrd, Barry Harris and Yusef Lateef.  I bet, since Joe Henderson was also a lover of flute, he would have enjoyed this Lori Bell homage to his music and legacy.

Bell opens with “Isotope,” a tune Henderson recorded in 1964 on his album, “Inner Urge.”  His drummer was Elvin Jones, with McCoy Tyner on piano and Bob Cranshaw manning the bass.  Bell has contracted Josh Nelson on piano, David Robaire on bass, and Dan Schnelle on drums. She introduces this tune with her a ‘Capella flute skipping across space.  Enter Schnelle on drums and after a short and happy introduction, Nelson and Robaire join the duo.  Nelson has a piano conversation with Bell’s flighty flute. They sound like two souls speaking joyfully to each other.  The Henderson ‘breaks’ in his arrangement are evident during Bell’s performance. However, Lori is a fluid improviser who creates her own mood and mastery during this creative production.  

“On this recording I have tried to pay homage to his (Henderson’s) musical acumen and articulate imagination.  Each arrangement is tailored for the timbre and range of the flute, an unusual instrument to represent Joe Henderson as, unlike the majority of sax players, he rarely played it in public and was not known as a doubler.  Joe was an exceptional jazz saxophonist and to my heart and mind, a persuasive composer besides.  I’ve always admired his artistry and the way he crafted his songs.  His unique chord progressions, and use of the major7th #11 on several tunes, are compelling to me,” says Bell in her press package.

Bell takes a more Avant-garde approach to Henderson’s compositions, with her flute leading the band like a determined sea gull.  She dives and dips across space, with Nelson often following her lead and repeating Bell’s creative melodic phrases on piano. While playing the composition, “A Shade of Jade” both instruments sound like birds playfully cruising across the sky.  This tune was originally released on Blue Note Records with an all-star group including Curtis Fuller, Bobby Hutcherson, Cedar Walton, Ron Carter and Joe Chambers. 

Bell’s ensemble sounds more modern jazz and less Straight-ahead, until they play “Out of the Night.”  That’s when they capture the straight-ahead jazz-groove I enjoy so much. To my ears, that one captures the heart of Joe Henderson.  Soaked in minor blues, they attack the mood and the moment, led by a tenacious, solid bassline played by Robaire.  When Lori enters on flute, she is bebop magnificent, creative, and awe-inspiring.   Lori is followed fearlessly by Nelson’s impressive piano solo.  At this point, I am completely hypnotized by the Lori Bell Quartet and impressed by their own sense of artistry. 

Bell has picked eight Henderson compositions to expand upon.  Dan Schnelle is featured on “Inner Urge” boldly showing his drum skills that sparkle as brilliant as the spotlight.  Bell takes a different path on this tune, modernizing the pretty piece with Schenelle’s drums infusing a surprising nod to the Hip Hop genre.

On “Black Narcissus,” Nelson sets the mood beautifully, stroking the piano keys with sensuous arpeggios.  This song was originally on Joe Henderson’s “Power to the People” album that featured Jack de Johnette, Herbie Hancock, Ron Carter, and Mike Lawrence.  Lori Bell brings her alto flute to the party, and it’s warm and comforting as she caresses the Henderson melody. 

Bell has penned one original composition for this album tribute titled “Outer Urge” that explores various tempos, moving fluidly from 4/4 to 7/4 and then skipping to 5/4. The final tune and the title tune remind this listener of Joe Henerson’s powerful and popular recording that almost every jazz band has played at one time or another.  “Recorda Me” is re-harmonized by Bell, using Henderson’s original bass line and repurposing the tune to feature Lori’s own sense of improvisation and creativity.

This is an adventurous project that both stimulates and inspires.  While Bell tributes a great master of the past, she also spotlights herself, a young mistress of the future. This album will be available April 19, 2024 and her CD release party will take place at Sam’s First on April 25^th, in Los Angeles.

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