ORCHESTRATED JAZZ & BIG BAND EXCITEMENT ON DISC

By Dee Dee McNeil

February 15, 2026

FRANCESCA CONFORTINI & RYAN MACKENZIE – “MOSAICO” – Tessera Records

Francesca Confortini’s voice is full of joy and excitement.  She is a versatile songwriter, arranger, session singer and vocal coach. Ryan MacKenzie is a London-based composer, arranger and musical director.  He is heralded as someone who can blend jazz, pop, classical and traditional folk music into one cohesive package.  In this project, the Italian born vocalist (now based in the UK), and the Scottish arranger, merge talents to create a very Latin flavored, Brazilian jazz album called “Mosaico.”

On a trip to Brazil in 2018, Ryan MacKenzie saw Maria Rita in concert and her songs and music touched his heart.

“Her albums were my way into Brazilian song. I actually arranged a bunch of songs I heard as my portfolio to apply for my master’s at Guildhall. What began as an instinctive pull later developed into a more structural understanding through study and arranging work,” Mackenzie writes in the liner notes.

His arrangements compliment Francesca’s lovely voice in a beautiful way.  The two musicians met at the Guildhall School of Music & Drama.  They open this album with Dorival Caymmi’s composition, “Rosa Morena.”  Confortini’s rhythmical voice blends with this percussive arrangement, becoming an intricate part of her rhythm section. The MacKenzie arrangement includes a lush horn section, Brazilian rhythms, and strings. I wanted to get up from my computer and dance around my listening room. Francesca adds scat-singing to the production, becoming an impressive human instrument.

On “Casa Forte” Confortini is joined by two other powerful vocalists, Tereza Catarov and Francesca Raimondi-Taylor, who are tightly harmonic, like a human horn section. Matheus Nova performs an inspired bass solo and the drums of Marcinho Pereira are brightly spotlighted. along with percussionist Barak Schmool. 

The vocalist’s interpretation of “How Insensitive” pulls at my heart strings.  The string section adds to the drama and beauty of this arrangement.

Here is an album of great music charts by Ryan MacKenzie. They become a lovely roadmap to direct the voice of Francesca Confortini and this incredible ensemble of musicians onto a unified and exciting path of Brazilian music. This celebration of culture, using a shared musical language, becomes a mosaic (Mosaico), a pathway of excellence and excitement.

THE ORCHESTRA: Francesco Confortini, vocals; Ryan MacKenzie, arranger; Ed Rice, piano; Luca Boscagin, guitar; Matheus Nova, bass; Marcinho Pereira, drums; Barak Schmool, percussion; Tereza Catarov & Francesca Raimondi-Taylor, additional vocals; SAXOPHONES: Tom Smith, Andrew Woolf, David Bitelli, George Millard. TRUMPET/FLUGELHORN: Luke Vice-Coles; TROMBONES: Joel Knee. STRINGS: Alicja Smietana, Laura Ayoub, Dan Oates & Phillip Granell, violin; Merlyn Sturt & Georgia Russell, viola; Sarah Ayoub & Wayne Urquhart, cello.  CHOIR: Ekansh Agarwal, Gloria Atzeni, Maria Jose de Barros Rodriques, Lisabel Biscaldi, Esther Lenda Bokuma, Grace Bowman, Lynn Bowman, Heather Burton, Michelle Burton, Alessia Calentini, Ana Caroline, Beatriz Cepeda, Burju Ceyran, Brian Clemens, Ed Cox, Alessandro Cortez, Dominique Durner, Ofek Farhi, Nali, Nete Freire, Jessica de Giudici, Chris Heather, Veronica Largiu, Axelle Laurent, Marina Leão, Mazé, Giulia Marelli, Leonor Marques, Tiana Moreira, Valéria Vicenca Carvalho do Norte, Camilla Ricchiuti, Jordan Rutland, Vitor Hugo Sales, Isabela Pereira dos Santos, Giulia Saracino, Andrea Schmidt, Dom Stockbridge, Kateryna Svyryd, Natalia Ungar, Minnu Elsa Varghese, Nice Vilela, & Natalja Zaugarova

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EMILIO SOLLA –LA INESTABLE DE BROOKLYN – “HANDMADE” – Club 253 Records

Emilio Solla, piano/conductor/composer/arranger; Edward Perez, double bass; Rogerio Boccato, drums/percussion; Facundo Colman, percussion; Rodolfo Zanetti, bandoneon; Sara Caswell, violin; Tim Armacost, tenor saxophone/clarinet/bass clarinet; David Smith, trumpet /flugelhorn/ Alejandro Avilés, soprano & alto saxophones/flute; Sofia Tosello, vocals.

Percussion opens this album with excitement. Facundo Colman is featured percussionist on this track.  Rogerio Boccato is drummer & percussionist throughout the production. During this arrangement, Tim Armacost makes a soulful statement on bass clarinet and also is soloist in the 3^rd part of this Suite featuring his tenor saxophone. This “Suite de los Abrazos (A Hugging Suite) is a musical picture of the 2020 pandemic. It contains three movements. The arrangement is based on a twelve-tone musical approach. Sara Caswell’s violin is a lovely addition to the mix, as well as Rodolfo Zanetti’s distinctive bandoneon instrument. The third (III) movement is one of my favorites.

Track #2 celebrates “Joni Mitchell” who happens to be one of Emilio Solla’s favorite songwriters. He has incorporated two of Mitchell’s originals into his own creation and asks us (in his liner notes) to see if we can spot them.

This nine-piece orchestra of highly respected musicians, led by the genius of Emilio Solla, was nominated for a Grammy a decade ago. Solla is no newcoming to the music scene.  He blends jazz with world music in a smooth and beautiful way. 

Solla composes music that reflects Argentinian music, other Latino music, and jazz,  woven smoothly like a tight ball of yarn.  When you knit them all together, it makes a very emotional sweater that everyone wants to wear.

“Bird Song” is a composition about a bird who lives in both San Antonio, TX and the Gulf of Mexico.  The violin of Sara Caswell brings the bird alive in an amazing way.

“I thought about writing the song of an imaginary bird who lives on both sides of the border, because it did not know anything about borders. In this remake for ‘La Inestable,’ Sara Caswell is in charge of the bird character and man, does she sing!” says Emilio Solla in his liner notes.

The tenderness captured by Edward Perez on double bass during this ballad arrangement of Suite de Los Abrazos, II is absolutely lovely, followed by a declaration from the trumpet of David Smith during the “Miles Tango.” Emilio’s tasty improvised piano solo is wonderful and passionate.

This is music for all seasons, all cultures, all ears!  Emilio Solla mixes European classical music into his arrangements, blending in jazz (America’s only original classical music) like salt and pepper. Just one spoonful of these spicy and delicious songs will have you coming back for more.

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DAVE SLONAKER BIG BAND – “SHIFTY PARADIGMS” – Origin Records

Years ago, you may have found a young Dave Slonaker hunched over books and piles of music sheets at Pittsburg’s Carnegie Library, researching the nuts and bolts of how big band music is created.  His fascination developed when he was just a teenager and has continued for decades.

Today, Slonaker heads a 15-year-old Grammy nominated ensemble and is a busy orchestrator, arranger and composer for film and television.  This big band features some of the crème de la crème of Los Angeles studio musicians.  This is Slonaker’s third album for Origin Records.

They blast out of my CD player with an opening tune called “Dash Cam” that swings across my listening room with high energy, featuring Ida Meshulam on valve trombone and Tom Luer on tenor saxophone. Dave Slonaker references driving in L.A. as an inspiration for this tune.

“Everyone in L.A. seems to have dash cams. Some like to upload videos of bad drivers on social media. So, imagine that we begin our drive on a Los Angeles freeway … will we make it home safely?” Dave Slonaker questions, weaving LA bumper-to-bumper traffic into his arrangement.

I haven’t heard the familiar “Bye Bye Blues” in quite a while. The arrangement pleasantly surprised me. Slonaker starts the tune as a jazz waltz to feature Adam Schroeder on baritone saxophone, then pushes the piece forward, into a straight-ahead, up-tempo groove for Ron Stout’s trumpet to dance upon.  Peter Erskine’s drums propel the music forward relentlessly. This is the only ‘cover’ tune on Slonaker’s big band album. He has composed and arranged all the other tunes.

“We all leave home at some point in our lives to seek adventure. Sometimes we can go home again, but we are not always the same when we return. “Comin’ Home” with changeable, intense grooves and solos by Brian Scanlon and Andy Waddell, explores our journey,” Slonaker writes in his liner notes.

The “Blue Windows” arrangement reflects a thick, dark mood, sounding ominous (like a movie soundtrack) until Bob Sheppard enters on soprano saxophone to brighten the mood. Edwin Livingston’s bass skips along and supports the groove in the rhythm section. There is a brief pause of silence, then Livingston takes an impressive bass solo. The title tune transports us to a Latin inspired arrangement. Brian Kilgore’s congas are dominant and enchanting.

Every original Slonaker tune is a sparkling gem arranged inside this big band’s musical necklace. Every player is excellent and dynamic in their own unique way. Together, they have created an album of great integrity, vibrant energy and beauty.   

DAVE SLONAKER BIG BAND: Ed Czach, piano; Edwin Livingston, basses; Peter Erskine, drums; Brian Kilgore, percussion. REEDS: Bob Sheppard, Brian Scanlong, Rob Lockart, Tom Luer, & Adam Schroeder. TROMBONES: Alex Iles, Charlie Morillas, Ido Meshulam & Bill Reichenbach. TRUMPET/FLUGELHORN; Wayne Bergeron, Dan Fornero, Clay Jenkins & Ron Stout. DAVE SLONAKER, composer/arranger/conductor.

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THE DANA LEGG STAGE BAND – “SCOOPIN’ THE LOOP” – Summit Records

Dana Legg, trombone/bandleader/arranger; Jen Zias, vocalist; Colin Drozdoff, piano; Chris Siebold, guitar; Mark Sorlie, bass; Frank Alongi, drums; Debbie Katz-Knowles, percussion; Ramon Deleggo, congas. SAXOPHONES: Jeff Ford & John Springbrunn, alto saxes; Jim Johnson, Michael Bazan & Mike Knauf, tenor saxes; Barry Winograd, baritone sax. TRUMPETS: Michael Stewart, Randy Karon, Terry Guynes, Ivo Braun, & Kenny Dixon. TROMBONES: Russ Phillips, Tim Coffman, Dana Solt, Brad Payne.

The songs are classic.  The arrangements, outstanding! For some years, Dana Legg has been harboring this dream of producing an album full of treasured songs that he loves.  The trombonist promised himself he would pursue a project to record these hit songs. He has finally done it! They open with, “Yo, Dude, Ya Got the Time? (Does Anybody Really Know What Time it is?)

Dana Legg and his Stage Band have reinvigorated songs like “Jumpin’ Jack Flash,” the Bill Wither’s hit, “Ain’t No Sunshine” features Dana Legg on trombone, and Stevie Wonder’s “Overjoyed” composition with refreshing big band arrangements. Jim Johnson is featured on tenor saxophone delivering the beautiful melody.

Growing up in Marshalltown, Iowa, Legg recalls riding down Main Street with his car radio blasting out some of these same tunes.  It was a fun time in his teenaged years.  A time of discovery and young love, afterschool dances, and drive-in movies. Legg captures that time and energy with his Stage Band arrangements. Tunes like “New York State of Mind” are bookmarkers in his memory bank.

The blues tune by Gordon Sumner, “Heavy Cloud, No Rain” features the vocals of Jen Zias and a trombone solo by Russ Phillips shuffles on the scene, spurred by the drums of Frank Alongi.

Leon Russell and Bonnie Bramlett wrote “Superstar” and Luther Vandross made it a hit record with his smooth vocals.  Now the Dana Legg Stage Band swings the tune, giving Mike Knauf the spotlight on tenor saxophone and also featuring Randy Karon on trumpet. 

This is a big band album with universal appeal. Their rendition of “A Hard Day’s Night” sounds like it was meant to be a big band production. All songs feature a variety of fine arrangers who happily lent their charts to these talented musicians.  The music reflects a Baker’s Dozen of songs that have become a staple in America’s Pop music diet. The Dana Legg Stage Band celebrates the familiar compositions with jazzy arrangements and big band bluster.

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JAVIER NERO JAZZ ORCHESTRA – “ALKEBULAN” – Outside In Music

RHYTHM SECTION: Adam Moezinia & Michael Kramer, guitars; James Collins & Alex Brown, piano; Kyle Swan, drums; Regan Brough, acoustic & electric bass; Kyle Alhayde, vibraphone; Murph Aucamp & Fran Vielma, percussion; Javier Nero & Danielle Wertz, voices. WOODWINDS: Daniel Andrews, lead alto & soprano saxophones; Daniel Dickinson, alto & soprano saxes/ flute/clarinet/ Xavier Perez, Clay Pritchard & Lucas Pino, tenor saxophones; Dustin Mallick, baritone saxophone/bass clarinet. TRUMPETS/FLUGELHORN: Josh Kauffman, (lead), Chris Burbank, Graham Breedlove, Kin McGee, Noah Hocker & Alec Aldred. TROMBONES: Javier Nero, (lead), Luke Brimhall, Aaron Eckert and Jake Kraft, bass trombone/tuba. SPECIAL GUESTS: Randy Brecker, trumpet; Sean Jones, trumpet/flugelhorn; Warren Wolf, vibraphone; Veronica Swift & Nicole Zuraitis, vocals; Shawn Purcell guitar; Nathan Skinner, malletSTATION.

The term “Alkebulan” is considered to be the original name of Africa.  It translates to “mother of mankind” and sometimes is translated as “the Garden of Eden.” According to the World Atlas, its origins are rooted in an indigenous language.  Alkebulan is supposedly the oldest name for Africa. I looked it up to learn how to pronounce it and I found the video below.

Bing Videos

This becomes the first composition by Dr. Javier Nero that his Jazz Orchestra performs. Dr. Nero has composed all the music for this album, with the exception of two songs. One is “Softly as in a Morning Sunrise” featuring the vocals of Veronica Swift and another standard song, “Devil May Care.” On the first standard, James Collins is an awesome improviser on piano.  Warren Wolf, the new king of vibraphone, is amazing during his solo. Kyle Swan swings on the trap drums, moving with the groove and creatively accenting each stellar soloist.  Swan seems to feel every soulful mood change and he holds the orchestra in place like puzzle pieces solidified with super glue. Swift impressively becomes a human horn and speaking of horns, Daniel Andrews thrills me with his saxophone solo.

Another of my favorites is Dr. Nero’s composition “Radiant Flower (Zara)” a song that is begging for lyrics.

This album twists and turns its way through cultural roots and exciting arrangements by Javier Nero. His melodies are warm and memorable.  His band members are the crème de la crème in the New York jazz community and beyond.

This is a sneak preview of an album scheduled for release on March 20, 2026. Drawing from the unified, precolonial, African civilization, “Alkebulan” explores themes of a cultural connection and shared ancestry. It expands the diasporic ideas Nero first introduced on his impressive big band debut, “Kemet (The Black Land).”   Nero often employs vocalists to interpret his work. On this album he featured Christie Dashiell, with her warm, wonderful tone.   

Here is another album of music I will enjoy playing over-and-over again. It continues Dr. Javier Nero’s commitment to using music, along with an A-List of jazz musicians, and his own amazing compositions as a unifying force to change the universe.

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EYAL VILNER BIG BAND – “BIG APPLE STOMP” – Independent Label

Eyal Vilner, alto saxophone/clarinet/flute/conductor/arranger/composer; Imani Rousselle & Brianna Thomas, vocals; Jon Thomas, Martha Kato, & Jordan Piper, piano; Ian Hutchison, bass; Eran Fink, drums; TRUMPETS: John Lake, Bryan Davis, Michael Sallors, James Zollar & Brandon Lee.  TROMBONES: Ron Wilkins, Robert Edwards, Mariel Bildsten & Ron Wilkins. WOODWINDS: Julieta Eugenio, Evan Arntzen & Michael Hashim, tenor saxophone; Bill Todd & Jordan Pettay, alto sax; Josh Lee & Eden Bareket, baritone sax.

This is big band music that’s raw, swinging and arranged to make you want to grab a partner and rush to the dance floor.  “Big Apple Stomp” is the eighth album released by the Eyal Vilner Big Band.  Vilner and his ensemble offer the listener eighteen songs, an awesome representation of New York City’s big band ‘swing’ life.

“Jazz has such strong roots as dance music. The beat and the groove are such an essential part of it.  I wanted this record to feel like a jazz dance party,” Vilner writes in his press package.

Mission accomplished!  This album is full of joy and should inspire all ‘swing dancers’ to the floor. It was recorded “live” with the musicians playing together in the same room, ‘old-school,’ without headphones.

They open with the popular Horace Silver jazz tune, “Sister Sadie.”  Soloists Brandon lee, Julieta Eugenio, Ron Wilkins and Josh Lee pass the baton before returning to their ensemble positions.   This is followed by Duke Ellington’s “Drop Me Off in Harlem.”  Jon Thomas opens the arrangement with a stride piano introduction.  This time Vilner is featured on alto saxophone along with Ron Wilkins on trombone, and the party is just getting started.

Not only is Vilner a woodwind player, conductor and arranger, he is an excellent composer.  For this album, he has written five original tunes.  Each sounds like a jazz standard.

On track #14, Imani Rouselle adds her wonderful vocals to the party, channeling a young Ella Fitzgerald with the tone and texture of her voice. The band swings and so does Rouselle. The other powerhouse vocalist, Brianna Thomas, sings the familiar Ray Charles hit record, “Let the Good Times Roll” with gusto and conviction.  The Eyal Vilner Big Band closes this production with “Once Is Not Enough,” arranged as a romantic slow-swing that showcases Vilner’s talents on alto sax.

“For us, playing this music is not about being nostalgic. …It’s not only the history, but also the future of jazz,” Eyal Vilner asserts. 

The Eyal Vilner Big Band will have a release party in New York City on March 8, 2026 at the Birdland Jazz Club, Sunday at 5:30pm.  If you’re in the neighborhood, drop bye.

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LOVE SONGS & RECOMMENDED JAZZ FOR THE NEW YEAR

By Dee Dee McNeil

February 1, 2026

JAMES JUDSON – “SONGS OF MY DREAMS” – Independent Label

Singer, composer, musician, James Judson is one of those people who dreams the music, wakes up with a start, then quickly writes the melody down. This debut album is full of dreamy love songs.

“I wake up with a song, sometimes fully formed, sometimes just a melody and a few key lyrics. I’ll be the first to admit these songs aren’t written in the traditional sense, they just show up,” Judson explains in his liner notes.

With the guidance of Grammy-winning producer, Tim Sonnefeld, these songs that once evolved in the ethereal space between dreams and reality come alive on this project.

Judson has written eleven out of the thirteen songs for this album, with two ‘covers.’  He opens with his swinging original “Is There A Chance” propelled by an entire orchestra.

His arranger, producer, Sonnefeld slows the groove down to an orchestrated blues on “The Shadow of Your Smile” where Judson’s warm, charming tone caresses each note with care.  The third Track that he calls “Stars Past the Milky Way” sounds like it’s based on the popular song “On the Street Where You Live.”  Another song called “Walking a Sidewalk” sounds very much like “I’ve Got You Under My Skin.”  Often, jazz musicians take liberties, writing new songs over old familiar chord changes. All of Judson’s melodies are clearly his own. 

On the tune “All of Me,” the drummer, Charles Ruggiero, lays down a terrific groove, using mallets.  Judson has paired up with vocalist Laura Cole to sing this familiar standard. Pleasantly, they add the opening verse that is rarely heard.

James Judson grew up in Boulder, Colorado, part of a large coal mining family. Music touched him early in life. By thirteen, he was working in a rock band as their drummer and lead vocalist. In high school, he joined a Top forty band that played all the ‘Earth, Wind & Fire’ and ‘Chicago’ hits of the day. They performed at weddings, state fairs and local venues.  But, once married, with a growing family, including six children, Judson reached a crossroad.  He chose to put his efforts into a growing construction business, rather than to pursue his fickle music career. With “Songs of My Dreams,” he returns to his passion and deep love for music.

This is an album that reminds me of the Duke Ellington and Count Basie days.  Judson has a soothing, smooth baritone voice.  The lyrics to his original songs are well written.  His melodies roll like sugar off his tongue, enticing us with his big band orchestration and infectious tone.  This is an impressive debut recording from an artist who heard these songs in his dreams. How wonderful that with fortitude and determination he has brought them to life on this debut album.

JAMES JUDSON ORCHESTRA: James Judson, vocals; Tim Sonnefeld, string & horn arranger/co-producer/Hammond B3 organ/Fender Rhodes keyboard/guitar; Gary Matsumoto & Max Haymer, piano; Mike Gurrola, Dan Lutz, & Charles Glenn, bass; Kelvin Holly, Anders Mouridsen & Steve Cotter, guitars; Charles Ruggiero, drums; Leddie Garcia, percussion. Justin Flynn, horn arranger. TRUMPETS: Michael Campagna, Aaron Janik, Dan Fornero, Dave Richards, & Mike Cordone; SAXOPHONES: Bob Sheppard, Anton Sushev, Bob Reynolds, Doug Webb, & Jason Fabus. TROMBONES: Erik Hughes, Ryan Dragon, Joshua Brown, & Todd Eames. VIOLINS: Eliza James, Olga Ivanenko, Laurann Woods, & Lily Honigberg. VIOLAS: Jennifer Wu & Troy Everett. CELLOS: Jean-Paul Barjon & Judy Kang. GUEST SINGER: Laura Cole.

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KENNY BARRON – “SONGBOOK” – Artwork Records

Kenny Barron, piano; Kiyoshi Kitagawa, bass Johnathan Blake, drums. GUEST VOCALISTS: Cecile McLorin Salvant, Kurt Elling, Catherine Russell, Jean Baylor, Ann Hampton Callaway, Kavita Shah, Ekep Nkwelle, & Tyreek McDole.

Pianist/composer and 14-time Grammy nominee, Kenny Barron has composed a Baker’s Dozen of original songs.  Then, the NEA Jazz Master set about finding jazz vocalists to interpret his music. His songs contain lyrics by Janice Jarrett. The first thought I had was, what an honor to sing songs by Kenny Barron!

Jean Baylor’s smooth soprano vocals open the album, singing his first two songs, Beyond This Place” followed by “Until Then.”   The second song has a powerful groove.

However, the song that immediately grabs my attention is “Thoughts and Dreams” featuring Cecile McLoren Salvant. The Latin rhythm and lovely melody of this samba catches my ear like a solid gold earring. Not to mention Cecile’s voice is captivating.

Cecile also sings the afro-Cuban “Sunshower” tune and Barron’s closing “Song for Abdullah.” 

The chord changes and challenging melody on the pensive ballad titled “Illusion” is gifted to the young jazz vocalist, Ekep Nkwelle to interpret.  I wanted to hear the lyrics enunciated more clearly. When the microphone is handed to old pro, Catherine Russell, every lyric is as clear as stars on the breast of night. Russell slow-swings her way through “Minor Blues Redux.” This quickly becomes another one of my favorites, with Barron’s piano solo rich as cream. The Jarrett lyrics serve up a portion of positivity.

When Kurt Elling steps to the studio mike, I expect something terrific and Elling does not disappoint.  This song is bebop to the bone. Each precious lyric sparkles like a rare gem, out front and semantically beautiful.

Tyreek McDole is a young jazz titan. I have been listening to him and enjoying. McDole is very musical. I was eager to hear what he would bring to this project. He scats his way over the melody.  There are no lyrics. Johnathan Blake shines on this arrangement, infusing it with his creative drums. McDole also sings “Marie Laveau” with his buttery tone. Again, I could not always understand the lyrics and that’s a frustration.

Every Barron composition is deliciously prepared, brilliantly written, with juicy meat on the jazz bone. Each vocalist brings their best to compliment the 82-year-old jazz master’s awesome works. This Kenny Barron album is another rich and rare artistic achievement.

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RICK ROE – “WAKE UP CALL – THE MUSIC OF GREGG HILL” – Cold Plunge Records

Rick Roe, piano; Robert Hurst, bass; Nate Winn, drums; Marcus Elliot, tenor & soprano saxophone.

Gregg Hill is 79-years old and largely self-taught.  He has been writing songs for as long as he can remember. His catalog is plump with nearly 200 compositions.

Rick Roe is twenty years younger than Gregg Hill, but like Hill, he is charismatic on the Detroit, Ann Arbor music scene.  Roe was a two-time semi-finalist in the Thelonious Monk International Jazz Piano Competition. He also won the 1994 Great American Jazz Piano Competition. Roe has played with jazz icons like Marcus Belgrave, Wynton Marsalis, Frank Foster, Gerald Cleaver, Wendell Harrison and Rodney Whitaker, just to name a few. Like many in this midwestern community, Roe appreciates the inspired voice of composer Gregg Hill.  Roe’s genius, (as an arranger of note), tackles this awesome music composed by Gregg Hill with creativity and freedom. Consequently, each of the ten tracks of Hill’s original music shows a different side to Hill’s language and personality. This is after it’s been infused with Rick Roe’s unique arrangements.

The first thing I notice is the wonderful way this pianist ‘swings!’  The group’s opening tune is titled “Inside Straight.” The tune shuffles into my listening room with Marcus Elliot shining on his tenor saxophone.  When Rick Roe enters, tantalizing me with a piano solo that dances above the rich, powerful rhythm section, I am intrigued.  Robert Hurst takes a brilliant bass solo, with the notes tumbling over each other, like an excited conversationalist trying to get the story told in a brief amount of time. Then they trade fours with Nate Winn on drums.  This is a bluesy tune that is just pure fun. These musicians infuse it with joy.

“Sunspiration” is a happy jazz waltz.  This time, Marcus Elliot brings his soprano saxophone to the party.  When they cover Gregg Hill’s composition that is the title tune of this album, “Wake Up Call” swings with punctuated breaks and staccato notes that briskly punch out the melody.  I enjoyed the beauty of the ballad, “Wide River” with that wonderful melody. The song exuded a peaceful feeling that spreads across my listening room like a sunrise.

“The Return of Mr. Pea” quickly becomes one of my favorites on this album with its Straight-ahead excitement and Nate Winn kicking the tune into ‘swing’ mode with precision and energy.

Every song on this album is well-written and beautifully arranged, The combination of Rick Roe’s talents as a pianist and arranger, combined with Gregg Hill’s formidable composer abilities, offers nearly an hour of well-produced jazz for our listening pleasure.

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RICKY ALEXANDER – “RAGOLOGY” – Turtle Bay Records

Ricky Alexander, clarinet; Jerron Paxton, banjo/vocals; Conal Fowkes, piano; Rob Adkins, bass; Kevin Dorn, drums.

Ricky Alexander was introduced to ragtime music by an elementary school teacher, Bob Henderson.  He recalls falling in love with the Original Dixieland Jazz Band after hearing their hit record “Tiger Rag.”  On this, Alexander’s third album for Turtle Bay Records, he dives into the roots of ragtime.

With the addition of Jerron Paxton on banjo and Grammy-winning Conal Fowkes on piano, he adds an integral element of the ragtime genre by pairing these two instruments. However, it’s Alexander’s own clarinet brilliance that solidifies the style and era of this music. He has carefully chosen a repertoire that winds back the clock to remind us of the historic music that morphed into jazz. His arrangements turn back the hands of time with tunes like “Buffalo Rag” (popular in 1904) and “Ragtime Oriole” (1911). 

Way Down Yonder in New Orleans by the Early Bird Jazz Band

Ricky Alexander has appeared as a saxophonist and sideman on over 30 albums. He has played on numerous television commercials, films and productions, including a commercial for Jet Blue. Alexander has a love for Brazilian choro music too.  He often listens to it while he’s cooking dinner.

The second song on this album is called “Sliding” and accentuates heavy syncopation during the piano rhythm.  This represents the way his band has infused Brazilian sounds with ragtime music of the 1910s. Bob Adkins is featured on a brief bass solo, and Fowkes shines during his piano improvisation. I can visualize the can-can girls dancing to this tune. 

The most recent composition on “Ragology” is a 1938 Sidney Bechet tune called “Blackstick.”  This song represents the transition of Ragtime music to more like pop-jazz of the 1930s.  It shuffles and dances across my listening room, radiating happiness and joy.

Throughout this production, Ricky Alexander is magnificent on clarinet in his ragtime style and always technically astute.  His joyful album wraps up with two Jelly Roll Morton hit songs.  One was “Shreveport Stomp” (a big hit record in 1924) and “Sweetheart O Mine” is a mid-tempo stepper featuring the vocals of Jerron Paxton. 

If you love Dixieland music and the Ragtime era, this should definitely find a place in your collection. 

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GREGORY GROOVER Jr. – “OLD KNEW” – Criss Cross Jazz

Gregory Groover, Jr., tenor saxophone/composer; Joel Ross, vibraphone; Paul Cornish, piano; Harish Raghavan, bass; Kendrick Scott, drums.

In 2024, Gregory Groover Jr. debuted his talents on Criss Cross Records with an album called “Lovabye.”  Today, thirty-two-year old Groover serves as Assistant Chair of Berklee’s Ensemble Department and Interim Director of Danilo Perez’s Global Jazz Institute.  This follow-up project was recorded without rehearsal. It’s an album that features a double entendre title, “Old Knew.”

For me, it seems to reiterate that everything old could repeat itself and become something brand new again.  At the same time, the album title affirms the wiseness and respect deserving those ancestors or elders who came before us, insinuating that they knew more than we sometimes give them credit for. 

In his press package, Groover says that “Old Knew” demonstrates a patience and stronger sense of self without trying to prove anything beyond warm, expressive storytelling.

“The idea is that what sparks an artist’s interest, whatever your line of work, impacts what you want to pursue thereafter.  I remember the first time I heard Wayne Shorter’s “Witch Hunt” and decided to switch to playing tenor.  I remember the first time I heard Walter’s and Ambrose Akinmusire’s music.  I always wanted to make my version of whatever would make me or make someone else feel that way. I care deeply about this music and the musicians who’ve given their lives, and I want to continue to add to it myself, … the other side is trusting the wisdom that older musicians, members of my church, my teachers, and so many other spaces, have poured into my life,” Groover Jr. writes in his liner notes.

Track #5 grabs my musical attention.  Titled, “Retrograde” (a tune composed by Jason Moran) where the ensemble finally seems to peak with strength and creativity on this fast-tempo’d tune.  Joel Ross shines on vibraphone and Kendrick Scott propels the composition ahead with strong drum chops.

On Track #6, “Sumner,” bassist, Harish Raghavan steps forward to open the piece. The following arrangement of melodic repetition took away from what could have been a time of tension with improvisation

However, Track #7 is more palatable.  Called “Good Sir” the title reflects the salutation Groover uses when addressing his father and Walter Smith. This tune becomes another favorite. Groover flies free on his tenor saxophone. Also, the vibraphone addition played by Joel Ross adds spice to the arrangement.

“I wanted to write something in Walter’s style. … Instead of playing this on the downbeat, we move it by an eighth note to create an anticipation,” Groover explains in his liner notes.

There is deep love for family and music wrapped into these compositions.  Gregory Groover Jr. explores his inner-feelings and celebrates his musical journey. His music spotlights the wonderful people who inspired him along the way, while introducing us to his tenor saxophone and talented ensemble members. The album “Old Knew” whispers a promise of elder wiseness and more to come.

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RON RIEDER – “COMPOSITIONS IN BLUE AND OTHER HUES” – Meson Records

Ron Rieder, composer; John Lockwood, bass; Maxim Lubarsky, piano; Mark Walker, drums; Yaure Muniz, trumpet; Mike Tucker, tenor saxophone.

Ron Rieder, based in Andover, Massachusetts has released two colorful albums before this one.  He debuted his composer talents on an album called “Latin Jazz Sessions.”

His second album release was also steeped in Afro-Cuban and Brazilian arrangements. It was called “Dia Precioso!”

This current release explores songs that celebrate Straight-ahead jazz, ‘swing,’ and the traditional bebop era. To play his original music, Ron Rieder has once again contracted a wonderful ensemble. They open the album with a bebop arrangement on “Dizzy Spell” that swings at a medium tempo, featuring a joyful melody sung by Mike Tucker on tenor saxophone and Yaure Muntz on trumpet. In the stereophonic mix, they have put the tenor sax on one side of the speakers, with the rhythm section swinging through the other speaker. It makes me feel like I’m right inside a jazz club enjoying this concert ‘live.’   It’s a great way to begin their album.  Bravo to the engineer.

Track #2, “I Sing for You” is a beautiful ballad that features a tender solo by Tucker on tenor sax, who sings like a bird.  The tender accompaniment by Maxim Lubarsky on piano gives lovely support.  Then we are back to the quintet swinging on “Broadway Boogie.”  The trumpet of Yaure Muniz takes the lead, followed by Tucker improvising wildly. Mark Walker provides solid drum rhythm and tempo throughout. When they trade fours, Walker shows off his trap drum mastery. Lubarsky is brightly spotlighted on piano, while John Lockwood walks his bass with strength and determination.

Every composition on this album is well constructed, beautifully arranged, and these musicians make Ron Rieder’s compositions shine.

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DJANGO FESTIVAL ALLSTARS – “EVOLUTION” – Motéma Records

Samson Schmitt, lead guitar/composer; Ludovic Beier, accordion/accordina/composer; Pierre Blanchard, violin/composer; Antonio Licusati, bass; Francko Mehrstein, rhythm guitar.

Django Festival Allstars bring the world an album of all-original, Django-inspired, gypsy jazz. This brilliant group of musicians first emerged from the Django festival held in 2002. Although the personnel has changed, the dedication and excellence has only continued to grow.  The Django Reinhardt NY Festival itself was founded in 2000. They celebrates 25-years of excellence this year.

Here is a luminous and excellent album that keeps alive the spirit of Django’s incredible music, while spotlighting five musicians who bring that music alive. The festival has released five albums prior to this one. The first was “Live at Birdland” (2001), “Gypsy Swing” (2006), “Live at Kennedy Center” (2012), “Live at Birdland” (2013), and in 2018 they recorded and released their first studio album. Now, 25-years of evolution continues to celebrate and expand on Django’s musical inspiration in this next-generation of ‘Allstars.’

In spite of leadership changes that happened in 2018, the loss of a band member in 2023, and the addition of essential new players, this ensemble of excellence emerges with tightened bonds and worldwide bookings.  Samson Schmitt inherited the role from his talented father and is the lead guitarist with the group. Track #5, that celebrates Toots Thielman on a tune composed by Ludovic Beier (their accordion master), “Around Toots” spotlights Schmitt’s wonderful guitar talents.  This is a beautiful ballad that squeezes every note of beauty out of this composition. 

Pierre Blanchard’s violin dances and soars on Schmitt’s composition “Lovely Wife.”  But it’s the pulsating rhythm and haunting melody of “El Destino” that warms the heart and fills my listening room with the spirit of Django’s musical style.

These musicians bring Pierre Blanchard’s tune alive on the energy driven “Dorado’s Smile.” These up-tempo numbers bring joy and excitement to my heart and soul.

Each of these group members bring awesome talent to the bandstand.  Three of them shine brightly as superb composers on this project. Bassist Antonio Licusati pumps the groove forward like a freight train.  Francko Mehrstein’s rhythm guitar locks hand in hand with Licusati’s bass and the song, “Swing and Ready” storms ahead, wrapping me up in its energy and excitement.

This 21^st Century band of “Django Festival Allstars” may have changed some of the musical participants, but they continue to constantly evolve and compliment the inspired style and music of Reinhardt. As they march through intricate melodies and improvised riffs at top speed, you will find yourself tapping toes, snapping fingers, or dancing like nobody’s watching.

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