September 15, 2019


By Dee Dee McNeil jazz journalist
Sept 15, 2019


On Thursday, October 3rd, Catalina’s Jazz Club, in Los Angeles, will host composer/arranger Lisa Maxwell’s Jazz Orchestra and preview her “Shiny!” record release. As I began listening to Lisa Maxwell’s compositions on youtube.com, the first thing that I recognized is that her arrangements sound like movie scores. I discover I’m not too far off the mark. Lisa explained in her publicity sheet.

“My writing is heavily influenced by the TV themes of the 1970’s. They’re basically the foundation of my cultural identity. Great composers like Lalo Shiffrin, Henry Mancini, Neal Hefti and Earle Hagen underscored my life when I was growing up. I still get a tear in my eye when I listen to themes like ‘The Odd Couple’ and ‘The Bob Newhart Show.’ Like those composers, I have very definite ideas, but I write with the soloists in mind and give them freedom within the structure.”

Citing jazz great, Wayne Shorter, and the iconic arranger/composer, Gil Evans, as hugely important to her growth as a composer, Lisa Maxwell confesses to spending every available Monday night at New York’s “Sweet Basil” jazz club to hear Gil’s band perform. Quite a few of those legendary players are featured on her new album.

“I took a film scoring class at UCLA when I was seventeen and was hooked after I heard my charts played,” Lisa Maxwell explained. “Dick Grove was really my main mentor. He got me going as a writer. Then I won a Quincy Jones Arranging scholarship to Berklee College in Boston and wrote for the recording orchestra. I ended up getting some amazing gigs as a sax player, like with “Guns ‘n’ Roses”, on a Joni Mitchell Project and with Spinal Tap, but my calling is as a writer/arranger. … I often felt like I was the wrong sex, the wrong color and born at the wrong time, but I kept going for it.”

Inspired by her studies with Herb Pomeroy, who taught her Duke Ellington’s nuanced line-writing techniques, she dug into her craft. Maxwell was also inspired by trumpeter Ray Copeland, who taught her jazz arranging. Charlie Haden let her sit-in on his classes at Cal Arts in California and Lisa continued to pursue her dreams by attending the Manhattan School of Music where she studied saxophone with Joe Allard. But it was her close relationship to her dear friend, Lew Soloff, that inspired this current project. He constantly encouraged her to record her original compositions and to arrange the entire project herself. Soloff was a longtime member of the Manhattan jazz Quintet and the Mingus Big Band. He was one of the ‘regulars’ in Gil Evan’s orchestra. Most importantly, Soloff believed in the talents of Lisa Maxwell. Then, in 2015, the popular jazz trumpeter, Lew Soloff, suddenly died.

“When Lew died, I realized I had to stop thinking about it and get it done!” Lisa shared.

This Los Angeles native has spent dedicated years honing her skills and natural, creative abilities. Some of that time was spent in Los Angeles and some years were spent in Boston and New York City. Currently residing in Manhattan, Maxwell’s original music has been licensed by numerous TV series and she’s orchestrated music for Warner Brothers and a number of television shows. You may have heard her music on Sons of Anarchy, person of Interest, Dexter, Burn Notice, Four Weddings, Gravity,and she was orchestrator on all fifty-two episode of the Histeria! TV series.

It’s fabulous to see a talented female excel in the field of composition, arranging and film scoring. She and her all-star orchestra are bound to please you at their one night-only performance on Thursday, October 3, 2019. First show starts promptly at 8:30pm. Be there.


WEB TICKETS: https://www.ticketweb.com/event/shiny-lisa-maxwells-jazz-orchestracatalina-bar-grill-tickets/9788725?pl=cbg
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LOUIS ARMSTRONG – “LIVE IN EUROPE” Dot Time Legends Recording

FRANCE LINE-UP: Louis Armstrong,trumpet/vocals;Jack Teagarden, trombone/vocals; Barney Bigard,clarinet; Earl Hines,piano; Arvell Shaw, bass; Sid Catlett,drums. GERMANY LINE-UP: Louis Armstrong, trumpet,vocals; Trummy young,trombone; Bob McCracken,clarinet/vocals; Marty Napoleon,piano; Arvell Shaw,bass; Cozy Cole,drums.

Imagine, stepping into a magical transformer and being whisked back in time. For a minute, just pretend you have entered a time machine. Moments later,you are sitting in a small jazz club in New Orleans. It’s 1946,and just mere feet away from your table,a young man, destined to become a living legend, is blowing his horn. Others on the scene are Jack Teagarden on trombone and Barney Bigard on clarinet. Crouched over the piano keys is Earl “Fatha” Hines. Arvell Shaw stands tall next to his double bass and Cozy Cole is slapping the trap drums. The leader, standing center stage in a dark suit and bow tie, is Louis Armstrong. The ensemble is performing together in preparation for a European tour.

It appears that eventual tour was recorded on February 22 – 23, 1948 during the Nice International Jazz Festival. It was recorded live at the famed Nice Opera House and also at the Titania Palast in Berlin, Germany. The group of musicians varies. Velma Middleton is featured, along with Louie, on vocals. Sometimes the dynamic Sid Catlett is the drummer and other times, it’s Cozy Cole. Earl Hines is the pianist in France and Marty Napoleon plays piano in Germany. But the steadfast trumpeter and star of this live production is Louis Armstrong.

This recording is part of Dot Time’s Legacy Series and these treasured tracks were recovered in forgotten, European archives of a live performance of Louie Armstrong and his All Stars in both Nice, France and later, in Germany, during a Berlin recorded broadcast on RIAS (Radio in the American Sector) files.

On the bluesy presentation of “Rockin’ Chair,” Jack Teagarden lends his smooth vocals to the mix, with Armstrong playfully answering him in his signature vocal style and adding a bit of comic relief during their duet. One thing I always admired about Louis Armstrong, (other than his amazing musical agility on his trumpet) was his penchant for entertaining. Sometimes musicians play only for themselves and each other, forgetting about the audience or having the attitude you can love it or leave it. Louie Armstrong knew that singing was a strong audience pleaser and always included this in his shows, as well as adding comedy relief. Louis Armstrong understood the importance of entertaining. The story goes that Armstrong’s manager at the time, Joe Glaser, told him before his European tour not to sing. He said they were all foreigners and didn’t speak any English. Armstrong nodded gravely, but as you hear, he paid absolutely no attention to Glaser’s instruction not to sing. In his own way, he was a serious activist, using music as his catalyst. He opened every concert singing Fats Waller’s poignant “Black and Blue” composition. It reflected the racism in America and always was received with marvelous applause and appreciation. You will hear his performance of that song on this album, along with the popular, “Sunny Side of the Street.”

He scats his way through “Them There Eyes,” as only Louie could do and I was intrigued with the blues song, “My Bucket Got a Hole In It,” featuring the boogie-woogie bass line I used to hear my own father play on our upright piano. Louis Armstrong then pays homage to his roots on “Way Down Yonder in New Orleans” and on “Mahogany Hall Stomp” the band has an on-stage jam session with Arvell Shaw making a strong statement on his bass and Barney Bigard swinging his clarinet solo boldly into the audience. Closing with “A Kiss to Build a Dream On,” Louis Armstrong leaves us a message from beyond and a promise, like a blown kiss, that love crosses all boundaries the same way great music does.
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Wallace Roney,trumpet; Emilio Modeste,tenor & soprano saxophones; Oscar Williams II, piano; Paul Cuffari,bass; Lenny White & Kojo Odu Roney,drums; Quinton Zoto, guitar.

Wallace Roney has the tone and beautiful execution on his trumpet that makes me want to bow my head and pray. I am especially taken by his interpretation of “Why Should There Be Stars,” a lovely ballad and the second tune on his stellar new album.

“Bookendz” opens his CD and it’s powerfully played by two drums: Lenny White’s funk-drums, along with Kojo Odu Roney adding his percussive licks. Oscar Williams II offers in-your-face piano brilliance. Wallace Roney recalled the first time he heard Oscar Williams II play.

“He had beautiful touch and a scope of understanding. He was shy, but I could hear that innovative spirit in him – that’s why I hired him,” Wallace Roney confessed.

The ensemble’s rhythm section magic sets the stage for Roney’s impeccable trumpet solos. Emilio Modeste not only soars on soprano saxophone, fluttering like a bird during his solo, but adds harmonic flavor with Roney as an integral part of their duo horn section. This tune introduces the players in a bright, boisterous way. I was so moved by the production on these two songs that I had to rewind and play them twice before continuing. Roney’s music can have that effect on you. His talent demands attention and sparkles under the microscope of our ear-investigation.

“Wolfbane,” a Lenny White composition, gives White an opportunity to take the percussive reins and ride his trap drums dynamically across this production, inspiring a strong, walking bass by Paul Cuffari. His bass dances along, beneath the music, in a very creative way. Quintin Zoto adds rhythm guitar to this straight ahead, take-no-prisoners tune and the rhythm section pushes the pulse, creating a stage for the horns to showcase their splendor.

“My music is uncompromising, so I look for musicians who have an expansive understanding of what’s possible and who have the ability to play above that; but who are always cognizant of what’s going on around them. I tell them to be true to who you are. Go all the way in, learn every part of what the masters have done, but let it come out ‘you’.”

All I can say is, mission accomplished!
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Jason Harnell, drums/vocals/synthesizer/loops/vocal percussion/comedian/ unimaginable creativity.

I have always been fascinated by drummers. They use every muscle in their bodies and practically all their limbs. They synchronize those bones, ligaments and muscles to orchestrate rhythm; to hold a group together like super glue and to inspire the listener to groove, move, dance, finger pop and enjoy the music. Drummers are a special breed of musician. That being said, Jason Harnell brings something totally fresh to this album of percussive music. Based on drum solos that he performs, Harnell adds spoken word monologues to his spontaneity. He blends in his singing abilities, harmonizing with himself and creating moods and melodies. I am reminded of the artistic and unexpected talents of Bobby McFerrin on his opening cut, “Trance” and on the fourth track titled, “Lullaby.” Jason Harnell sings all the parts over his singing drums. Harnell unapologetically displays multi-talents. His album cover portrays a character that could represent, “Captain Amazing Saves the World” the title of Harnell’s fifth track. The cartoonish figure, with Harnell’s head perched atop a bulging, muscle-toned, cartoon body in a superman-type-suit, is standing on a pile of drums. Jason Harnell describes in his monologue, a musical, jazz, super hero. A super hero who has powers to play and improvise beautiful music anytime and anywhere. However, that super hero “…could not fry an egg, or change a tire; couldn’t type or use on-line banking.” I laugh out loud! Obviously, Jason Harnell has a vivid sense of humor. I think cut #5 explains the man himself.

At six years old, after Jason Harnell played a fifteen-minute drum solo for the legendary drummer, Louie Bellson. Bellson was so impressed that he replaced the child’s toy drum kit with his own. Thus, began Jason Harnell’s search for perfection and musical, rhythmic clarity. He did all the things developing jazz musicians do. He practiced, played gigs, inter-acted with his peers and made political moves to enhance his climb to fame. The idea of presenting a solo drum show never entered his mind until a bartender/manager of the Oyster House Saloon in Studio City, California suggested he do just that. The inspired manager wanted to book Harnell as a solo act. Thus, the Jason Harnell Solo Drum Experience was conceived.

In both his live shows and on this production, Jason Harnell incorporates recorded loops, applied effects, spoken word stories and descriptive monologues, while playing his drums. He sings and harmonizes with himself. His vocals are palatable and husky. He pulls inspiration from comics and films. For example, Jason incorporates the ‘Quint the shark hunter’s’ speech from the “Jaws” movie into his drum song on his tune, “Bad Fish.”

Without a doubt, this is a unique production, inclusive of vocal percussive scatting. Harnell presents original arrangements of familiar songs like “Moon River” and “When You’re Smiling” and he’s obviously an expert on trap drums. One minute he’s Bobby McFerrin, the next he’s Elvin Jones, and then he’s Al Jarreau. The next second, he’s a Hollywood actor delivering a monologue, always accompanied by his incredible drum solos. Then, he surprises us when he sings something as pensive and sweet as “Sara Song.”

Born of a prominent musical family, his father, Joe Harnell, was a Grammy winning composer and arranger. Perhaps young Jason was tutored early on to improvise his way through life and to be unafraid to push the walls of the boxes that surround us. He is an artist unafraid to reinvent his music and himself; to use his imagination and creativity to embellish his life and his audiences. Jason Harnell shows us that he is a free spirit, brilliant percussionist, talented singer, and a totally adventurous character. If you want to experience something completely unique and unexpected, “Total Harnage” is the CD you will want to pop into your player. Then, fasten your seat belt!
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Noah Preminger,tenor saxophone;Jason Palmer,trumpet; John O’Gallagher,alto saxophone; Kris Davis,piano; Rob Schwimmer,Haken Continuum/clavinet; Kim Cass,bass; Rudy Royston,drums.

Steve Lampert is a trumpeter who has composed all the music for this project.

“Steve is absolutely brilliant,”Preminger says of the artist whose recording resumé includes five of his own albums as a leader.

“I met Steve Lampert at a gig in Greenwich Village around 2010 and we immediately struck up a deep friendship. Steve has shown me a lot about life; the way he says things just makes sense to me. Listening to and recording his music has given me a fuller perspective on the relationship between improvisation and composition, deepening the richness of my musical palette.”

“Zigsaw” is a suite of music and a metaphor for dreams that Noah Preminger experienced. In the eyes of the musicians, in the charts they read and the concept they perpetrate, Noah Preminger’s Group conceives this suite as divided into twelve main sections. Each represent a cycle of events. On the disc, you will see no division at all. The number ‘One’ glows on the CD player, as if we are on the first track for nearly an hour.

This is contemporary exploration by Noah Preminger on his tenor saxophone, endeavoring to catch his dreams and pin them, like living butterflies, on a board of velvet. You can visualize their fluttering wings spread open and straining for freedom, the way Preminger’s horn does. Steve Lampert encourages that freedom in the members of the Noah Preminger Group.

“For all my projects, I write a kind of musical virtual reality within which instrumentalists can react to the piece and with each other. I want them to be who they are as improvisers, to not tie their hands in any way, to put them in a strange new world and have them do their thing,”Steve Lampert explains his composition as it relates to the Noah Preminger musicians.

Noah Preminger hired pianist and keyboardist, Rob Schwimmer, as a wild card. Schwimmer brings a futuristic fingerboard into the project, playing the Haken Continuum, an instrument that creates more atmospheric revelations and offers unusual improvisations. This unique instrument provides a sonic element to the production. One that acoustic instruments could not have singularly captured.

Noah is the distant cousin of film director Otto Preminger and this is his fourteenth album release. In fact, he released a CD titled, “Preminger Plays Preminger” where he interpreted and wrote music associated with the films of his distant cousin. That album was released on the French, vinyl-only label, Newvelle Records. It featured Jason Moran on piano, Kim Cass on bass and drummer, Marcus Gilmore. Noah Preminger is known for pushing musical boundaries. He has garnered the DownBeat magazine’s Rising Star Best Tenor Saxophonist title and was hailed by the Boston Globe as “a master with standards and ballads, as well as an adventurous composer.” I’m certain this will be another contemporary, modern jazz album of Avant-garde music that will become an additional notch in his saxophone belt.

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Chris Pasin,trumpet/composer; Karl Berger,vibraphone/piano; Ingrid Serso, vocals; Harvey Sorgen,drums; Michael Bisio,bass; Adam Siegel,alto saxophone.

Jazz trumpeter,Chris Pasin, uses a host of excellent musicians to celebrate Pulitzer Prize winner and Jazz master, Ornette Coleman and his long-time collaborator, Don Cherry. Pasin’s opening tune is self-penned and titled, “OCDC.” It introduces us to each player in his ensemble, as they race to the tempo and improvise, sweeping across space with their solo efforts. Harvey Sorgen’s rolling trap drums keep the propulsive momentum steady and Sorgen is consistently creative. Michael Bisio takes an extended bass solo, with Sorgen highlighting the bass player’s step into the spotlight. Chris Pasin speaks fluidly on his trumpet and Adam Siegel answers on his alto saxophone. The tune, “Jayne” follows and is an Ornette Coleman composition. Pasin has arranged it as a smooth Latin groove with Karl Berger’s vibraphone dotting the production,like exclamation marks throughout the production. It’s a nice touch. Chris Pasin makes himself heard, soloing over the tight rhythm section, his tone both melodic and innovative. Enter Siegel on his alto saxophone, spewing creativity like confetti. This is a well-paced and exciting recording that has chosen five of Ornette’s compositions to ‘cover’ with a blanket of beauty and warm inventiveness. Pasin comfortably shares his stage with each individual ensemble player, but definitely shines on his own horn conversations. This reviewer enjoyed this production, but I was not impressed with the vocalist, whose amateur singing took away from these masterful musicians.

Chris Pasin, a master of both classical and jazz trumpet, has been an Ornette fan sense his teenaged years. He explained in his liner notes:

“I became acquainted with the music of Ornette Coleman, Don Cherry and Albert Ayler as a teenager and played along with their records. … It was not until a couple of years ago that the idea of a band playing the music inspired by these heroes occurred to me, thus engendering Ornettiquette.”

This album marks the second collaboration between Pasin and producer, Patricia Dalton Fennell for Planet Arts records. Although it was released in winter of 2018, it is such an exquisite tribute to Ornette and Don Cherry, and so well played, that I had to include it in my article that celebrates ‘legendary trumpeters.’ Chris Pasin’s work certainly falls into that category.

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September 3, 2019

By Dee Dee McNeil/Jazz Journalist

Sept 3, 2019


Colin Stranahan,drums; Glenn Zaleski,piano; Rick Rosato,bass.

Enter drummer,Colin Stranahan, as he percussively sings the introduction to Glenn Zaleski’s original song, “Forecast.” It’s a straight-ahead, bebop tune penned by the pianist and properly introduced on Stranahan’s Canupus drums and Zildjian cymbals. He locks horns with Rick Rosato on double bass, using a flurry of drum sticks to tag a tempestuous walking bass. They make my ears perk up and snatch my attention. It’s a percussive love affair. By the time Glenn Zaleski enters on piano, I am already infatuated with this music. Here is a trio that has been performing together for over a decade. The richness and excitement in their music comes from their common chemistry, familiarity and shared talent. Each one brings his own mastery to the stage of “Live at Jazz Standard” in New York City.

“There was a lot of time between our second and third records when we all got busier as sidemen. But our chemistry only deepened. … As we grew, we were gathering professional experience and I think that has definitely seasoned our chemistry together,” Zaleski explains in the liner notes.

During this ‘Live’ presentation, you will be on the edge of your seat and thoroughly entertained, as though you are one of the enthusiastic audience members at New York City’s famed jazz club. All three members contribute compositions. The only standard they play is “All the Things You Are,” and that’s always a jazz crowd-pleaser.

“This trio really feels like home for me,” Rosato says. “We’ve gotten to know each other on a very deep level, both musically and personally.”

In 2010, this trio began their musical journey together performing a weekend of unforgettable jazz in Rick Rosato’s native Montreal,Canada. Shortly after,they went to Denver,Colorado (Colin’s hometown) and recorded their first album titled, “Anticipation.” In 2013, they followed this up with another recording called, “Limitless.” Working separately as busy sidemen with a slew of recognizable jazz giants, the trio split into different, individual directions. So, eight years later, this is a homecoming of sorts. A culmination of experiences, growth and a strong desire to bring their music back to familiar roots. Together,they blossom.

“We just sensed a connection and playing together felt so effortless. The music was just flowing out of us. Since then, I’ve felt that way every time we’ve played together. The friendships and the music have only gotten stronger, and that’s a unique situation,” Stranahan shares.

So, grab a cocktail, a coffee or a smoothie; prop yourself up in your favorite easy chair, and enjoy this hour-long concert of exquisite beauty, creative compositions and resolute talent.
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JELENA JOVOVIC – “HEARTBEAT” Universal Music Group

Jelena Jovovic, vocals/composer; Vasil Hadzimanov, piano/Fender Rhodes; Milan Nikolic, double & Electric bass; Vladimir Kostadinovic & Dusan Novakov, drums; Rastko Obradovic, tenor & soprano saxophones; Strahinja Banovic & Stjepko Gut, trumpets; Milos Nikolic, trumpet/trombone; Branko Trijic, guitar; Milos Branisavljevic, vibraphone; Tom Fedja Franklin & Bojan Ivkovic, percussion; Srdjan Markovic, Ivana Vukmirovic & Ilija Mihailovic, background vocals; Oleg Kireyev, tatar throat singing.

A beautiful poem opens this recording. Jelena Jovovic performs spoken work, then follows this by adding lyrics to Wayne Shorter’s tune, “Witch Hunt.” Her voice is a sweet tonal force. For effect, she multi-layers vocal harmonies intermittently throughout her arrangement. Rastko Obradovic adds a soulful solo on tenor saxophone and Jelena’s entrancing voice recites poetry over Milan Nikolic’s bass expressions. This is an interesting opening to a very creative and unique project, where the story of an oak tree becomes a symbol of strength, endurance, wisdom and the power of life. This music is born and bred in Belgrade, (a bustling city in the former Yugoslavia). This city and its people know about resilience and strength. They survived a war of ethnic cleansing.

Jelena Jovovic is a composer and lyricist. For her second song, she has used the influence of an old folk song she heard as a child, transforming it into “Paladin” as a reminder to never, ever fear. This composition is a pretty ballad. On tune #3, I enjoy the Tatar throat singing of Oleg Kireyev. I first heard this type of growling inspiration when I was performing in Thailand years ago and ran into a group of Russian musicians whose group featured throat singing. Their sound was captivating. It‘s an unforgettable experience. Once you hear this imitable sound, you will never forget it. Along with throat singing, Jovovic and her band of musicians have created an arrangement that sounds like Horace Silver meets Chaka Khan. They add a bluesy piano by Vasil Hadzimanov and Jelena shows us that she can scat with the best of them, adding vocal harmonies with the horns. Beneath the entire production, Vladimir Kostadinovic plays exciting drum. “The Countless Stars” is one of this reviewer’s favorite songs.

Another enchanting song is the title tune, “Heartbeat” with its intoxicating melody and repeatable refrain. Jelena Jovovic has a vocal instrument that is powerful and stylized. She has a voice you will remember, and that’s one of the finer points of becoming a true artist; when you have a style and tone that is all your own. Her lyrics are often more prose than rhymes and her melodies often challenge the norm, like “Bubu’s Song” that swings hard and shows us that Jelena Jovovic is a jazz diva, as well as an adept composer. On this song she applies the tone and techniques of master scat vocalists like Ella Fitzgerald or Sarah Vaughan. The song, “Little Freddie Steps” reminds me of a combination of Eddie Harris, Freddie Hubbard and Eddie Jefferson, rolled into one funky composition. Strahinja Banovic soars on his trumpet. This entire production shows us the transformative effect that jazz music has on all people, spanning continents and splashing across oceans, to inspire art and freedom in world class talents like Jelena Jovovic and her ensemble.
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RAY BLUE –“WORK” Jazzhead Records

Ray Blue, tenor saxophone/composer; Ron Wilkins, trombone; Neil Clark, Percussion; Steve Johns,drums; Essiet Okon Essiet & Belden Bullock,bass; Jeff Barone,guitar; Sharp Radway, Kirk Lightsey & Benito Gonzalez,piano.

Ray blue’s saxophone work is as infectious as his beaming smile on the cover of his newly released album of ‘Work.’ He opens with an original song and the title tune, that appears to be based loosely on the changes to “My Way.” These musicians like to swing hard and straight ahead they go. The Negro National Anthem, “Life Every Voice and Sing,” follows. It’s performed at a speedy tempo with gusto and pride. Ray Blue is a very melodic composer and he’s smooth as velvet on his horn. The tune he calls, “My Friend and I Took A Walk,” is a pretty ballad. Benito Gonzalez has a light, but thoroughly effective touch on the piano. His brief solo is tender and emotional. Ray Blue adds funk to the program with Nat Adderly’s swinging song, “Sweet Emma.” This entire production offers an assortment of familiar jazz tunes, with the addition of three original songs by the leader. This is an entertaining hour and four minutes of excellent jazz. Ray Blue’s smooth tenor saxophone interpretations are consistently pleasing to the ear. He has also surrounded himself with some of the best East Coast jazz musicians available, including pianist Kirk Lightsey, who makes a guest appearance on the very bluesy presentation of “Teach Me Tonight” and on the closing tune, “That’s All” that features Ray blue and Lightsey as an effective duo. Bassist Essiet Essiet in another stellar player on bass. Other favorite tunes are “Everything Happens to Me” which wears a refreshed face as a swing arrangement rather than the normal ballad presentation. Norah Jone’s composition, “Don’t Know Why” also swings hard as does Jimmy Smith’s “Mellow Mood” and pop standard, “Our Day Will Come.” I plan on keeping this CD in my car so I can listen often.
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Orice Jenkins,vocals/arranger/finger snaps/piano/ Wurlitzer/Rhodes/acoustic guitar; Zaccai Curtis,piano; Matt Dwonszyk,double bass; Frank Brocklehurst,acoustic & elec. Bass; Susan Mazer,elec. guitar; Chuck Petersen & Jocelyn Pleasant,drums; Alvin Carter Jr., Djembe; Allan Ballinger, cello; Kevin Bishop, viola; Aaron Packard & Annie Trepanier, violins. (The Hartford String Quartet under the direction of Cuatro Puntos.)

His voice is butter. It comes on the scene smoothly, without accompaniment except for finger snaps. Orice Jenkins is a ‘Capella-beautiful on the opening tune of “Let There Be Love.” Enter string players on “Mona Lisa” in a staccato dance beneath Jenkins’ strong baritone vocals. At first, it’s a gripping and unexpected arrangement. But it soon becomes annoying to my ear. The repetitive strings, punching a background for this classic tune, takes away from the beauty of the song’s melody, as well as the beauty of Jenkins’ voice. I am disappointed. In my opinion, a smooth transition to legato lines from the punchy staccato would have enhanced this production. In contrast, the string arrangement on “Nature Boy” is stunning. The addition of Alvin Carter Jr.’s djembe instrument gives this production an unexpected world music slant.

Orice Jenkins is multi-talented. Not only does he have a lovely voice and tone, he also plays piano and guitar on this project. As a composer, he contributes an original tune titled, “Birmingham.” This protest song recounts an incident occurring in Alabama city, in 1956, when Nat King Cole was assaulted and the Ku Klux Klan attempted to kidnap him from the stage.

Orice Jenkins accompanies himself on the grand piano when singing “Stardust.” The strings return on “Blame It on My Youth.” The rich contrast of his beautiful baritone against the chamber music is striking. I was happy to hear him pick up the pace and swing “The Very thought of You” tune, featuring Jocelyn Pleasant on drums. Jenkins is an adventuresome arranger and vocalist. This recording presents an unusual concept, with his voice floating like cream atop the milky sting arrangements. It’s quite experimental. However,I think that sometimes an artist has to step away and let a producer take the reins in the studio. I don’t see a producer listed, so I am assuming that Orice Jenkins produced this tribute to Nat King Cole himself. March 17, 2019 marked what would have been Nat King Cole’s 100th birthday. Mr. Jenkins does an adequate job of paying homage to the legendary Nat King Cole, in his own inimitable way.
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Christopher Hollyday,alto saxophone: Gilbert Castellanos,trumpet; Joshua White, piano;Rob Thorsen,bass; Tyler Kreutel,drums.

If you are a die-hard, straight-ahead jazz fan, this first composition by Freddie Hubbard will satisfy your soul. Christopher Hollyday leaps into this project with exuberant and serious chops on his alto saxophone. He doesn’t stop there. On the 2nd cut, “Hallucinations” (a Bud Powell composition) Hollyday and Gilbert Castellanos, on trumpet, keep the bebop going strong. This album was cut in San Diego, California, but it sounds more like New York City energy.

“Gilbert and I have a connection. When we play, we don’t need to talk. That’s why I named the album” Telepathy,” Christopher Hollyday affirms.

I wondered why I hadn’t heard Hollyday’s name on the West Coast music scene. He’s certainly an amazing and gifted reedman with a tone and style that’s all his own. Then I read the liner notes. It appears that he was somewhat of a super-star over three decades ago. His major debut on the RCA/Novus label featured a young man with tremendous talent on the saxophone headlining an all-star group of masters including Wallace Roney on trumpet, Cedar Walton on piano, David Williams on bass and Billy Higgins on drums. After that smashing debut album, he recorded three more works of art. But like a lot of musicians with admirable gifts and talked-about potential, he suddenly found himself floundering around the East Coast Boston Bebop scene, with no record deal offers and a smattering of gigs. Without a manager, a booking agent or the drive to do it himself, his shooting star plunged. Love and marriage followed. Hollyday relocated to San Diego’s North County with his bride and became an educator for the next twenty-some years, providing for his family and letting his music career sit on a shelf next to his 1989 record albums.

Lucky for us, one recent morning Christopher Hollyday woke up and decided to record another album. On this project you will hear his wonderful interpretations of “Everything Happens to Me,” “Autumn in New York,” the familiar Harold Arlen gem, “I’ve Got the World on A String” and Charlie Parker’s tune, “Segment,” played at a racing pace and showcasing his strong rhythm section. Christopher Hollyday flies on this tune, like a caged bird suddenly set free. I always enjoy hearing Gilbert Castellanos’ smooth trumpet sound. He and Hollyday work well together. Joshua white’s fingers dance across the keys, swift as humming bird wings. Rob Thorsen’s bass pumps relentlessly, locked into the rhythm of Tyler Kreutel’s drums. I wish both of those musicians had taken a solo on this speedy arrangement. But, never mind. You will still enjoy and experience the camaraderie of these musicians that radiates throughout their production in support of Christopher Hollyday’s terrific talent. The joy is palpable. Welcome back, Christopher Hollyday. We’ve been waiting for you.

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CHASE BAIRD – “A LIFE BETWEEN” SoundsAbound Records

Chase Baird,saxophone/composer/producer; Antonio Sanchez, drums; Brad Mehldau,piano; Nir Felder,guitar; Dan Chmielinski,bass.

From the modern, contemporary art CD cover to the contemporary jazz music on disc, Chase Baird uses his composer credentials and saxophone talent to present “A Life Between.” The introduction to his tune, “Ripcord” sounds like rock music, but soon morphs into jazz. Baird admits in the liner notes, “I really want to be in Radiohead, but how can I be a saxophonist and do that?”

He has created an album of work that encompasses the challenges of facing New York City with young, musical dreams and working through tough times. He strived to cultivate romanticism inside himself during moments of serious doubt and with no gigs in sight. In between school and practice, He baked pies, washed dishes, detailed cars, and out of his struggle came compositions that are tinged with romance and friction; a place hoovering between love and work. Cut #2 is warmer, more melodic and a ballad with busy drums, played artistically by Antonio Sanchez, dancing beneath the tenderness. It’s a nice contrast affect with the trap drums pounding and busy, while Baird’s beautiful saxophone sounds tell a more tender story. Once again, we are caught in the in-between. “As You Are” is the title of the tune and is distinctively more Coltrane-ish. I enjoy Nir Felder’s smooth guitar solo. “Reactor” starts out sounding like an R&B tune, then quickly transforms with a horn line that moves the composition into funk jazz. The rhythm section conjures up an arrangement that reminds me of an American Indian celebration. Chase Baird knows how to combine cultures, styles and sounds in a delicious way. The sweet, staccato punch of the piano, the bass runs and the rhythm guitar create a trampoline of sound for Chase Baird’s horn to bounce upon. It’s not long before Nir Felder takes his guitar solo way outside ‘the box’ and heads for the stratosphere. Even as a graduate of Julliard, with his degree tucked into his sock drawer and printed on Baird’s impressive bio, it hasn’t been easy. From Utah roots, to gigs in Los Angeles, hungry dreams and repetitive insecurities led this musician East and to the outer limits of himself. The thing about music is you have to find your own path, rake it smooth and cement your own destiny in place.

“…just playing, interacting, opening up, stretching out, getting to that place. So, I wanted to write songs more as vehicles for group improvisation. Let the band get a vibe and take off. I like playing with people; where there’s some grit,” Chase Baird explains the concept of “A Life Between”.

“I want people I can go to war with. Having a balance is important. Dan (Chmielinski) brings a lighter energy as a human being. You kind of need someone who’s happy. You need someone who’s darker too; artistically darker. You need different ingredients that can breed tension. While planning this recording session, Dan said to me, why not call Brad? Brad had cut three tracks on one of Antonio’s records in 2015. I trust Antonio (Sanchez) and Brad was one of my heroes. I had played with Nir before. Nir was someone I always looked up to. He’s the whole package. We all rehearsed once, the day before this session.”

With his team in place, loaded and ready for battle, Chase Baird passed out his charts and took the giant step into a studio space. He challenged his horn, and his musical friends, to constellate a sparkling, musical dream. His compositions inspire, and together, they bring intangible determination and outstanding talent to push the boundaries of creativity and freedom.
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Haruna Fukazawa,flute/alto flute; Steve Wilson,soprano saxophone/flute; David Demotta,piano; Bill Moring,bass; Steve Johns,drums.

From the first original song by Ms. Fukazawa titled, “Contact” I am intrigued with the ‘swing,’ the melody, the arrangement and her excellence on flute. I appreciate her arrangement of Horace Silver’s “Juicy Lucy.” Once again, her band swings and David Demotta’s piano solo is flush with blues. It’s obvious that Haruna Fukazawa enjoys swinging the music. On “I Wish You Love” she continues with her happy-go-lucky presentation. Bill Moring is terrific on his walking bass, skipping beneath her flute solo and locking in with Steve Johns on drums. Ms. Fukazawa also has a neat way of harmonizing with Steve Wilson’s saxophone and placing the duo reed parts in all the right places to accentuate her bright, arrangements and to ensorcell our ears. She gives the pianist a time to shine on “Bassi Blues” with a pounding piano that enriches the arrangement in a pronounced way and snatches any drifting attention to her flute-driven melody. This is obviously a tribute to Count Basie, with the mondegreen of Basie becoming Bassi, within the title of her song. Steve Johns takes a fluid and powerful solo on trap drums and half-way through the tune the trio doubles the time and flies free. This entire buffo production is delightful and each musician displays their artistic excellence in unforgettable ways. Her choice of repertoire shines, with beautiful compositions like Billy Strayhorn’s “A Flower Is A Lovesome Thing,” and Sammy Fain & Bob Williard’s “Alice In Wonderland.” Without doubt, Haruna is a noteworthy composer/arranger and she brings joy to her project with her flautist mastery, excitement and spontaneous energy. This is an album of music to enjoy again and again, over time.
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John Yao, trombone/composer; Billy Drewes,soprano/alto saxophones; Jon Irabagon, tenor saxophone; Peter Brendler,bass; Mark Ferber,drums.

Drummer, Mark Ferber, along with horns, soak up the spotlight on the first tune. Peter Brendler walks his double bass beneath their excellent energy as they set the fast-moving pace. Thus, they become the musical curtains for John Yao to walk through on his trombone. These arrangements by composer Yao, are both challenging and inspired. For over a decade, he’s been honing his talents as a trombonist, a composer and arranger. He’s released two albums with his Quintet and one with his 17-piece big band. In New York, John Yao has worked extensively with the Vanguard Jazz orchestra, Arturo O’Farrill and the Afro-Latin jazz Orchestra and accompanied Paquito D’Rivera, Eddie Palmieri, Danilo Perez, Chris Potter and Kurt Elling. He’s staff arranger for the JMI Jazz World Orchestra and his talents were commissioned by the Afro-Latin jazz Orchestra. Aside from that kind of scheduled appearance calendar, he manages to be Adjunct Faculty at Molloy College and Queens College. But this project is fresh and new.

“In any arranging class, you’ll learn that three horns is the hardest combination to work with in achieving a full sound,” Yao explains. “If you just had one more voice, you could fill out the harmony more clearly. But with three, you’re constantly boxed into corners, so that was a huge challenge orchestrationally. Especially, with this group, because there’s no piano or guitar. But I like to set up boundaries for myself to cross. Maybe I just like to make my life miserable, but the idea is to try to grow as a musician and push my limits.”

This production certainly pushes the limits of both creativity and talent. Both Jon Irabagon on tenor and Billy Drewes, bouncing from soprano to alto saxophones, add polish and excitement to each solo and shine on the horn harmonies. The group is obviously propelled by the vigorous rhythm excellence of both Peter Brendler on bass and drummer Mark Ferber. Ferber’s drum skills shine on the second cut, “Triceratops Blues,” with Yao’s smoothly arranged horn lines punching the harmonies and stitching the tune together like a master tailor. Triceratops is the name of a huge dinosaur that once walked this earth. This is a contemporary jazz project of immense character, featuring saxophones and trombone as the frontline and exhibiting skillful arrangements on the eight songs John Yao has composed. He manages to succeed in juggling the triangular horn act, while smoothly entertaining our ears like a persuasive circus barker. We are hypnotically drawn into his music, eager to hear what comes next.

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August 30, 2019


By Dee Dee McNeil/Jazz Journalist

Aug 30, 2019


Dave Miller, piano; Chuck Bennet, bass; Bill Belasco, drums.

The piano, bass and drums dance onto the scene in synchronicity and with joy. There is nothing like a solid jazz trio to entertain us. This recalls the days when every major hotel had a good jazz trio at their comfortable lounges to set the mood and improve the ambience. Dave Miller delivers the melody of each one of these classic songs and makes me want to sing along. I never noticed that the familiar tune, “You Took Advantage of Me,” sounded so much like “Taking A Chance on Love,” until I heard Miller’s arrangement of it. Those two songs would make a great medley of tunes. Miller, Bennet and Belasco include a variety of songs, including those from the great American songbook and from unforgettable composers like Billy Taylor, Sam Jones, Rodgers & Hart, Gershwin, Charlie Parker and Michel LeGrand. This is pleasant journey down a very musical memory lane.

“When I was pretty young, I was having trouble understanding bebop. But then I heard the George Shearing Quintet. I loved hearing guitar, vibes and piano played in unison and took a liking to his sound. My interest in Shearing really grew after he broke up the quintet and I started listening to his performances as a duo with great bassists like Neil Swanson and Brian Torff. I also enjoyed his solo records, as well as his work with vocalists. I’ve found his playing always to be inspirational attributable largely to his range and depth. It influenced my own style,” Dave Miller explained in his liner notes.
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Matthew Shipp,piano; Ivo Perelman,tenor saxophone; Nate Wooley,trumpet.

Reaching back into a collection of music that somehow never got reviewed, but deserves my attention, I chose one of several works by pianist, Matthew Shipp. On “Philosopher’s Stone” he is part of the Ivo Perelman trio, a threesome that stretches the boundaries of avant-garde like bubble gum pulled from between the lips of a six-year-old’s fingers. The stretch is long and sticky, creative and presenting a push and pull relationship between saxophone, trumpet and piano. Even for those who love and search for the most improvised music they can find, Matthew Shipp and crew go a step beyond ‘outside.’ Sometimes sounding like screams of agony from mutilated horns or banging contrast and character on piano chords that embellish the fray. This is freedom of expression that distracts, rather than sooths. It tempts and teases your musical appetite. Perelman, who has scientifically studied the effect of sound and music on humanity, sometimes allows his saxophone to mimic a feeding bee, hoovering over an open rose. You hear nature sounds. Matthew Shipp compliments this project with walking bass lines played by his masterful left hand and chords that soar or accent the freedom flying above the piano notes. This is music that takes you to the African plains and puts you smack, dab in the middle of a field of mating elephants or dangles you precariously into a flock of screaming seagulls. While listening, use your imagination, or your ear-plugs as the case may be. This is not music for everyone.

Matthew Shipp shows you what the piano can do when set absolutely free to pursue a unique set of paths that challenge the most elevated ear. Nate Wooley is not to be forgotten or discarded. He is perhaps one of the most admired trumpeters in contemporary music and a master on his instrument. He moves from guttural spirals to sweet tones of protest and pain.

“I’m so happy I started this with Nate,” Perelman exudes. “I’m in love with him for like ten years now. When I first heard him in a duo with Matt Shipp at the Stone in New York, I thought, we have to do this!”

Ivo Perelman publishes this music in blocks of releasing five to six albums at a time. This encompasses his obsessive research of musical notes and their effects on humanity. Included in this release is a 2-CD-Set recorded “live” in Brussels with only himself and pianist, Matthew Shipp. This album was recorded on a century-old piano at the L’Archiduc, a bar that seats about seventy-five patrons and features Avant Garde music. Both Nat King Cole, Mal Waldron and organist, Jimmy Smith played this historic piano. Now, Matthew Shipp seats himself on the worn piano bench. You will hear more of Shipps enormous talent on this CD than the trio CD with Wooley & Perelman. As a duo work, there is more opportunity for him to be heard as he spontaneously creates.

As you listen, keep in mind that this ten-tune journey and double set CD duo is all without the benefit of any structured preconditions or directives on the part of saxophonist Ivo Perelman. This is music created out of thin air and imagination; emotion and empathy. You will either love it, or leave it.
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Oscar Hernandez,piano; Justo Almario,saxophone/flute; Jimmy Branly,drums; Oskar Cartaya,bass; Christian Moraga,percussion; SPECIAL GUESTS: Gilbert Castellanos,trumpet; Dayren Santamaria,violin.

Sometimes when you hear the first strains drifting off of a recording, you know, right away, that you are about to enjoy some spectacular and emotional music. That’s what I felt immediately when I began to listen to Oscar Hernandez’s album. The smooth saxophone of Justo Almario spread wings and flew improvisationally above the melody of “Otro Nivel” and Gilbert Castellanos, who I met many years ago in San Diego, California sounded explosive and creative on his trumpet. Then, enter Oscar Hernandez on piano, letting his fingers dance above the rich percussion of Christian Moraga and Jimmy Branly. He gives both percussive musicians an opportunity to shine on their drum solos. Always present, Oskar Cartaya is the bassist who holds this ensemble tightly together with solid strength, like the basement that supports the house. This is a group proffering spicy Latin music, red hot rhythms, luscious melodies and the blending of individually talented musicians. They become a super stew of music as delicious as Ropa Vieja. The title tune, “Love the Moment” should be a creed for us all to follow. It’s beautifully written by Oscar Hernandez, along with nine other amazing compositions. Dayren Santamaria is exquisite on track #4, “Danzon for Lisa,” Adding violin adjoins a new dimension to the music, along with Justo Almario’s sensitive flute.

You may be more familiar with Oscar Hernandez as the leader of a three-time Grammy winning all-star salsa band. This is a step away from that orchestrated sound to a more intimate presentation. Still, this seven-musician ensemble has a full and captivating sound that explores every nuance of the Hernandez compositions. Oscar Hernandez has a career that stretches back to the 1970’s. He has worked with Latin greats like Celia Cruz, Ismael Miranda, Pete “El Conde” Rodriguez, Conjunto Libre, Grupo Folkorico, as well as Ray Barreto and Ruben Blades. He was once Musical Director for Ray Barreto and Ruben Blades and also for the iconic Paul Simon. Not to mention, he was the orchestrator and arranger for Gloria Estefan. Known popularly for his formation of the Spanish Harlem Orchestra, a 13-piece all-star salsa big band. This Orchestra toots proudly their 3x GRAMMY awards and celebrates their 16-year existence. Look for their 7th release to bless our ears in 2020.

Every song on this album of fine music is well-written and memorable. Hernandez is an outstanding composer/arranger. This music easily demonstrates why this pianist and band leader is one of the most important voices in Latin music today.
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SUMITRA – “BITTERSWEET” Independent Label

Sumitra,piano/voice/composer; Brian Blade,drums/voice; Carlitos del Puerto, bass; Alex Machacek,guitars/strings.

Sumitra has a light, second-soprano tone that twinkles above her piano playing in a more pop than jazz vocal presentation. The first tune and the title of this album, “Bittersweet” is more jazz than the second song that is clearly pop music. However, Sumitra’s production is quite melodic and lyrically solid. She and guitarist/husband Alex Machacek, have lived and worked in the Los Angeles area since 2004, establishing a fan following and a musical identity all their own. Her lyrical chant, “mind, body, spirit, soul” on the second cut titled, “Make Me Whole” perhaps sums up the crux of her musical journey. This is her fourth album release. Sumitra’s publicist calls it a spiritual autobiography. Sumitra, the vocalist, is also a pianist, lyricist, composer and arranger. This production is sparse and her songs and vocals are right out front, the way they should be if she is pursuing a career as a singer/songwriter. On “Take the Reins” we are back to jazz funk. Sumitra uses interesting timing to create an effective track of musical interest. She sings one recognizable tune composed by Jerome Kern and Dorothy Fields; the popular “Just the Way You Look Tonight.” Other than that, you will be listening to all new and original music. This album reminds me more of an introduction to a singer/songwriter’s demo of material. These are good songs, presented by a multi-dimensional artist.

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Daniel Meron,piano/Rhodes/composer; Keren-Or Tayar,vocals; Pablo Menares,bass; Felix Lecaros,drums.

This is Daniel Meron’s fourth record release as a bandleader. He exhibits a playful, spontaneous, effortless talent on the piano keys and his compositions are well-constructed and melodic. Using the pretty vocals of Keren-Or Tayar on the second cut, “Morning Shadows” to deliver his original composition, I am drawn to her vocal tone. This is more pop than jazz, with a poetic lyric that I put headphones in place to listen to and critique. I wish he had included printed lyrics inside the CD package. It was hard to connect the title with the sometimes-indistinct lyrics, especially when the vocalist used the line “Singing my own song” to fade out the tune. “Morning Shadows” may have been the more appropriate lyrical fade, since it was not mentioned much in the song. Meron’s arpeggio-laden solo turns into a repetitive groove to allow drummer, Felix Lecaros, to take stage center on his trap drums. He sparkles in the spotlight. On the tune, “Newborn” bassist Pablo Menares is featured and his solo is appealing, with a background support that sounds very Middle Eastern or world music-like. I keep waiting for the “Wild” to appear, (i.e.: the album title, “Embracing Wild”) but even the title tune is not wild. Obviously, my idea and Daniel Meron’s idea of wild are quite different. Still, his original compositions are well-played and comfortable to listen to. They are classically fused and technically adept. However, I would have enjoyed hearing Daniel Meron dig deeper and express himself more freely on his piano and keyboards. Improvisation is the concept that propels jazz, and I didn’t hear enough of that musical freedom in his playing. Instead, Meron plays locked into the melody, holding it, buttoned close to his vest. I enjoyed hearing Pablo Menares bow his bass on “Sunrise,” a brief one-minute and forty-seconds long, like an interlude. On “I Am Now” Ms. Or Tayar is back to vocalize lyrics that do not have a hook or do not seem to express the title. This, however, is artistic freedom on behalf of the composer. I yield to that. On track-eight, she sings in what I believe is Yiddish; a song titled, “Darkness and Light.” It’s has a very haunting melody and is one of my favorites on this album of original songs, even if I cannot understand the lyrics. There are traces of folk music in this production that reflect Meron’s homeland of Israel, with all its minor modes exposed like teardrops against skin. Finally, “Jolly Beggar” embraces a slow swing that allows Menares to walk his bass and Lecaros to swing his drum sticks in a happy-go-lucky way. Meron stays cemented in the melodic chord structure, letting Pablo stretch out on the double bass and improvise freely. This is easy listening jazz that showcases the pianist’s composition skills.
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James Byfield/Blind Lemon Pledge,guitar/vocals/composer/arranger/producer; Marisa Malvino,vocals; Ben Flint,keyboards/arranger; Peter Grenell,bass; Joe Kelner, drums.

James Byfield, aka: Blind Lemon Pledge, has a rich, distinctive vocal style and when he introduces songs like “If Beale Street Was a Woman,” you believe him.

Blind Lemon has composed every song on this, his seventh album release. Ben Flint plays a mean, blues piano and enhances the rooted, blues-Americana music that Blind Lemon produces. The composer’s lyrics are wonderful, creative and inspired. Blind Lemon comes up with a freshness to his blues and jazz compositions, writing unexpected lyrics like:

“… Blues got funny habits, like pacing on the floor, rattlin’ on the windows and knockin’ on my door, blues is tryin’ to get to me, but I don’t know what for. Blues is just a feelin’ if what they say is true, it feels so real when it gets inside of you… I’m livin’ my life with the blues.”

His melodies are strong, but the production is weak and the mix on the instruments is poorly done. You can hardly discern the bass and drums, which would have enriched this project. Also, where is Blind Lemon’s guitar? You finally hear him play guitar and sing on “Blue Heartbreak.” I wish he had sung every one of his songs. The voice of Marisa Malvino is featured on vocals, but the voice of Blind Lemon is much more provocative and emotional. Also, all the songs seem to be written in the same key. It’s too bad, because these are well-written songs with creative, heart-felt lyrics. This album sounds more like a demo than a finished project.
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AHMAD JAMAL – “BALLADES” Jazzbook Records

Ahmad Jamal,piano/composer; James Cammack,double bass.

A “Ballade” is a short and lyrical piece of piano music or could refer to a poem using triplets or stanzas. Surely the music of Ahmad Jamal is both lyrical and poetic, royally entertaining us over a span of five decades into infinity. That’s why I was so excited to listen to this new Ahmad Jamal recording. He has been a favorite of mine since his initial release of the now historically popular “Poinciana” record and his 33-1/3 classic album “But Not For Me.” As a teenager, I played that record over and over again until the grooves were deeply rooted and the vinyl was unfortunately scratched.

This current work of art, that celebrates one of our geniuses of jazz, showcases the brilliance of this legendary pianist in all his singular beauty. On three songs, he is joined by James Cammack on bass. However, the remaining seven songs are all presented as solo piano. He rejuvenates old standards like “I Should Care,” the treasured, “What’s New” and Rodger & Hart’s “Spring Is Here” becomes a collaborative medley with the Bill Evans tune, “Your Story.” Another gem is his interpretation of “Emily.” Inclusive in this production are Jamal’s original compositions, “Marseille,” “Because I Love You,” “Whisperings” and a recapitulation of “Poinciana.” Ahmad Jamal’s music is inspired and solidly rooted in technique with an emotional delivery by this master, bent over his instrument, with concentrated bravura.

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August 22, 2019


By Dee Dee McNeil/Jazz Journalist

AUGUST 22, 2019

MATT ULERY – “SIFTING STARS” Woolgathering Records

Matt Ulery, double bass/voice/composer/lyrical poet; Rob Clearfield,piano; Michael Caskey, percussion; Grazyna Auguscik & Katie Ernst,voice; Yvonne Lam & Jeff Yang, violins; Aurelien Pederzoli,viola; Nick Photinos,cello; Michael Maccaferri, clarinet; Nathalie Joachim,flute; Ben Roidl-ward, bassoon; Andrew Nogal, oboes/English horn; Liz Deitemyer,French horn; James Davis & Chad McCullough, trumpets; Steve Duncan & Chris Shuttleworth,trombones; Axiom Brass:Dorival Puccini & Kris Hammond,trumpets; Melanie Erena Kjellsen,French horn; Mary Tyler,trombone; Kevin Harrison,tuba.

This Production opens like a music box, with the tinkle of piano music and then a tenor voice enters, creating an ethereal musical mood. Clearly, Matt Ulery’s music is rooted in jazz, chamber music and orchestral music. This is an art project that showcases Ulery’s original compositions, incorporating vocals into the arrangements. “Sifting Stars” is the bassist’s eighth album release, anchored by pianist Rob Clearfield, who has been a close musical voice with Ulery over the past ten years. This CD features Ulery’s solidifying bass creativity and his composer skills. These are long-form songs that remind me of the endless universe, the beauty of stars, planets and the mystery of space itself. On the first two cuts, Grazyna Auguscik adds her vocals to Ulery’s voicings. On the third track, “I’m So Shallow” Ulery incorporates the vocals of Katie Ernst.

“I tend to write emotionally,” Matt Ulery explains. “When I reach into the abstract space of musical possibilities, the tiny bit I can capture, I tend to let these transient melodies, rhythms and subsequent harmonies … guide me.”

Here is music that is lyrical, mysterious and haunting.It is more classical than jazz,but Ulery claims, from an artist’s perspective, “I feel that much of the harmonic and rhythmic palettes still reflects my relationship with jazz and new music, through a certain rhythmic aesthetic, emotional intent and vibe …. attempting to put something beautiful and fanciful out into the world.”

I regret, even with headphones on, I could not always understand all of Matt Ulery’s lyrical content. However, the melodies sung were so lovely, the voicings still sounded good. Happily, he has included the lyrics on the CD cover, so I was able to finally get the gist of his poetic contribution. I discover, from the written word, Ulery is also a prolific poet, as well as gifted composer. While listening I think, this music would make a dynamic motion picture soundtrack.

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Jeff Coffin,soprano,alto,tenor & baritone saxophones/bass, alto & C flutes/ clarinet/bass clarinet; Subrata Bhattacharya,tabla/Bol Recitation/rhythm scatting; Indrajit Banerjee,sitar/Zitar; Carter Beauford,drums; Stefan Lessard,electric & acoustic bass; Roy ‘Futureman’ Wooten, wavedrum/cajon percussion/trap drums; Chris Walters, piano/keyboards; Jordan Perlson,Caixi drum/bells/triangle/ percussion/camel bell/metal plate/shakers; Ryoko Suzuki, harmonium.

This music will transport you to Mumbai or Calcutta in the blink of an eye. It is an incredible blend of Indian classical music and the jazz tradition, featuring virtuosic Indian classical musicians, along with reed master, Jeff Coffin. This recording is the result of a jam session held in Nashville, Tennessee, where the various musicians each brought their original compositions to the studio and taught their music to the recording participants on-the-spot. That does not diminish the beauty or precision playing on this project. You will hear smooth jazz and funk intertwined with East Indian, culturally rich music, wrapped together like New Delhi French braids. Coffin asked Bela Fleck and the Flecktones’ percussionist, Roy “Futureman” Wooten to join the recording. He also invited New Orleans-born pianist Chris Walters to join the ensemble. Others who add their talents are from the Dave Matthews Band, Coffin’s friend, Jordan Perlson, on percussion, and Ryoko Suzuki playing harmonium. Coffin has written or co-written four of the seven compositions on this project.
“Music in Our Dreams” provides listeners a rare opportunity to hear Coffin, Carter Beauford and Stefan Lessard combine talents in a musical context that’s quite different from the Dave Matthews Band. It also introduces us to the mastery of Indrajit Banerjee on sitar and zitar, along with the expert talent of Subrata Bhattacharya on both tabla and rhythm scatting. This is an adventure of culture-mixing and talent-blending that crisscrosses continents. Music shows us how easy it is to communicate with one another in a creative, entertaining and loving way.
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THE SESSION – “COLLUSION” Bubble Bath Records

Darrian Douglas, drums; Stephen Lands, trumpet/composer; Andrew McGowan, piano/composer; Jasen Weaver, bass/composer.

This quartet comes out powerfully on the very first track. They don’t knock on the door; they kick it down. Trumpeter, Stephen Lands has composed the song and Andrew McGowan adds his own Thelonious touch to the piano keys to express, “Monk Dancing on a Levee.” Punctuated by staccato notes and a memorable melody, you are drawn to attention from the very first notes. Jasen Weaver is a commanding force on the double bass, walking briskly beneath the staccato trumpet lines. His bass work grabs the listener by the ears and drags us into the synergy of this song. Darrian Douglas takes a drum solo with bravado and brilliance. Now we are introduced to this stellar quartet individually and I realize each musician is gifted in their own right.

Andrew McGowan takes to the electric piano on the second track, “6/8 Tune” and that adds another depth to this production. The element of electronic piano changes the landscape on this ballad that McGowan has composed. The title of the album speaks to our current political state of affairs in the United States. There is a mild swipe at the Trump administration with the tune Jasen Weaver penned titled, “Kelly Ann Con-Artist.” The Andrew McGowan composition, “Five Fingers of Death” is a showstopping tune. It begins with a 5/8 rhythm played successfully against four cross rhythms of syncopation and then dashes into a straight-ahead jazz groove, including a drum solo that soars and punchy staccato lines that enhance the arrangement. Stephen Lands, “Price of a Dream” is another favorite on this album of fine music. The bass line of Weaver is infectious, played with the piano, and accentuating the trumpet melody in a perfect kind of way.

This group of four gifted musicians were brought together originally as a band performing with Jason Marsalis’Vibes Quartet. They have been performing together ever since. They merge the sound of New Orleans roots with consistently inspired moments that only jazz inspires. This is a production I will listen to time and time again.
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JIMMY COBB – “THIS I DIG OF YOU” Smoke Sessions Records

Jimmy Cobb, drums; Peter Bernstein, guitar; Harold Mabern, piano; John Webber, bass.

I am excited to hear that Jimmy Cobb has a new CD release. I was a big Earl Bostic fan back-in-the-day, and a very young Jimmy Cobb was his drummer. He is one of those iconic and canonical jazz artists who has worked with so many legendary jazz players, there’s no room to list them all in this space. Jazz fans will remember that Jimmy Cobb played on the historic “Kind of Blue” album with Paul Chambers on bass, Bill Evans on piano, Julian “Cannonball” Adderley on saxophone and Miles Davis on trumpet. On this current project, Jimmy Cobb chose pianist Harold Mabern, an old friend who he met and played with in the 1963 Miles Davis band.

“It’s not that much different,” Jimmy Cobb spoke about then and now. “We’ve probably both gotten better. I think I have. I know more about it and have had more experience with it.”

They open this CD with the Hank Mobley composition and the title tune, “This I Dig of You.” At ninety-years-old, Jimmy Cobb brings his renowned years of experience, his awesome percussive talent and he comes in swinging harder than Joe Louis.

His ensemble has recorded a blend of standard jazz tunes, bebop and one original blues composition by guitarist, Peter Bernstein.

Amazingly, Jimmy Cobb is a practically self-taught drummer who had a dream of playing jazz. As a teen, he was infatuated with the historic radio jazz show hosted by “Symphony Sid.” From midnight onward, he lay in his bed listening to the music he craved to play. Born January 20, 1929, in Washington, D.C., Cobb’s been playing drums for seventy years. He’s been the fire and time keeper for historic singers like Dinah Washington, Billie Holiday, and Sarah Vaughan. He had a big record with Dinah called, “My Old Flame.” I used to have that Dinah Washington album titled, “For Those in Love.” At one time, Cobb and Queen Dinah were very much in love. Cobb covers that memorable tune on this album.

He’s also been the time-keeper and inspirational drummer for John Coltrane, George Russell and Wynton Kelly. He’s admired and revered by musicians worldwide and much of that love and respect comes because Jimmy Cobb is just a down-to-earth, regular guy.

“He’s always been one of my heroes, because he’s a great drummer who swings hard,”eighty-three-year-old Harold Mabern says. “There’s two things you can’t teach in this music: how to swing and how to play the blues. It’s something you either have or you don’t,” Mabern affirms. “It was a beautiful, relaxed date. More often than not, the first take is the best take. It’s always a pleasure to be in Jimmy’s company because he’s not only a great musician, he’s an even greater human being.”

Bassist, john Webber shared his thoughts. “Jimmy’s a great listener. He hears everything. He knows how to set up the soloists and how to give the music direction.”

You will hear Dexter Gordon’s “Cheese Cake” composition, Wes Montgomery’s “Full House” and old favorites like “I’m Getting Sentimental over You.” Be it a ballad or bebop, Jimmy Cobb puts the breath and visceral beauty into everything his brushes and drumsticks touch.

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BEN WOLFE –“FATHERHOOD” Resident Arts Records

Ben Wolfe, bass/composer; Donald Edwards, drums; Luis Perdomo & Orrin Evans, piano; Joel Ross, vibes; Immanuel Wilkins, alto saxophone; Ruben Fox & JD Allen, tenor saxophone; Giveton Gelin, trumpet; Steve Davis, trombone; STRINGS: Jesse Mills & Georgy Valtchev, violins; Kenji Bunch, viola; Wolfram Koessel, cello.

When Ben Wolfe’s father (Dan Wolfe) passed away in 2018, Ben was moved to write several compositions to tribute “Fatherhood.” This album is the result of nine original compositions that the bassist has penned. Opening with an up-tempo, walking-bass , embellished with the vibraphone of Joel Ross, Ben Wolfe delivers a song he calls, “Blind Seven.” Wolfe’s father was also a musician, playing a much smaller instrument than Ben’s double bass. His dad played a violin. Dan Wolfe spent a season with the San Antonio Symphony and initiated his son to the world of music.

“He introduced me to jazz,” the younger Wolfe explained in his liner notes. “He loved Monk. He loved Lester Young and Billie Holiday. He taught me a lot about music.”

Ben Wolfe’s use of strings on seven of the ten tracks beautifully ties the jazz elements and classical elements together. On Track two, “Gone Now” you can hear the sad lament to the loss of a loved one. This composition is more beautiful than pathos. Cut #3 titled, “Opener,” struts and walks pridefully straight-ahead, with Ben Wolfe’s rhythmic double bass pushing the musicians to keep stride. JD Allen’ s tenor saxophone takes stage center and tells his own, unique story. The tune “Uncle Leslie” is a waltz and very melodic. Ben Wolfe takes an opportunity to tell his own story about his uncle, using his bass solo to draw us into the character and creativity of this composition.
I’m certain Ben Wolfe’s father would be very proud of this work. It’s a wonderful and expressive tribute to “Fatherhood.” Here is a delightful recording, featuring several talented musicians who, more than amply, interpret these original Wolfe compositions from pen to sound.

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YIMBA RUDO – “YIMBA RUDO” Barking Hoop records

Kevin Norton,vibraphone/percussion/composer; Jim Pugliese, drums/percussion/composer; Steve LaSpina,bass/composer.

The refreshing sound of bass and vibraphone plays across the silence of my office. The bass repeats a melodic theme and the drums join him to cement the rhythm. Kevin Norton dances on the vibraphone and tweaks my interest on this song he composed; “Reconcile the Classical View.” Steve LaSpina soon steps out to solo on his double bass, while Jim Pugliese holds the percussive rhythm in place. Once LaSpina exits the spotlight, Pugliese steps into it with a bright and shiny drum solo. These are the three players on this CD. Each man is also a composer.

Their music is as mysterious as the cover art of Julia Simoniello, who has created two huge eyes peeking through three trees, their roots luminescent against the centered circle of moon. This album is an art piece, using all percussive and rhythmic instruments to explore their original compositions. The string bass represents melody, but it’s still a rhythm instrument. This trio called, “Yimba Rudo” has individually impressive resumes.

Kevin Norton has added his vibes and percussion to the music of Anthony Braxton, Milt Hinton, Fred Frith, Scott Robinson and more. Drummer, Jim Pugliese, enjoys experimental music, rock and jazz that is adventurous and challenging. Consequently, joining this artistic and creative group was right in his wheel house. Appearing on over ninety recordings, Jim Pugliese is a classically trained musician who has played with the New York City Ballet and the New York Philharmonic. Steve LaSpina is a well-respected name on the NYC jazz scene for three-decades. His solid, double-bass tone and rhythm dexterity has been sought out by jazz legends like Chet Baker, Benny Carter, Marion McPartland, the Mel Lewis Orchestra, Stan Getz, Phil Woods, Jim Hall, Carmen McCrae and Randy Brecker, among others. I enjoyed his amazing bowed solo on “Winter Retreat,” a song he composed. Each man is also a music educator and on this exploration of talent and improvisation, they merge as the unique and inspirational group called “Yimba Rudo.” You will enjoy unexpected beauty and inspired creativity during this musical experience.

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RAY OBIEDO – “CAROUSEL” Rhythmus Records

Ray Obiedo, guitar/composer/producer; Featuring: Jean “Toots” Thielemans, harmonica; Bob Mintzer,saxophone; Andy Narell,steel pan and 32 other musicians.

Ray Obiedo brings a sense of joy and playfulness to his music on “Carousel.” This is Latin smooth jazz, produced by this guitarist/composer. Obeido is based in the San Francisco Bay area. He began seriously studying the guitar during his high school years. Over his career, he has worked with some of the best in the music business, including jazz organist, Johnny “Hammond” Smith, Pete and Sheila Escovedo, drummer, Harvey Mason and superstar, Herbie Hancock. He finally launched his own recording career in 1989. Since then, he has released five contemporary jazz albums as a leader. Adding to his talents as a composer and producer, Obiedo is also a skilled studio engineer.

For this album of original music, Ray Obiedo assembled thirty-two musicians, many of them personal friends and longtime comrades in the music business. Several are heralded for their work with Tower of Power and Santana over the years. Bob Mintzer, a featured guest on this project, is known for his work with the Yellowjackets group and his own Bob Mintzer Big Band. Toots Thieleman plays harmonica on “Song for Jules,” written in celebration of Obiedo’s oldest son. This Grammy Award winning harmonica artist passed away in August of 2016. Andy Narell co-produced Obiedo’s first three albums and he plays steel pan percussion on “Villa Capri,” a samba song that also features vocals by Sandy Cressman. Ray Obiedo invited Bay Area, R&B vocalist, Leah Tysse, to join the arrangement on “Jinx” and she’s joined by the voices of Sandy Cressman and Natalie Cressman on Obiedo’s composition, “Villa Capri.” Every tune on this project is well played and perfectly produced, reflecting Ray Obiedo’s Latin roots and his love of percussive groove blended with an eclectic mix of musical styles.

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Mike Pachelli, guitar; Tony Levin,bass; Danny Gottlieb,drums; Special Guest: Keb’ Mo’,guitar.

A student of Joe Pass, Mike Pachelli has performed all over the United States and Europe with a host of jazz celebrities including Brother Jack McDuff, Jimmy Smith and blues great, Albert King. He works regularly with his own jazzy blues band. For this, his 18th album release, Pachelli decided to celebrate some of the most familiar standards with his friends, Tony Levin on bass and Danny Gottlieb manning the drums. On his original composition, “Yardbird Blues,” Mike Pachelli invited his old friend and Grammy Award winning guitarist, composer and vocalist, Keb Mo’ to join the party. This is an album you will enjoy humming along with and listening to for many years to come.

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Kenny Elliott: From Chicago to L.A. & the World Inbetween

August 15, 2019

BY Dee Dee McNeil/Jazz Journalist
AUGUST 15, 2019

Kenny Elliott’s obsession with the drums was inspired by a marching band. His father had taken him to a downtown Chicago parade. That’s where Kenny became infatuated with the power of the marching band drummer. Being a small child and slight of build, Kenny expressed disappointment at being overlooked for the sports teams and often, found himself feeling powerless because of his size.

“The drums went marching bye and they had everybody in step and I said, that’s power! I was nine and shortly after that experience, I asked my dad to buy me some drums. He said as long as I was really going to play them, Santa would bring them to me for Christmas. So, Christmas morning, there was a drum set and I was disappointed. I had only wanted that one drum. The drum that I saw the drummer playing in the marching band. I thought, Oh shoot! This is not what I wanted. But I made a promise to my dad, so I may as well go ahead and play them. For the longest, I would put my belt through the lug of the Tom Tom and I’d march around. We lived in the Chicago Projects and I’d march in the front of the apartments and to the back of the apartments playing, brrr-rump-bump-bump, brr-rump-bump-bump. I’d go back and forth, up and down, playing that one drum.

“My first teacher was a piano teacher and he taught me how to hold the sticks. My dad would take me over to his house. He had two daughters and they would go running around while I was doing my lesson. Professor Randolph was his name. His favorite song was ‘Sentimental Journey.’ Anyway, I kind of hit the glass ceiling with Professor Randolph. One day, my dad brought this white guy over to the Projects to hear me play. I remember his name. It was Mr. Murray. Well, I played for him and he said, you need to send him to the conservatory. I was about ten. So, I ended up going to the American Conservatory of Music. It was next door to the Roosevelt School in Chicago. I got lucky. I studied with a guy named James Dutton. He taught me Timpani and Mallets and later, I studied with the legendary Harold Jones.”

NOTE: JAMES DUTTON was the Head of the Marimba & Percussive Department at the American Conservatory of Music from 1945 to 1985. Thurman Barker, an AACM member, also studied with James Dutton. Harold Jones, once a student at the American Conservatory of Music, would later be hired as an assistant to Professor James Dutton. In an interview, Jones credited James Dutton as one of three men in his life who prepared him to be the successfully famous drummer he has become.

REF: https://www.barbarabrabec.com/DrummerDrives/memories-of-my-teacher-james-dutton.pdf

Kenny continued, “Harold Jones is with Tony Bennett now. But he was with Sarah Vaughan for many years. He stopped teaching me when he left to go on tour with Count Basie’s band. I was so unhappy about that. When I’m about eleven years old, almost twelve, Mr. Dutton had these percussion ensemble things and they would play at various schools. My parents would let me get out of school to go on these little tours, because they felt I was pretty good at that age.”

Both Kenny’s parents believed in his budding talent. Kenny’s father recognized his son’s passion for the instrument. Consequently, he did everything he could to get his son the right training and to introduce him to some of the musicians around town. He thought these seasoned musicians might be able to give the budding percussionist some insight into his instrument and into the business of music.

“Once dad knew I wanted to play drums, he was stoked. He did everything he could to get me around the right people. He had some friends who were musicians and we’d go over to their house every Monday night. They’d be drinking their liquor and they’d let me have as much potato chips and pop as I wanted. I had to play with those guys. They were like thirty and forty years old. You know, I’d be over there playing from like nine at night to twelve or one-o-clock in the morning. They’d be screaming at me, Play! Play! So, I’m playing hard and loud. Out of that affiliation, I ended up meeting Red Saunders. Somehow, they got me playing with the Red Saunders’ band. They would have me come on-stage at the famous Regal Theater and play one song with the big band,” Kenny recalled. “I was like the little drum prodigy.”

NOTE: RED SAUNDERS was a popular bandleader for Savoy Records in the late 1940s. He was a drummer and accompanied popular recording artists of the day like Blues icons T-Bone Walker and Big Joe Turner, Sugar Chile Robinson, Rosetta Tharpe and Lavern Baker. He recorded under his own name for many years. Saunders finally had a hit record when he recorded a traditional children’s song, “Hambone” on the OKeh record label in 1956. He also played in iconic bands like Duke Ellington’s orchestra, and with Louis Armstrong and Woody Herman.

REF: https://en.wikipedia.org/wiki/Red_Saunders_(musician

“When I first was playing drums, I was playing jazz with the old guys. I was their drummer and one night, the police came in the club and started asking, Who’s this kid? This kid can’t be in here. The band would say, he’s the drummer. The older guys in the band thought, well maybe if I was in the Union it would be OK. So, they had me join the union and after that, when police came into the club and asked, what’s this twelve-year-old kid doing in here? Well, I’d reach in my pocket ‘cause now I’ve got my Musician’s Union Card. That card kept me from getting thrown out of the clubs. But mostly I was playing Cotillion Balls and weddings. I really wasn’t doing too many nightclubs. I’d make anywhere from fifty to a hundred dollars a gig playing Casuals.”

So that’s how Kenny Elliott became a Union member at age twelve. Ironically and sadly, jazz musicians are still averaging similar pay scales fifty years later. We all know that’s got to change!

“My dad had something to say about the money I was making on these gigs. If I made a hundred dollars, he would give me ten dollars and direct me to put the rest into the bank. I was pissed off by that at first, but I learned from that. I’m glad he did that for me. He showed me how to take care of my funds.

“Oh, let me tell you this real quick. Tammy Terrell wanted me to be her drummer. I was playing at the Regal Theater. I don’t know if she was just saying it to my dad or whatever, but she said, right in front of me, I want him to be my drummer. She told my dad she liked the way I played. My dad said, no, no! he’s too young. Tammy was so pretty. She had a valet, a lady that took care of her wardrobe and everything. I’d sit backstage with her valet and she taught me how to play chess. Tammy kind of treated me like my favorite aunt, who used to just dote over me like Tammy did. I was thirteen and Tammy was just doting over me and telling me how cute I was. I guess she thought I was this little, short, talented, cute guy. Boy, did I have eyes for Tammy Terrill,” Kenny Elliott laughed, remembering how the famous Motown artist fawned over him and stroked his young ego.

This journalist remembers Tammy Terrell when she was performing as a single artist, before her huge hit album with Marvin Gaye. I went to see her at the Fireside Lounge in Detroit. At the time, she was dating David Ruffin, lead singer for the Temptations. She was drop-dead gorgeous with a voice as compelling and unique as Dionne Warwick or Spanky Wilson. In fact, one day when Marvin Gaye and I were talking about Tammy Terrell, he compared her tone To Spanky Wilson’s tone. Marvin was enamored with Spanky’s voice. Tammy and Spanky were similar in tone, but not in style. I will always remember Tammy Terrell as a dynamic, one-of-a-kind vocalist, who left this earth way too early.

Kenny Elliott continued, “Still in my teenage years, I started playing R&B in the late 60s or early 70s. The Top 40 bands came after playing with the jazz cats. I was with this group called “SEX” the ‘Sound Experience Exciters’. We rehearsed every day. We played R&B and back then, most of the cats couldn’t read. We’d set up for rehearsal at an abandoned theater on 47th Street, right in the hood. We’d be in there rehearsing and it would feel like it was fifty degrees below zero in there. I’d have my gloves and coat on and we’d be trying to play over there, freezing our asses off.”

It wasn’t always easy, but Kenny was determined to pursue drumming as a career. He told me, “If it’s meant for you to do something, it will happen, regardless. But it’s a good idea to be prepared. When I was living in the projects, those people living there would be beating on the pipes trying to get me to stop practicing. They would call the cops on me for making noise. My dad would explain to them, by law, he can practice until seven-o-clock. So that was it and no arguments. I had to practice every day, even before I did my homework. My mother was tough. If she didn’t hear me playing the whole time, she would add on time. She’d say, I don’ t hear nothing. I’d say, mama, I’m just turning the page.

“Every summer, we would go to Chattanooga, Tennessee to visit my grandparents. My grandfather hand-built his house down. Later, he had to build another house across the tracks because the government took his land to construct a TNT plant during the war. He built an attic on top of his house and they had a room up there, where I had to practice. It would be 199 degrees up there. It didn’t matter. My mother would say; go up there and practice. I’d say mom, it’s hot. It’s too hot. I’m burnin’ up. I’m complaining and she’d say; ok, I’ll tell you what. If you don’t want to practice, we can just get rid of the drums. So, I went back up to that smoldering attic and tried to practice. Then I came down, sweat pouring off me, and I said to my mother, ok, – call dad. Get rid of the drums. I can’t do it no more. She said, come here. She grabbed me and ka-pow – ka-pow. She ka-powed me with a house shoe. Now, you have to go up there and practice another hour, she demanded. But you know what? To this day, I thank her. When I tell this story today, she conveniently doesn’t remember.

“My mom was not to be messed with. In fact, she pulled a gun on this dude trying to rob me one time. I was taking drum lessons and to show you how great my percussion teacher was, he paid for me to take Judo lessons with his son. So, one Saturday, on the way to my Judo lesson, this dude tried to rob me. I gave him a Judo kick. He bluffed me when he said, oh, you know that too? So, I thought maybe he knew something better than me. But I still wasn’t going to let him rob me. We’re on the sidewalk, brow beating each other, blah blah blah, sizing each other up. It was not far from my house. I looked out the corner of my eye and I see our neighbor go sliding into our front door. A few minutes later, I see my mama come out the house in her housecoat and house shoes. All you see is her calves sticking out from her bathrobe and she walked up on us with a serious expression on her face. She pulled out her pistol. What are you doing to my son? The dude starts freaking out. She’s telling him she’s going to blow his head off and he and I are looking at her and then at the gun and back to her. He wasted no time getting on down the road. So, right then, if there was ever a time when I really loved my mom or had any doubts that she really loved me, I had no more doubts. I have two sisters but I’m her only son. We learned early on, my mama don’t play.“

Kenny Elliott admired the awesome playing of iconic drummer, Tony Williams. He shared with me a chance meeting he had with Tony.

“For the longest time, I was a tony Williams clone. I wanted to play like Tony Williams. And yeah, that was good. But at some point, you recognize there’s only one Tony Williams. I bumped into Tony at the drum shop one day. He saw me and recognized me, because I would come to his shows when he was playing with Chick Corea and Stanley Clark. While we were both there, somebody at the drum shop gave Tony two drums; a marching drum and a snare drum. So, he said to me, Hey Ken, are you driving? I said yeah. I got a motorcycle. That’s all I got,” I was apologetic.

“He said, yeah, that’s ok. Can I grab a lift? I was surprised. So, He put the snare drum in between us. He’s holding on to me with one arm and he’s holding onto the other drum with the other hand and we’re headed to Chicago’s North side on this motorcycle and it started raining. I said to myself, OMG. I remember thinking, you have to be extra, extra, extra careful! That’s all I need to do is to crash this bike and kill both of us. HEADLINES: Tony Williams killed on a bike with some unknown drummer. I said damn. I don’t want that to happen. We made it, but that scenario truly scared me.”

As Kenny Elliott paid his dues and worked his way up the ladder of success, he was offered a great opportunity to become a staff drummer with Brunswick Records.

“Brunswick was located down there on Michigan Avenue in Chicago. My friend, the bass player, Bernard Reed, was working there. Bernard is the bass player on that Red Holt hit record that Barbara Acklin wrote, ‘Soulful Strutt.’ That’s not Red Holt on that record. A lot of people don’t know that. That’s my friend Bernard Reed and a guy named Quentin Joseph. They were staff musicians over at Brunswick who laid those tracks down.”

“Bernard liked the way I played. I might have been about nineteen when I wound up at Brunswick Records. Bernard brought me under his wing and really showed me how to play in-the-pocket. Before that, in those days I was trying to be like Elvin Jones and Billy Cobham. Bernard was saying no, no! Just play two and four. It was kind of beneath me at first. Because man, I’m thinking I did all this studying and now I’m just going back to this simplistic beat. But I had to learn. I was doing sessions that required that type of playing. And Louis Satterfield took me under his wing too. Satterfield taught Verdine how to play bass. At Brunswick, I would do little sessions here and there. I’d have to sit around until the writers would say, hey we got this song we want to lay down. I only did a few little records over there. I met Tom-Tom 84 at Brunswick. Tom Tom 84 was the arranger for Earth Wind and Fire. And Bruce Swedien was the engineer at Brunswick Records. Bruce Swedien did all those Quincy Jones and Michael Jackson Records.”

NOTE: Grammy-Winning producer/engineer, BRUCE SWEDIEN is legendary and has engineered or produced for such artists as Diana Ross, Nat King Cole, Paul McCartney, Michael Jackson and has wonderful information to share about engineering during his interview at a Full Sail University ‘live’ interview, covering 1952 to the present time.

“Louis Satterfield was mostly known for working at Chess, but was also at Brunswick Records along with saxophonist, Don Myrick,” Kenny recalled.

NOTE: Don Myrick was one of the founders of Chicago’s AACM group (Association for the Advancement of Creative Musicians) and was an original saxophonist with Earth, Wind and Fire’s famed horn section from 1975 until 1982 when he was murdered by a Santa Monica, California policeman during a drug raid on his apartment. In 1995, a wrongful death suit was finally settled with his family by that Southern California city for $400,000.

“I also saw Master Henry Gibson around the Brunswick studios. He was the percussionist on a lot of those Curtis Mayfield Records and he worked for Curtom Record.”

NOTE: Master Henry Gibson was celebrated as the most recorded percussionist, appearing on over 1200 albums during a four-decade career. He was not only a popular studio session player, he also toured and/or recorded with such iconic artists as Donny Hathaway, Curtis Mayfield, pianist, Tennyson Stephens, jazz singer, Azure McCall, The Staple Singers, Sonny Stitt, Bennie Green, Ahmad Jamal, Kool & the Gang, and the Rotary Connection featuring Minnie Ripperton’s angelic voice.

Kenny Elliott had the pleasure of working with R&B soul singer, Walter Jackson, who I used to go see in person in Detroit. He sang heartfelt songs, propped-up on crutches. Kenny also worked with Syl Johnson, Aorta and the Thunderfunk Symphony. He accompanied pianist Ken Chaney, great guitarists Phil Upchurch and Pete Cosey. Cosey played with Miles Davis. As Kenny played with various recording artists, he honed his skills, leaning to play diverse musical styles on his trap drums.

“At a point, I hit the glass ceiling in Chicago. My good friend Larry Ball and Vince Willis and another guy named Bryan came out to Los Angeles to perform in the stage play, The Wiz. I said I’m going to take a vacation, since I have some friends in California. So, I came out to visit, and said Oh shoot! I was so impressed. My friend, Vince Willis, did some sessions and he had me play on a few. That’s where I met Romeo Williams, a bass player. After my short vacation, I went back home to Chicago. But I knew I couldn’t stay back there.

“One day, Romeo alerted me that his roommate was moving out. He said, you can move in with me if you come back to L.A. I was all in. I got rid of what I could. I sold my car to my cousin and I came back out to L.A. in 1977 with $400 in my pocket, my tux, and my drums.

“Romeo turned out to be a cool roommate. He would get a gig and he’d say, call Kenny. We played with Johnny Hammond Smith together. I was known as a drummer who could read. That was sort of my forte. That got my foot into several doors. I met Paul Jackson Jr. back then. I think Paul was about fifteen. We went over to Paul’s parent’s house and they would feed us on Sunday. ‘Cause, as struggling musicians, we didn’t have no money. What little bit of money we hustled up went for the phone bill first, rent next, and that was it. We went hungry a few times. Growing up in the projects, as a kid, we still never went hungry. But I went hungry a few times in Los Angeles.

“We used to play these demo sessions over at Jobete Music, located on Sunset and Argyle, up in that tall, Motown building. We lived in Inglewood at 81st street and Vermont, where Pepperdine University used to be. We got to be the staff musicians at Jobete. But neither me nor Romeo had a car at the time. So, for the longest, we took the bus to Motown’s building. Romeo knew this girl that we met at the church we attended. We went to the same church that Paul Jackson Jr. went to and that’s where I met Paul, his sister and his whole family. He’d go on to become a big guitar star some years later.

“Romeo and I would get up in the morning, take the bus to Hollywood, borrow Tina Madison’s Volkswagen and drive back to Inglewood. We’d jam the drums, the bass and the amp into that Volkswagen, drive back to the studio in Hollywood and set up. Then, we’d sit around, waiting for the staff writers to say; OK, we have a song. We’re ready for you guys. We only got like fifty dollars a song and we had to wait two weeks to get paid. But we were doing what we loved and squeaking out a living. We’d play two songs, maybe three songs, maybe four songs. Then, we’d break our instruments down, ‘cause we couldn’t leave our stuff there. We’d Drive back to Inglewood; unload the stuff, then drive back to Hollywood to give the car back to Tina. We’d trudge back to the bus stop and take the bus home to Inglewood. Phew.”

During that time, Kenny’s credits grew at a tremendous speed. People loved his good attitude and his ability to play various styles. Additionally, he was a fast chart-reader. Not only was he a staff drummer at Jobete, the publishing arm of Motown, he also flew up North, to San Francisco and became involved with the Fantasy Record Label and CBS/Sony Records. Between 1978 and 1981, Kenny Elliott played on the albums of “Finished Touch” (Motown), Rance Allen (Stax), “Pockets” for Columbia Records, Bobby “Blue” Bland” (MCA Records), the girl’s group, “High Energy,” (Motown), James Cleveland Presents John Springer & Bread, (Savoy Records), Martha Reeves, (Fantasy), Tavares, (Capitol Records/EMI) and Kimiko Kasai (CBS/Sony), to name just a few. On “Sweet Vibrator” you can hear Kenny Elliott’s strong sense of funk and blues backing up Bobby ‘Blue’ Bland.

“In 1978, I got busy. I met this guy named Herb Jimmerson and his wife Vi. He was a staff producer up there at Fantasy records. They introduced me to another producer, Hank Cosby. They became real family to me and Romeo. We became real good friends. We used to go over to the Jimmerson-house on the weekend and just hang out. Hank was kinda like family too, but you know, Hank was doing his own thing. I did a track for “Lord of the Rings” where I got to play Tipanis and all that kind of orchestrated stuff. I cut tracks for a lot of other records and picked up some television shows. They were variety shows like the NAACP Award Shows. I did a few of those and that show that Lou Rawls used to host, The United Negro College Fund variety show. I performed on the Johnny Carson Show, the Jimmy Kimble Show and the Graham Norton show in London for the BBC. H.B. Barnum took me under his wing too. He was the conductor/arranger on some of those shows. A lot of my work came because I could read and I could play different styles. I play jazz, funk, Latin and several different styles. That was my forte. When I was going to the conservatory in Chicago, they stressed that I had to learn to play it all. They said, you don’t have to be great at everything, but if you play it all, then you’re always going to be working. Turns out, that was true.

“I’ve worked with some great folks; Lionel Richie, Mel Torme, Aretha was pretty amazing. I did a live album with the L.A. Mass Choir. That was a brutal session. It lasted all day. There was a lot of hard playing, because they were singing energetic gospel songs.”

Suddenly, Kenny sings the drum line to me at a very up-Tempo rhythm. “If I dropped a stick or something, that would have been so wrong,” he chuckles.

“Natalie Cole was really good, and I played with Joe Cocker. I even worked with Phyllis Hyman, who I thought was an amazing vocalist. She was beautiful and tall. But this one time, she had her background singers crying. I mean, literally crying. She had a mouth like a sailor. She was screaming at them. We did a gig over in Century City and she was explaining something to the background singers. Anyway, she was mad about something. Ms. Hyman was cussing those singers so loud and wrong, my neck jerked around. She would make a sailor blush.

“I got to work with Patti Austin and James Ingram; Ashford and Simpson in England at the Wembley Stadium, where I was the house drummer. That’s how I got to work with Jonathan Butler too. Al Green was great to work with, but I have to say the best artist ever was Aretha. She did the whole nine yards. She left me speechless.”

Kenny’s musical journey has been rewarding. More recently, he has recorded with and played numerous concerts with Kansas City pianist, singer and legendary icon, Betty Bryant.

Additionally, Kenny Elliott has recorded with The Ink Spots, Ladysmith Black Mambazo, the great vocalist, Carl Anderson, gospel singer, Vicki Winans and Los Angeles based guitarist, David T. Walker. He’s accompanied The Impressions, R&B crooner, Freddie Jackson, the smokin’ hot girls’ group, En Vogue, the mother of jazz singers, Ella Fitzgerald; pop singer Helen Reddy, Dionne Warwick, Lionel Richie, the great Stevie Wonder. His drums have complimented the historic Ray Charles and even songbird, Nancy Wilson.

He has also enjoyed worked with a host of Southern California talent, including studio engineer and trumpeter, Nolan Shaheed, bassist, Brandino, (Kevin Brandon), and he’s recorded several albums with guitarist and band leader, Yu Ooka. He’s played in the legendary Bennie Maupin band, “Pulsation,” and accompanied Linda Hopkins.

Kenny Elliott has even played in Count Basie’s orchestra and has worked with the local Luckman Jazz Orchestra, the Elliott Caine Sextet and Jeff Goldblum with the Mildred Snitzer Orchestra. I’m proud to say Kenny even has worked with this journalist and is playing drums on my last CD title, “Storyteller.”

As a percussive educator, Kenny Elliott enjoys passing the baton, (in this case the drum sticks), to a host of young, talented musicians. He shared some encouraging thoughts.

“Just follow your heart and don’t let anyone tell you that you can’t do the things you really want to do. Stay positive; be creative. It’s good to try and follow the trend, but you have to set your own trend and do your own thing. Like my mother used to tell me, practice!”
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REF: https://books.google.com/books?id=4GNouaNeWFcC&pg=
PA29&lpg=PA29&dq= James+Dutton+Chicago+drum+educator&source=
bl&ots=KlBj4RDEf4&sig=ACfU3U2emQp35yh1KahZfTV-QnI0GY2jew&hl=en&sa =X&ved=2ahUKEwi2i7CiqYDj AhVAB50JHaNLB084ChDoATAJegQIBxAB#v=
onepage&q=James%20Dutton %20Chicago%20drum%20educator&f=false


August 11, 2019

By Dee Dee McNeil/Jazz Journalist
AUGUST 11, 2019


Luke Gillespie, piano/composer/arranger; Jeremy Allen & Todd Coalman, double bass; Steve Houghton, drums; John Raymond, trumpet; Walter Smith III, tenor saxophone; Tierney Sutton, vocal; Dave Stryker, guitar; Tom Walsh, alto & soprano saxophone; Pat Harbison, trumpet; Wayne Wallace & Brennon Johns, trombone; Brent Wallarab, arranger.

Sometimes you hear an artist that is so distinctive and so blessed with talent that you know they are destined for huge success. Luke Gillespie is just such an artist. He exhibits a style and piano personality that is all his. From the first strains of his trio rendition of “I Hear a Rhapsody,” I am intrigued by his unique interpretation on the piano keys, as well as his harmonic chord structures. This is a gifted player. Who is this pianist? I wonder and reach for the press release that accompanies his CD. Turns out, Luke Gillespie is professor of jazz piano at Indiana University’s Jacobs School of Music. Those students are certainly lucky to have him! This is one of the world’s most prestigious conservatories of music, boasting alumni like jazz vocalist, Tierney Sutton, guitarist Dave Stryker and saxophonist Walter Smith.

“My colleagues are some of the greatest musicians in the world and some of the most professional,” boasts Gillespie. “We do play together several times a semester, in different venues. But this gave me a chance to actually record with my colleagues.”

Gillespie has composed the title tune “Moving Mists,“ and “This I Dig of Grew,” (written in memory of Mulgrew Miller), “DoNaBar” and “Blues for All.” The “Blues For All” composition is arranged with a musical nod to the standard jazz tune by Miles Davis, “All Blues;” but it’s definitely Gillespie’s own composition, with a unique, new melody tastefully improvised atop familiar chord changes and Walter Smith III on saxophone and trumpeter, John Raymond both aggrandize the arrangement. However, it’s the magical genius of Gillespie’s piano playing that binds the whole piece together with an imaginative solo and notes that scurry across the 88-keys like fire flies; fast and sparkling. There is a blues edge that Luke Gillespie adds to his piano playing, always peeking through his excellent arrangements.

The son of a Baptist missionary, Luke Gillespie was born in Kyoto, Japan, and grew up in Osaka. The title tune is pensive, with John Raymond’s flugelhorn prominent and beautiful. This original composition was inspired, in part, by Japanese composer Joe Hisaishi. It’s a lovely ballad. Speaking of ballads, Tierney Sutton makes a guest appearance on the tune, “Beautiful Love” that debuted in 1931. Gillespie reharmonizes this standard in a most ingenious way, accompanying the eight-time-Grammy-nominated vocalist. They perform as a stunning duo. You may find yourself holding your breath in quiet anticipation after each of these ten recorded songs. It is hard to imagine what might come next and it’s excitingly rewarding when each track is better than the next.

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Miguel Zenon, alto saxophone; Luis Perdomo, piano; Hans Glawischnig, bass; Henry Cole, drums.

I was not familiar with the music of Ismael Rivera. This album was created for jazz lovers, like me,and to introduce us to this famed, Puerto Rican musician. Ismael Rivera was born in Santurce,Puerto Rico,(a section of San Juan)just a breath away from where Miguel Zenon himself grew up. As a vocalist/musician, Ismael Rivera was rooted in Afro-Rican and Afro-Cuban music. His expertise was his excellence as an improvisor and a master of Sonero. Miguel Zenon explained:

“Sonero to me doesn’t only mean an improviser. It exemplifies a persona. It’s someone who embodies the genre.”

Ismael Rivera gained huge popularity in Puerto Rico, performing regularly on the daily television series, “El Show del Mediodia” in the 1950s. He was tutored in the repertoires of bomba and plena by the patriarch, Don Rafael Cepeda. These two men, Rivera and Cepeda, headed a movement that turned rhythms into contemporary dance-band music, somewhat in the Cuban style. Ismael Rivera’s talents and popularity spread as far as the Caribbean, to Colombia,Venezuela and Panama. It is those of us in the United States who may not have heard about Ismael Rivera’s voice and music. For a while, he was a lead singer with the popular Orquesta Panamericana and he recorded with them. In 1954, he joined Cortijo’s Combo where he recorded several hit songs in the American Latin community. He died on May 13, 1987 from a heart attack.

“I grew up in salsa circles as a kid,” Miguel Zenon explained. “Coming from a percussion background, Rivera developed a unique style of singing that used vocal percussion phrases to fill lyrical lines, making for a new level of rhythmic complexity on the part of the singer.”

With this in mind, Miguel Zenon picked up his saxophone to celebrate some of the popular music that Rivera recorded. Luis Perdomo is magnificent on the 88-keys, playing provocatively on these songs and infusing them with straight ahead jazz magic. I fell in love with the melody of cut #3, “Los Tumbas” where Perdomo’s piano playing is glittering and stellar. Miguel Zenon takes an opportunity to stretch out improvisationally on this track and his horn offers an exciting solo. Hans Glowischnig’s bass takes exceptional liberties, while holding the rhythm section tightly in place. Henry Cole is the drummer and I notice he is quick to compliment on his trap drums. At the same time, he is always holding the group solidly and rhythmically on point. They build the energy on the composition” El Negro Bambon” giving Cole an opportunity to show off his drum chops. He personifies freedom and excitement during his percussive solo. On the original recording of this tune, there was singing in five against the orchestra playing in four. Consequently, Miguel Zenon arranged this tune using that concept as an inspiration. Miguel Zenon and his talented ensemble have captured the magic of his hero, Ismael Rivera, while infusing his own beautiful spirit into the mix. Perhaps his press kit said it best when they wrote:

“A multiple Grammy nominee and Guggenheim and MacArthur Fellow, Zenon is one of a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition.”
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BEN FLOCKS – “MASK OF THE MUSE” Independent Label

Ben Flocks, tenor & soprano saxophone; Ari Chesky, electric & acoustic guitar; Frank LoCrasto, piano/ organ/Fender Rhodes/Mellotron/Vox Continental/Prophet/Glockenspiel; Martin Nevin, upright bass; Evan Hughes, drums/percussion.

If you enjoy sleepy time music, pretty ballads and the dreamy sound of a saxophone, this is the production for you. Speaking of dreams, saxophonist Ben Flocks has chosen a number of compositions that reference that word, including Johnny Mercer’s “Dream,” composition, “Street of Dreams,” and “Dream of Life,” that was once recorded by Billie Holiday.

The synthesized strings in the background create a lush backdrop for Flocks to showcase his tenor and soprano saxophone charm. Flocks And his guitarist, Ari Chesky, have produced this album, scheduled for release August 16, 2019. It’s an enjoyable listen, but somehow has a feeling of ‘canned’ music, instead of the energy and excitement created by a ‘live’ band. This writer is not a big fan of electronic synthesized music that sounds programmed rather than organic. You can hear the concept below on Flocks title tune.

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Augie Haas, trumpet, vocals; Dick Sarpola, elec. bass/double bass; Carmen Staaf, piano/organ; Jared Schonig, drums/percussion; Robert Burkhart & Eliot Bailen, cellos; Eddy Malave, Jason Mellow & Chris Souza, violas; Janey Choi, Sasha Margolis, Katie Kresek, Kiwon Nahm, Sean Carney, Kiku Enomoto, Naho Parrini, & Joel Lambdin, violins; Suzanne Ornstein, Concert Master.

Augie Haas plays the trumpet as sweetly as he sings. This is an entertaining project that blends several jazz standards with pop, Rhythm and Blues hit records from the past. He opens with “Dream A Little Dream of Me.” His voice conjures up memories of the Dean Martin, Frankie Lane days. This song was a big hit in the 1930’s for Ozzie Nelson (of Ozzie & Harriet television series fame) and was re-recorded several times, including a rendition by the great Ella Fitzgerald. Haas seems to be influenced by Chet Baker, who is also an outstanding trumpet player and vocalist. Augie Haas plays “Blackbird” and “Georgia On My Mind” without singing, showcasing his trumpet skills.

His trumpet tone on “Georgia” is beautiful and supported by a lovely string arrangement. Some of the pop tunes he sings are “Goody Goody,” and “Will You Still Love Me Tomorrow.” The R&B hit records he rearranges for this project are “I Only Have Eyes for You” that was originally recorded by The Flamingoes. Augie Haas does a nice job of vocally refreshing this old ‘doo-wop’ song, as we used to call ballads we could slow-dance to at the DJ parties. I would have loved to hear him play this particular song on his trumpet, instead of just fading out on the song at the end with his horn. “Love Me Tender” is recorded as a slow swing number with a walking bass that his trumpet uses as a cushion. Haas’ horn bounces above this Dixieland-type arrangement. Other songs you will recognize and enjoy are his renditions of “Earth Angel,” “Stand By Me,” “Ooh Child,” and “Stay.”

Born and raised in Milwaukee, Augie Haas earned his academic degrees from Roosevelt University’s Chicago College of the Performing Arts and the University of Miami’s Frost School of Music Conservatory. Now living in New York, he has spent much of his time playing with various big bands including those of Harry Connick Jr., Maria Schneider and Ryan Truesdell’s Gil Evans Project. He has also performed with the Vanguard Jazz Orchestra and the Birdland Big Band, among others. This is his sixth album for his Playtime Music Label. When he isn’t recording, Augie Haas is busy composing and inspiring up and coming musicians.

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EMMA FRANK – “COME BACK” Justin Time Records

Emma Frank, vocals/composer; Aaron Parks, piano/synthesizer; Tommy Crane, drums; Zack Lober, bass; Franky Rousseau, guitars/synthesizers; Simon Millerd, trumpet; Chieh-Fan, viola/violin; Pedro Barquinha, guitar/bass/percussion/synthesizer; Dominic Mekky, string arranger.

Her music is folksy and infectious. This singer/songwriter draws you in like vocal quicksand. Brooklyn-based, Emma Frank embarks on her second collaboration with pianist Aaron Parks to follow up her critically acclaimed album last year titled, “Ocean Av. While Ocean Av.” When I listen to her pretty voice and poignant stories, I recognize that Emma Frank is processing her life with music and perhaps uncovering some of the intimate corners of her soul. Says Frank:

“… Life is tough. Music is soothing. In a sense, it’s that easy. I want this album to be a safe space for someone, or one space that they can go to feel their feelings and enjoy being alive.”

Her music is a blend of pop, folk and a smidgeon of jazz. Emma Frank’s voice is sweet and reflective, licking the lyrics like popsicles that drip across Aaron’s piano and his synthesizer. They stick to our consciousness. This creation is sparsely produced, with songs like “Sometimes” reminding me of Joni Mitchell. “Promises” challenges the listeners pitch and sense of melody in a pleasantly unexpected way. It’s very artsy, combining a pop concept with jazz. I like the freedom I hear in Emma Frank’s presentation. Franky Rousseau’s guitar licks are lovely with her sparse arrangements and sweet melodic songs. Pedro Barquinha adds much with his own guitar and sometimes playing bass, percussion and synths. The composition “See You” is soft rock. She harmonizes with herself on this one and Tommy Crane’s drums punch the groove in a funk-way.

I would not consider this a jazz album, but Emma Frank’s voice is captivating and her songwriting, both melodies and lyrics, are artistic and charming. When I listen to this singer/songwriter I feel peaceful and inspired each time. Her music is calming, even though the song titles sometimes seem to have nothing to do with her lyrics. Songs like “Before You Go Away” stick to my brain like bubble gum on my shoes.
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Pablo Ziegler, piano; Hector Del Curto, bandoneon; Jisoo Ok, cello; Pedro Giraudo, bass.

Pablo Ziegler’s romantic compositions come alive on this tribute to the tango and the music of Buenos Aires, Argentina. I have warm memories of Argentina. I remember the expansive streets of Buenos Aires that were eight lanes wide and the warmth of the friendly people. Pablo Ziegler’s music capsulizes the music of his culture and offers us an hour to celebrate the Latin music of his youth and breathe new life into the tango.

This pianist/composer has won Grammy’s and Latin Grammys for past work. This is sure to be another feather in his Nuevo Tango cap. The title track,” Radiotango” has been snipped from the introduction of a radio program quite familiar in Buenos Aires from 1988 to 1989, entitled “FM Tango.” On this project, Ziegler will energize and dance you from the mysterious barrios of the tango neighborhoods to the city’s popular obelisk center. All his compositions reflect Ziegler’s arrangements and he is also the producer on this project. His music is embellished by internationally respected tango jazz virtuosos, who make up his dynamic Chamber Quartet. This is a moving and spirited project that presents a plush sound and is more orchestrated than what I would expect from just four musicians. On the “Maria Ciudad” composition, Jisoo Ok is stunning and romantic on cello. Ziegler’s piano virtuosity shines throughout. Pedro Giraudo’s double bass glues the rhythm together and I don’t even miss the drums. Hector Del Curto is prominent on bandoneon with Ziegler’s piano chords playing tango rhythms wildly beneath Del Curto’s lovely melody.

This is a “live” recording, enthusiastically appreciated by an audience that obviously is enthralled by this quartet of master musicians.
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Victor Gould, piano/composer; Rodney Green, drums; Ismel Wignall, percussion; Vicente Archer, bass; Jeremy Pelt, trumpet; Godwin Louis, alto/soprano saxophone; Dayna Stephens, tenor saxophone; Anne Drummond, flute/alto flute; Lucas Pino, bass clarinet; Aaron Johnson, bass trombone; Yoojim Park & Jim Tsao, violins; Jocelin Pan, viola; Susan Mandel, cello.

This is thoughtful, calm, inspirational music. The blend of Victor Gould’s piano and Yoojin Park’s violin is magical. The compositions are all original and composed by Victor Gould. This carefully selected ensemble brings out the best of his work. The first song is the title tune and it sets the tone for this entire album. If I were to have a criticism, it would be that I wanted to hear some swing or up-tempo, straight-ahead somewhere in the mix. Most of the songs are laid-back and relaxed in tempo and arrangement. I found Gould’s compositional skills to be thought-provoking and to showcase his enormous talents on the piano. His 88-key delivery often replicates humming-bird wings with the speed and agility of his fingers tickling the ivory and ebony keys. The addition of Anne Drummond’s alto flute on “October” adds to my imaginative, mind-pictures of birds and nature.

“My dad is a flautist and that instrument is really important to me. I grew up listening to Hubert Laws, James Spaulding, Frank Wess and Yusef Lateef. I was hearing Anne’s unique way of playing. Her vibrato is very soulful and human,” Gould muses.

The tentative and introspective nature of Gould’s playing introduces us to “Brand New,” as he plays rubato and freely on the grand piano. This solo effort captivates and pleases. It needs no other instrument to totally engross us in his music. That is the sign of a truly great and sensitive musician. Finally, on the fourth tune titled, ‘Karma,” Gould stretches out into the realms I longed for, adding punch and energy to his presentation with Rodney Green showing prowess and supportive control on drums. The tempos change on this arrangement, but you will have the opportunity of hearing Victor Gould play innovatively and swiftly during this song. Jeremy Pelt makes an explosive appearance on the composition, “Inheritance,” where his trumpet dances and soars. Gould’s addition of chamber strings and both bass trombone and bass clarinet help to express his arrangements in memorable ways. This is an artistic venture that mirrors the title of this album, (Thoughts Become Things) in its pensive nature. A swooping bow to the artist who designed the cover of this CD. Martel Chapman inspired me to pick this album out of a stack of twenty sitting on my desk, with his moving and beautiful cover artwork.

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Fabrizio Sciacca, bass; Billy Drummond, drums; Donald Vega, piano; Jeb Levy, saxophone.

The quartet leader,Fabrizio Sciacca,opens this album with an attention-getting bass solo. The tune is “One for America” composed by the great Sam Jones. These four musicians come out swinging harder than Muhammad Ali. The beautiful,“Lullaby In Central Park” follows to calm the mood and showcases Donald Vega on piano, with Fabrizio Sciacca dancing his double bass beneath the pretty melody, quite creatively. Trap drummer, Billy Drummond, is the cement that holds this quartet solidly in place. On this tune, the trio is featured without saxophone. I’m intrigued and thoroughly entertained by Fabrizio Sciacca’s interpretation of “A Nightingale Sang in Berkley Square” on his bass. Fabrizio Sciacca says he was inspired to include this composition after hearing Danish bass player, Niels-Henning Orstred Pedersen’s interpretation of this beautiful tune. I haven’t heard that rendition, but this one Fabrizio plays is stellar. When Jeb Levy’s saxophone is added on tunes like “Zellmar’s Delight,” “Lonely Goddess” and “One Second Please” he elevates this trio in a wonderful way.

Born in Cataria,Italy, Fabrizio Sciacca is making a name for himself in New York City and beyond. He considers Ron Carter to be one of his mentors. Consequently, he has composed one song on this production titled, “For Sir Ron.” Sciacca began playing the bass when he was just thirteen years old. In 2011, he was awarded a scholarship to attend the Berklee College of Music in Boston. There, he was inspired by such professors of jazz as John Pattitucci, Danilo Perez and Victor Bailey. After graduation, he moved to New York to begin studying with the legendary bassist, Ron Carter and earned his master’s Degree in Performance and Composition from the Manhattan School in 2018. With the release of this, his debut album as a leader, Fabrizio Sciacca begins an impressive recording career.

Fabrizio describes his feelings about this recording and his musical direction.

“With the mixture of straight-ahead and modern times, the purpose of this album is to express what jazz means to me and what the role of the bass is in said musical context, as soloistic and rhythm section instrument.”

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Nicolas Bearde, vocals; Josh Nelson & Peter Horvath, piano; Alex Bonham & Dan Feiszli, bass; Dan Schnelle, Lorca Hart & Jason Lewis, drums. SPECIAL GUEST: Eric Alexander, tenor saxophone.

Nicolas Bearde’s voice skims easily across the unusual harmonic chords that Peter Horvath plays on piano, while the old familiar standard, “I Remember You” unfolds. Bearde’s baritone vocals are warm and inviting. “That Sunday, That Summer” is a delightful song with a well-written lyrical content. It showcases Bearde’s ability to ‘sell the song’ and features a great saxophone solo by special guest artist, Eric Alexander. This is followed by an old favorite of mine, “Funny (Not Much)” where once again, Bearde takes his time delivering a heartfelt ballad, with a tone and vocal texture reminiscent of Lou Rawls. Every one of the songs on this project are chosen to celebrate the music of Nat King Cole. You will hear gems like “Sweet Lorraine,” “Straighten Up and Fly Right,” “L-O-V-E” and many more that recall Nat King Cole’s unforgettable hit records. Here is an album full of nostalgia and embellished by a group of outstanding musicians in support of Nicolas Bearde’s sixth recorded release. This album is apropos, because this year would have been Nat King Cole’s 100th Earth-anniversary.

Born and raised in Nashville, Tennessee, Nicolas Bearde’s life has taken many artistic twists and turns. He is not only a vocalist, but also a working actor. While serving his country in the armed services, where he was stationed in Japan, Nicolas Bearde began preforming as a singer. When he was released from duty, he relocated to the San Francisco, California area. That’s where he became part of a staged radio play called Jukebox that starred famous actor, Danny Glover. He was bitten by the acting bug and went on to book performances in several stage plays, followed by film and television appearances. Somehow, in between his acting success, he managed to continue pursuing a rewarding career in music. He met Molly Holm and joined her eight-member group called Jazzmouth. Soon after, he was introduced to the great Bobby McFerrin and in 1986, Bearde became a member of McFerrin’s ground-breaking a cappella group, Voicestra. In the mid-nineties, he joined an off-shoot of this heralded a cappella group, who called themselves SoVoSo. They too won numerous awards. In the early 2000s, Nicolas Bearde began recording his solo projects, including original songs and jazz standards. With the solid support of some of California’s finest musicians, this album promises to be another successful endeavor in Nicolas Bearde’s multi-talented career.
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THE CURTIS BROTHERS – “ALGORITHM” Truthrevolution Recording Collective

Zaccai Curtis, piano; Luques Curtis, bass; Ralph Peterson, drums; Donald Harrison, saxophone; Brian Lynch, trumpet.

With the above star-studded list of musicians, I knew I was in for a real treat. I was not disappointed nor have I exaggerated. This group is ‘cookin’ and they’re presentation is as hot and spicy as Jalapeno peppers.

An algorithm is a set of rules to be followed in calculations or other problem-solving situations, especially by a computer. Well, there’s nothing computerized about this music. It’s straight from the heart, free and brilliantly energetic. The Curtis Brothers offer nine original compositions, composed and arranged by the pianist, Zaccai Curtis. Each one is titled for a mathematical concept or term, beginning with “Three Points and a Sphere.” This composition totally engages me. It’s a strong opening number with the Brian Lynch and Donald Harrison horns out front and spectacular. Then there’s an exciting piano solo by Zaccai Curtis, followed by Luques Curtis soloing on bass. The ensemble is pushed and grounded by Ralph Peterson on drums. Track two showcases the drums upfront, setting the mood and tempo at the introduction. Peterson’s drums remind me of some of Ahmad Jamal’s killer-groove arrangements, like “Poinciana” on this particular composition titled, “Phi.” There is something fresh and new about this group, but at the same time, I am spirited back to my Detroit days listening to Art Blakey, Donald Byrd and Yusef Lateef. The Curtis Brothers manage to dress straight-ahead jazz in a beautiful, new and distinctive sound. They transform old-school into the twenty-first century with their individual talents spinning and shining like ambulance lights. They snatch your attention. I was driving when I popped this CD into my car stereo system. I almost pulled over. They pump fresh ideas and melodic memories into their rhythmic grooves. That make me play this CD over and over again. Every composition is a testament to the composer’s brilliance, and to his bandmates, who so thoroughly uncover every nuance in the recorded movements of “Algorithm.” It sounds like they are performing in front of a live audience by the encouraging shouts of spontaneity I hear in the background. Or could it be the musicians themselves, carried away by the spirit of what they are creating and palpably pleased? Either way, I too find myself carried away and enjoying every minute of their dynamic sound.
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Mark Sherman, piano/composer; Vincent Herring, alto saxophone; Ray Drummond & Dan Chmielinski, bass; Carl Allen, drums; Nana Sakamoto, trombone.

Mark Sherman is multi-talented. He studied and played several instruments including drums, percussion and vibraphone, but eventually settled on piano, an instrument he became fascinated with at age eight. His love for this instrument out-weighed all his other musical infatuations.

“With ten fingers and an eight-octave range available, the piano gives me a different level and dimension of expression,” Sherman asserts. “I teach at the piano; I write at the piano and I simply love to play the piano.”

Opening with a straight ahead, bebop, original jazz tune titled, “Primative Reality,” we are propelled into space by the ensemble’s sound and energy. Surrounded by a group of skilled musicians, I immediately know this is a project of proficient inspiration and creative talent. “Juicy Lucy” is written by Horace Silver and Sherman interprets it as a happy shuffle, featuring Vincent Herring on alto saxophone. Ray Drummond’s bass solo is melodic and skips atop Carl Allen’s drums. Allen is stellar throughout this project, rooting the music in percussive security and quick to shine appropriately and accent the talents of his fellow musicians. Nana Sakamoto is spotlighted on the trombone during their interpretation of “Milestones.” Track four features another original composition by Sherman titled, “Ales.” The horn lines are arranged nicely to support this song, making a strong introductory platform for Mark Sherman to leap from and solo on piano. Sherman is a wonderful composer and his music, like the ensemble, swings hard. This is an impressive presentation of both his piano and composer gifts. Mark Sherman’s ‘other voice’ is beautifully recorded and makes for a great listen.
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August 7, 2019


AUG 7, 2019

Elena Gilliam, vocals; Michael Le Van, piano/producer; David Enos & Bruce Lett, bass; Paul Kreibich & John Ferraro, drums; Tony Guerrero, trumpet/flugelhorn; Dave Moody, saxophone.

Elena Gilliam is a popular club singer around the Los Angeles area. She has a rich tone enhanced by a range that can soar on tunes like “All In Love Is Fair” originally composed by Stevie Wonder for Nancy Wilson to sing. Elena offers a powerful performance on this challenging song. In the same breath, she can gently caress a lyric like Michael Le Van’s composition, “Then Another Turns” with words by Bill Montemer. Elena tenderly uses her alto range to deliver Michael’s original composition.

Here is a vocalist who can ‘swing’ with the best of them. Elena shows her strength in the ‘swing’ department on “Misty” with David Enos pumping his bass in a brisk walk. Michael Le Van takes a bright piano solo during this familiar Erroll Garner song. Le Van has a deft touch on the keys, shining in the spotlight, but sensitive and considerate as an accompanist. He and Elena Gilliam have a musical magic between them that is happily captured on this recording. There is trust between these two talented musicians that comes partially from playing together on a consistent basis, for the last three years, and also from mutual respect and musical admiration. They fit together naturally, like butter and bread.

William touches on her Cabaret-side when singing “Cheek to Cheek.” She has one of those full-throated voices that could easily rock a Broadway stage. On this tune, Tony Guerrero makes a solo appearance on his horn. Gilliam takes time to scat through a couple of verses of this song before she re-enters on the bridge. You can tell Elena enjoys the freedom that jazz inspires and she handles scat singing with the same sincere appreciation and innovation that our American-bred music inspires.

“Elena’s greatest strength is her flexibility and love of freedom,” Michael Le Van says. “If I want to be spontaneous, she just goes with it.”

I spoke with Elena about her life and music career recently. She grew up in New Jersey and attended Gannon College in Erie, Pennsylvania. Initially, she thought she’d like to be a teacher. For six years, she lived in Erie until a phone call changed her entire career path.

“My older brother lived out here in Costa Mesa, California. He loved it and he talked me into moving. I didn’t really have any strong ties in Pennsylvania. I was a Spanish major in college. I majored in foreign languages. In Pennsylvania, I found work in Social Services. I was doing social work and helping the migrant workers who came up from Mexico for seasonal work. I helped them with health services and transportation. It was a government run program. As soon as I arrived in California, I got a temp job, at the University of California, Irvine. I started working there and wound up working there thirty-years, doing various jobs. I started as a secretary and then moved into different administrative positions over the years at the School of Medicine on the Irvine Campus. But I really wanted to sing!

‘I was extremely shy when I was a kid. Just very self-conscious. I couldn’t sing around anybody. I just couldn’t do it. I knew that I liked singing. I used to secretly watch ‘Playboy After Dark’ when I was a teenager. That was a show with Hugh Hefner featuring his penthouse party. All of the stars would show up. Oh, it was so swanky. I even remember the theme song. They’d stroll into one room and Ella Fitzgerald was there sitting on the couch, having a drink. Then they’d say; let’s sing a song. They’d be talking and gabbing. The room was full of famous people. I just loved it! I’d watch that show and other late-night, television talk shows like Johnny Carson. I wanted to see all of the shows that had musical guests. In the back of my mind, I secretly thought, maybe I can do this?”

Her new California surroundings seemed to inspire Elena Gilliam to dream big and endeavor to do some of the secret wishes hidden inside her heart. One of the main secrets was her fascination with singing. Perhaps it was in her DNA all the time. After all, her father had performed in a gospel group with his three sisters. The group was known as ‘The George Sisters,’ and based in Oklahoma. For years, they traveled from church to church as special guests.

“Actually, there’s a funny story my grandmother used to tell me. Dad’s mother said she started him on cigarettes, thinking that would help him sing. That’s crazy! Right? When I first heard him sing, I noticed my dad had a deep voice. He’d goof around and sing to me like Arthur Prysock. I knew that he loved music and my mom did too. He and my mom used to go out and see live music, mostly before they had kids. She talked to me about seeing Sarah Vaughan, up close and personal, and listening to Sarah sing in some small club. Surprisingly, my mom didn’t know I sang until she came out to visit me in California. I was such a quiet, private child. Like I said, I was shy. My parents never knew I had that musical interest. After I moved to California, my mom came to visit me and I took her to my big band practice. She was just shocked! She told me she thought, who is this person? Is this my daughter?

“Once I settled into my UC Irvine position, I researched colleges in my area. I discovered Orange Coast College, in Costa Mesa, offered a music program. I signed up for a big band class first and then some vocal classes, taking on as much as I could with a full-time job. I couldn’t believe that they had classes for big band. All you had to do was sign up for the class and you could sing at their concerts. I couldn’t believe my luck! I’ll never forget my knees were shaking the first time I was standing in front of a full room of strangers. The big band leader, Dr. Charles Rutherford, (‘Doc’) became my first mentor. The best part of my time with the big band was when he included me on one of the band’s recordings at Capitol Records. It was an incredible experience. Meantime, I continued attending classes, practicing and learning.

“That’s where I met my husband, George Gilliam. He had just moved here from New Orleans and wound up settling in Santa Ana. He did some work with the big band, trying to get to know some musicians in that area. It just so happened I was performing in a concert that day. I was singing a song, because once you’re in the class, you perform with the band. I got to sing in their main performance space; a huge auditorium. I sang “Good Morning Heartache” and that was the only song I had to sing at the concert that day. There were other vocalists performing too. I just loved singing. But that was my first experience singing in an auditorium packed with people. My husband-to-be came up to me afterwards. He asked me if I was singing with anybody and what I was doing musically. I said no, I wasn’t singing with a group. He called me two months later to join his group. Consequently, I started performing with George.

“At first, we performed jazz, pop and R&B. Then we branched off and just did jazz. I really started my musical career, in fact, my everything with George. He taught me so much, Dee Dee. I was so blessed and so happy to have him as a mentor. I was also so spoiled. He knew how to do everything. He knew how to look for gigs. He had been working since he was thirteen as a guitarist and earned a degree in music before coming to California. George was the one writing the charts, getting the musicians, setting up the PA, finding us gigs; he did everything. Our relationship developed from friends and fellow musicians to something much more. Soon, we got married. As of today, we’ve been married for 32-years.”

George Gilliam, who is a guitar recording artist in his own right, took his position as head-of-household and family provider very seriously. Although the married couple was performing locally and George was also working with various groups in and around Southern California, he had a growing family to support.

“My husband became a music therapist,” Elena explained. “That was very time and energy consuming. When he started his second program in Laguna Beach, his time to perform became very limited. I had also retired from my job at UCI by then. That’s when he encouraged me to do more on my own. I love him for that. He’s always tried to lift me up musically. I found a little local gig in Long Beach at ‘Brix at The Shore.’ It was my first steady gig. George told me; I’ll do it with you until you find somebody else. He even stayed and played with me while I tried-out various people. Some nights, I would have three of us and George would say, don’t pay me. We tried a couple of different people. George said, let’s wait until you find the perfect pianist. That’s when I met Michael Le Van.

“Michael came in one night and did the gig with us. My husband said immediately, I think you can work with this guy. Lo and behold, George let go of that gig after that. Michael and I began to work that Long Beach gig as a duo. He’s such a sensitive musician. We just clicked musically. We seem to have a natural synchrony. Even my husband has said, you know, you two really work well together. And we worked really hard on this latest Cd release.”

Michael Le Van is a classically trained graduate of California State University, Fullerton. He earned his Bachelor Degrees in both Composition and Piano. As a jazz pianist, he’s been richly influenced by listening to master pianists like Oscar Peterson, Herbie Hancock, Keith Jarrett, Sonny Clark, Bill Evans and McCoy Tyner. This gifted pianist is joined by some popular southern California musicians including drum masters Paul Kriebich and John Ferraro, David Enos and Bruce Lett on double basses, trumpet master, Tony Guerrero and saxophonist, Dave Moody. For this project, Michael Le Van donned his producer hat. The result is an album of very fine music, featuring the charismatic voice of Elena Gilliam and the beautiful piano talents of Mr.Michael Le Van. Although both artists have recorded in the past, this is their debut recording together.

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August 1, 2019

By Dee Dee McNeil/jazz journalist
Aug 1, 2019


Larry Koonse, guitar; Josh Nelson, piano; Tom Warrington, bass; Joe LaBarbera, drums.

In the music world and in musician jargon, speaking one to another, we often refer to the ‘Standards.’ we can describe a Standard as a song that is recorded time and time again, over years, and by many various artists. It’s a piece of music that is familiar to the public ear, like “Misty” or “Satin Doll” or “My Funny Valentine.” When you hear a Standard, you recognize it immediately. It’s a part of our American fabric; sometimes referred to as the Great American Songbook.

In this production, legendary guitarist, Larry Koonse, plays for us “New Jazz Standards,” featuring compositions written by Carl Saunders. Saunders is a jazz trumpeter, composer, and educator, warmly lauded by the jazz community. This Cd is being release right around the birthday of this celebrated composer. On August 2, 1942, baby Saunders was born in Indianapolis, Indiana. Almost immediately, he was thrown into the world of jazz. His mother’s brother, (Carl’s Uncle Bobby), was a trumpeter who led his own Sherwood Orchestra. Carl Saunders’ mom, Gail, sang with her brother’s orchestra and also sang with Stan Kenton’s band. At five-years-old, young Saunders moved to Los Angeles with his mom and lived for a while with his Aunt Caroline and her husband, who was a popular saxophonist at that time; Dave Pell. No wonder that Carl Saunders grew up to be a trumpeter, a lover of jazz, and a competent composer. He was surrounded by jazz music from birth.

Like Carl Saunders, Larry Koonse comes from a very musical family. He picked up the guitar at age seven and hasn’t put it down since. At age fifteen, he recorded for the first time with his guitarist father, Dave Koonse; “Dave and Larry Koonse: Father and Son Jazz Guitars.” In search of perfection and knowledge about his instrument and his relationship to jazz, at the University of Southern California, Larry Koonse received his Bachelor of Music in jazz Studies. He became the first recipient of this degree in 1984. As soon as he graduated from USC, Larry Koonse took a gig with the wonderful John Dankworth and Dankworth’s vocalist/wife, the legendary Cleo Laine. As a reviewer and jazz journalist, I see the credited name of Larry Koonse on numerous recorded projects that cross my desk. Mr. Koonse is always in demand. He’s received multiple Grammy nominations, including the one he recorded as a member of Billy Child’s landmark Chamber Sextet, their release titled, “Autumn: In Moving Pictures” and their first release, “Lyric.” He was also nominated for two Grammy’s regarding his participation on Luciana Souza’s two releases; “Tide” and “Book of Chet.” The names of historic and legendary artists he has either toured with or recorded with compile a long, long list. I read that he has appeared on over 300 albums. At the invitation of Nelson Mandela and UNICEF, Larry Koonse went to South Africa to perform at one of their annual festivals with Steve Houghton’s quintet. When he’s not touring or recording, Larry Koonse shares his exceptional talents by educating young musicians at the California Institute of the Arts. Naturally, I felt very excited to listen to Larry’s latest work of art, celebrating the composer genius of Carl Saunders.

They open with “Flim Flam” a happy-g0-lucky tune with a memorable melody and a rhythmic groove set by the tasty licks of Joe LaBarbara on drums and Josh Nelson punching the piano keys. Starting off smooth as silk, after establishing the melody they are off and running into a straight-ahead presentation. Each of these dynamic musicians takes time to improvise and express themselves individually. Great song! The next composition titled, “A Poor Man’s Mr. Evans” tributes the indomitable pianist and historically gifted, Bill Evans. Koonse establishes the Latin groove on guitar and let’s Josh Nelson stretch sensitive fingers across the piano keys. Nelson obviously thinks about music orchestrally, and he and Koonse develop this song, gliding towards the fade, playing musical tag instrumentally, with piano and guitar. It makes for a very intriguing, creative and beautiful ending. I love the way Koonse opens the Saunder’s composition, “Another Side of Her,” with the caramel sweet sound of his solo guitar. It’s a lovely listen! The fourth track, “A Ballad for Now” settles us down, after enjoying three spirited tunes. Larry Koonse is such a fluid and sensuous player. The sound of his guitar is warm and inviting. One thing you clearly understand, from the very first composition, is that Carl Saunders writes beautiful, melodic music and this quartet becomes the perfect ensemble to interpret it.

“Admired” is pumped up by the full, fat sound of Tom Warrington’s double bass. Listening to this tune, I felt Like I should jump on my bicycle and ride. It’s energetic and inspires freedom, like pedaling along the Venice beach with the wind in my face. Some music just paints pictures in your mind. This is an entire album of that kind of art. Settle back, close your eyes and enjoy the experience.

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Mark Doyle,guitars/keyboards/bass/drum programming/ composer/producer/arranger; Josh Dekaney,drums/percussion; STRING SECTION: Ally Brown, Shelby Dems, Jonathan Hwang & Joe Davoli, violins; Kate LaVerne, cello.

The meat of the matter is ‘rock’, spicy as a quality sausage and the bun is jazz-alicious. Mark Doyle has a way of wrapping his rock arrangements with jazz. If rock music is your passion, Mark Doyle’s guitar music will satisfy that ’rocker’ itch. The premise for Doyle’s album is to record television and motion picture themes that were used to embellish detective and spy scripts. On this project, he comfortably blends rock and jazz arrangements. Producer, arranger and guitarist, Mark Doyle explained:

“Once I settled on the concept, I started hunting down any and all of the TV and movie themes having to do with detectives and spies, while trying to avoid obvious ones like ‘Peter Gunn,’ which has been done to death and ‘Perry Mason’ which I had already recorded on the first Guitar Noir album in 1999. I ended up choosing the themes that were most melodic and dramatic, since melody is to me the most important thing in an instrumental album. I uncovered some absolutely amazing music!”

His interpretation of these soundtrack tunes (some familiar, others not-so-much) is creatively entertaining and surprisingly jazzy. For example, Elmer Bernstein’s composition, “Johnny Staccato” is really engaging. The drums of Josh Dekaney strongly set the groove and paint the music spy-slick and exciting. It sounds like a chase scene. The addition of Ally Brown, Shelby Dems, Jonathan Hwang and Joe Davoli on violins, with Kate LeVerne on cello, enhance this arrangement in surprising ways. Zappa’s tune, “America Drinks and Goes Home” is richly arranged as a sexy blues. Doyle’s guitar tells the story vividly, until strings sing and lift the arrangement, once again, in a most beautiful way. I played these songs twice before I could continue listening to the remaining four tunes on Doyle’s production.

Obviously, Mark Doyle is a multi-talented instrumentalist. The way he blends jazz and rock is quite unique and captivating. This album features Doyle’s multi-talents on guitars, keyboards, bass and drum programming. He has also composed a couple of tunes, including “Noir Alley” and “Thirteen Crimes.”

When he isn’t recording, he leads his own band; “Mark Doyle & the Maniacs.” They have released six albums and work consistently throughout the Northeast United States. He also tours as Music Director/guitarist and pianist for former October Project singer, Mary Fahl.

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Ricardo Peixoto, acoustic/electric guitars; Paul McCandless, soprano saxophone; Ken Cook & Marcos Silva, piano; Cliff Hugo, Aaron Germain & Scott Thompson, bass; Kendrick Freeman, Mike Shapiro & Ralph Barata, drums; Brian Rice, Kendrick Freeman, Ricardo Guerra & John Santos, percussion; Bob Afifi, flute; Paul Hanson, bass clarinet; Bernardo Bessler & Priscila Plata Rato,violin; Marie Christine Bessler, viola; Marcus Ribeiro de Oliveira,cello; Luiz Brasil, String & horn arranger/tenor guitar/percussion; Rob Reich,accordion; Claudia Villela,vocal; Jesse Sadoc, flugelhorn; Marcelo Martins,tenor saxophone; Aldivas Ayres,trombone; Harvey Wainapel,clarinet/bass clarinet; Kyle Bruckman,oboe; Jasnam Daya Singh,woodwind arranger.

Ricardo Peixoto is a master Brazilian guitarist and composer whose mathematician father was a professor teaching at several top American universities. At age seven, Ricardo’s mother died. Consequently, young Ricardo Peixoto spent many years bouncing from Rio de Janiero to Baltimore, Maryland and Providence Rhode Island, or wherever his dad happened to be teaching. Around eight-years-old, he began studying piano. Piano didn’t capture his imagination the way the guitar did and soon, he began self-teaching himself on the string instrument. He was around twelve at that time. His formal study of the guitar began when he was seventeen.

Clearly, he was Influenced by American culture and music, but Ricardo combines his classical study, his Brazilian roots and jazz improv to complete this album. Titled, “Scary Beautiful,” I never located the ‘scary’ part, but it is a beautiful production. Once again, it appears the freedom that radiates from playing jazz music always captures the attention of other cultures. Peixoto has expressed his love for the freedom and improvisational approach of jazz. These things led him to study at Berklee College of Music. He concentrated on courses in arranging, composition and guitar performance. The result is that he has composed and arranged every song on this album.

He often uses horns to punch the grooves, color the arrangements and to interpret his original compositions. For example, on the first songs, “Circles” Paul McCandless is grandly featured on soprano saxophone. Peixoto incorporates various Brazilian rhythms in his arrangements, like the baiao rhythm that is a style originating in rural Northeast Brazil and was quite popular in the1940’s. You hear this in his composition, “Santos e Demonios” which translates to Saints and Demons in English. He also features his guitar in duet with Marcos Silva on piano during their presentation of “Simpatica.” They incorporate the choro rhythm that originated in the 19th century. Choro translates to the word ‘cry.´ This song, gives the listener a space to enjoy Ricardo Peixoto’s guitar mastery, without horns and it’s quite melodic and folksy, with smooth jazz undertones. I can hear the influence of Pat Metheny, who was one of Ricardo’s mentors at Berklee College of Music.

This is not the joyous music of carnival, but a more subdued approach, heavily laced with cultural rhythms and classically infused.
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Veronica Swift, vocals; Benny Green & Emmet Cohen, pianists; David Wong & Russell Hall, bass; Carl Allen & Kyle Poole, drums.

This vocalist opens with a strong and swinging rendition of “You’re Gonna Hear From Me.” After a rubato intro, Veronica Swift falls smoothly into a slow but hearty swing arrangement. Adding a short passing phrase of scats to the mix, she shows us that she is a true jazz singer. This is no cabaret queen. She can scat, she can ‘swing’ and her tone and pitch are perfectly matched to her sense of timing. Veronica Swift’s voice reminds me of Edyie Gorme, in both style and tone.

The second tune of her repertoire is “A Little Taste,” by Johnny Hodges & Dave Frishberg. Once again, she swings it in a very jazzy way. A tune titled, “Interlude,”follows. It’s a sexy ballad that allows us to hear the softer side of Veronica Swift and features a melodic double bass solo by David Wong. Swift’s repertoire is fresh with tunes like “Forget About the Boy, “where pianist, Emmet Cohen, gets to show-off his chops in a dynamic way. Ms. Swift has arranged all the music on this CD and has a way of interpreting her lyrics to engage the listener. She lets you know she’s a very, natural storyteller.

Emmet’s piano plays an introduction like a grandfather clock for “Stranger in Town.” You can almost see the pendulum swinging back and forth. When Veronica Swift enters, she tells us another one of her sincere and well delivered stories about someone coming home and feeling like a stranger in her own hometown. She’s looking for a lover that never shows up. Her trio accompanies Swift in a comfortable, well-executed way. They sound as if they’ve been working together for some time as they move smoothly into “I Don’t Want to Cry Anymore,” creating a medley piece. This song is arranged in a Latin way by Ms. Swift. Once the vocals stop, the band mounts a swift excursion into double time at an amazing pace. When Veronica Swift re-enters, the band amps down to a slow swing and that makes for an interesting excursion into dynamics and rhythmic changes. We finally get to hear the drummer solo on this tune and Kyle Poole is awesome on the time changes and the solid way he holds the rhythm section in place. Upon reading the liner notes, I was surprised to discover that Ms. Swift actually employs the talents of two different trios.

Veronica Swift is also a composer and exhibits her songwriting skills on the tune, “I Hope She Makes You Happy.” She penned both lyrics and melody. Music has surrounded her life ever since she was born, because both her parents are professional musicians. Her father, Hod O’Brien, was a masterful bebop pianist and her mother, Stephanie Nakasian, was celeb rated for her vocal virtuosity. Swift remembers, as a mere three or four years old, climbing into an open bass case to take a nap backstage while her parents played a gig. She was nine-years old when she first began singing publicly. Below is a tape of Veronica singing with her songstress mother, Stephanie Nakasian.

In 2015,Veronica Swift won second place in the prestigious Thelonious Monk Jazz Vocal Competition. She’s already performed at Lincoln Center as a guest artist with Michael Feinstein and the Tedd Firth Big Band. Surprisingly, her first appearance gracing the Jazz at Lincoln Center stage was at the tender age of eleven. She performed as part of the “Women in jazz” series at Dizzy’s Club Coca-Cola, although she was hardly a woman and barely a pre-teen. Her talent, even then, was notable. As a youngster, her parent encouraged their daughter’s love of singing and she recorded two CDs as a child. One at age nine with Richie Cole and her dad’s rhythm section. Her mom was on that recording too. Then, at age thirteen she recorded with saxophonist Harry Allen.

More recently, in 2015 she recorded an album titled, “Lonely Woman.” She’s performed widely with trumpet star, Chris Botti. So, this album becomes the culmination of her many musical experiences, including a 2017 weekly residency at the famed Birdland Jazz Club in NYC and as a recipient of a Bachelor’s degree from University of Miami’s Frost School of Music in Jazz Vocals. Veronica Swift is currently touring in support of this recent CD release, “Confessions.” Check out her website for touring dates and places.

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Clark Gibson, alto & soprano saxophones/flute; Jim Pisano, tenor saxophone; Evan Edmonds, trombone; Pat Bianchi, B3 organ; Jeremy Thomas, drums.

This is the fourth release for Clark Gibson as a leader and it explores a reunion with one of his earliest collaborators, Pat Bianchi on B3 organ. This journalist has a penchant for organ jazz and bebop, so, I was eager to hear Gibson’s hard-bop organ/horn consortium that I thought might honor the days of Jimmy Smith, Hazel Scott, Bill Doggett, Jack McDuff or Richard ‘Groove’ Holmes. However, Clark Gibson’s production is more refined jazz, less funk, and enriched with three horns. This project features the dynamic, original compositions of Gibson. “Nocturne Blues” gives us a taste of each ensemble member, offering healthy solos by each musician capped by an awesome drum solo by Jeremy Thomas. The song, “Love Letters,” features a beautiful melody, sung harmonically by the horn section and featuring a tender solo by Gibson. Once again, Jeremy Thomas offers trap drum excellence locked in with Bianchi’s organ to create a high energy rhythm section beneath Gibson’s smooth horn lines. By the time I got to track five, titled “Jack,” we finally entered into the realm of hardbop. This is twelve minutes of straight-ahead brilliance. “Truth and Beauty” is another original composition, sweet and melancholy, that Gibson wrote to tribute a personal friend who, like Charles Mingus and Nina Simone, lived uncompromisingly by their own terms. That’s not always easy to do.

Finally, the song titled, “Trey” was composed for a 22-year-old father in Beavercreek, Ohio who fell victim to police brutality in 2014. Clark Gibson is donating major portions of his proceeds of this album to the John Crawford Foundation, an organization dedicated to educating and supporting families who have lost loved ones to police brutality. More and more, I see our artistic community using art and music to protest injustices in our country. We all hope that these universal protests will help make our whole world better, brighter and more compassionate.
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DEB BOWMAN – “FAST HEART” Mama Bama Records

Deb Bowman, vocals/composer; Eric Lewis “ELEW,” piano/Fender Rhodes; Steven Wolf “Wolf,” percussion; Greg Lewis, Hammond B3 organ; Matthew Garrison, bass; Kenyatta Beasley, trumpet; Marla Feeney, violin/viola.

Deb Bowman opens this album with an original song titled, “Willow in the Wind.” It’s a pretty ballad and showcases her beautiful, soprano tones. This is followed by a delightful arrangement of Thelonious Monk’s “Pannonica” where Eric Lewis makes his piano sound like fluttering butterfly wings. It’s clear that Deb Bowman has surrounded her voice with amazingly talented musicians. Kenyatta Beasley takes a stellar trumpet solo. Bowman’s interpretation of Herbie Hancock’s famed “Butterfly” composition is noteworthy. I noticed her phrasing was very similar to Minnie Ripperton’s on several occasions. Not so much in range, but certainly in tone and the way she phrases the melodies. I offer this observation as a compliment. However, on the whole, Deb Bowman maintains her own vocal style and personality.

Music is not Ms. Bowman’s only talent. She is also a talented actress and has been presenting her own unique cabaret performances on the East Coast incorporating jazz, stories and her original compositions. For a while she visited over sixty countries with gigs on cruise ships. You may have seen Deb Bowman as part of the television cast of “Ugly Betty.” After that show concluded, Bowman moved down to Atlanta to be nearer her Alabama family. It was a positive move because TV, theater and a solid jazz scene were all available. This, her latest album, is dedicated to her sister, Patti, who passed away of ovarian cancer. Patti was enamored with butterflies and the teal-colored butterfly floating on the album cover happens to be a symbol of ovarian cancer awareness. Consequently, you will note a couple of songs referencing this Rhopalocera.

Deb Bowman captivates on the Edith Piaf and Louiguy standard, “La Vie En Rose,” performing it in French and spotlighting her cabaret-side. “Moody’s Mood for Love” brings us back to the jazzier side of her musical personality. The arrangement makes the song a platform for her own rendition of James Moody’s popular recording and shows off her vocal range. As a tribute to her move South and re-settling in Georgia from New York, she tackles the Ray Charles hit, “Georgia.” Deb Bowman has gospel roots and she brings this to the forefront on this popular tune, accompanied by Greg Lewis on the Hammond B3. I thought the mix on the organ was less than spectacular, but that’s a mix and mastering problem and has nothing to do with the vocalist. The Title tune, “Fast Heart,” sounds like something Shirley Bassey would have sung in a James Bond movie. I found the tunes on this project an unusual mix of repertoire, but Deb Bowman’s vocals shine like Christmas tinsel.
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Pablo Embon, piano/guitar/synthesizers/programmed drums and all other instruments/ composer/producer.

I have to admire someone who tackles the job of writing an entire album of music and then proceeds to play every instrument and produce the project themselves. The challenge in such a project is making the music ‘swing’ and ‘groove.’ I find Mr. Embon’s compositions to be melodic, but sometimes the bass line is strangely dissonant to the melodies and it neither roots the songs or embellishes them. Also, the music is missing the magic, camaraderie and inspiration that playing together with others can bring. This sounds more like a demo that would be used to introduce a band to original compositions and to the way the producer wants them played. There are many discordant notes and some of the endings stand unresolved. With no fades, they simply stop, as if someone turned off the electricity before we could hear the song’s ending. “I’m Still Here” is a more natural sounding production with a strong arrangement and Pablo Embon even takes a brief drum solo.

Born and raised in Argentina, Pablo Embon began to study and play piano and guitar when he was just seven-years-old. He is obviously talented and musically accomplished on many instruments. He has worked with a variety of bands and his music is diverse on this project, ranging from fusion to ballads. He includes some Latin and some smooth jazz sounding numbers like “Airborne” and the very funky, “NonStop.” Since relocating to Israel, Pablo Embon has concentrated on writing, recording and producing his own music entirely by himself. I think, with an independent producer and ‘live’ musicians, these songs could soar. He definitely has some good arrangement ideas and he is a prolific composer. However, sometimes you have to give up a little control of a project to get the very best out of your music.
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Eric Hofbauer, guitar/composer; Nate McBride, bass; Curt Newton, drums; Jerry Sabatini, trumpet; Jeb Bishop, trombone, Seth Meicht, tenor saxophone.

Eric Hofbauer has composed all five movements of this project and performs, along with his classic jazz-sextet, in front of a live studio audience. The “Book of Water” project is purposefully written in five parts. Hofbauer conceived this multi-part odyssey in 2016 with the concept of releasing five books in music album format. Each book will contain five movements or chapters. Hofbauer’s recording project relates to the five elements of wood, fire, earth, metal and water. This is no Earth, Wind & Fire project, but instead is based on the Chinese philosophical ideas of the Wu Xing known as the “Five Agents.” Totally improvisational in nature, this project expects the listener to venture within and question interconnectedness, impermanence and other life meanings. Since this is the “Book of Water,” some of the movement titles reflect that premise.

They open with “Water Understands Civilization Well.” This opening tune is nearly ten-minutes long and energetic. “It Wets, It Chills” is nearly twelve minutes long and it begins with the guitar mirroring a dripping of water drops. Later, the horns enter in ballad-like-harmonies. Jerry Sabatini takes a pensive trumpet solo, as we journey into a meditative state. Nate McBride’s double bass is bowed with gravity and precision. The listener is invited to dive deeply into the tone of each instrument.

This is avant-garde jazz that features the freewheeling, improvisational, aesthetic that binds together this innovative ensemble’s sound. Recorded March 25, 2018, at Rotary Records in Massachusetts, there is a full-length video album available at: erichofbauer.bandcamp.com.
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July 29, 2019

By Dee Dee McNeil/Jazz Journalist

JULY 29, 2019


Juan Andres Ospina, piano/composer/conductor; Carolina Calvache & Nicolas Ospina, piano; Nadav Remez, guitar; Andres Rotmistrovsky, elec. Bass; Marcelo Woloski, percussion; Petro Klampanis, upright bass; Franco Pinna, Dan Pugach & Ronen Itzik, drums; Magda Giannikou, accordion; Sofia Ribeiro & Lucia Pulido, vocals; TRUMPETS: Sam Hoyt, Jonathan Powell, Bryan Davis & Guido Gonzalez. TROMBONES: Michael Fahie, Matt McDonald & Malec Heermans. James Rogers, bass trombone. WOODWINDS: Hadar Noiberg, flute; Alex Terrier, soprano & alto saxophone; Uri Gurvich, alto sax/flute; Linus Wyrsch & Justin Flynn, tenor sax/clarinet; Carl Maraghi, baritone saxophone/bass clarinet. SPECIAL GUEST: Paquito D’Rivera

It took me a while to get this review written, but the music is so extraordinarily well done, in good faith I had to review this album that was released last year. Juan Andres Ospina is bi-continental, living between New York and Bogota, Columbia. He is a pianist, composer, arranger and producer. Andres is currently one of the most prominent and active Colombian musicians and composers. His debut album, as a leader, was heralded as one of the best jazz albums of the year on the All About Jazz website. Juan Andres and his brother Nicolas Ospina have a YouTube Channel that boasts a following of more than twenty-two million views. In search of perfection in his music, Ospina began his musical studies at the Universidad Javeriana in Bogota. Later, he moved to Barcelona, Spain and continued his classical and jazz studies at the Escola D’Angel Soler and the Taller de Musics. In 2005, Juan Andres Ospina won a scholarship to attend Boston’s Berklee College of Music and that’s how he arrived in the United States.

On this album, the pianist and Big Band leader has composed four of the six songs. Each composition and arrangement is extraordinarily melodic and well-played, incorporating that touch of Columbian rhythms and culture dancing brightly beneath his wonderful piano playing. The horn lines are rich as cream, floating to the top of the music and enchanting the listener with emotional deliveries. I was especially impressed by the soprano saxophone solo of jazz icon, Paquito D’Rivera, on Ospina’s composition, “Todavia No.” The arrangement is quite dynamic and driven by powerful percussion and embellished by Andrés Rotmistrovsky’s electric bass. This song introduces me to the Pasillo rhythm from the culturally rich Colombia Andes Mountain community.

“102 Fahrinheit” is another one of Juan Andres’ dramatic, original compositions. It was inspired, not only by the serous global issue of climate change, along with the human race’s need to respect and correct our relationship with Mother Nature, but for one other reason. Juan Andres explained in a recent interview:

“I wrote this piece in an un-airconditioned apartment during a summer heatwave in New York City, with deadlines looming and technology refusing to cooperate. It was a very stressful month. My computer was crashing all the time. It was crazy hot. I couldn’t open the windows because so much noise was coming from the street that I couldn’t concentrate, but if I closed them, it was like a sauna. The intensity of the tune came from the stress of having to meet a deadline and not being able to work in comfort.”

Everything on this production is well arranged, brilliantly played and features a big band that reads like a group of United Nations representatives.

“I thought it would be interesting to have so many different nationalities playing in this band, all bringing their influences to the music in some way,” Ospina shared his insight on forming the band.

“It’s something that might be very common in New York, but from a Colombian perspective, it’s pretty crazy.”

“Like Someone in Love,” the familiar Jimmy Van Heusen composition, is explored and rejuvenated in such a fresh way that I hardly recognized it. It’s a fabulous arrangement and shows Ospina’s genius. He extends the time, stretching the melody sweetly like bubble gum between the fingers of his all-star band and himself. Uri Gurvich takes a spirited alto saxophone solo. I had to play this arrangement twice. Judge for yourself.

Juan Andres Ospina admits it took him some time to persuade his inner-artistic-self that he could actually write, arrange, compose and direct the big band music in his mind.

“I just needed to make it a priority and find the determination to do it. The challenge was enormous, not only because of its gigantic dimensions, but also because I needed to convince myself that I could actually make it happen. It finally struck me like a strong windstorm; like the cold and fierce Tramontana that lashes the Catalan coasts, leaving a clear sky behind. It will stand as a milestone pointing back and forward in my life and career; one in which I had the fortune of joining forces with an incredible group of creative individuals who helped me shaping what you are about to listen to. I hope you will feel the emotion behind it and make it yours too!”

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Mike Holober, piano/Fender Rhodes/Conductor; John Hebert, bass; Mark Ferber & Jared Schonig, drums; Rogerio Boccato, percussion; Steve Cardenas, Jesse Lewis & Jay Azzolina, guitars; Billy Drewes, alto & soprano saxophones/flute; Jon Gordon, alto & soprano sax/ Dave Pietro, alto & soprano sax/flute/piccolo. Ben Kono, alto & soprano/flute/clarinet/piccolo/penny whistle; Adam Kolker, tenor sax/flute/alto flute/clarinet; Jason Rigby, tenor sax/flute/clarinet; Charles Pillow, tenor sax/flute/ clarinet/alto flute; Steve Kenyon & Carl Maraghi, baritone sax/bass clarinet; Tony Kadleck, Liesl Whitaker, Scott Wendholt, James de LaGarza & Marvin Stamm, trumpet/flugelhorns; Tim Albright, Mark Patterson, Alan Ferber, Bruce Eidem, & Pete McGuinness, trombones; Nathan Durham, bass trombone.

On disc one, this jazz orchestra, under the direction of acclaimed composer, arranger, Mike Holober, brings a sense of fusion and funk to their arrangements. Obviously, Holober is locking into the pulse of the urban jungle. This is a double disc recording titled, “Hiding Out.” Holober and his all-star Gotham orchestra have been ‘Hiding Out’ since their last acclaimed 2009 release of an album titled, “Quake.” For the past six years, Mike Holober has been busy serving as Artistic Director of New York’s Westchester Jazz Orchestra. he spent five years as Associate Guest Conductor of the HR Big Band in Frankfurt, Germany and somehow found time to conduct and arrange a number of projects for the WDR Big Band in Cologne.

“There’s a double meaning to the title, ‘Hiding Out.’ One is that I’ve been hiding out as a composer, arranger and sideman for other people and as an educator. But it also comes from the places where I wrote or that inspired these pieces. Places with beautiful settings in the mountains and along the banks of beautiful rivers,” Mike Holober explained the title of his current recording, scheduled for release on August 9, 2019.

The first song titled “Jumble” is nearly fourteen minutes long and plush with spirited solos and exciting energy. It was a commissioned piece by the U.S. Army for their Jazz Nights in 2008 and is named for an isolated lake in the Sierra Nevada Mountains of California. This tune is soaked in 1970’s fusion. It also incorporates Afro-Brazilian maracatu rhythms.

“Flow” is the next composition and it’s broken down into four suites. Starting out somewhat melancholy on Suite 1. Titled, “Tear of the Clouds” and suddenly bursting into horn excitement on Suite 2. titled, “Opalescence.” The mood changes quickly. The trumpets blare. Saxophones sing improvisational lines above the fray, until the piece settles down into a quieter, introspective section.

Disc two offers a different type of orchestration. It begins in a more classical vein with various soloists bringing the jazz into the production, especially starting with the 5th movement, “It Was Just the Wind.”. Holober is an environmentalist and is involved with many environmental charities. To compose, he found peace and concentration by taking more than thirty-eight trips and spending over a thousand nights in the wilderness. The title suite, “Hiding Out” was commissioned by the Philadelphia Museum of Art and funded by the Pew Foundation. Holober wrote the five movements while in Wyoming. He explained:

“This music was written in some of the country’s most beautiful environments, but the vibe of the record is all about New York City.”

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Fred Hersch,piano/composer; Vince Mendoza,arranger/ conductor; THE WDR BIG BAND: Paul Shigihara,guitar;John Goldsby,bass; Hans Dekker,drums; WOODWINDS: Johan Horton & Karolina Strassmayer;Olivier Peters & Paul Heller,tenor saxophone; Jens Neufang,baritone saxophone; Ludwig Nuss,Anrea Andreoli, & Andy Hunter,Trombones; Mattis Cederberg,bass trombone/tuba; TRUMPETS: Wim Both, Rob Bruynen, Andy Haderer & Ruud Breuls.

Six Time Grammy winner, Vince Mendoza, is the arranger and conductor of this extraordinary project. Mendoza is famed for his impeccable orchestrations and the WDR Big Band is celebrated by Downbeat as “one of Europe’s finest large jazz ensembles.” Fred Hersch’s astounding talents on piano have been without precedent in both jazz and contemporary music. Fred Hersch gave us some insight into his expectations for this project featuring nine of his original compositions.

“Vince was very respectful and attuned to the fact that each one of these pieces has its own world and the fact that we had these seventeen musicians at our disposal to create each piece on its own terms was really great. It was a thrill for me to be able to amplify the uniqueness of each piece.”

“Begin Again” opens this album, melodically beautiful and featuring the soaring saxophone of Johan Hӧrlen, with Fred Hersch on the grand piano. The second track is a composition that Fred Hersch claims is probably the closest he’s ever come to writing a standard ballad. It’s a very romantic song with the support of beautifully arranged horn harmonics. I expected the composition titled, “Havana” to be full of energy and Latin flavor. However, this production is very classically infused and not Cuban at all. The title is somewhat misleading. It’s more like Bach visits Havana. Still, it’s very beautifully arranged and dynamically played, as is this entire project. “Out Someplace” was written as a bluesy tribute to Matthew Shepard, a young man brutally beaten, tortured and killed in Wyoming. The University of Wyoming student became a catalyst for Congress to pass the “Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act.” President Barack Obama signed the Hate Crime legislation into law and Matthew’s mother, Judy Shepard, rose to notoriety for her prominent LGBT rights activism. This incident perhaps had a particularly significant effect on Fred Hersch, since he himself is celebrated as one of the first, openly gay jazz musicians and he was also diagnosed HIV-positive. This he documented in his 2017 memoir.

As a recipient of the 2016 Doris Duke Artist Award and Jazz journalists Association Awards for Jazz Pianist of the Year in both 2016 and 2018; also garnering the 2017 Prix Honorem de Jazz from L’Academie Charles Cros, (a lifetime achievement honor), this will surely become another plume in the pianist/composer’s cap of honors.

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July 20, 2019

By Dee Dee McNeil/Jazz Journalist

July 20, 2019

On Saturday and Sunday, July 27 -28, you can experience two days of extraordinary jazz music that is absolutely FREE! The second day of the Annual Central Avenue Jazz Festival will kick off Sunday morning, July 28th, at 11:30am, on the Ella Fitzgerald stage, featuring the popular JazzAmerica ensemble. This non-profit organization of exceptional junior high school and high school students will be celebrating their Silver Anniversary this year. This is a highly notable event. Our Los Angeles-based, jazz icon and historic reed player and composer, William Marcel “Buddy” Collette, left us a legacy of amazing music. Just as importantly, he co-founded this non-profit organization called JazzAmerica in 1994, with press person, Michael O’Daniel and school board member, Valerie Field. Their mission statement was to perpetuate the jazz tradition by introducing jazz to young people from all socioeconomic and racial origins. Collette’s legacy lives on through this amazing and well-attended JazzAmerica program, propelled by the hard work and dedication of bassist, Richard Simon. The program has already touched the lives of many students who are blazing their own musical trails onto the jazz scene. One of those students is jazz vocalist, Darynn Dean.

Two popular pianists who have emerged from JazzAmerica are Mahesh Balasooriya and Jamael Dean, along with bassist and vocalist, Katie Thiroux. Another noteworthy vocalist to accelerate from the JazzAmerica program is Katelyn Hunter. She recently won the Spotlight Award given by the Music Center of Los Angeles. She was chosen from among five hundred competitors in the non-classical category.

Jazz buffs and music historians know that jazz music is America’s unique classical music and it is, as dedicated by the Congress of the United States, our country’s national treasure. 2019 marks JazzAmerica’s Silver Anniversary; that’s twenty-five years as a working non-profit organization. Richard Simon has been hands-on in keeping this program alive for the past nine years, since the passing of Buddy Collette. I got to speak with their Program Director, Richard Simon, this month in a personal interview. Richard recalls his own infatuation with music at an early age.

RICHARD: “I was nine and I attended a school event where they were offering instruments for students to start learning on. I first chose the trombone, but my arms were too short. So, I picked the violin. As it turns out, my maternal grandfather and my parents were survivors of World War II and the Holocaust. My grandfather had salvaged his violin and brought it over to this country. When he heard that I had chosen the violin to play, he ceremoniously handed over that violin he had rescued. So, that is how I started learning music.

“There was always an emphasis on education and art in our household. Every child was expected to play an instrument. I have three older sisters and a younger brother. So, most of us obliged my parents. My oldest sister was bribed to learn to play a waltz on the piano. I think, once she learned it, she collected the five-dollar bribe and never returned to the piano again. Another sister studied the accordion. The accordion sister passed that down to her kids. The third sister, I don’t remember her playing anything but the radio and my little brother played guitar and piano.

“But playing the violin, back in my hometown of Kansas City, Missouri, I made it to the Kansas City Youth Symphony. I was in the second violin section, almost as far back as the ropes that opened and closed the curtains. That was fine with me. By then, I think I had been playing three years, so I might have been twelve. Shortly there-after, my parents said if I wanted to continue my private lessons, I had to pay for them myself. So, I made some money doing odd jobs around the neighborhood and paid for the lessons for a while. But I wanted to play Little League Baseball. So, I quit violin for sports.

“In High School, I played guitar very poorly. I learned the basic chords, but the guitar strings were not tuned at the same intervals. There’s a B-string right in the middle and I could never figure out what to do with that. In college I picked up the guitar and played in some psychedelic band. It wasn’t that you had to know what you were playing, as long as you did it with conviction. So, I couldn’t really say that I was a guitar player. It was just a pastime. I had no desire to play professionally. Years later, I finally heard Joe Pass on the radio, and he played all the guitar I could ever hope to play. I thought, this has been done. Why should I even bother.

“So, after the exposure to classical violin, I knew that I was, at some level, interested in music. But I gravitated to literature. I found I was fascinated by the great works of Chaucer, Shakespeare and all the great writers and my interest peaked in literature during Jr. High and High school. I found I had a flair for writing. That was encouraged and I was given my own High School newspaper column to write. I don’t know how it came about. There were things that I heard that became expressed in unintended ways and people gave that self-expression the term ‘pun.’ Webster says it’s a joke exploiting the different meanings of a word. I could express things and give meaning in ways that were unconventional. Oddly enough, years later, when I started to play music, I could hear musical puns inside of songs. One melody reminded me of another and in my bass solo I could sort of incorporate many melodies into the tune. So, that was kind of a strange habit and it helped to bridge the world of literature and music in my brain,” Richard Simon explained in his own, inimitable way.

Because Richard loved reading and writing, in college, he concentrated on an education in Literature and Journalism. He obtained his B.A. Degree at Ohio State University and his Masters Degree at the University of New York, Stony Brook. For a while, music was placed on the back-burner. Not having a clear career direction, once Richard Simon graduated someone told him his Masters Degree would be sufficient, without a teacher’s training certificate, to land a professor position in California’s community colleges. That inspired his move to Los Angeles.

RICHARD: “I was hired by Los Angeles Southwest College located at Western and Imperial. My first assignment was a composition class off-campus, at Rakestraw Community Center. The students were primarily recovering substance abusers, taking college courses to satisfy licensing requirements for becoming counselors. They were not very experienced in an academic setting, because they had been chasing demons earlier in life. But we came together in a magical way. Years later, I got a letter from one of those students who was in my first English class, a guy named George Thorne. He wanted me to know that he had continued with his education. He graduated from UCLA and wrote that he just wanted to reach out and thank me; to let me know that he appreciated spending his first class as a college student with me. Anytime that I got cynical or bored with my teaching job, I could get some solace reading that letter from George. His letter was gratifying. At least somebody’s life was touched, I thought. Meanwhile, I ended up teaching at six of the nine campuses in the L.A. community college district and I was offered tenure. But one day, while grading papers in my office, somebody turned on the jazz radio station. Now mind you, I didn’t know anything about jazz, but there was a recording playing of Stéphane Grappelli. I only discovered his name when the announcer told me. Turns out, he was a master, French Violinist. He performed with Django Rhinehart in Paris during the thirties. I looked up the song I heard that afternoon. It was titled, “Undecided.” I was really carried away by the way that man could play the violin. Nobody ever told me that you could have that much fun with the violin. That very moment, he rekindled my love for music.

“I didn’t necessarily want to return to the violin, but I was so moved by the flair and swing of that music I heard, that I literally dropped everything and made it my business to find out about jazz. I wanted to participate in it. I was living in Hermosa Beach at the time. That’s when I discovered El Camino College, near my home. They had an exceptional music department at El Camino College and offered Instructors with academic and professional credentials that rivaled any university program. They taught jazz, principles of Harmony, Counterpoint, and Music Theory. Right away, I enrolled in the jazz band. Again, I didn’t have enough violin chops or guitar knowledge to make a meaningful contribution. But I noticed, leaning against the back wall, four lonely basses. So, I went and picked one up on a whim and I started to play it. Well, it was love at first ‘bite.’ I say that because the strings were so fat, compared to the violin, that my fingertips hurt after a few seconds of playing the instrument. Even so, there was something about the sound of the notes and the fact that the band couldn’t really swing without a solid bass line underneath that spoke to me. I asked the teacher if I could borrow one of those bases and take it home. He said, yes. There were some other adult learners like myself. Mind you, I discovered Stéphane Grappelli on jazz radio when I was thirty years old. So, there were only a few others my age taking the music courses at El Camino College. At that time, I didn’t know any professional jazz musicians and was just becoming aware of the music. I wasn’t thinking about making music a career. I was just having the time of my life playing it.

“I was driven, really, almost irrationally, to do as much as I could in discovery. I taught myself a fair amount. I got books and I found friends who would put up with my playing. I went to endless jam sessions. I mean there was blood. Pieces of fingertips lying here and there. And then, somebody in the college jazz band suggested I should look up Abe Luboff. I tracked down Abe for private lessons. He had been with the L.A. Philharmonic, so he was coming at it from a classical standpoint; you know, having the correct left-hand position and having the proper technique with the bow. I studied with him for maybe a year. At one point, he said, Richard, I know you really want to play jazz. That’s not what I do. He suggested I contact Red Callender. Abe was the second person to mention I should study with Red Callender. I thought, OK, I understand now who I should hook-up with. I had heard that Red was performing at the Money Tree in the city of Toluca Lake. Sure enough, I discovered Red Callender one Monday night performing with the Gerald Wiggins trio. Wig was on piano, Kenny Dennis was on the drums and they had this sax man, Boots Robinson. I was pretty intimidated, because they were playing at such a high level. Sitting there listening, I thought, oh boy, what am I getting myself into here? But Red was very charming and down to earth. He had that impish smile and those sparkling eyes. He said, you need to go to the Clef Club. I found out they were meeting at the Quiet Cannon one Sunday a month.”

NOTE: The original Clef Club was made up of African-American musicians in Harlem and became (both avenue and society), somewhat of a hangout or fraternity-type club. They featured musical entertainment and camaraderie, a Clef Club Orchestra, and over a hundred members. It was incorporated in 1910 and adopted in various cities like Philadelphia and Los Angeles. It perpetuated jazz and the performing arts.

“Well, when I arrived at the Clef Club event, this very dignified, handsome gentleman came over to me and said, I understand you’re a bass player. I said well, at this point I’m a bass owner. He said, but you’re Richard, right? I said yes. He said well why don’t you get ready to play the next set with us? And that’s how I met Buddy Collette. I wish I could remember who all was out there that afternoon, but I’m pretty sure the Clef Club included people like Bill Douglass, the drummer and pianist, Art Hillary. All the crème de la crème of jazz musicians.

“I was living in Hermosa Beach and I had heard about the Lighthouse. At the same time, I had been turned on by that Stephane Grappelli record, I made sure that all the radios at home and in my car were locked into 105.1, KBCA back then. I was just hungry for jazz back then. It didn’t matter what era, vocal or instrumental, I was on a jazz diet. So, everything I heard, I digested ravenously. There was no satisfying me, because I was making up for lost time. Everybody was already swimming across the ocean and I felt like I was dog-paddling my way behind them. Somebody suggested I go to The Lighthouse. So, I found that jazz club on Pier Avenue and the first time I went, Milt Jackson was the featured artist and, in his rhythm-section were local guys. Jimmie Smith was the drummer. Larry Gales was on bass and Marty Harris was the piano player. I was sitting in the front row, taking in every note. Before their break, Milt Jackson got on the mic and said, we’re going to take a break, but before I go one of my good friends, Mr. Joe Pass is in the house. Maybe we can talk him into sitting in with us. Oh, and behind him is Oscar Peterson and behind him is Ray Brown. I know these fellows are in town to record. Let’s see if we can get them to come up here next set and play a tune. Well, of course, everybody in the club just erupted. Sure enough, next set they got up on that bandstand and they played a blues. I swear, the bandstand levitated. There was just so much energy and there was no stopping them. I think I levitated too!

“It was just beyond anything I could have imagined. I think they might have played just one tune, but it was the Hallelujah Chorus. If there was any doubt in my mind that this was the atmosphere I craved, it was erased that night by these guys. I can still feel that intensity when I think about it. After that experience, I used to lurk outside the door to hear whoever it was that was playing. Finally, there was an old guy who ran it, Rudy Onderwyzer. He had that long straggly beard, that fit the profile or the stereo type of a jazz cat or maybe of the Beatnik era.

NOTE: Although Rudy Onderwyzer appeared to be the manager of the Lighthouse, with his hands-on attitude and casual appearance, John Levine and his family actually sold the club to Rudy in 1970. Rudy formerly managed and was part-owner of the Shelly’s Manne-Hole jazz club. Onderwyzer sold The Lighthouse in 1981 and the new owners remodeled it and discontinued the all-jazz-music policy.


“Well, Rudy got tired of me lurking around the front door. So, one night he said, why don’t you come in here and make yourself useful. He would let me take people’s money at the door. Consequently, I could be there to hear whoever was playing like Ray Brown, or Stan Getz, JoAnn Brackeen, Phineas Newborn, Mark Murphy, Etta James, Willy Dixon, Sonny Terry and Brownie McGee. There was just like a record collection from heaven, hearing these people in person. Every week, there’d be another visit from the anointed masters like Phineas Newborn. I can’t think of them all at the moment. But that was my master class.

I expressed my concern that today, in the Los Angeles area, there are very few places where young musicians or jazz lovers can go and experience ‘live’ and affordable jazz concerts.

RICHARD: “No, and they’re the worse for it. Even though the resources on the Internet are plentiful, without experiencing the music ‘live’, to inhale the elixir from these iconic jazz musicians, they miss an indispensable way of being mentored. JazzAmerica occasionally has visiting artists. Some of our teachers, if somebody’s in town for a performance, they’d bring them in. The guitarist Bucky Pizzarelli, for example, would show up and any number of players from around town or visiting Los Angeles have dropped in. We had Chuck Redd, Terry Gibbs, Dan Barrett and Gerald Wilson. Those were master classes. So, it’s not that you have a policy of visiting artists, but as you point out, it’s so important for developing musicians to experience the players, in their presence, so that they can see the concentration and any little nuance that they pick-up on is valuable.

“Cause when I got in the Clef Club, I was just praying for a few good notes. I don’t remember what tunes were called. I’m sure Buddy sensed that I didn’t have much in the way of harmonic intelligence, but he could tell that I was motivated and determined. I guess we played a set together and exchanged numbers. Shortly thereafter, me and Red Callender would meet for lessons. He was such a great person; a great teacher. It wasn’t a lesson in the whole European sense of the word. It wasn’t Madame Petrouchka slapping your hands with a ruler, per se. He was just sharing his experiences. For example, he had been in the movie, New Orleans with Billie Holiday and Louis Armstrong and Louie’s entire band. Red lamented that they had cast Billie Holiday as a maid. But just being in her presence was magical for him. There was some music that they were rehearsing for the soundtrack and at a critical moment, the conductor looked over and said, hey Red, we want a four-bar transition here. We’re going from the instrumental key into the key for the vocalist. Why don’t you play one of your bebop licks there and bring us into the tune?

“Of course, Red had been gigging and recording with Billie Holiday and Charlie Parker, everybody including Sons of the Pioneers, you name it. But at that moment, he felt that pressure from the conductor and he froze. Just then, one of the members from the Union said, fellows, that’s going to have to do it for today, unless you want to go overtime. Of course, the studio didn’t pay overtime if they could avoid it. So, they had to call it a night. Red said he exhaled and went home and figured out a little passage he could drop in when they got to that same cue the next day. Sure enough, it was just the right thing for that moment. So, things like that, he’d bring up and show me how he solved that riddle. Then he’d say, so suppose you got to that point. What might be played to get E flat or G flat or whatever to the key change? It was an incredible way of teaching. And he had some books of horn duets. They weren’t bass instrument songs, but they were kind of classical pieces. He’d even play his tuba for the bass and I would play the harmony part on my bass. There was this incredible level of trust and belief that he had in me. He built my self-esteem along with giving me some of his wisdom and, thanks in large part to Red, my phone started to ring. Miraculously, I was getting bass gigs.

“One day I got a call from out of the blue from Teddy Edwards. Another time, from Johnny Kirkwood, the drummer. Johnny Kirkwood, at that time, was playing with Plas Johnson and Ernie Andrews. Johnny simply installed me in the rhythm section with vocalist, Ernie Andrews as the leader of one group, and with the iconic Plas Johnson. Plas is the one playing that horn line on the Pink Panther record from that Peter Sellers movie. Teddy Edwards was gigging around town and he hired me with his group, including Art Hillary and Lawrence Marable. I was suddenly in the mix and on the jazz scene. In our audience, some of the great jazz players who were off that night or just passing through sat in judgement. That was really scary. I felt like I was on trial and the jury was not letting me know how they felt, one way or another. I kept on looking for a few good notes and that was the beginning of decades of coasting on the brilliance of what I call, the elder elite.

“Buddy had been in the studio, as well as working on Central Avenue, and one of his favorite people and musicians was Al Viola, a guitarist who had been with Frank Sinatra for thirty years. Buddy created a trio, that included me, and we played for everybody. Political rallies, the ACLU, Mayor Tom Bradley functions, and the Lincoln Center in New York. Buddy was commissioned by the Library of Congress to write a suite of music, and he dedicated it to people whom he loved and who helped him along his way; people like Brit Woodman, the trombonist and Chico Hamilton and Jackie Kelso, a virtuoso.

“So, our group played in Washington, D.C., and the live recording of this commissioned music and concert was nominated for a Grammy. Gerald Wilson’s band was also featured and Joe Williams was the singer. Sometime after, I was called to play a reunion of the Chico Hamilton Band. I just was treated like royalty, because wherever Buddy went, people sat up and paid attention; paid respect. He had a long association with Mayor Tom Bradley,” the 38th Mayor of Los Angeles from 1973 to 1993. We would play for the City, for Mayor Bradley, the City Council people, business leaders, etc. To tell you the truth, during that time I was feeling like a sort of valet. I felt like I should be carrying everybody’s instrument. It was just a magical, mystical time. I believe, on the strength of my association with that group of musicians, I got calls from other people: Maxine Weldon, Morgana King, Sue Raney, Howlett Smith, Keely Smith, Llew Matthews, Gerald Wilson, Barbara Morrison and Houston Person. You talk about guilt by association. Well, I was gilt, painted with a golden brush, because people saw me playing with Teddy Edwards, Buddy Colette, Wig (Gerald Wiggins) and Plas (Johnson), and they thought, well, he must know something because these people are hiring him.

“I am somehow known to seek out the players of that vintage. They specifically bring so much gravitas and wisdom. The stories they tell with their instruments are just inexpressible in any other media. I still think of it as a miracle to be able to stand astride this majestic instrument and walk where so many great players have walked before me. One of them is a vocalist/songwriter and pianist from my hometown of Kansas City. I’m proud to work with Betty Bryant. She recently put out a new CD, not at all shy that her age has reached the number of keys on her fabulous piano.”

Richard Simon brings a plethora of knowledge to the steps of JazzAmerica and to students who hunger for knowledge and wisdom. Simon is a sought-after studio session recording artist. He has a vast knowledge of touring, having performed all over Europe, in Thailand, Japan and throughout the entire continental United States. He’s a quick reader, a polished educator and he remembers and empathizes with being a young musician struggling to learn and hone his craft. That’s a plus factor for any participant in the JazzAmerica Program.

RICHARD: “There’s two levels of secrecy in JazzAmerica. One is that we’re teaching values. That’s something I learned from Buddy. A lot of the players are told you need to learn your scales and your arpeggios in all keys and you need to spend time practicing those. Well, that hasn’t changed, but 10 years ago, JazzAmerica started offering traditional jazz in the January months, reaching back into the era of Louis Armstrong, ‘kid’ Ory and Jelly Roll Morton. It turns out that a lot of the songs that were played and composed back then are built around scales and chords. They’re simpler melodies than what came after. For example, one tune associated with Louis Armstrong is called “Struttin With Some Bar-B-Que.” The melody spells out an ascending Major Seventh chord. So, for the kids who are reluctant to sit at home and spend hours practicing arpeggios, it turns out that the traditional jazz repertoire has melodies that are built on those very tech-flavored patterns.

“Then it goes an octave above the major seventh and then it comes back down. What we learned from that is we can tell the kids they need to learn scales and arpeggios. Some in the group will agree and go practice their exercises that way. Others will recognize, hey, this song is that same pattern; that same arpeggio. If You can play this pattern in all keys, then you will have satisfied this practice requirement for the major seventh. They’ll choose the song as a means of study.

“They all do pretty fantastically. They teach me that a well-played individual note is a nugget of gold. I teach them to slow down and let that one note float out there and give them satisfaction. Hey, that beautiful long note, shoot for that. Every time you play, and we rehearse everything slow and I guess there’s an old jazz expression, tempo-de-learno. Not, Metronome 250 right out of the gate. So, whereas your favorite player can get that great sound, when you slow it down, you seek that identifiable tone. Once you master that, then you have put your signature on everything you play. Put that kernel of a tone forward and that’s what good players build their entire sound around. Cause there’s no point in going fast and giving a fast-assed rendition of a tune, because, in the long run, you have to make it sing before you can make it swing.

“One thing that impressed me about Buddy Collette, who co-founded this program, is his commitment to mankind. Career wise, he was at the top of his world, having already brought together the two segregated musician unions and having already broken the color barrier on national television. He was of course a child of Watts (California) and he grew up with people like Dexter Gordon and Eric Dolphy. Those guys chose to go off to New York and make a name for themselves. Buddy would tell me he was getting calls from those people and they would say, Buddy, you’ve got to come back here. They all know about you on the East Coast and this is where it’s at. And Buddy would say, yes, I appreciate that. But I’m doing quite well in the studio. I have a family to raise. Afterall, he could have put that responsibility aside and made himself a bigger name, but he chose to stay in Southern California.

“Remember, he was one of the soloists on a number of Frank Sinatra’s recordings and he conducted sessions for Ella Fitzgerald. He was just a first call woodwind player. But the jazz guys wanted him to move East. Instead, he played an active role in raising his family and raising the bar for musicians in town. He was my role model. Never did I see his character crumble. There was never a time where I saw him lose his cool. Let me share a story Buddy Collette told me before this interview ends.

“Charlie Mingus got a commission for an original piece to play at Town Hall in New York. About two days before the event, Mingus realized the music was a disaster. He had a budget that enabled him to call Clark Terry, and all the giants of jazz at that time. They were all ready to hit at the rehearsal, but the music was just a shamble. So, Mingus called Buddy and asked him to fly out to New York. Buddy, being the loyal friend that he was, dropped everything and flew out to New York City. He said there was music all over the Mingus hotel room. It was stuck to the walls, hanging from the lampshades; propped up against the toilet seat. So, he got to work and put the Mingus music in some semblance of order. At the concert rehearsal, they start to play it and the promoter was apoplectic. He thought it was going to be a live recording. and Mingus is saying, no, no, no. We’ve got to get this right. The night of the show arrived. The all-star band got through one terrifying set and the audience doesn’t know whether to leave or stay. The promoter was tripping out. Suring set one, Mingus kept going over the music; stopping and starting. Finally, Mingus was beside himself! The band took a break. After the break, I think it was Clark Terry, who went out on stage and he started playing, “In A Mellow Tone.” All the musicians come out, one by one, and they just turned it into a jam session. They realized this music was never going to come together, so they just started playing a familiar jazz standard. And the crowd relaxed and loved the show.

“After that stressful performance, they all went down to the Village to unwind. Buddy said to Mingus, there’s a friend of mine I want to see. I’m going to meet them, in their apartment, and have a glass of wine. Why don’t you go on to the bar across the street and I’ll be down in a few minutes? So, Mingus goes to the bar and Buddy meets his friend. Then, there’s a knock on the door. Mingus tells Buddy there’s some people at the bar who are insulting him. Buddy tells him he’ll be down in a moment. A little while later Mingus comes back and bangs on the door. He says Buddy, you got to come downstairs. I got mad at this guy and I cut off his tie.

“Concerned, Buddy excuses himself and goes downstairs. He’s wearing a suit and a trench coat and looking like the Buddy that we all knew and loved; a gentleman and a scholar. Sure enough, there’s a circle of people that have formed around this man who is now wearing only one third of his necktie. Buddy surveys the scene and it’s getting pretty ugly. He confronts the man and tells him; you’ve got to understand. I am this man’s psychiatrist. This man is under a lot of stress. He did a concert tonight and his wife is pregnant back in Los Angeles. I believe if we all just relax, we can come to some mutual understanding and enjoy the rest of our evening. In that moment, Buddy took all the heat and tension out of that room. For the rest of the evening, they all drank, laughed and joked with each other until they closed that bar down. That was Buddy in his element. To me, everything about him is kind of embodied in that story.”

There are so many people to thank for keeping this amazing non-profit After-school program alive. Of course, bassist Richard Simon is one of the main characters, but many local music masters have contributed time and talent to inspire the next generation of musicians. Richard recalls that City Councilwoman, Jackie Goldberg had called Buddy Collette one day in a panic.

RICHARD: “Councilwoman Goldberg said, Buddy, in my Hollywood district we’ve got some middle school kids who are hanging around after school, nowhere to go before their parents get home from work, and they’re fighting. The Spanish kids are rumbling with the Armenians. What can we do? So, Buddy said, well why don’t we start an After-school program? Coincidentally, Jackie had just been working on finalizing a group with a similar project called L.A.C.E.R.”

NOTE: L.A.C.E.R. AFTERSCHOOL PROGRAM was founded in 1984, focused on literacy, art, culture, music, education and recreation. They provide under-served middle and high school youth with after-school programs in a safe and caring environment. Their core belief is that underserved or at-risk boys and girls in the Los Angeles public school system should have access to quality education, free homework assistance, art programming, athletics and graduation preparation on par with more privileged students
RICHARD: “It Was a perfect marriage between L.A.C.E.R and JazzAmerica. We were just getting off the ground with Saturday classes for high school kids. Middle schools became the week-day component and Fritz Wise, Jackie Kelso, John Stephens, about seven of us and other music masters like George Bohannon, we were volunteers at several middle schools and then finally, with this L.A.C.E.R. financial backing, we were able to pay the instructors. That went on for about twelve years. Meanwhile, the original Saturday program continued with folks like The Wig (Gerald Wiggins), Ndugu, Bobby Bryant, Anthony White, and John Stephens. The first couple of years we had 90 kids from all over the city. What made that possible was that a number of the instructors had jazz bands or were band teachers at their high schools. Twenty-five years ago, they had a jazz band at Washington Prep and at Jefferson high. A lot of those city high schools had a jazz band. So, the teachers would encourage their kids to come down on Saturdays. it was incredible to look across a room of just trumpet and trombone players and there was the great Bobby Bryant, who had the charm of a drill instructor. He would be saying to the kids, if the man wanted it played that way, he would have written it that way. He brought some charts by Oliver Nelson, that he had played in studios for TV shows or some movie scores and he made sure the kids would learn them. He took sections and they’d work on sections of the charts. At the second half of the rehearsal, all the kids would come together, sort of a big band on steroids. It was magnificent.”

There are numerous success stories like these that beg to be told and that inspire Richard Simon to continue this under-promoted program for young people. If you would like to contribute to this 501C non-profit, tax deductible music program or need more information, send queries to: JazzAmerica: P.O. Box 661777; Los Angeles, CA 90066.

Meantime, join JazzAmerica Sunday, July 28, 2019 at the Central Avenue Jazz Festival, 11:30am in the morning. Be there!