Archive for the ‘JAZZ MUSIC’ Category

REMEMBERING THE GREAT DRUMMER, BILL DOWDY (Aug 15, 1932 – May 12, 2017)

June 23, 2017

June 23 2017

I am saddened to hear that my friend, and the original drummer with the Three Sounds, Bill Dowdy, has made his transition. Pictured here, Bill Dowdy, pianist Claude Black, me and bassist, Elgin Vines when we recorded a “Live” concert in Battle Creek, Michigan, where Bill Dowdy lived. He was a wonderful, talented, gentleman and I am honored to have known him and to have recorded with him. R.I.P. Bill, after a life well-lived.

Bill Dowdy, August 15, 1932 – May 12, 2017

I have always been a huge fan of The Three Sounds. Nobody could play that blues-infused jazz and capture that down-home groove on vinyl like pianist, Gene Harris, drummer, Bill Dowdy and bassist, Andy Simpkins. Later in my professional life, while working at United Artists/Blue Note Records in publicity and under the direction of the company president, Mike Stewart, I got to meet both Andy Simpkins and Gene Harris. I even got to work with Andy Simpkins many times as a jazz vocalist. He was one of my favorite bass players. But it was not until the year 2000, that I got to meet the amazing Mr. Dowdy.

Bill had heard good things about me from various Michigan-based musicians and invited me to do a concert with him in Battle Creek. At the time, I was just healing from a bad accident I had in Detroit, Michigan on a visit to see my mom and family. That was December of 1999, and as a healthy entrepreneur and jazz vocalist, without any health insurance, running the beach daily in Southern California and never even considering that I would fall ill, the fall I took was on an ice-covered street in Detroit. For a minute, it stopped my life and my career. After surgery and three months on a walker, then three months on crutches, I was finally up and walking again. I got busy producing musical plays and working locally at jazz clubs.

When Bill Dowdy called me, I was absolutely honored to drive to Battle Creek and become part of Bill’s Concert experience. When I arrived, I discovered that our concert was going to be recorded. I asked Bill who owned the tapes? He said that he did. I suggested that if the tapes came out with a good mix, we should consider putting out a CD. Well, Bill was surprised by that suggestion. He said that he had never thought of distributing his own product. He confessed to me, he didn’t have a clue how to do it. So, I sat down with Bill and showed him, on paper, how it would work. He said that for years Blue Note had been selling his music and his talent and that he hadn’t gotten paid for albums that were still selling today, nearly half a century later. It was the same old story of how record companies rip-off great talent . They collect the majority of the funds for the sales of those records and those company executives don’t write a tune, don’t sing a note, and many don’t know a thing about music or the creative process. Unfortunately, the artists who make the records hardly make pennies on the sales. If they don’t get out there and do concert tours, they don’t make any money at all. When I showed Bill how much it would take to invest in ourselves and what he could make on the sales of pressing up our own project, he was in awe.

“Dee Dee, I wish I had understood this years ago,” he confided.

The result of our concert and our conversation was “Live! at the Discovery Theatre – The Bill Dowdy Jazz Trio plus Dee Dee McNeil.” I was full of gratitude to be headlinging with the dynamic Bill Dowdy and his famous trio.

Bill hired Claude Black, a master pianist who was living in Toledo Ohio at the time and boasted over five decades of music mastery. Like me, he was a native Detroiter and we had worked together a few times at the famed jazz club, “Baker’s Keyboard Lounge.” Claude had worked with such international talent as Dakota Staton, Aretha Franklin, Lorez Alexandria, Ernie Andrews, Johnny Harman, Austin Cramer, Earl Bostic, Eddie Jefferson, Sonny Stitt, Arnett Cobb and Kenny Burrell.

Elgin Vines was hired to play bass on our project. Elgin has been described as one of the most sought-after jazz bassists in Western Michigan, stroking the strings professionally for over forty years. He has been a mainstay in the Grand Rapids Symphony Orchestra Jazz Ensemble, played with the Aquinas College Evening Jazz Ensemble, the Ray Gill Orchestra and the Muskrat Ramblers. In more contemporary days, he recorded for Gamble & Huff and appeared on The Tonight Show, The Mike Douglas Show and even the famed and historic, Ed Sullivan Show. Elgin acted as backup musician for such popular acts as Leslie Uggums, Frank Sinatra Sr. and Jr., Phyllis Hyman, Eloise Laws, Ruth Brown, Connie Stevens, Bobby Darin, and Steve Allen. For years he has led his own group, “Elgin Vines & Company.”

But it was Bill Dowdy who impressed me the most. After all, I had fallen in love with his drum chops back in 1958, when I was still a young teen and just discovering jazz. That was the year Mr. Dowdy recorded with the legendary jazz trio he founded, “The Three Sounds.” Their music has transcended the years with unique stamina and undying popularity.

Bill started out as a session drummer for Chess Records. Later, he recorded and toured for years on the Blue Note and the Mercury record labels in support of “The Three Sounds.” He left the group in 1966, ten years after he founded the group. Bill Dowdy settled down in his senior years to become a percussion educator at the Community Music School sponsored by the Battle Creek Symphony Orchestra. He created a Substance-abuse Prevention Program that he titled, “Drumming for Life” and taught master classes at Kellogg Community College, Western Michigan and Michigan State Universities. His legacy performances include working with Art Farmer, John Hicks, Nancy Wilson, Nat Adderly, Ben Webster, Coleman Hawkins, Ernestine Anderson, Percy Mayfield and Johnny Griffin, as well as his undeniable recording legacy as one-third of The Three Sounds. I am humbled and thankful that I knew this great gentleman and had the unique opportunity of performing on-stage with him. He as a kind and generous soul who I will never forget.

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DEBBI EBERT AT THE MUCKENTHALER CULTURAL CENTER

June 18, 2017

DEBBI EBERT AT THE MUCKENTHALER CULTURAL CENTER – THE 2017 SEASON

A performance review & intimate interview by Dee Dee McNeil/Jazz Journalist

June 15, 2017

It was the perfect, balmy, summer night for jazz under the stars. The Muckenthaler Cultural Center is located in Fullerton, California and its mission is to “provide the public with experiences that stimulate creativity and imagination, while conserving the heritage and architecture of the Muckenthaler Estate.”

The first time I was ever at this lovely, 18-room, 8.5-acre mansion was when I attended a wedding on the premises. This time, I’m exploring the backyard of this hilltop mansion, that includes a full stage with soundman, professional lighting and small round tables with picnic-type benches and seating in tiered rows up a hillside that slopes down to the stage. In its 52nd year of cultural, community programs, the Muckenthaler Center, (fondly referred to as, “The Muck”), produces more than 60 performances, festivals, special events and gallery exhibits annually. They are proud to expound their outreach sites, offering more than 6,000 hours of arts education at the “Muck” and 42 outreach sites. Thanks to the generous donation of Walter and Adella Muckenthaler, they serve more than 41,000 people every year. Tonight, every seat is full and faces are upturned towards the trio on stage who are about to perform as part of the Muckenthaler Jazz Series. Ron Kobayashi takes a seat at the grand piano. Luther Hughes mans the upright bass and Paul Kreibich swings into action behind the trap drums. They break into the familiar standard tune, “There Will Never Be Another You.”

After one song, the star is announced; Ms. Debbi Ebert. The songbird of the evening opens with Rio de Janiero Blues, setting a polished tone, with Paul Kreibich rumbling out a moderate-tempo’d-Bossa Nova beat that has the audience swaying in their seats.

Picnic baskets and snacks are allowed at these outdoor concerts and you can also buy food and drinks at the facility. I pour myself a glass of Merlot in a blue, plastic goblet, and settled back to enjoy a lovely evening of jazz.

For her second song, Ms. Ebert performs the familiar “On A Clear Day” featuring a spirited and fresh arrangement by Fred Katz (R.I.P), former cellist with the Chico Hamilton group. His arrangement gives the vocalist lots of ‘scat’ room to show off her improvisational assets. “Higher Vibe” is a waltz and its melody is impressive, with whole notes held like a vocal banner by Debbi Ebert. She exhibits powerful, perfect control and a well-executed, 3- 1/2 to 4 octave vocal range. The lyrics of “Higher Vibe” were very positive and unifying.

Her trio transforms “Night and Day” into a well-received arrangement, many in the audience humming along. The next song was “Mr. Magic”, a 1975 hit record by saxophonist, Grover Washington Jr. Afterwards, Debbi announces that the next couple of songs had been hand-picked by her audience. Prior to this performance, she sent out a request to her mailing list, encouraging them to tell her what songs they would enjoy hearing at her Muckenthaler concert. The fans responded in mass. They overwhelming voted for the hit record by Etta James, “At Last”. Ms. Ebert opened with a gospel intro, encouraging each instrument to echo her gospel moans and scats, like call and response. It was suddenly Bro. Kobayashi on piano, Deacon Hughes on bass, and Rev. Kreibich on drums. Debbi called them her pulpit and the crowd said, “Amen”! That one was so much fun. The second was a tribute to one of our jazz giants, Louie Armstrong. “What A Wonderful World” is always a crowd pleaser. Ms. Ebert dedicated this song to the troops, who protect and defend our Democracy, and she received warm applause for her sentiment. Joined on this song by another excellent pianist/composer, enter Richard Ihara, the composer of Freddie Hubbard’s 1967 hit record, “Little Sunflower.” Ihara is also an excellent vocalist and he does a very persuasive mimicry of Louis Armstrong, adding even more familiarity to the tune by walking on-stage with a microphone and sounding very much like Pops Armstrong himself. He and Ms. Ebert interact vocally on this tune, thus, ending the first set.

Ebert returned for a second set in celebration of the iconic Miss Nancy Wilson. Unfortunately, due to circumstances beyond my control, I had to leave after the first set. However, judging by the huge and appreciative applause at the end of set number one, I am positive that Debbi Ebert did justice to the songs of Ms. Wilson and continued her evening of excellence.

I recently had the opportunity of chatting with Debbi Ebert about her life and music. She has been a mainstay of the Orange County jazz scene for over three decades.

DEE DEE: Are you from California?

DEBBI: “Yeah – born and raised in South Central California and went to Freemont High School. I grew up on 75th and Central.”

DEE DEE: Oh – Central Avenue! That’s where all the music was happening, right? You probably weren’t born when Central Avenue was hot and thriving.

DEBBI: “No. I wasn’t but my parents were. They were familiar with Central Avenue and they would talk about it.”

DEE DEE: Were they big jazz fans?

DEBBI: “Not necessarily jazz. My father was a huge music guy. He was more into the gospel stuff. So, when I was about four-years-old, he had already been singing with different male gospel groups. They would do the big concerts hosted by Rev. Henderson, who was producing concerts in some of those old theaters where they used to have the jazz concerts. They’d bring in the gospel music; Rosetta Thorpe, The Hummingbirds, The Ward Singers, all of those people were a part of that circuit. Our family group was called ‘The Gospel Fireballs’. I was just a kid, so, I don’t remember a lot. My brothers are gone now, so I don’t have anyone to reference that history. But I remember a lot of those people coming through those concerts. My father, Willie Sam Goldston, was a big promoter of our family gospel group. He always got our little name on the promotional billboards. That would have been the mid-60’s (‘64, ‘65, ‘66) right in there. There were the three of us and my father would play guitar. We travelled a little bit. We had our little gigs all over. And then he passed away.”

DEE DEE: Oh honey, that was hard. You were just a kid. I’m so sorry. Was it unexpected?

DEBBI: “You know, in those days, my father was what you would call a jack of all trades. He was a welder by trade. He took other odd jobs and he was always a special duty officer. He always wanted to be a policeman. He wanted to make a difference as a law enforcement officer. In those days, they didn’t let blacks into the LAPD. … He would try every year, when they had an opening, to get into the LAPD. It never worked. But he took Security work and he took a job at that FatBurger down there on Central Avenue. … That’s where he got killed. It was a horrible, tragic accident. There was a guy there who was drunk and he and my father got into some kind of tussle. A gun went off. That was that.

DEE DEE: That’s a heartbreaking story. Let’s talk about when you decided to do music professionally.

DEBBI: There’s not a long time in my life where there was no music. I’ve always been involved with music. Once I grew up, I always sang wherever I could. I sang in church and at weddings. I always maintained music in my life, but I didn’t really pick it back up professionally until I moved to Orange County. That would have been 1983 and 1984. Those were the days you would come to town and work certain O.C. venues. You and Barbara Morrison. I always knew your names. Barbara McNair used to come to town and work in Orange County all the time too. That’s when I picked music back up. I did my first play at the local black actor’s theater and met my now, husband, Richard Abraham, through that theater. That’s when I started my career as a nightclub singer. He played piano and I sang. And I’ve worked steadily ever since. I have two CD releases. My first one is “Definitely Debbi” and my second one is called, “Taking a Chance.” I’m primarily a singer. I would not ever refer to myself as a composer, but there was a play called “Black Woman’s Blues” that was performed at the Regency West Theater in Los Angeles, with Dwan Lewis, Wendy Raquel Robinson, and Vanessa Bell Calloway. I did the underscoring for it. The dialogue was set to saxophone and I wrote the music to play underneath that dialogue. I sang it to my husband and he charted the notes. But I wouldn’t call myself a composer. However, I do enjoy arranging and coming up with unique ideas for vocals and vocal harmony.”

For those of you who missed the Muckenthaler Concert, you can catch Debbi Ebert’s tribute to Nancy Wilson on July 26, a Wednesday evening, at the GEM Theater in Garden Grove. I guarantee you will be thoroughly entertained.
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BLACK MUSIC MONTH CELEBRATES THELONIUS MONK AND MORE

June 13, 2017

By Dee Dee McNeil / Jazz Journalist
June 12, 2017

THELONIUS MONK: “Les Laisons Dangerouses” – Double Set CD
Sam Records & Saga

Thelonious Monk, piano; Sam Jones, bass; Art Taylor, drums; Charlie Rouse & Barney Wilen, tenor Saxophone.

June is Black Music Month. On April 22, 2017, a limited edition, deluxe 2-LP set of never-before-released THELONIUS MONK music, the results of a French film soundtrack, made its debut. It was released as a vinyl, in celebration of Record Store Day. My hands were actually trembling as I broke open this CD package that became available for public consumption this month. I was full of expectation, excitement and anticipation of hearing something amazing by one of my favorite, iconic, American composer/pianists.

Monk’s film score accompanied a 1960 Roger Vadim French film titled, “Les Liasons Dangereuses”. It features Monk’s famous group: Charlie Rouse on tenor saxophone, Sam Jones on double bass and Art Taylor drumming. Additionally, the French producer added the popular French, tenor sax man, Barney Wilen. It was Wilen’s old manager, Marcel Romano, that led to this discovery. Romano, who died in 2007, was the custodian of tapes by Barney Wilen. Marcel Romano is the man behind this project and well-respected in both France and the U.S. as a producer, jazz journalist and concert promoter. In his heyday, Romano brought many great jazz artists to the European public attention. The record company was looking for unreleased material by Wilen, the French saxophonist. Imagine their shock when they ran across some reel-to-reel tapes with the label in big bold letters, THELONIUS MONK.

“Rhythm-a-ning opens disc #1 with Thelonius playing solo, but soon joined by the swift, spiritual, virtuoso saxophone of Rouse. In liner notes, Brian Priestley recalls that Monk’s original release of “Rhythm-a-ning” was in 1957 on an album with Art Blakey. His solo introduction on this recording is a bit different. Monk seems to incorporate a piece of Mary Lou Wiliams’ composition, “Walkin’ and Swingin,’ “into the intro. Mary Lou and Monk were good friends and years earlier, Andy Kirk had recorded the Williams composition around 1936. Monk’s intro-lines sound very similar to one of Kirk’s melodic lines and this could be a cordial and creative nod from Monk, in appreciation of Williams, his friend and mentor, by using an interlude from Mary Lou’s composition.

This film score was recorded during Thelonius Monk’s prime in the late 1950s, when he was changing the concept of jazz and jazz piano. He has composed everything on this 2-record set, except “By and By” (We’ll Understand It By and By) composed by Charles Albert Tindley and arranged by Monk. In the studio, Monk was uninterested in observing any time constraints for movie scenes and unconcerned about the motion picture’s theme. He simply went into the studio and recorded three hours of unconstrained music. Later, it would take master editors and the film producer to patch and paste the music into perfect place.

Listening to Monk play the song dedicated to his beloved wife, “Crepuscule with Nellie”, is an experience of pure art appreciation. This double set CD comes with a fifty-six-page booklet that dissects the music with essays and opinions, and offers never-before-seen photos from the recording session at Nola Penthouse Sound Studio in New York City. It was recorded by engineer, Tom Nola, on July 27, 1959.
The songs on this piece of art are familiar. Thelonius Monk didn’t compose anything really new for this film. I was especially pleased with “Well You Needn’t” that stretched past the borders of predictability and into some new musical spaces and spheres.

All you Monk fans will enjoy hearing, back-to-back “Pannonica” played by this legendary pianist/composer, twice as a solo and the third time with his quartet. Blissful!

In 1951, the New York City authorities revoked Thelonius Monk’s Cabaret Card, which left him with six years of struggling to make a living, since without a card you could not perform. It’s said they claimed he possessed heroin, and that the charges were trumped up and false. By the time of this film scoring, the exceptional Mr. Monk was finally working again, non-stop, and had a six-month contract playing at the Five Spot in NYC. His “Brilliant Corners” album was receiving critical acclaim and at last, Monk was busier than he had ever been. At the age of forty, the prolific composer/performer won the coveted Downbeat Magazine Jazz Poll, beating out competitors Erroll Garner, Oscar Peterson and Earl Hines. His manager at that time, Harry Colomby, says he was inundated with gig calls for his now super popular client. With everything going so well, as life has a habit of doing, the tables would soon be turned over, spilling success into the cruel carpet of circumstance.

In 1958, Jim Crow was alive and well, thriving on racism and inequality throughout the great United States. When Monk, Charlie Rouse and the Baroness, Pannonica de Koenigswarter (Nica) got into a car, leaving New York City for a gig in Baltimore, they hadn’t a clue what misfortune lay ahead. Monk was thirsty and they stopped for a drink at the Park Plaza Hotel in New Castle, Delaware. No one thought they would find the ugly practice of prejudice in Delaware. Not only were they refused service, the police were called, and the officers conducted an illegal stop and search, pulling over the $19,000 Bentley the trio was riding in and when Monk objected, he was beaten, handcuffed and tossed to the floor of the patrol car. The arresting officers were furious to find two black men with a white woman, and during their search into Nica’s luggage, they found marijuana and a bottle of pills. After this arrest and the ultimate release of Monk, after he paid a hefty fine, to make a bad situation worse, once again New York City revoked Monk’s Cabaret Card. Shortly after, Thelonius Monk was hospitalized with a complete mental breakdown and spent time in Rivercrest Sanitarium in Long Island. At this same time, his latest LP, “Monk’s Music” was listed as one of the five best albums of that year. So, this was the backdrop for his trip to France and his state of mind for the recording of this rare and sensitive film score.

There is one song on this CD that, until now, had never been studio recorded. A 2-minute-47-second rendition of “Light Blue”. It ends abruptly, as if a scene in the movie had faded to black, with Art Taylor’s drums slapping the listener across the face, in a beautiful way. The rhythm beneath the melody is oddly unique. You will appreciate the extended, fourteen-minute ‘live’ recording of Monk producing “Light Blue” and insisting on this very odd and infectious drum beat he fell in love with and demanded that Art Taylor keep repeating. Monk was captivated by his percussive riff. On Side two of this recording, you hear Monk himself telling his trio how and what to play as he arranges the tune on the spot. I feel like a fly on the wall at the recording session as the trio struggles to come to grips with the piano genius and his unique ideas. You actually hear their conversations and Monk’s insistent instructions.

This is a precious piece of history and a legacy to the composition and arrangement skills of Thelonious Monk. It’s a must for any serious jazz collector. Why? Because Monk transformed and injected this film and the resulting CD with a giant dose of Avant Garde creativity and individuality that allowed the film a legacy of brilliance. Now, I find myself eager to view the motion picture.

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THE NEW VISION SAX ENSEMBLE – “MUSICAL JOURNEY THROUGH TIME”
Independent Label

Diron Holloway, soprano & alto saxophones/clarinet; James Lockhart, alto saxophone; Jason Hainsworth, tenor saxophone: Melton R. Mustafa, baritone saxophone.

Frankly, I miss the piano, bass and drums associated with a standard rhythm section. I’m used to hearing a trio beneath most reed sections. The New Vision Sax Ensemble makes me re-think this premise. Here are four professional educators and musicians who formed an exploratory saxophone group in 1999, founded by the baritone sax player, Melton R. Mustafa. Their idea was to perform standard jazz songs that people know and love, but using only reed instruments. Inspired by the work of the 29th Street Sax Quartet and the World Saxophone Quartet, this coterie began gigging around South Florida and soon became one of the premier sax quartets in that area. They have perfected a ‘flair for entertaining’ according to their liner notes, and have mastered interactivity with their audiences.

Although their repertoire on this CD leans towards jazz, they are known to embrace classical, R&B, pop, Ragtime, Latin, Funk and even Spiritual music in their concerts. My favorites on this recording are “Round Midnight”, that is performed gorgeously and I didn’t miss the rhythm section at all. Additionally, I enjoyed “Selections from Porgy and Bess”, an eleven-minute exploration of Gershwin’s wonderful score from the theatrical and successful “Porgy and Bess” Broadway play. The CD release date is June 12th.

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JORIS TEEPE & DON BRADEN – “CONVERSATIONS” featuring Gene Jackson & Matt Wilson
Creative Perspective Music

Joris Teepe, bass; Don Braden, tenor saxophone/flute; Gene Jackson & Matt Wilson, drums.

Teepe & Braden crossed paths in 1992 and struck up a conversation that has lasted twenty-five-years. Consequently, the title of this CD seems quite appropriate. Adding two drummers to the mix, who contribute singularly on various tracks, these two jazz giants are often booked as the “Trio of Liberty.” Chick Corea’s original composition, “Humpty Dumpty” opens their CD and surprisingly, although composed by the esteemed Mr. Corea, I don’t miss the piano. Braden and Teepe are individually amazing musicians, and their interpretation of this song is interesting, creative and performed with improvisational ebullience. This is my kind of jazz, straight ahead, engaging and with each musician being a musical maven in his own right. Teepe and Braden fill up the space with sound and notes flying like meteors through the night. Joined by either Jackson or Wilson on drums, each song shimmers and shines, star-like, presenting ginormous technical ability and weaving familiar melodies in unfamiliar ways. The two old friends converse with their instruments. When one takes a breath, the other fills the space with musical anecdotes and stories.

Perhaps Braden explained it best by saying:

“Framed by rich and varied tunes, strong and supple grooves and emotional expression, the improvisations are really a manifestation of exuberant adventure for us. We create, exchange, explore and develop all kinds of ideas – melodically, harmonically, rhythmically, dynamically and more. …We really have fun while doing so.”
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June 6, 2017 – Tuesday

The Comey interrogation awoke me early this morning. The former FBI Director, fired by our 45th President of the United States, was giving his side of the contentious relationship he had with President Donald Trump and asserting, that without a doubt, the Russians are deliberately seeking to influence our country in a negative way. After that, I viewed nearly three-hours of Comey’s televised testimony before the congressional committee. Then, I put on Laura Campisi’s new CD to change the energy in the house.

LAURA CAMPISI – “DOUBLE MIRROR”
Independent Label

Laura Campisi, vocals; Ameen Saleem, double bass; Glanluca Renzi, electric bass; Greg Hutchinson, drums; Flavio Li Vigni, drums; SPECIAL GUESTS: Zach Brock, violin; Giovanni Falzone, trumpet; Jonathan Scales, steel pan; Martin Pantyrer, baritone sax; Vincent Herring, alto sax; Emilio D. Miller, percussion.

She has a little-girl, high-pitched voice that sounds innocent and vulnerable. Campisi’s style is unique and recognizable. She sings with a distinct foreign accent; one that I could not readily identify. On cut #3, Giovanni Falzone’s trumpet addition is sometimes dissonant to Campisi’s melody. His horn growls passionately in the background during his muted performance. Nevermind! Campisi is strong in her projection and pitch. She can hold her own. “Double Mirror” is her artistic debut, a recorded venture featuring her voice and songwriting skills. Her original concept was to keep the production simple and use just a trio for accompaniment, but she changed her mind. To reflect her new life, she uses two rhythm sections; one American and the other Italian. The trumpet, sax and violin players came later.

I learn, from the CD notes, that Laura Campisi arrived in New York City from Palermo, Sicily in Italy. She sings and speaks in English, Italian, Spanish, Portuguese, French, Sicilian, Neapolitan and Punjabi. Impressive! However, I wish she had included her lyrics in her CD packaging, because I cannot always understand her words. I reach for my headphones to listen more intently. She has composed seven of thirteen songs featured on this recording. I’m enchanted with the World Music arrangements and her sparkling, crystal clean vocals that tinkle and spray the room with improvised sounds and lyrical stories. For example, on cut #8, “Nardis”, she mimics wild birds and restless animals before giving us spoken word over drums and bass. Enter a classical-sounding, electric bass and her song begins. She’s singng in tribute to “Nardis”, a miles Davis composition. After listening to her rendition, I played the Miles Davis arrangement featuring Hank Jones on piano, Ron Carter on bass and Tony Williams on drums. It was recorded ‘Live’ at the Village Vanguard and It’s miles away from her interpretation. On her recording, Campisi and the bass and drums play tag with their instruments, chasing each other playfully. Shei tells us it’s our lucky day because we are going to meet Nardis, who is like an ocean shore. As she begins calling him, the groove is set up and finally, after a prolonged introduction, she sings the Miles Davis melody, one time down and then it’s over.

On “I Love You Porgy” she performs with upright bass, electric bass guitar and drums, strutting her voice out front like a reed instrument. Laura Campisi incorporates jazz into a World Music Stage. Her music reflects her Italian roots, her love of Mediterranean influences and she spices it up with the South American music of Argentina. You see, she recorded her vocals in Buenos Aires, where she added stellar new Latin players to this project. Her rendition of the popular “Porgy” Nina Simone hit record is very emotional and she makes it uniquely her own.

Listening to this project, I hear shades of Rock and Folk music. The jazz comes in as an interplay between her band members, who find freedom improvising over her original chord changes and her vocals. Of course, improvisation is one of the most important elements of jazz, but I’m not sure this CD falls completely into the jazz category. On more recognizable and familiar tunes like “Love For Sale,” you can hear Campisi’s extraordinary ability to change the familiar into the unexpected.
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URBANITY – “URBAN SOUL”
Alfi Records

Albare, guitars/sitar; Phil Turcio, keyboards/piano/programming.

At the age of eighteen, Albert Dadon, known artistically as Albare, was in search of a pianist for his band. Phil Turcio took the job. They became good friends and musical soulmates, with their paths intersecting for the next twenty-seven-years. So it’s not surprising that they call themselves Urbanity and have recorded this project together. To promote this CD, they currently are touring the United States, however, they are based in Melbourne, Australia.

Utilizing keyboard, piano, synthesizer programmer, guitar and sitar, these two musicians have created a fat, smooth jazz sound. It’s hard to believe that just two musicians have put together such an orchestrated album of music, using drum machines and programming to set the grooves, embellished by their creativity, they establish repeatable and catchy melodic phrases.

Starting with “The Mind Reader,” they manage to present a medium tempo, danceable groove with the two and the four beats slapping like hand-claps on the drum programmer. Albare’s guitar work is outstanding and Phil Turcio compliments each tune with his keyboard and piano talents. He’s also responsible for the synthesized programing. “You’re in my Dreams” has a haunting melody against a backdrop of jazz chord-changes, with the programming giving the arrangement an ethereal feel. I was surprised when I realized that they use a line very close to the verse of Michael Jackson’s hit record, “I Can’t Help it”, written by Susaye Green and Stevie Wonder. It’s not enough to be accused of sampling the melody, but it tip-toes around the well-respected tune at certain unexpected places.

Another one of my favorite cuts on this CD is “Angie”, the only song written by other composers. (Mick Jagger and Keith Richards). It has energy and an interesting melody. Another favorite is “Something Sweet”. Urbanity’s arrangements are hot and this is easy listening R & B at its best, with jazz overtones.

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SMOKIN’ NEW MUSIC AND HISTORIC JAZZ CONVERSATIONS

June 1, 2017

CD REVIEWS ENCOMPASS HISTORY, PAST AND PRESENT
By Dee Dee McNeil / Jazz Journalist

As June arrives, reminding us half a year is already gone, I am bombarded by new CD releases. Among the treasures and gems I’ve received are the Wynton Kelly Trio with Wes Montgomery, a never before released ‘live’ session recorded in 1966. You will read historic quotes, interviews and see memorable photos in the liner notes. Speaking of amazing jazz work, Jazzmeia Horn is a force of nature to be watched and listened to as she showcases her multi-talents on a premiere album titled, “A Social Call.” Then, easy on the ear, I listen to the silky, sexy-smooth vocals of Calabria Foti, and enjoyed the Larry Newcomb Quartet with legendary guitarist, Bucky Pizzarelli. The Quinsin Nachoff Ethereal Trio takes music into the stratosphere with avant-garde jazz mixed with classical substance. The Art Fristoe Trio is a double set CD, and is the off-shoot of a film score that Fristoe participated in as both thespian and musician. Read all about it!

WYNTON KELLY TRIO/WES MONTGOMERY
“SMOKIN’ IN SEATTLE, LIVE AT THE PENTHOUSE”

Resonance Records

Wes Montgomery, guitar; Wynton Kelly, piano; Ron McClure, bass; Jimmy Cobb, drums.

What a thrill! I excitedly place this CD into my system and then settle back into the arms of historic, musician mastery. Somehow, this amazing ‘live’ performance by four jazz icons has laid dormant for fifty-one-years; over half a century. It was recorded at the Penthouse jazz club in Seattle, Washington, on April 14 and April 21, 1966. Here is a treasure trove of musical genius, clumped together, like your favorite dark chocolate and almond candy bar; packaged to please. It’s a sweet discovery and I’m absolutely enthralled by the music of men who have left us a legacy of non-replicable, jazz recordings, setting the bar high for future musicians.

Opening with “There is No Greater Love,” Kelly’s fingers skip over the notes lightly, creatively, in an upbeat, timely manner, pushed like a steam roller by Cobb’s drums and Ron McClure’s bass. It’s straight-ahead all the way.

The original Montgomery and Kelly group included Paul Chambers on bass, with Jimmy Cobb. All you jazz buffs know that they were the force de jour backing up Miles Davis from about 1959 to 1963. When Kelly and Montgomery first recorded together, it was 1962. The result was a ‘live’ album called, “Full House,” recorded in Berkeley, California. Just before this newly released musical exploration from 1966, they cut “Smokin’ at the Half Note.” That was in June of 1965. Shortly after that recording, Chambers left the trio and was replaced with Ron McClure, who was only twenty-four years old at that time. In spite of his youth, McClure had already worked with Buddy Rich, Herbie Mann and Maynard Ferguson. Ron McClure recalls how he met Montgomery and Kelly.

“I first met Wynton Kelly, Jimmy Cobb and Wes Montgomery in the summer of 1965. I had listened to them from the time I was a teenager, but I had never met them or played with them until ’65. I was playing with Maynard Ferguson’s big band when I met them. We had a gig in Atlantic City. The billing was Wes Montgomery with the Wynton Kelly Trio and the Maynard Ferguson Big band was the opening act. So, of course, everyone in Maynard’s band was sitting in the front row of this giant club in Atlantic City, after our set, waiting to hear Wes, Jimmy and Wynton. They came on stage and waited, but there was no Paul Chambers. After a little while, Jimmy Cobb hit a few rim shots and with his Capricorn, billy-goat look, he stared at me, pointed at me with his drumstick and said, ‘Get up here’! It wasn’t a request. It was a demand. … He (Chambers) was in a very bad state at that point and died shortly afterward. … I had listened to Paul Chambers from the time that he played with Miles in 1956. … I digested every note on those records – like all bass players did – because he set the standard. He had the best circular looping time feel…. So, they could see right away that I knew what to play.”

Wes Montgomery first appeared at the Penthouse Jazz Club with The Montgomery Brothers in the summer of 1962. The next time he appeared there, it was 1966 and this recording was made. He was forty-three years old and his career was on fire. His Verve album, “Goin’ Out of My Head” had reached #12 on the Billboard R&B album chart. Yes – I said R&B Chart, not in the jazz category. It would later land a Grammy award in 1967, after selling a million vinyl copies. This achievement was Montgomery’s preface to super success.

Reminiscing about the band, Jimmy Cobb shared, “Wes was a nice guy, man. He was very comedic … like he would say funny things and do funny things. But he was a sweet guy. Wynton was also a sweet guy. So, we all got along together pretty good and the playing was exceptional for the four of us.”

McClure recalled Wes Montgomery’s generosity.

“Wes was like Santa Claus. He gave me the keys to his Cadillac Coupe de Ville on night. We were playing at Lennie’s-on-the-Turnpike, outside of Cambridge. I was talking to some girl I knew at the bar and he said, ‘Here Boom. Here’s the keys. Take her home in my Cadillac.’ … At that time, I drove a Volkswagen; a Beetle. The Coupe de Ville was like driving the Queen Mary across the bridge into Boston and back. I was terrified. But that’s the kind of guy he was.”

This album is pure pleasure! On “If You Could See Me Now” the gentlemen of jazz start out playing this great standard as a ballad, but before long, Wynton’s blues roots take over and Cobb and McClure push the trio tempo into a blues shuffle. The groove is as deep as a muddy Mississippi road after a tractor trailer drives over it. Then it turns sweet again, like magnolia blossoms floating on a Southern breeze. To end it dynamically, Kelly uses arpeggios, crescendos and the strength of mad technique.

Of course, Wes Montgomery puts his signature sound on everything and anything he plays. I love his interpretation of “O Morro Nao Tem Vez” with his staccato chorded melodies and impeccable timing. Wynton Kelly’s trio opens for Montgomery and then Wes is on-stage, adding zest and zeal to every tune. This album is inexplicably joyful and offers us a great listening experience, as well as a taste of history. The inside jacket includes great quotes and several memories and historic photos of these musicians, during their time of triumph. In my opinion, no jazz collection will be complete without this gem of a recording.
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JAZZMEIA HORN – “A SOCIAL CALL”
Prestige Records/Concord Record Group

Jazzmeia Horn, vocals; Victor Gould, piano; Ben Williams, bass; Jerome Jennings, drums/percussion; Stacy Dillard, tenor saxophone; Josh Evans, trumpet; Frank Lacy, trombone.

The great Betty Carter must be smiling down from heaven as she listens to Jazzmeia Horn, singing her original composition, “Tight” played and sung at a speedy pace on Jazzmeia’s premiere CD release. This young voice is fluid, like her last name; “horn”. One minute she’s a beautiful bird, the next a cool breeze blowing notes into the universe like bubbles from a child’s lips. She’s buoyant, fresh sounding, spontaneous and fearless. I am her new, biggest fan!

On this recording, Jazzmeia Horn epitomizes everything a jazz singer should be. On the opening tune, she exhibits creativity, spontaneity and innovative timing. She’s free, playing with the melody and also scatting like an instrument. Jazzmeia Horn sets the bar high. On “East of the Sun, West of the Moon,” her lovely voice sells the lyric above Ben Williams’ singular bass line that supports her melodic movement. I hear a lot of Betty Carter influence in Horn’s performance style, but she is definitely her own character and has established a signature sound. A signature sound is something many singers lack. That is to say, you will recognize this singer’s style and execution when you hear her again. Her range is as amazing as her carefully chosen repertoire. When Victor Gould joins on piano, along with Jerome Jennings on drums, the musical pudding thickens. Their musicality elevates the production. On this tune, I hear Ms. Horn add some of Sarah Vaughan’s signature riffs, like a warm vocal nod to the ancestors. I’m intrigued.

“Up Above My Head” is a Myron Butler composition and the ensemble flavors it with a hip-hop groove. On this song, Jazzmeia Horn slips in a riff that, (if I’m not mistaken), is from an Erykah Badu tune. Then comes “Social Call,” written by Gigi Gryce and Jon Hendricks. She establishes how jazz should be sung, with lyrics clearly enunciated and understood, and the bass racing double time beneath her vocals; impeccable timing. When the band joins them they slow it down for a second or two before racing back and forth between blues and double time; always straight ahead. Gould is tough as nails on his speedy piano improvisation, drilling into the melodic chord changes, like pointed steele. Now I hear shades of Dakota Staton in Jazzmeia Horn’s vocal presentation.

Tom Bell and Linda Creed wrote a great song when they penned, “People Make the World Go Round” for the popular R&B group, The Stylistics. Ms. Horn and her ensemble of innovative musicians arrange this hit song into a jazz treasure. Williams, on bass, sets up the groove. Ms. Horn begins to speak to us about the state of our world; starving people, corrupt leaders, our food being poisoned, the atmosphere full of unhealthy chemicals, police brutality, crime, junk food, mis-education, pollution, poverty, leaky nuclear plants and her lists goes on. Then the song begins with the spray of Josh Evan’s trumpet tones and Frank Lacy’s trombone notes; enter Stacy Dillard’s tenor saxophone protest. It’s very Avant Garde at first, until Ms. Horn settles them down with a lovely melody and the important lyrics floating on top. This tune glows and shimmers like a diamond in the sand.

Ms. Horn takes the African American National Anthem, “Lift Every Voice and Sing,” and makes it a medley, adding “Moanin” to the presentation. They melt together seamlessly. And if you are still not convinced that this little lady is a force of jazz nature, take a listen to “The Peacocks (A Timeless Place).” If you’re a vocalist, tackle these intervals and sing this challenging melody without hesitation. This vocalist makes what is extremely difficult sound as easy as breathing in and out. Hers is a voice to be both admired and cherished for keeping the true jazz tradition alive. Her range is strikingly wide and she doesn’t hesitate to race up and down the scales, exhibiting her abilities with ease and at all the right places. She is also a poet, who interjects her poetic balm into our consciousness, for example, during the “Afro Blue” medley; ie “Eye See You”.
Perhaps Jazzmeia J. Horn sums it up best by saying:

“The concept that I wanted to present to the people – viewers and listeners of “A Social Call” – stems from the social issues that are alive today. This idea of the birth of a new conscious generation of people is very relevant and timely. It was imperative for the creative album art to reflect that of the creative musical art. A Social Call is a call in peace about issues affecting peace.”
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CALABRIA FOTI – “IN THE STILL OF THE NIGHT” (THE MUSIC OF COLE PORTER)
Moco Records

Calabria Foti, vocals; Eddie Daniels, clarinet; Gene Bertoncini, guitar; Michael Patterson, piano; Richard Locker, cello; Jared Schonig, drums; Bob McChesney, trombone; Ike Sturm, bass.

Calabria Foti’s voice is caramel sweet, soft, smooth and delicious to the ears. She has chosen to purpose her talent by interpreting the music of the great Cole Porter. Here are several familiar and popular songs, stretching from the 1920’s to the present day, and still impactful all these years later. Ms. Foti recalls the days of West Coast cool voices, like Julie London and Chris Conner. But she doesn’t simply sing these songs. This vocalist puts her heart and soul into each melodic fairytale, convincing us of the storyline with honesty, sincerity and her beautiful delivery.

Opening with “Just One of Those Things,” originally appearing in the 1935 musical, Jubilee, Foti features a very tasteful Eddie Daniels on Clarinet. His delicate accompaniment blends perfectly with Ms. Foti’s eloquent execution of tone and pitch. He also solos on “It’s Alright With Me” (extracted from the 1953 musical, Can Can) and “What Is This Thing Called Love?” (from the 1929 musical Wake Up and Dream). Daniels is also prominently featured on “Night and Day” (extracted from the stage play, Gay Divorce) and once again on “Get Out of Town.” Foti and Daniels have a special musical connection on this project. Their unique instruments blend beautifully.

Calabria Foti sounds a lot like Diana Krall. I enjoyed her interpretation of “Anything Goes,” popular from the 1934 musical of the same title. Enter McChesney’s smooth trombone. It never gets in the way of Foti’s infectious vocals, but rather supports the vocalist, secure and dependable as a life jacket.

Richard Locker fools us with his solo cello work, bowing “My One and Only Love,” before Michael Patterson (who also produced these sessions) enters on piano, joined by Calabria Foti’s voice, alerting us that, in fact, this is the recognizable and familiar Gershwin tune, “I Concentrate on You.” Richard Locker’s cello is absolutely gorgeous as an introduction, and once again, the jazzy trombone accompaniment of Bob McChesney is attentive and masterful.

Because of the excellence of Ms. Foti’s vocals, I am absolutely intrigued by this project. The mix and mastering by Michael Aarvold is perfect and deserves complimenting because he allows us to hear the artist brightly, above the track, along with all the instruments cleanly and clearly, as though we are sitting in the recording booth. This is a CD worthy of extensive airplay on both jazz and easy listening stations. Calabria Foti is a force of excellence, churning with emotion, inside a very laid-back and buttery smooth performance.
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LARRY NEWCOMB QUARTET W/BUCKY PIZZARELLI – “LIVING TRIBUTE”
Essential Messenger Record Label

Larry Newcomb, elec. Guitar; Bucky Pizzarelli, acoustic archtop guitar; Eric Olsen, piano; Dmitri Kolesnik, bass; Jimmy Madison, drums; Leigh Jonaitis, vocals.

LARRY NEWCOMB: “Dick Hall was the first master guitarist I ever met. His influence was pivotal. We became bandmates, college roommates and lifelong friends. Dick passed away in June of 2016. I am inspired to express my gratitude for Dick’s musicianship, his friendship, his family and our mutual friends with this album – a living tribute to individuals who have had an immensely positive impact on me.”

“I Remember You” is dedicated to Dick Hall in the liner notes and is presented with a very Dixieland, 1940s themed production, with Pizzarelli strumming his acoustic archtop guitar and Newcomb, playing the melody brightly on his electric axe.

LARRY NEWCOMB: “I remember first meeting Dick Hall at the University of Main in 1970. The keyboardist in my college rock band said, there’s someone you must meet! He took me to Dick’s dorm room. When the door opened, there stood a lanky Abe Lincoln look-alike wearing corduroy pants with the wale worn off at the knees. … I thought to myself, I like this guy. He’s different. He’s himself!”

“You’d Be So Nice to Come Home To” is dedicated to Jim Hall and continues with the same shuffle, two-step kind of dance feel.

LARRY NEWCOMB: “After hearing Jim’s version of this Cole Porter gem, I knew I wanted to be a jazz guitarist.”

Continuing with a shuffle feel and featuring the strong, walking-bass of Dmitri Kolesnik, the ensemble plays “Morningside Heights” next. It’s a tribute to the legendary Bucky Pizzarelli.

LARRY NEWCOMB:
“From 2000 – 2015, my wife Mary and I lived in the Morningside Heights neighborhood of New York City, adjacent to Columbia University. Having heard Bucky ‘live’ in Florida in the 1980s, I aspired to study guitar with him. As a favor, Ed Benson, (publisher of Just Jazz Guitar) contacted Bucky to inquire if I might call to set up a lesson. Bucky said yes. I rented a car and drove to New Jersey for my first of many lessons. Bucky makes the complex and difficult techniques of jazz guitar understandable and playable. … I am always delighted with the things Bucky shows me. Recording with Bucky has been a fabulous experience.”

There is a song for everyone here. The listening audience, Newcomb’s three sons (Jonah, Jake & Ian), his wife, family and friends. There is a Horace Silver tune titled, “Peace” that’s dedicated to Prem Rawai, who taught Larry Newcomb how to find inner peace.

LARRY NEWCOMB: “…For the past forty-five years, I’ve imperfectly, but constantly practiced connecting to the stillness, clarity and joy inside of me.”

You too will connect to the joy and clarity inside Pizzarelli and Newcomb’s album of excellence. The quartet is tight and you can feel the camaraderie between the players. Newcomb celebrates the lives of those he treasures with several self-penned compositions and a hand-full of standard jazz tunes. I was deeply appreciative of his arrangement on “Alone Together.” This “Living Tribute” album is scheduled for release on June 2, 2017.
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QUINSIN NACHOFF’S ETHEREAL TRIO

Whirlwind Recordings

Quinsin Nachoff, tenor saxophone/composer; Mark Hellas, double bass; Dan Weiss, drums.

Nachoff’s tenor saxophone enters sweetly, and for a moment you think this is going to be a ballad. As drummer, Dan Weiss’s mallots join in, you feel the momentum picking up. Then Mark Hellas makes a brief solo appearance on bass, soaking up the spotlight like a black hole in space. Suddenly all the star players are joined together, an asterism against the midnight hour of my bedroom. Their notes melt together, like a constellation of beauty. Quinsin Nachoff, Mak Hellia and Dan Weiss perform forty-three minutes of free-form jazz expression and classical-avant-garde.

Nachoff is a New York-based transplant from Canada who explained this project in his linear notes.

“I enjoy writing this way. … It gives me two distinct voices that I can really work with. As a bassist, Mark Helias is such an experienced musician, I can compose harmonically or contrapuntally and he always expands it to such an extent that we’re never missing harmony. If we play in more of an open setting, it leaves us more freedom. Don Weiss is a master of dealing with anything rhythmically, so he can be very free within, even something very structured. All three of us love to investigate different colors and extended techniques. so many different directions are possible. Once we’ve understood what the direction is for each composition, that’s when the magic starts to happen.”
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ART FRISTOE – “DOUBLEDOWN”

Merry Lane Records, LLC

Art Fristoe, piano; Tim Ruiz, bass; Daleton Lee & Richard Cholakian, drums; Ilya Janos, percussion.

J.W. Peine, co-producer and executive producer, admits that although this recording had been in the planning stages for some time, he had no idea it would evolve as part of an Art-House film that he, Daniel Jircik and Bob Dorough were making. The film is described as a fantastical musical about the nature of everything. Art Fristoe was invited to become part of the cast and to add his piano and vocal talents. Fristoe’s size is compelling. He is physically six-feet-six-inches with huge hands and his presence in any room is formidable. He’s a serious student of jazz history, jazz knowledge and has studied classically as a vocal tenor, later focusing on jazz piano. As an educator, Fristoe taught at HSPVA (Houston High School for Performing and Visual Arts). He comes from a proud, hard-swinging West Texas tradition, as son of jazz bassist, Joe Fristoe.

Art Fristoe has composed five tunes on this double set of music and utilizes two different drummers at various sessions along with a percussionist on tunes like Jobim’s, “Ela E Carioca.” His original compositions appear to reflect tricks of time and tempo. For example, on “Forgetting I knew You,” this song seems to explore bars of seven more readily than a melody. However, on his original composition, “Better Lately,” he settles down to sing the song on black and white keys, with a solo piano rendition that is beautiful and heartfelt. I missed a definitive drummer in his trio, setting a solid groove to support Fristoe when he’s exploring his creativity. At other times, I found his piano-playing-style assertive to the point of pounding. Some tunes on this CD quickly become lack-luster, because of repetitive chording and very little improvisational exploration. On the whole, perhaps the music would be better appreciated by this journalist in the context of the film.
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KATHY KOSINS: A MULTI-MEDIA ARTIST UNCOVERS HER SOUL

May 22, 2017

AN ARTIST INTERVIEW WITH KATHY KOSINS
By Dee Dee McNeil/jazz journalist

You can’t just call Kathy Kosins a jazz singer, because her artistry touches all genres of music, from her roots in the soul and R&B music of Motown, to the smooth sultry West Coast jazz singers she emulated on her CD, “Ladies of Cool”. She’s also an award-winning ASCAP songwriter. When you listen to Kathy, you hear Blues, jazz, rock and soul all mixed up, like a beautiful, rich stew.

Kathy’s early love of music led her to songwriting. This blossomed into a career of singing. Recently, I talked to her about some of her roots as a performer in the music business.

KATHY: “It was 1977 or 1978. I had two cassettes made with some of my original song material and it was all R&B. Those cassettes were used for the purpose of taking them around to various recording studios and trying to get in the door as a session singer; a background vocalist. … I heard it from somebody that Michael Henderson was in United Sound studio. It was this humongous studio where Aretha recorded. Everybody was using that studio, because it was a big, popular studio back in the day. I walked in with a couple of cassettes. Michael Henderson was recording that day and he wouldn’t see me, but his manager came out, or his musical director; Eli Fontaine.** He took the music from me and I remember this like it was yesterday. They didn’t even have to buzz me in. I just walked in and I went to the receptionist and asked to see Michael Henderson. … So, Eli Fontaine came out and took the cassettes from me. My phone number was published right on the cassette. About a week went by until I got a phone call, and they said, Michael wants to see you in the studio the next day at 3-o-clock. They needed one more voice to round out the background voices. So, I showed up! Michael Henderson told me himself, I really like what you put on those tapes and I need a third singer.”

** NOTE: Eli Fontaine was a good friend of this journalist in Detroit. He was a well-respected reed player who worked on sessions at numerous Detroit studios. It’s his horn you hear on the top of the historic Marvin Gaye recording of “What’s Going On.”

KATHY: “… When I got there, I was introduced to the girls who sang with the Brides of Funkenstein or backed up Parliament Funkadelic. They were part of George Clinton’s crew. I’m sure he recorded there too. They all did. Sure enough, we went on tour. I wound up doing background vocals for this man’s band for a while. In that band, I met a woman named Carol Hall. She was one of the singers, and then there was this girl from the Parlets. Carol and I went on the road, as background vocalists, and in that band was a guitar player named Randy Jacobs. I knew randy from the Motor city music scene. We were all in bar bands at that time, … playing in bars around town. Carol was in a band. I was in a band. But now, we were on tour with the Michael Henderson band,” Kathy told me.
For those of you who are unfamiliar with Michael Henderson, he is an American bassist, lauded for his work playing with Miles Davis and he’s also a competent vocalist. As a Buddah recording artist, Michael Henderson collaborated vocally with the late, great Phyllis Hyman and had several hit records on his own, including the popular “You Are My Starship,” Recording, when he was featured vocalist with Norman Conners. Later, Henderson recorded a duet with Hyman using the same song.

At age twenty-four, Kosins was a seasoned background singer and was busy composing music and singing around town. She ran into David Weiss, better known as David Was and Don Fagenson (aka: Don Was) of the band ‘Was/Not Was’. In 1982, Don Was produced Kathy’s first single release entitled, “You Shook Me All Night Long”, a re-make of the AC/DC tune.

KATHY: “After touring with Michael Henderson, the next thing you know, I did the same thing. I knocked on the door of Sound Sweet recording studios. It was located in a bad part of Detroit and Don Fagenson ( aka: Don Was) was in there making the very first Don Was (Was Not) record. It was the same thing; being in the right place at the right time. Don asked me not only to be a background vocalist for his band, but to hire the other two singers. So, I had to contract singers. Who did I call? Carol Hall and Sheila; I wish I could remember her last name. The same girls from the Henderson tour. One thing led to another, and suddenly I was doing a whole lot of session work in the city of Detroit.”
Kathy Kosins doesn’t come from a musical family. Her father built an empire in Detroit as the owner of the most popular men’s store in the Motor city. During the sixties and seventies, Ford Motor company was employing a multitude of blue-collar workers, business was booming, and Berry Gordy’s Motown was growing to nationwide fame, with Gordy’s hit records pouring out of radios coast-to-coast. Kathy recalled that time in her life.

KATHY: “If you knew Kosin’s clothes, and you did, ‘cause you lived in Detroit,” (she said to me confidentially) “my dad sold to Motown artists. I remember when I was a little kid, my dad used to grab me and he’d say, let’s go for a ride and take mister Gordy his suits. We’d drive up Woodward Avenue to Boston or Chicago Boulevard area to Berry Gordy’s big, white mansion or we’d take clothes to Mayor Coleman Young. My dad sold clothes to pimps, politicians, entertainers, funeral parlors, when they had to bury somebody in a nice-looking suit, or if you were getting married, you got your suit at Kosins,” she told me.

As a youngster, Kathy worked at her father’s popular clothing store and was introduced to celebrities like Dinah Washington, Diana Ross, Marvin Gaye, Smokey Robinson, the Temptations, Lou Rawls and the Four Tops. She learned the art of salesmanship. Later in life, when promoting her own CD projects and her solo career, that talent of selling surfaced to her benefit. To this day, she’s a meticulous business woman.

Kathy and her younger brother both were bitten by the music bug early on. When she was taken to New York by her dad, to attend the Broadway musical play, “Hair”, sitting in the theater with young, impressionable eyes glued to the stage, Kathy knew this was her destiny. She wanted to sing, write music and perform. Her brother, David, played guitar and had gigs in local bands. While he was inspired by and listened to Lester Bowie and the Art Ensemble of Chicago, Bud Powell, Miles Davis and John Coltrane, Kathy was busy listening to soul, blues and rock music, while writing songs and singing her heart out with local bands and in various studios. She says Janis Joplin greatly inspired her.

After her affiliation with the Don Was/Not Was Band, she collaborated with a number of Los Angeles and New York based writers to compose several songs she hoped to present to some popular jazz singers on the scene. Among those she hoped would record her work were vocalists like Dianne Reeves, Nancy Wilson and Diane Schurr. She prepared a number of songs, becoming her own song-plugger. Somehow, her demo fell into the hands of Schoolkids Records and they loved her material. It was 1996 and the next thing Kathy knew, she had a record deal and her debut album was released, entitled, “All In A Dreams Work”. It placed in the top 20 of the Gavin Report.

Her next release was on Chiaroscuro Records, in 2002, titled “Mood Swings” and received rave reviews. In 2006 she followed that success up with the release of “Vintage” on the Mahogany Jazz label. Then, six years later, Resonance Records released her popular “Ladies of Cool” album followed-up with “The Space Between” on Mahogany Jazz label. Kathy told me this 2013 album was a combination of her jazz influenced recordings and her Rhythm and blues roots. It was this turning point in her recording career that has led her to this most recent recording project titled, “Uncovered Soul”.

On her latest endeavor, Kathy Kosins circles back to her soul-infused, blues drenched, Motown roots. This new album introduces a fresh direction, moving Kosin’s from mainstream jazz to a more groove-oriented production. With producer Kamau Kenyatta by her side, she is reaching towards a more global approach to her music and is already being critically acclaimed in the UK music market. Producer, Kenyatta, is praised for his Gold Record, Grammy Award-winning collaboration with Gregory Porter.

The first cut, “ Don’t Get Me Started “ is a sensual, funk-driven production that showcases Kathy’s rich, sultry sound, driven by Eric Harland on drums and written by Gene McDaniels, pleasantly remembered for his hit records, “Compared to What” and “A Hundred Pounds of Clay.” Greg Moore’s tasty guitar punches the rhythm and Kathy’s voice is full of expression, warm and inviting.

Aaron Neville first recorded the song, “VooDoo.” Kathy and Kamau produce it as a combination of New Orleans soul and Kem-like grooves. ‘Kem’ is a familiar R&B star, based in Detroit, who has several soul-charted hit records and a signature sound. Mitch Foreman, on synthesizer-organ, adds a jazzy spice to the production and guitarist, Greg Moore, (or G-Moe as he is affectionately called), is gritty, raw and soulful.

Cut #3 is the CD’s title and one of Kathy’s original compositions. It captures a Smooth-Jazz/R&B flavor, and reminds me of a song Phyllis Hyman might sing, with a melody that Kathy’s warm vocals embrace and embellish. Another original is track #6, titled “A to B” and pretty much sums up the artist’s current state of mind. It’s one of my favorites on this CD. The lyrics say it all. For example, she sings:

“Those who came before me had so much to say. I listened to their stories as I try to find my way. … I’m just trying to get from A to B. Nobody ever told me, it don’t come easily. If I ask for inspiration, please shine a light on me. I’m just trying to get from A to B. Don’t try to be impatient, says a whisper in my head. When you trust your good intentions, you’ll be better off instead … Each and every day I’m thankful for following my dreams.”

The new Kathy Kosins’ album, “Uncovered Soul,” is based on the urban landscape of Detroit, pulling from the popular music of the early 1960’s and 70’s, she’s digging deeply into her rock and soul roots. When you combine this with Kathy’s jazz overtones and the hip-hop groove of danceable tracks, you begin to see a new side of this vocalist. Kathy describes her project as “Detroit-centric;” a tribute to her city, with music that paints a picture of an urban Detroit and its rebirth, its repurposing towards prosperity and renewed hope. She uses obscure tunes by gold-record composer/artists that include Bill Withers, Gene McDaniels, the Neville Brothers, Burt Bacharach, Curtis Mayfield and more, to thread a needle of unique artistry that holds the fabric of Kathy’s truth in place like a CD jacket.
Kathy Kosins is a multi-talented singer/songwriter who lives, breathes and paints music. When she’s not working on new songs, recording or touring, this multi-talented woman utilizes time as a visual artist and creates Modernist art.

KATHY: “I paint the sounds that I hear. Strains from Miles Davis’ trumpet, Charlie Parkers’ sax and Bud Powells’ piano translate into color and texture. I never have an idea or color scheme in mind when I pick up a brush. I paint strictly from my intuition. It was no different with the old jazz masters. They could play endless solos all night, using the same form.”

Her paintings bear the names of a number of jazz icons and jazz songs. For instance, the modern abstract painting that once hung in the Los Angeles office of the Monk Institute is called “Monks Dreams.” She began painting in 1990, and examples of other titles for her extensive work are: Miles Ahead, ‘Round Midnight, Corcovado, Joy Spring, Ornette, Green Dolphin Street and November Twilight.

http://www.kathykosins.com/artshow/kathykosins_art/index.html

Although this vocalist has recorded straight-ahead jazz and standards, on her new album, (scheduled for a September release), she reaches back to her beloved beginnings in the music business and combines styles. The result is jazzy and pop, soulful and R&B, uniquely mixed for strong crossover appeal.

Kathy Kosins will preview her “Uncovered Soul” album on June 8, 2017 at Catalina Bar & Grill in Los Angeles, California. Hit time is 8:30pm. See you there.
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CHASING COLTRANE: A FILM DOCUMENTARY

April 26, 2017

CHASING TRANE – A FILM DOCUMENTARY ON THE LIFE OF JOHN COLTRANE
A Film Review by Dee Dee McNeil/jazz journalist

Monday – April 24, 2017 – Laemmle Theater in Pasadena, California

I recently enjoyed an exceptional film, unveiling the short life and times of John Coltrane. It is available at various art theaters throughout the country and gives the public a close-up look at the incredible, historic and genius musical work of saxophone legend, John Coltrane. It opens with a burst of colors and stars sprinkled across the screen, depicting a filmed galaxy that invites us into heaven’s door, accompanied by scattered saxophone sounds from the horn of our beloved jazz master, the unforgettable Coltrane. The marvelous music of this man infiltrates every scene of this motion picture, keeping jazz up front and elevating this bio-pic.

I was blessed enough to hear John Coltrane play in person. Young people today can only hear recordings, so the importance of complimenting this documentary with John Coltrane’s music is of paramount importance. Denzel Washington reads the words of this amazing man, becoming John’s voice in the film. Others talk about Coltrane’s personality, his two marriages and his majestic artistry. Some film participants are iconic musicians, biographers and of course his loving family members.

There are treasured film clips of when he played at Café Bohemia with Miles Davis in 1957, a time when he was just a fledgling player, but already showing the signs of becoming a legend. This was before Miles fired him for severe drug addiction. Benny Golson tells us that Coltrane was a happy addict, but unreliable. Jimmy Heath tells the story of how Miles caught him and Coltrane getting high, shooting up together, and Coltrane promised he would quit, but he couldn’t stop using.

Reggie Workman is on hand to tell the Coltrane story, along with Ashley Kahn, (Coltrane’s biographer), Coltrane’s close friend, saxophonist Sonny Rollins, President Bill Clinton, the great Benny Golson, Dr. Cornel West, our own Los Angeles based reedman, Kamasi Washington, Wayne Shorter, McCoy Tyner, his loving step-daughter, Ms. Andrews, his children from his second wife, Alice Coltrane, and the drummer with The Doors, John Paul Densmore.

Coltrane was born in North Carolina in 1926, a time of Jim Crow racism and challenging times for African American’s in America. His dad was a tailor and amateur musician. Both his grandfathers were ministers. His maternal grandfather was the presiding elder of the First A.M.E. Zion church. At twelve years old, the pre-teen lost his favorite grandfather, his father and both uncles. That’s when his mother moved from the Carolinas, first to New Jersey and then to Philadelphia, to better provide for her fatherless family. It was 1943, a tumultuous time in young Coltrane’s life, and he found solace in music. By the time he was sixteen, John Coltrane was already showing awesome style and proficiency on his horn. In 1945, he met and witnessed the genius of Charlie Parker. Shortly after, he wound up in the Navy and worked as part of the Navy band. In the film, we hear and see that young Coltrane mimicking his idol, Charlie Parker and becoming more and more obsessed with his instrument. Upon release from the Navy, he joined the Miles Davis group.

Carlos Santana speaks warmly and sincerely in this film. He praises Coltrane for going ‘cold-turkey’ and cleaning up his drug addiction. As he put it, “… averting the gates of hell.” Coltrane’s children remember how he kicked his heroin habit by himself, at home, and with the nurturing assistance of his loving wife, Alice Coltrane; a dynamic musician in her own right. Coltrane met Alice when she was playing piano with Gerry Gibbs. The film shows a blissful marriage and captures, in home movies, John as a loving and attentive father. His children tell us he was a romantic and wrote little love poems that he left all over the house for his wife to find. When she said she wanted to play the harp, John bought Alice a golden, concert harp.

After he got clean, we watch John Coltrane’s career gain momentum and his style and self-assurance become explosive. He joins Thelonius Monk’s band and this is where his confidence and genius begins to expand. Clean and fully confident, his first solo album is labeled, “Coltrane – the new tenor star”. All the while, the audience sees clips and still photos of his life and times with Dizzy Gillespie, Monk, Rashad Ali , Elvin Jones, Wayne Shorter, Miles, and McCoy Tyner. McCoy called that period of Coltrane’s life “beautiful and committed. … A gift that came from the almighty.”

As his composition skills grew and blossomed, John began to show a deep spiritual side within his music. He was a quiet man, but talked politics and godliness with his horn. The Birmingham, Alabama bombing of that church where four little Sunday school children were killed, prompted Coltrane to compose the song, “Alabama.” He told McCoy Tyner that Martin Luther King Jr’s speech, after that bombing, inspired his song. He began to combine cultures in his music, picking up the soprano saxophone and having a huge hit playing a unique, Asian tinged arrangement of “My Favorite Things.” In 1965, he recorded “A Love Supreme.” Later, forming a group that changed the direction of his music. He was reaching for new horizons, becoming more Avant Garde, with Rashad Ali on drums, Alice Coltrane on piano, Jimmy Garrison on bass and Pharoah Sanders came to prominence in this group.

It’s unbelievable to think that a man, whose professional recording and musical career started at age 33, would die of liver cancer at age 40. He gifts us with a body of work that still leaves the listener awe-struck. It’s hard to believe his incredible legacy of recorded music happened in a span of only seven years. This film captures the essence of John Coltrane and his magnificent music.
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ASTUTE ARRANGING AND EXCITING YOUNG TALENT SURFACES ON SPRING CD RELEASES

April 21, 2017

ASTUTE ARRANGING AND EXCITING YOUNG TALENT SURFACES ON SPRING CD RELEASES

April 22, 2017
By Jazz Journalist/Dee Dee McNeil

Spring always brings forth new life. To epitomize this, I received a batch of CD releases that both surprised and pleased me. Amazing arranger, MICHAEL ABENE created nine unforgettable orchestral arrangements for the Temple University Studio Orchestra in celebration of Frank Sinatra’s musical genius. He is joined by a full-bodied orchestra ensemble and the talents of trumpeter/educator,TERELL STAFFORD and alto saxophonist/recording artist/clinician,DICK OATTS. I was absolutely floored by the piano talents of CHRISTIAN SANDS. Guitarist,GREG SKAFF, moves jazz into the realm of funk and hard rock, while vocal/composer, MARK WINKLER continues to stride the path of performer/songwriter, featuring a host of jazz dynamo’s and popular recording vocalists like JACKIE RYAN,STEVE TYRELL and CHERYL BENTYNE.

TERELL STAFFORD & DICK OATTS WITH THE TEMPLE UNIVERSITY STUDIO ORCHESTRA – “LUCK BE A LADY – A TRIBUTE TO FRANK”
BCM+D Records

RHYTHM: James Collins, piano; Sam Harris, bass; Donovan Pope, drums; Ethan Fisher, vibraphone; Sean Markey, guitar; PERCUSSION: Travis Goffredo, Ryan Wood, & Jason Yoder; VIOLIN 1: Celine Jeong Kim, Luis Cuevas, Frederic Henry, Ayano Kato, Juana Pinilla-Paez, Amanda Roth & Benjamin Weaver; VIOLIN II: Hanna Lee, Yena Choi, Hannah Jordan, Rachel Miller, Amanda Montera, Emma Scott, Chesy Tronchoni-Bello & Morgan Warner; VIOLA: Jeremy Tonelli-Sippel, Bria Blackshear, Adam Kohibus, Akhmed Mamedov, Deanna Mead, Laura Palm; CELLO: Justin Yoder, Yeliza Aleman-Gaelan, Alyssa Almeida, Christian Parker & Elena Smith; BASS: Neil Walters, Vincent Luciano, Patrick Oberstaedt & David Weiss; FLUTE: Ji Young Lee & Nicholas Hall; OBOE: Danica Cheng & Andrew Dotterer; CLARINET: Elisa Montoya Sanchez & James Campbell; BASSOON: Dominic Panunto & Rebecca Krown; SAXOPHONE:Chris Oatts, alto 1; Simon Crosby-Arreaza, alto II; Christian Lewis, tenor 1; Jack Saint Clair, tenor II; Joshua Lee, baritone; HORNS: Hillary Charen, Michael Fries, Jeffrey Lynch & Martina Smith; TRUMPET: Fareed Simpson-Hankins, Jacob Hernandez, David El-Bakara & Noah Hocker. TROMBONE: Sean McCusker, Hailey Brennel, Neal Williamson & Adam Kowalski. ARRANGER: Michael Abene.

Michael Abene is a man nominated for multi-Grammys, as well as being a Grammy Award winning composer, arranger, producer, band leader and gifted pianist. He’s worked with a few of the biggest names in music including Chick Corea, Dizzy Gillespie, Patti Austin, Buddy Rich and the Carnegie Hall Jazz Band. He was musical director and the principal arranger/composer of the WDR Radio Big Band of Cologne, as well as director of the BMI Jazz Composers Workshop. Now he injects the Temple University Studio Orchestra with a dose of his amazing and creative arranging skills. The result is dazzling.

The Dean and Vice Provost for the Arts at Temple University is Robert T. Stroker. He commissioned Michael Abene for the college and summed-up this musical project by explaining:

“One of our ambitious goals at Boyer is to regularly commission new works by living composers for our students to perform. This provides the unique opportunity for our students to rehearse and record with composers, giving them insight into the creative and artistic process of composing and arranging.”

On this project, the youthful orchestra is inspired by a host of iconic talents, including trumpeter Terell Stafford, who pianist McCoy Tyner complimented as being “One of the great players of our time.” Stafford has recorded six albums as a leader and as a sideman, he’s infused his trumpet talents on ninety various recordings including such luminaries as Kenny Barron, Diana Krall, Jimmy Heath, John Faddis, Bobby Watson, Shirley Scott and the list goes on and on. In 2013, Stafford was named Artistic Director of the newly formed Jazz Orchestra of Philadelphia. Currently, Stafford is Chair of Instrumental Studies and Director of Jazz Studies at Temple University. This has to be very inspirational to the student body.

On this musical endeavor, Stafford pairs his talents with Dick Oatts, a member of the Thad Jones-Mel Lewis Orchestra. Oatts is a Steeplechase recording artist and has released six albums as a leader. For three decades, Oatts has appeared at college jazz festivals as a soloist and clinician, not only in the United States, but worldwide. Additionally, Oatts has leant his alto saxophone talents on numerous projects, including work with Red Rodney, Eddie Gomez, Bob Brookmeyer, Fred Hersch, Lalo Schiffrin, Mel Lewis, Paquito D’Rivera and several vocalists including pop/R&B stars, Luther Vandross and James Taylor; also jazz vocal icons including Mel Torme, Ella Fitzgerald, Sarah Vaughn and Joe Williams. Oatts reflected about this project in the liner notes.

“What influenced me most about Sinatra was how he put himself into the melody and lyrics as much as he did putting himself in a role as an actor. Playing with Terell Stafford is exactly like that for me. It is a different magic every time. Michael Abene and Andreas Delfs brought out the best from our students, who were simply amazing.”

Next, you have conductor, Andreas Delfs, who was acting as music director of the Temple University Symphony Orchestra in 2015. He too boasts exceptional affiliations, including work with Yo-Yo-Ma, Joshua Bell, Renee Fleming and world celebrated ensembles like the London Symphony Orchestra, National Symphony Orchestra, New York City Opera, Hong Kong Philharmonic Orchestra, the Los Angeles Philharmonic and many, many others. Together, these four incredible talents have joined forces to inspire a sixty-three-member orchestra. United, this musical coterie presents an outstanding tribute to the hit recordings of Frank Sinatra. The orchestra’s performance is formidable, filled with conviviality and gusto, tenderness and emotion, to remind us of the man and his music. I nearly wept when I heard their arrangement of “I’m A Fool To Want You.” This newly released project was recorded in 2015 to celebrate Frank Sinatra’s 100th birthday and released this season. These young musicians should be loudly lauded for this professional sound-recording.

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CHRISTIAN SANDS – “REACH”
Mack Avenue Records

Christian Sands, piano; Marcus Baylor, drums; Yasushi Nakamura, upright bass; Gilad Hekselman, guitar; Cristian Rivera, percussion; Marcus Strickland, tenor saxophone/bass clarinet. SPECIAL GUEST, Christian McBride, bass.

Beginning with “Armando’s Song,” the piano playing of Christian Sands leaps from my compact disc and lights up the room. This young man has a unique style and introduces a crystal-clear path of technique, fingers dancing fluidly along the black and white keys. His sense of continuity and improvisation, mixes like cake batter, thick and sweet to the ear. The first thing I notice is how lush and full this trio sounds and how melodic Sands is, starting with the first two cuts on this recording. He has composed eight of the ten songs recorded and is still evolving as an artist at only twenty-seven years young. But Christian Sands is not young to the music. As a native of New Haven, Connecticut, Sands composed his first song at age five and was well on his way to becoming a professional musician by age ten. His parents realized his musical gifts early-on. They enrolled him in prestigious institutions like the Neighborhood Music School and the Educational Center for the Arts in New Haven. He went on to attain both bachelor and Master degrees from the Manhattan School of Music. Since then, he’s been nominated for five Grammy Awards. Speaking of Grammy Awards, his production team on this recording are both Grammy Award winning musicians; Al Pryor (A&R guru at Mack Ave Records) and bassist Christian McBride.

Sands explained, “…When I first sat in with his (McBride’s) Inside Straight band, I realized that we think about music the same way. When I got signed to Mack Avenue, I asked if Christian could produce me, as someone who knows my playing and what I want to accomplish in my music.”

Sands’ compositions are embellished by Marcus Baylor on drums. He plays a stunning part in delivering the energy and excitement on “Armando’s Song” and elsewhere. On “Song of the Rainbow People,” Yasushi Nakamura is prominent and tenacious on upright bass, echoing the ‘hook’ of cut #2 with deliberate bass breath, supported once again by Baylor’s crashing cymbals and steady excitement throughout. Sands knows how to build crescendos from single notes of beauty into plush, harmonic, two-fisted chords that punch the grand piano into submission. Here is a young artist who brings not just amazing technique, but visceral emotions to his music.

On “Pointing West” and “Freefall” Marcus Strickland joins the group, adding a tasty tenor saxophone. He takes the element of straight ahead jazz to a heightened level. These are another two Sands original compositions. “Pointing West” propels forward at a swift pace. I am intoxicated by the ebullience of this artist’s music. “Freefall” is more thoughtful and provocative, with Sands giving abundant freedom to his fellow bandmates to stretch out and expand their improvisations. He tinkles the keys on top, using the upper, treble register against the tenor saxophone richness. “iÓyeme!” enters like horse hooves against wood, featuring Cristian Rivera on percussion and introducing an Afro-Cuban production that is wildly happy music. Rivera shines, making his drums talk and dance at the same time. Sands keeps the piano rhythms strong in the background, coaching the Latin groove repetitiously, while supplying a platform for his percussionist to soak up the spotlight. It’s a wonderful arrangement! Christian McBride makes a guest appearance on cut #8, during a creative production of the Bill Wither’s hit, “Use Me,” with Hekselman adding his guitar to the mix. Sands puts the Blues into the slowed-down version of Bill’s song and it’s sexy, although hardly recognizable. Christian McBride puts the finishing touches on the arrangement by pulling out his bow and expertly tagging the fade. Every tune and every production on this Christian Sands CD is intoxicating and pleasurable. You will probably play this album over and over again. I did.
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GREG SKAFF – SOULMATION
Zoho Records

Greg Skaff, guitars; Fima Ephron, electric bass; Pat Bianchi, Hammond organ, Jonathan Barber & Charley Drayton, drums.

Here is a tightly mixed package of jazz funk that incorporates the guitar magic of Greg Skaff into productions that ooze soul, blues and Rock-influenced original compositions. Sometime in the 1980’s, Skaff arrived in New York from Wichita, Kansas and landed a gig with Stanley Turrentine that lasted five years. He has added his jazz chops to the bandstands of Freddie Hubbard and David “Fathead” Newman. But always, in the back of his mind, were hardcore Rock innovators like Jeff Beck. In the twelve tunes recorded on this CD, Skaff reaches into his hat of magic tricks and ventures into an amalgamation of musical ideas, pulling styles, like white rabbits, into eclectic view. His music bridges straight-ahead and bebop backgrounds, stretching into a more funk/hard-rock sound. He explores his composer skills and they are impressive. Skaff has written nine of the twelve songs on this recording. A song titled, “Bottom Feeder” is dynamic, with Barber’s drums slamming the tune into the listeners face as hard as cement. Duke Ellington’s “Fleurette Africaine” is stimulated by the drums of Jonathan Barber once again and veers from Rock-mode to a Latin-tinged World music. Skaff shows off his flying finger skills and fluid solo work, especially notable on “Porcupine Hat,” where he trades fours with Barber, who once again shines. This is an enjoyable hour of new music by a richly gifted guitar master and his astute crew.


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MARK WINKLER – “THE COMPANY I KEEP”
Café Pacific Records

Mark Winkler, vocals/composer; Jamieson Trotter, piano/Hammond B3; Rich Eames, Eric Reed, Josh Nelson, John Beasley, piano; Lyman Medeiros, John Clayton, bass; Mike Shapiro, Jeff Hamilton, drums; Kevin Winard, percussion/drums; Larry Koonse, Bob Mann, guitar; Bob McChesney, trombone; Ron Blake, Brian Swartz, trumpet; Bob Sheppard, tenor saxophone; Don Shelton, clarinet; Paul Cartwright, violin; GUEST VOCALISTS: Jackie Ryan, Cheryl Bentyne, Steve Tyrell, Claire Martin, Sara Gazarek. Vocal Arrangements, Michele Weir.

Lyman Medeiros walks his big bass sound on the first cut, (a Donald Fagen tune), and Mark Winkler comes in with his caramel smooth vocals, coating the bass background with a lyric that tells a story about rainy days with two lovers making-up as they “Walk Between the Raindrops.” What a great concept. Winkler and Jackie Ryan sell the song, as they swing between the great horn arrangements by Jamieson Trotter. Bob Sheppard puts the ‘P’ in Pizazz on his tenor sax solo. “Strollin” is the music of Prince. Winkler invites vocalist, Cheryl Bentyne, to join him on this one. Michele Weir has written this vocal arrangement and the arrangement for the Donald Fagen cut as well. Bentyne, Winkler and the band easily manage to reconstruct a pop tune into a jazzy arrangement. I love the Medeiros bass line that puts the funk into the tune and Larry Koonse is dynamic on guitar.

This is Winkler’s fifteenth CD release as a leader and over 250 of his songs have been sung or recorded by himself and other artists like Jane Monheit, Dianne Reeves, Liza Minnelli, Cheryl Barnes and several others. He, and co-writer Phil Swann, have penned the lyrics to “Midnight In Paris,” a Bill Cantos tune, soaked in violin and clarinet harmonics, with John Clayton making a guest appearance on bass. ‘But It Still Ain’t So,” is a bluesy shuffle tune by Louis Durra, with a very compelling lyric by Winkler. Steve Tyrell makes a guest appearance with that growly character to his vocals and the ability to Swing as easy as a child at the playground. Great lyrics and a fine delivery by both gentlemen. “That Afternoon in Harlem” is another favorite original composition of mine by Winkler. The production is sparse and his voice carries the story with sincerity and emotion. Winkler knows how to compose stories and he draws you in with his candor. Eric Reed is featured on piano and Jeff Hamilton mans the drums to perfection. Bob McChesney knows just where to add his trombone licks and expands the music of composer, Marilyn Harris, on his solo. “Stolen Moments” features the beautiful voice of Claire Martin, interpreting, (in duet style), the creative lyrics of Mark Murphy and the music of the great Oliver Nelson. I apologize for being unfamiliar with the voice of Claire Martin, but I am now a big fan. “Love Comes Quietly” is lovely with a lyric that is both intriguing and relatable. Winkler is a wonderful lyricist and surrounds himself with the best in the music business to interpret his musical whims and fantasies. For me, it is his songwriting ingenuity that makes this artist so interesting and entertaining. “The Company I Keep” is an album full of master musicians and compelling vocalists who happily find Winkler’s music as titillating and inspirational as I do. He can’t go wrong with this kind of company.

Winkler’s West Coast CD Party will be held Wednesday, May 31st, at the famed Los Angeles jazz club, Catalina’s Bar & Grill in Hollywood at 8:30PM. You’re invited.

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JAZZ WOMEN TO WATCH, LISTEN TO AND ADMIRE

April 12, 2017

JAZZ WOMEN TO WATCH, LISTEN TO AND ADMIRE – April 12, 2017
by Dee Dee McNeil

April is a month dedicated to the celebration of jazz. Set up in 2001 as Jazz Appreciation Month (JAM), it was established to promote jazz both as an historic and contemporary art form. Jazz, created by African Americans, is the only indigenous musical art form born and bred in the United States. Celebrated worldwide, Jazz Appreciation Month is recognized in 40 countries and every state of the United States. This month, I decided to feature some WOMEN IN JAZZ.

When I got a call from my good friend and phenomenal bassist, Tomas Gargano, who currently resides in New York City, he told me about a young vocalist named Jazzmeia Horn and my interest was piqued. Her new album is titled, “A Social Call” and is scheduled for a May, 2017 release on Prestige Records. Check her out!

JAZZMEIA HORN is an East Coast based vocalist who brings a fresh, sincere and carefully honed voice to the forefront. Originally from Dallas, Texas, she started singing in the church and her singing background was originally tinged with gospel, rhythm and blues. However, she was hungry for more freedom of expression and she had a desire to challenge her artistry. That’s when she discovered Sarah Vaughan and jazz. Winner of the 2015 Thelonious Monk International Vocal Jazz Competition and the 2013 Sarah Vaughan International Jazz Vocal Competition, Jazzmeia Horn is definitely a youthful, exciting talent who I predict, if she continues along this musical path, will become a bright star for the jazz generation to come. She’s a singer unique in both presentation, creativity and style. I’ve been awaiting a female singer like this for many decades. A young voice who combines jazz with poetry and is not afraid to tackle social issues. She also displays a tenacious desire for freedom and dives into this music without fear or restriction. That’s the true mark of a jazz artist. Check her out on youtube.com.

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SYBIL COKER KEEPING JAZZ ALIVE ONE TALENT AT A TIME

I have admired Sybil’s tenacity and determination over the years. She has been keeping her beloved husband’s name alive and supporting the legacy of jazz by investing in talented youth for the past 34 years. Two such people are cousins and grandchildren of the great drummer, Donald Dean Sr.; Jamael & Darryn Dean.

“Tamir Hendelman and Jason Goldman came through Dolo Coker Foundation. Robin DeMaggio, who played drums on the Arsenio Hall show came through Dolo Coker. Eric Reed is doing very well. He won three years in a row, first place. And Kamasi Washington is one of my children,” Sybil Coker shared with me proudly.

Sybil J. Thomas Coker is the President and Founder of the Charles (Dolo) Coker Jazz Scholarship Foundation. Scholarships are awarded to full-time high school and college students who have demonstrated an aptitude in jazz. Her Scholarship Foundation has awarded over $400,000 to date. Applications are available on-line at http://dolocokerjazz.org

Parents with talented, jazz-minded, music students take note! And all you jazz music students who are in school full time and need financial assistance should consider applying.

The Dolo Coker Scholarship Foundation is a tax-exempt, non-profit established on Wednesday, April 13, 1983 in memory of pianist extraordinaire, Dolo Coker, and to assist talented students pursuing careers in the field of jazz. The hope is to perpetuate jazz, America’s only musical indigenous art form.

Recently, I acted as one of several judges for the Dolo Coker Scholarship Auditions. I was astounded by the amazing, young, local jazz talent that filled up the Barbara Morrison Performing Arts Center. They were all trying to qualify for a scholarship by showing off their proficiency on a variety of instruments. There was even a young jazz vocalist among the Auditioners,(Darynn Dean), sounding a bit like a fledgling Sarah Vaughan. The young people were multi-cultural and came from as far away as San Diego to audition. It was exciting to see and hear so many young musicians pursuing jazz.

Let me tell you a little bit about the woman who makes all of this possible. Sybil Coker was born in Elizabeth, Louisiana. Her parents decided to relocate to Southern California and Sybil told me their emphasis was on her getting the best possible education.

Sybil Coker is a perpetual lover of music. Like many African-American girls during her early childhood, Sybil was encouraged to take vocal and piano lessons. Later, while attending Cal State Los Angeles and working on her Elementary School Credential, she once again studied piano.

“And then I went to West L.A. College and took piano. I was doing pretty well until I lost Dolo in 1983 and in 1987 I lost my father. My mind was so unhappy, even though the teacher begged me to please keep up my piano studies, I had to stop. When you lose someone that significant to you, sometimes you wonder will you ever laugh again or will I ever be happy?” Sybil explained.

Although Sybil and Dolo never had children of their own, both had several Godchildren and Sybil always had a desire to inspire and teach children. She spent 48 years in our public school system, both teaching and counseling youth until she retired. While teaching in the Los Angeles public schools and Headstart arenas, Ms. Coker also worked as a respected journalist for many years and wrote for the Entertainment Digest. She has been an active historian for the Los Angeles Delta Sigma Theta Sorority Chapter and was Chapter journalist for a number of years.. She was the women’s editor for the Herald Dispatch and also wrote for the Pittsburgh Courier. In fact, while she was on assignment for the Courier to write a feature on Kenny Dennis, Sybil was first introduced to the man who would become her husband; Dolo Coker.

She told me, “Kenny Dennis (the iconic jazz drummer) introduced me to Dolo. It was on Adams and Western at the Rubiyat. It was a black owned hotel and on Monday nights they had jazz. So Kenny had Dolo (in the band), Richie Kamuca and I think Leroy (Vinnegar). I was doing a story for the Pittsburgh Courier on Kenny and when they finished the set he called Dolo over and said, Come on over here. I want you to meet this lady. So Dolo came over and said in a very proper and super formal voice, ‘How do you do?’ Then he went over to the bar and pal’d around with his friends and that’s how we originally met. We dated nine years. He wanted to be debt free. He wanted to be able to provide for us when we married.”

And provide for them he did, while playing with numerous historic and iconic jazz musicians like Ben Webster, The Heath Brothers, Gene Ammons, Lou Donaldson, Sonny Stitt, Philly Joe Jones, Dexter Gordon, Frank Morgan and he recorded four albums for Xanadu Records featuring Harold Land, Leroy Vinnegar, Blue Mitchell, Frank Butler, and Art Pepper as part of his ensemble.

Sybil told me “The Dolo Coker foundation’s application process is easy and it’s on the website.

“Auditions happen annually, the third Saturday of March, and applicants need to bring their bio, two letters of recommendation and verification that they are full-time students. They can be in public school, private school, on-line, home-schooled, or in charter schools, as long as it’s legitimate, licensed and can be verified.”

I asked her to name some of the students who have been funded by the Dolo Coker Foundation and who have gone on to become professional, active musicians.
“Tamir Hendelman and Jason Goldman came through Dolo Coker Foundation. Robin DeMaggio, who played drums on the Arsenio Hall show came through Dolo Coker. Eric Reed is doing very well. He won three years in a row, first place. And Kamasi Washington is one of my children. He and Miles Mosley came and played at my retirement celebration. Vernell Brown (Jr)., I don’t know what Vernell is doing at this time, but he was endorsed by Yamaha piano; wonderful pianist. Michael McTaggart was on the deans list every year at USC. He’s a guitarist and he also was a gold ribbon winner of NAACP ACT-SO program for years, every year.”

The NAACP’s Afro-Academic, Cultural, Technological and Scientific Olympics is a year-long achievement program designed to recruit, stimulate, and encourage high academic and cultural achievement among African-American high school students. ACT-SO includes 26 categories of competition in the sciences, humanities, business, performing and visual arts. More than 260,000 young people have participated in the program since its inception.

In fact, one of the young performers I witnessed during the Dolo Coker Foundation auditions was Aaron Shaw, who won the 2013 ACT-SO, Silver Medal in Music Composition award. Another was Jamael Dean, who won in the Music Contemporary competition, also garnering a Silver Medal. His cousin, Darynn Dean, who I mentioned as the youthful vocalist who is influenced by Sarah Vaughan, won the Gold in the Vocal Contemporary competition.

“Ryan Porter and Corey Hogan, we bought their first instruments when they were students at Washington Prep,” Sybil continued. “See, because a lot of these school musicians only get to play the school instruments when they are at school. Patrick and Eliot Douglas were our first two scholarship recipients. Eliot lives in Las Vegas and he’s under contract to the New York New York Casino.”

Other names you may recognize who have received encouragement and support from the Dolo Coker Foundation are Los Angeles bassist, Ryan Cross. Mahesh Balasooriya was a 1st Place Dolo Coker Award winner in 2001 and 2003, winning for his amazing piano skills. Bassist/vocalist Katie Thiroux won first place in the vocal category and went on to achieve success with her jazz quartet, and Donald Vega Gutierrez, a former Nicaraguan student at Crenshaw high school, won first place in 1996 and later recorded his “Spiritual Nature” CD with Christian McBride and Lewis Nash making up the rhythm section. See his mini documentary on this Resonance Records recording project by clicking the Video tab with this story.

In 2012, Joshua Crumbly won first place and went on to perform with Terence Blanchard among others. And, in 2013, Teira Lockhart Church, a junior at UCLA, won the vocalist award, and Aaron Shaw, an 11th-grade tenor saxophone player, tied with her for first place. The list goes on and on.

In 2011, Sybil Coker was honored at Linda Morgan’s “Living Legend” Awards program for her amazing and supportive work with youth over the years and especially her interest in supporting young jazz artists. You can honor her and her non-profit foundation by donating today or attending her upcoming event on Sunday, April 23, 2017. This will be the Thirty-fourth Annual Tribute to Dolo Coker and will take place from 2:30 PM to 6:00 PM at Macy’s on Crenshaw; the third floor inside the Museum of African-American Art; 3650 W. Martin Luther King Jr., Blvd; Los Angeles, CA 90008. James Janisse will emcee the event. Featured artists in concert that afternoon include the legendary Ernie Andrews, Betty Bryant and The Donald Dean Jazz All Stars plus special guests.

For more information contact The Charles Dolo Coker Jazz Scholarship Foundation, Inc. at P.O. Box 480028; Los Angeles, CA 90048 or call Phone/Fax (323) 935-1374, or go to http://www.dolocokerjazz.org

Note: This article appeared ‘in part’ at http://www.lajazz.com in 2014 as part of my jazz column.

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ANGIE WELLS & RAPHAEL LEMONNIER – “LOVE AND MISCHIEF”
Independent Label

Angie Wells, vocals; Raphael Lemonnier, piano; James Leary, bass; Kenny Elliott & Washington Rucker, drums; Mathis Haug, guitar; Harry Kim, trumpet; Bili Redd, guest vocals.

Sometimes a CD cover can snatch consumer attention and create interest in a recording project before one even listens to the artist. Angie Wells delivers on such a cover, classy in her white, skin-tight dress with a large, red flower decorating her shoulder. The music is as dynamic as the gorgeous photo cover by Chad Finley. Wells opens with Blossom Dearie’s jazz standard, “Peel Me A Grape.” She has her own unique sound and style. This artist exemplifies, from her very first tune, that she’s willing, able and determined to put the “S” in Swing. I love the Kenny Elliott drums on this production. Those drums push the group and accentuate the crescendos and excitement inspired by the vocalist.

“The Moon is Swinging on A Line” is an original composition by pianist, Raphael Lemonnier, with lyrics by her guitarist, Mathis Haug. Wells also contributes to the lyric al content. It’s a haunting ballad, with bluesy changes that engage the artist’s smoky voice to deliver the story of a New Orleans street and a lost love affair. She sings with expressive conviction. The tempo and minor changes are dirge-like, with Haug’s guitar prominent on the fade and during his solo. I wish I could have heard more of Haug’s rhythm guitar licks throughout. I feel he is mixed way too low during the mastering of this project. “She Ain’t the Kinda Girl” is another original by Lemonnier & Wells, arranged as a blues shuffle, where James Leary pumps his upright bass like a weight-lifter pumping iron. He lifts the bar and makes the music sweat, while Lemonnier pounds the piano in a raucous, downhome-bluesy way. His solo is outstanding and gospel tinged, reminding me a lot of the late-great Gene Harris. Wells sings lyrics with raw emotion and sincerity. You hear this quite clearly on “You’re My Thrill.” Harry Kim is sensitive and tasty, with trumpet improvisations that enhance the vocalist’s delivery and sweeten the mood of the song. I love those Elliott mallets on “Nature Boy” that percussively propel this ballad into a Bolero. Bili Redd brings his silky, smooth baritone to a couple of duets with Ms. Wells, on an “I’m In the Mood for Love” medley incorporating “Moody’s Mood for Love” and also on “Baby It’s Cold Outside.” This Is a fine start for a premier recording that introduces us to a naturally endowed jazz singer on her way towards a propitious outcome.
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“WORDS & MUSIC” BY JEANNIE TANNER
Tanner Time Records

Jeannie Tanner, trumpet/composer/lyricist;Dan Murphy, piano/Fender Rhodes/ Hammond B3 Organ/arranger/producer; Cory Biggerstaff, bass; Neal Alger & Andy Pratt, Guitar; Darre Scorza, drums; Chris Madsen, saxophone; Elaine Dame,flute; Adam Thornburg, trombone; HAWK string Quartet: Katherine Huges & Carol Kalvonijan, violins; Benton Wedge, viola; Jill Kaeding, cello.

This is an unusual project in that the songwriter/composer, Jeannie Tanner, is listed as the ‘Artist’ but instead of performing, she has written a collection of songs and hired twelve of Chicago’s talented vocalists to sing her compositions. In other words, this is more like a collection of high quality demos, normally used to promote the songwriter. Ms. Tanner is an award-winning composer, vocalist and trumpeter. She performs and records with her own band in the Windy City, known as the Jeannie Tanner Quartet. Her original music has already been licensed for both television and film.

With this recording, you, the listener, can sample the composer’s work and enjoy a compilation of various Chicago vocalists. Each one puts their own spin on Tanner’s songs. Dan Murphy is persuasive on piano, always keeping the melody in the forefront, even when he improvises. He aptly accompanies these singers with sensitivity and care. Drummer, Darren Scorza, makes a powerful statement on his trap drums, especially on the introduction to “Reflections in Mirrors.” In fact, Tanner’s musicians carry this unique project with their professional talents, lending the perfect stage for this sampling of singers and songs. Favorite cuts: “Wait For Me” featuring Jeff Meegan; “You Can Kiss Me into Anything” and “I Am Strong,” featuring Typhanie Monique; “You’ll Always Have My Heart,” a swinging arrangement featuring Abigail Riccards and “Promise Me the Moon” featuring Rose Collela, with tasty horn licks by Chris Madsen on saxophone.

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CATHY SEGAL-GARCIA – “IN2UITION”
Dash Hoffman Records

Pianists: Otmaro Ruiz, John Beasley, Gary Fukushima, Varden Ovespian, Karen Hammack, Jane Getz, Bevan Manson, Dave Moscoe, Llew Matthews, Josh Nelson. Violin, Calabria Foti.

This is a double set CD, minimally produced, and basically featuring Cathy Segal-Garcia singing with various jazz pianists. Having worked many years as a duo in various hotels myself, I know how serious and demanding duo work can be. Garcia is up for the challenge and so are her hand-picked accompanists, many of whom are international recording artists in their own right. Starting with Josh Nelson on “I Love You,“ Garcia spices the song up with scat singing, seasoning the familiar standard with her improvisational skills. John Beasley is the next pianist performing with Garcia on the Thelonious Monk composition, “Ruby My Dear”. Beasley was nominated for a Grammy this year for his own orchestrated work of Monk. He is an exceptional accompanist and a master musician who brings beauty and a strong sense of individuality to his music. Garcia performs, unintimidated, deft with full-bodied tone against whatever creative chord Beasley throws at her, holding the melody like a baby, precious against her bosom. I believe her when she sings this story of a broken-hearted woman named Ruby. Beasley’s solo performance is as breath-takingly beautiful as Garcia’s lyrical interpretation. He turns the grand piano into a very hip and unprecedented music box. On Garcia’s original composition, “The Room” she adds a violin played by Calabria Foti to compliment the piano work of Karen Hammack. This song is very folksy and not jazzy at all. I remember when Nina Simone used to record in this fashion, throwing in a pop song or a folk song on a recording or concert of serious jazz. I suppose it’s the artist’s prerogative. “Bonita, a Jobim composition, features Otmaro Ruiz on piano. He prepares a solid foundation for the vocalist to sing this beautiful ballad. I long for Latin rhythms, instead of classical chording, but it is a very beautiful production by the two artists, despite my personal desire for some Brazilian fire. This is followed by another ballad and then a burst of energy with Gary Fukushima on, “I Want To Be Happy.” Disc #1 ends with the popular Rodgers & Hart tune, “It Never Entered My Mind.” David Moscoe sensitively accompanies Garcia at a very slow, melancholy pace, allowing the listener to hear her draw each note out and hold those whole tones with very little vibrato and unabashed technique.

Cathy Segal-Garcia explains this recording in the liner notes. “I’m a person who loves varied possibilities. In my musical life, I’ve played with so many wonderful musicians. At this moment, I feel change in the human existence. Relationships are almost the only important thing in the here and now.”

I must agree with her assessment that our positive relationships with each other can be a catalyst towards peace and love. It would seem, using this production as the measure, that her relationship with these various pianists reflects intimacy and trust. She ends Disk 2 with Llew Matthews playing a soulful, gospel arrangement of “America.” America, America, God shed his grace on thee…. Cathy sings. That prayer seems to be very appropriate these politically challenging days.
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PATRICIA TERRY-ROSS – 2017 KRESGE EMINENT AWARD RECIPIENT

“My grandmother said to me when I was six years old that I was given a gift and it’s not a gift unless you can give it away; and to do honor to my gift. I’ve been playing with the opera for 30 years. I’m the longest serving member.”

So said Patricia Terry-Ross from the Stage of the Opera House in Detroit, Michigan on a recent video presentation I viewed.

As many of us know, the world calls jazz ‘America’s Classical Music.’ When I wrote songs for Motown, it was the local jazz musicians who were recording all the studio work and thus, developing the famed ‘Motown Sound.’ I wanted to highlight Patricia Terry-Ross, who is a classical harpist, educator and was one of those session players of Motor City fame. Back in the day, she played her harp on several Motown hits like “My Cherie Amour”, “Papa Was A Rolling Stone,” and “Signed, Sealed, Delivered” as a sought after studio musician.

Today, seated at the harp, her close cropped white hair sparkles in the spotlight. In her youth, she was once a music major, attending Cass Technical High school, where she was drawn to the harp. At the time, she was a competent pianist, with music as her passion. Jazz harpists, Alice McLeod-Coltrane and Dorothy Ashby, also attended the famed Cass Technical High School, as did trumpet master Donald Byrd, pianist, Kirk Lighsey, iconic guitarist, Kenny Burrell, bebop singer, Sheila Jordan and many more. So many jazz artists graduated from Cass Technical High school that I published an entire article about them in Michigan History magazine. Cass has the oldest harp program of any public high school in the United States and has the only harp and vocal program. Mrs. Terry-Ross later headed that harp program at her Detroit alma mater that once inspired and educated her years earlier. This year, She will be honored by the Kresge Arts in Detroit Program for her outstanding work in music. Congratulations to this exemplary woman, musician and educator.
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MARCH GOES OUT LIKE A LION & MUSIC MARCHES STRONGLY INTO SPRING

March 21, 2017

By jazz journalist/Dee Dee McNeil

March 21, 2017

I’m excited about the worldwide, new music I’ve been listening to and the youthful jazz talent I see developing in and around the Los Angeles community. With pride, I recently was one of several judges for the 34-year-old Dolo Coker Scholarship Foundation that funds young people pursuing musical careers in jazz. It’s good to know that there are youth who are interested in playing America’s indigenous treasure of jazz. It’s also enlightening that people like Sybil Coker are carrying on the legacy of her jazz musician husband, Dolo Coker, to fund young talent. Especially when we have a current political administration that is deleting art in the schools and destroying positive programs like the NEA (National Endowment for the Arts) and suggesting the deletion of government funding for PBS (Public Broadcasting System). So it was good to see students, some as young as fifteen-years-old, auditioning for Scholarships and playing jazz standards as their songs of choice. Very impressive! See http://dolocokerjazz.org

As this month goes out like a lion, Spring arrives, bringing a rebirth of talent and good music. The newly released music is colorful and peeks like flowers through the snow. I’d like to suggest some of the compact discs I found particularly entertaining. MICHAEL RABINOWITZ brings the bassoon front and center as a significant instrument for interpreting jazz. ALMA MATTERS is a group made up of musicians who are two generations of San Francisco area jazz masters, related by friendship and family. Reed man, JIMMY GREENE releases a second tribute album to his departed six-year-old daughter, who was murdered during the Sandy Hook Elementary School massacre, along with nineteen other students and six educators. Brazilian pianist, ANTONIO ADOLFO, celebrates the music of Wayne Shorter, blending cultures and LUKE SELLICK, a gifted composer and bassist, attempts to transform his compositions from mundane to magic and paper sheet music to gold. Below is my opinion.

MICHAEL RABINOWITZ – “UNCHARTED WATERS”
Catz Paw Records

Michael Rabinowitz, bassoon; Rusian Khain, bass; Nat Harris, guitar; Vince Ector, drums.

Listening to a bassoon sing jazz is a distinctive pleasure. After hearing Bennie Maupin and Yusef Lateef tackle this instrument, I have a certain appreciation and expectation of the bassoon’s power and persuasion. Michael Rabinowitz appreciates and exploits the acoustic characteristics of the bassoon and this makes his “Uncharted Waters” CD a joy to my ears. He does use pick-ups and electronic effects at times, but for the most part, Rabinowitz seems to be enthralled with featuring and preserving the raw beauty of the bassoon. He has composed four out of nine songs on this CD and I thoroughly appreciate his composer skills. Starting with the first cut and title tune, Rabinowitz brings the bassoon front and center to a stage of improvisational excellence. He is supported by three conscientious musicians on bass, drums and guitar. They give cement support to this artist, as he drives across their solid rhythm section. “Harold’s Blues” is the next original tune. The melody is infectious, with an arrangement steeped in staccato rhythms and a mind-blowing, improvisational solo by Rabinowitz twice; once at the introduction, featuring just the bassoon, with Vince Ector on drums. Ector has been an occasional drummer for the Charles Mingus Orchestra, where Rabinowitz first met him. This percussion master plays hard beneath the improvisation, making his trap drums dance and sing, while all the time supporting Rabinowitz’s artistic expression. Nat Harris, on guitar, offers an impressive 44-bar solo and takes the song to another level along with Rusian Khain, who walks his double bass emphatically beneath like a series of exclamation marks on the page. Speaking of Khain, he too gets his share of attention during this arrangement, both as a soloist and as the thick, bluesy, musical foundation always present just below the surface. He holds the rhythm section firmly together like Elmer’s glue. I played cut #2 over three times in a row. Perhaps because I enjoy the blues, but mainly because the musicianship is so well-executed and blended. “Caravan” is played at the speed of light. Fasten your seat belts. Rabinowitz has written a Bossa Nova song for his mom and dad titled, “Kiki’s Theme” that is quite lovely with lots of minor changes. Michael Rabinowitz’s mother played violin with the New Haven Symphony and was accepted to Julliard. His father was an abstract, expressionist painter and art teacher. They obviously bequeathed their love of art and music to their son. Wes Montgomery’s composition, “So Do It” is celebrated royally as a straight-ahead jazz arrangement. Rabinowitz is king on the bassoon, crowning the tune with improvisational creativity. This delightful CD is scheduled for an April 2017 release.

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ALMA MATTERS
Independent Label

Peter Apfelbaum, keys/tenor sax/flute/drums/percussion/string/woodwinds arrangement; Samora Pinderhughes & Ben Heveroh, keys; Jonathan Stein & David Belove, bass; Mark Whitfield, Jr., Mathias Kunzli & Charlie Ferguson, drums; Josh Jones, drums/percussion; Ivan Jackson, trumpet; Natalie Cressman, vocals/trombone/brass arrangements; Elena Pinderhughes, flute/vocals; Jeff Cressman, trombone/cornet/bass/Engelhart castanets; John Schott, guitar; Jill Ryan, vocals/alto saxophone; Will Bernard, guitar; Sandy Cressman, vocals; Paul Hanson, bassoon/clarinet; Erik Jekabson, flugelhorn/ trumpet; Steven Bernstein, trumpet; Marcus Rojas, tube; Robin Bonnel, cello; Rachel Durling, violin; Tony Lindsay, Julianna Cressman, Destani Wolf, & Terrance Kelly, vocals; SPECIAL GUEST: Jeff Weinmann, vocals/flute.

Lovely horn harmonics open this recording like a red velvet curtain parting to introduce a lush theatrical performance. Natalie Cressman’s lead vocals appear like the central character. Her voice is light and lilting, soaking up the warm, yellow spotlight. She has also composed this tune titled, “The Unknown” and she’s featured playing trombone. Talented lady. Jeff Weinmann is the creative force behind Alma Matter’s musical production, gathering two generations of San Francisco area jazz masters for his Tone Traveler Production company. It took four years to record this project, because one of the main creative forces, (co-producer Jeff Cressman, who’s also a sound engineer) was consistently on the road with the Grammy Award winning group, Santana. Weinmann explained:

“We’d record over holidays when everybody’s around. …I’m the facilitator … the project is really about celebrating these long and sustaining relationships.”

Peter Apfelbaum (another co-producer) has composed the next two songs. They are as different as sunrise and sunset. He brings his multi-talented skills playing keys, tenor saxophone, flute, drums and percussion. On the first composition, “Shadow Woman,” Jeff Cressman joins him playing trombone and bass. John Schott adds rhythm guitar on this high-spirited, Latin fusion production. The next composition, “Use It All,” is folksy, with Apfelbaum adding gospel overtones on the keys. Voices carry the melody, but it’s the horns that bring the element of jazz front and center.

This is a fresh and innovative group of seasoned musicians, talented instrumentalists, composers and vocalists. More and more, especially from the youthful Millennial musicians, I’m hearing the combining of cultures and musical styles on a single project. Perhaps, since art reflects society, this is an example of the world coming closer together. I certainly hope so. On the other hand, it challenges the labeling of styles for air play, while embracing artistic differences. As an example, this production suddenly becomes a hodge-podge of art forms. Cuts #5 and #6 issue in “Hold On” as a pop tune and “Get Involved” is a composition by George Jackson that sounds like a song Soul Man, James Brown would record. The jazz horns turn into back-up band “licks” from the Soulful Seventies, similar to Brown’s famed orchestra, Tower of Power or The Ohio Players. Cut #7, “Nobody’s Fault But Mine” is a traditional gospel hymn with added lyrics by Jeff Weinmann. The track itself could have been a Gil Scott Heron track or the background music from a scene in “Shaft”. There is obviously a great influence of the 1970s soul-music era reiterated by this group. Jonathan Stein’s bass groove on “You’ll Never Follow” sounds like a song Erykah Badu might record. So now we have moved into Hip Hop/Soul fusion, featuring the stunning vocals of Elena Pinderhughes. This is one of the cuts that sounds quite commercial. Is it jazz? Not really! But it’s still one of my favorite songs on this recording.

Percussionist, Josh Jones, makes a memorable performance solo on “Gospel Sermon” that sounds more jazzy than gospel. With strong horn arrangements throughout and the addition of voices, Negro Spirituals and even a South African flavored production of “Wade In the Water,” I am reminded of a Broadway Production. These musical choices leave me a bit confused, but definitely entertained.
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JIMMY GREENE – FLOWERS – BEAUTIFUL LIFE, VOLUME 2
Mack Ave Records

Jimmy Greene, soprano, alto, tenor & baritone saxophones; Jean Baylor, vocals; Rogerio Boccato, percussion; Otis Brown III, drums/percussion; Kevin Hays, piano/Rhodes elec piano; Mike Moreno, guitar; John Patitucci, acoustic and elec. Bass; Sheena Rattai, vocals; Renee Rosnes, piano/Rhodes elec. piano; Jeff “Tain” Watts, drums; Ben Williams, bass.

Green is Assistant Professor of Music and Coordinator of Jazz Studies at Western Connecticut State University in Danbury, Connecticut. Previously, he served as Assistant Professor of Jazz Saxophone at the University of Manitoba. Jimmy Greene is not only a prolific reed player and educator, he’s also a consummate composer and has composed every song except for one on this CD.

Three years ago, Greene suffered the unexpected murder of his six-year-old daughter, Ana Marquez-Greene, as one of nineteen other children and six educators who were killed during the despicable Sandy Hook Elementary School massacre. His first CD released on Mack Ave Records was “Beautiful Life” and celebrated his young daughter’s life.

With this new recording, Greene uses his talents to honor and memorialize the child’s life once again, with a superb collection of original compositions that strive to capture his daughter’s love of dance and singing.
Green recalls a comment Horace Silver made to him after listening to the reed player’s first commercial release. He told Greene he wanted to hear more songs that folks could tap their feet to and a more danceable groove. Jimmy Greene paid attention to the jazz giant. who was a frequent employer of his talents during the late 1990’s.

Jimmy Greene’s departed daughter once had a special greeting for her six-and-a-half-foot-tall dad. She used to say “Hey, big guy” and that becomes the title of Green’s first tune on this CD. The artist explains in liner notes that he used a 20-year-old piece of sheet music by Jackie McLean as his inspiration for this song’s chord changes, but came up with his own unique melody. Kevin Hays is both prominent and complimentary on both grand piano and Fender Rhodes, sometimes sounding like a tinkling descant to Greene’s flowery tenor saxophone horn lines. Ben Williams races his walking bass, keeping up with the swiftly played drums of Otis Brown the third, turning this tune into a hard, Swinging bebop.

“Stanky Leg” is Latin inspired. Greene picks up his soprano sax for this tune and is joined by the distinctive bass playing of John Patitucci. Patitucci plays both acoustic and electric basses on this composition. Renee Rosnes adds grand piano and electric piano to the track. It’s an interesting concept to use both acoustic and electric on the same session, fattening the track and preparing a solid platform for Jeff “Tain” Watts to explore his drums. The production is expanded by Rogerio Boccato’s tasty percussion work. The title tune, “Flowers” has lyrics that tear at my heartstrings, performed by vocalist Sheena Rattai. Her soprano voice floats above this solid production like petals blowing in the breeze. Rattai sweetly delivers the song, with a perfumed voice that lingers in your mind; especially the way she hits that high “F” so pure and beautifully. Greene employs all four horns on this tune, over-dubbing harmonics to express himself and letting his soprano saxophone fly like a bird atop the lush production.

When Greene returned home, after a long vigil on the same day his beloved, little girl was killed, he remembers finding a book of hand-drawn, hand-colored flowers inscribed ‘from Ana to Dad,’ in his daughter’s playroom. Consequently, the CD title was inspired.

“It was Christmas time, but it wasn’t supposed to be a Christmas gift. She just wanted to do something nice for Dad. She’d normally do things like that for no other reason than to brighten someone’s day. That is indicative of who my little girl was.”

Here Is a recording of memories and spiritual emotions that endeavor to conjure up the spirit of his daughter and the tenderness, joy and sweetness she freely shared during her short time on Earth. Like a bouquet of gorgeous flowers, these colorful tunes are offered lovingly to the public.
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ANTONIO ADOLFO – “HYBRIDO”- From Rio to Wayne Shorter
AAM Records

Antonio Adolfo, piano/elec. Piano/arrangements; Lula Galvao, elec. Guitar; Claudio Spiewak, acoustic guitar; Jorge Helder, double bass; Rafael Barata, drums/percussion; Andre Siqueira, percussion; Jessé Sadoc, trumpet; Marcelo Martins, tenor & soprano saxophones/flute; Serginho Trombone, trombone; Ze Renato, vocals.

With this recording, Antonio Adolfo celebrates the amazing music of Wayne Shorter. On the hand-painted cover, it states, “From Rio to Wayne Shorter,” and it was recorded in December of 2016 in Brazil. Adolfo explains:

“The music of the great Wayne Shorter … has especially inspired me through his melodies and harmonies. … This repertoire presented here is mostly from the ‘60’s and, as incredible as it may seem, is of an unusual relevance, giving us the chance to travel musically; infinitely. … Finally, the musicians and I gave the musical mixture our viralata (mongrel) and mestizo touch, to translate it into what is presented on this new CD.”

Adolfo opens with “Deluge” where you immediately hear him combining cultures and musical genres. Rafael Barata and Andre Siqueira fire it up percussively. Adolfo’s arrangements cushion the horn players with a rhythm section that works like a springboard. Jesse Sadoc stretches out on trumpet, with a colorful solo, as does Marcelo Martins on saxophone. Adolfo has taken familiar pieces like “Footprints,” “Black Nile,” and “Speak No Evil,” infusing these treasured jazz compositions with Latin rhythms and his own unique arranging skills. Every song on this artistic work is composed by Shorter with the exception of Antonio Adolfo’s original titled, “Afosamba.” On Footprints, he features vocals by Zé Renato and Claudio Spiewak adds a pleasing acoustic guitar solo. Antonio Adolfo’s piano prowess is notable throughout, leading this group of highly qualified musicians fearlessly and with intent and purpose. Martins’ flute solo on “Beauty and the Beast” is stellar. On “Prince of Darkness” Adolfo paints a canvas of colors with his piano melodies and rhythms. Unlike the tune’s title, his arrangement is light and bright. Jorge Helder’s double bass is always busy building a strong foundation for the others to rest upon. Here is a work of art I will play over and over again that brings continuous audio joy, peace and happiness.

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LUKE SELLICK – “ALCHEMIST”
Cellar Live Recods

Luke Sellick, double bass/composer; Adam Birnbaum, piano; Andrew Renfroe, guitar; Kush Abadey & Jimmy Macbride, drums; Jimmy Greene, tenor saxophone; Jordan Pettay, alto saxophone; Andrew Gutauskas, bass clarinet; Benny Benack III & Mat Jodrell, trumpet.

Luke Sellick is a gifted composer and demonstrates this by presenting nine original songs on his album entitled, “Alchemist”. According to Webster’s Dictionary, one of the definitions of an alchemist is one who transforms creation in a magical process or scientifically can convert base metals into gold or find a universal elixir. Sellick’s attempt to create magic with his music is successful.

He employs his talents on double bass to solidify this group of expert musical technicians. They transform his ideas from paper sheet music into a beautiful recording. “Q-Tippin” is Latin jazz with a no-apologies, straight ahead feel and features Jimmy Greene on saxophone and trumpeter, Mat Jodrell. The horn refrain is catchy and melodic; their solos soar like wild birds in flight. His composition, “Brothers” is more laid back, medium tempo, but energetic. It allows Sellick to step into the spotlight and take a big, double bass bow, introducing his solo early in the tune and locking down the rhythm section along with the steady drum sticks of Jimmy Macbride. Macbride’s drumming on this tune recalls the beat of Ahmad Jamal’s ever popular “Poinciana,” using mallets and performing with rhythmic fluidity. On the Sellick composition titled, “Hymn”, Adam Birnbaum makes the piano dance and sing, joined by the sensuous tenor saxophone of Greene. Underneath their innovative creativity, another stellar drummer, Kush Abadey, adds color and crescendo wherever necessary. “Dog Days” brings the blues front and center. Sellick’s compositions are strong and memorable. This ensemble of musicians certainly embellish his music with beauty, power and technique, while telling his story of the alchemist in subtle, yet provocative ways.
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OUTSTANDING PIANISTS, A GUTSY GUITARIST, BASS BAND LEADERS & EPIC ENSEMBLES

March 4, 2017

JAZZ INSTRUMENTALISTS: OUTSTANDING PIANISTS, A GUTSY GUITARIST, BASS BANDLEADERS AND EPIC ENSEMBLES
CD Reviews by jazz journalist, Dee Dee McNeil

March 3, 2017

This month, I celebrate some gifted jazz musicians who have recorded an array of excellent music for our listening pleasure. BILLY CHILDS is an internationally respected pianist (based in Los Angeles) whose “REBIRTH” CD celebrates his composing, arranging and producing skills. BILL O’CONNELL offers a solo piano recording, ‘Live’ at the Carnegie Farian Room in Rockland County, New York. The MICHAEL LE VAN TRIO beautifully interprets Le Van’s original compositions. Double bass player, STEVE MESSICK, leads his Endemic Ensemble onto the scene featuring all original material. Vibraphonist, ARTHUR LIPNER, brings us the best of himself in “Two Hands, One Heart” and guitarist, STEVE KHAN, chooses several standard jazz and pop songs, then transforms them into Latin soaked, musical gems.

BILLY CHILDS – “REBIRTH”
Mack Avenue Records

Billy Childs, piano/producer; Steve Wilson, alto & soprano saxophone; Hans Glawischnig, bass; Eric Harland, drums; Claudia Acuna & Alicia Loatuja, vocals; Ido Meshulam, trombone; Rogerio Boccato, percussion.

I remember many years ago, watching Billy Childs walk up to the grand piano where Detroit jazz icon, Tommy Flanagan, was playing. Childs took a seat on the floor at the foot of the master, folded his long, slender legs under himself, and watched with focused eyes every move, every nuance that the gifted pianist made. What a tribute to the master jazz icon and to Billy Child’s own unique journey towards perfection and honing his own extraordinary talent. Today, Billy Childs is a master himself.

From the first few bars of “Backwards Bop” Childs’ establishes his amazing style and precision with crisp, clean accuracy. No wonder he has been nominated for thirteen Grammys and won four Grammy awards. It is his arrangement capabilities and accompaniment that led vocalist Dianne Reeves to jazz popularity. He has also added his playing and arranging skills to the music of Sting and Yo-Yo Ma; Kenny Burrell, Freddie Hubbard, Wynton Marsalis and J.J. Johnson, to name just a sprinkling of the great talents he has worked with. Childs produced Claudia Acuna’s 2002 “Rhythm of Life” album as well as arranging and orchestrating it. Acuna co-wrote the title tune on this project, “Rebirth,” with Childs. It celebrates a re-emergence and warm reminder of Billy Childs’ genius. Who can play this swiftly with such accuracy on both note and rhythm? Who flushes out such gritty, tender, exciting emotions from the 88 keys like Billy Childs? No One! He builds his own hurdles of excellence and then works on leaping each one, raising the bar higher every time.

Surrounded by a group of other amazing artists, this ensemble holds his compositions up like a banner for the world to see and hear. Childs’ technique is impeccable. He thrills me and challenges listener-ears and human feelings to embrace his arrangements, both rhythmically unusual and aggressive. Childs’ offers melodies that haunt. For example, “Stay”, featuring vocalist Alicia Olatuja. The harmonics move in one direction beneath her powerfully beautiful voice, while the melody Childs composed challenges her pitch and perfection as it floats on top. The melody reminds me of a leaf, adrift in the swirling sea of music beneath it, while Olatuja’s voice pulls at our senses in an unforgettable way. “Tightrope” is another memorable and rich composition, offering Hans Glawischnig an opportunity to sing his expressive bass solo in the spotlight. He captivates. But it is always Childs who magnifies the production and arrangements with his inspired piano playing. He is the catalyst that creates the fire that Steve Wilson brings front and center on “The Starry Night”. Child’s opens this song, tinkling the keys like an antique music box. He is the shimmering star here, shooting across the galaxy, offering us a great crescendo of remarkable music.
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BILL O’CONNELL – “MONK’S CHA CHA LIVE AT THE CARNEGIE-FARIAN ROOM”
Savant Records

Bill O’Connell, pianist/arranger/composer/producer.

I was somewhat misled by the title of this CD, incorrectly assuming that O’Connell would be celebrating the music of Thelonius Monk, perhaps with Latin overtones. Instead I find that composer/pianist, Bill O’connell, has included the works of Kern and Hammerstein, Jobim, Burke/Van Heusen and Mongo Santamaria, along with his own compositions. Never the less, here is an engaging production, that celebrates solo piano. From the very first strains of “The Song Is You”, (played at a maddening pace and executed with technical perfection), I find myself captivated.

O’Connell’s lush work of musical art is captured ‘Live’ at a concert venue in Rockland County, New York. This gifted pianist sits at the grand piano, absolutely vulnerable and accessible to audience and critics alike. I am impressed with the way he builds each song, establishing the melody and then taking creative liberty to grow his self-expression with fluid improvisation. He plays proficiently, with no other accompaniment to enhance or color this production and O’Connell exhibits unwavering time. You immediately recognize him as imaginative and technically astute. He showcases his gift of improvisation on this recording, as well as reinventing standard songs like “Dindi, “Afro Blue” and “It Could Happen to You,” sharing his own talent and unique, solo arrangements. Here is a magnificent representation of singular piano excellence.
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MICHAEL LE VAN TRIO – “A DIFFERENT SHADE OF BLUE”
Independent label

Michael Le Van, Piano; David Enos, bass; John Ferraro, drums

I became acquainted with Michael Le Van last month when he sat-in with my trio in Huntington Beach, California. The first thing I noticed was his rich harmonic creativity. That evening, he inputted chords and inversions into the standard composition,m “Lover Man,” that I was not used to hearing. Consequently, I was curious to listen to his new CD, featuring all of his own creative compositions. His recording did not disappoint me. Beginning with “Do You Know What I mean,” once again I was captivated by his sense of harmony. This composition crossed genre’s, touching on Smooth Jazz one moment and Straight Ahead the next, with overtones of Latin jazz. David Enos is featured on a bass solo that is inspired. The title tune, “A Different Shade of Blue” is a lovely ballad with a poignant melody. Perhaps Michael explained this song best in his liner notes.

“The creative process is difficult to describe; inspiration comes to me in various ways. sometimes I associate colors with a particular harmony or musical idea. “A Different Shade of Blue” is an example of this, where the harmonic contour brought to mind a distinct shade of luminous blue. But for the most part, the act of composing is a fascinating struggle. I battle over which chord is most perfect and beautiful at the right place. … I can spend sleepless nights before I’m satisfied.”

Speaking of satisfied, I especially enjoyed hearing John Ferraro cut loose on drums during their presentation of “Fantasia In G Minor”, a spirited, Straight Ahead composition that captured my complete attention. Le Van answered my unspoken question, “but can you play the blues?” with his composition, “Remember That”. It Swings hard and gives all three players a chance to rubber-band-stretch their talents during improvisational escapades. I think that listeners will find this piece of CD art totally satisfying. Le Van and his competent trio present a flowing ribbon of original music that is both expressive and classically based jazz. Add to that, the expert musicianship of Ferraro, Enos and the artist himself. You will enjoy a colorful array of hand-painted, musical notes that reflect the canvas of Le Van’s innovative and artistic mind.

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ENDEMIC ENSEMBLE – “TANGLED”
Opus Funkus Music

Steve Messick, double bass/band leader; Travis Ranney, tenor & soprano saxophones; Matso Limtiaco, baritone saxophone/bass clarinet; David Franklin, piano; Christian Krehbiel, drums.

Endemic Ensemble’s first tune dances into the room waltz-time, with the horn section harmonically delivering the melody. Travis Ranney leaps to the forefront with a smooth, yet aggressive sax solo, followed by Matso Limtiaco. Then the two horns play tag across the silver disc, trading fours and challenging each other creatively. Enter Steve Messick on his double bass, calming the moment with tonal security and his big bass sound. Messick is not only the bandleader and bassist, but he has composed this first tune titled, “Sugar Art” and sweet it is! The second cut was composed by pianist, David Franklin, and is the title tune, “Tangled.” We get an opportunity to hear the trio up close and personal. They are a tightly woven garment that supports the horns like Spanks.

“The Snort” makes good use of the baritone saxophone and staccato notes. Although it sounds nothing like “The Pink Panther” song, it reminds me of it because of the production. Once again, Messick is the songwriter.

Based in Washington State, this ensemble has a signature sound by prominently adding a baritone saxophone and with three of the six players contributing original compositions. They have a group cohesiveness and their original music is well-written and well-produced. The horn arrangements are excellent, although no credit for same is given in the liner notes. I do wish I had heard a few tunes that were more fiery and explosive. The moderate tempo throughout leaves this listener with a desire for something more. “The Tolovana Stomp” almost satisfies my yearning when Limtiaco steps it up, playing double time on his saxophone solo, along with Ranney on tenor sax. Perhaps, if the drums had been mixed to the surface a bit more, this would have fused the group’s music with more energy. Trap drummer, Christian Krehbiel, cuts loose and plays an ear catching solo on “The Tolovana Stomp” and I would have enjoyed hearing more of his drums in the mix throughout.

All in all, here is a wonderful recording full of creative compositions and musicians who work together like a well-oiled machine.
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ARTHUR LIPNER, BEST OF – “TWO HANDS, ONE HEART”
Malletworks Media

ACOUSTIC MUSICIANS: Arthur Lipner, vibraphone, marimba; Jack DeSalvo, classical guitar; Bob Rodriguez & Fred Hirsh, piano; Todd Urban & Harvis S., double bass; Jon Berger, percussion; Vic Juris, acoustic guitar; Nelson Faria & Manny Moreira, acoustic guitar; Nanny Assis, Ney Rosauro & Glen Velez, percussion; David Darling, cello; Joe Meo, flute; Mike LaValle, bass; Bruce Williamson, clarinet.

ELECTRIC MUSICIANS: Arthur Lipner, vibes/marimba/steel drums; Bruce Williamson, soprano sax/keys; Adriano Souza, piano; Glenn Alexander, Vic Juris, Bill Bickford & Jerome Harris, elec. Guitar; Paul Adamy, Tom Barney, David Fink, Mike LaValle, David Dunaway & Randy Landau, elec. Bass; Nick Bariluk, keys; Ze Luis Oliverira & Vanderlei Pereira, percussion; Tommy Igoe, Mauricio Zotarelli, Jim Mola, Warren Odze & Joel Rosenblatt, drums; Bob Mintzer, tenor sax; Gary Schreiner, harmonica; Nanny Assis, lead vocal/percussion; Wycliffe Gordon, trombone/vocals; Chip Gawle, trumpet; Vanessa Falabella & Kathy Caprino, background vocals; Joyce Stovall, vocals.

Adjectives this CD brings to mind are beautiful, stunning, easy-listening, innovatively excellent, and ear-candy. From the first tinkling notes of his vibraphone on “Crystal Mallet,” the listener is whisked into a space of imagination and jazzy comfort. “Rio”, the second cut, takes us on a Latin ride with guitarist Jack DeSalvo setting the mood. Lipner’s music makes me happy. This is a two CD set. The first CD is all acoustic jazz and the second focuses on his electronic side. Wycliff Gordon is featured on trombone & scat vocals, setting fire to a Jimmy Guiffre composition called, “Four Brothers.” The tracks Lipner show-cases are pulled from recordings that date back to 1990 through 2015. For the most part, they are original compositions. He explained in his liner notes:
“Every moment is of the present, uniquely singular. For me it’s always the same, whether my album, or a United Airlines commercial; put on the headphones, shutout all else. Hear magic. Paint with sound.”

And paint with sound he does, surrounded by a diverse group of contributing musicians, Lipner brings us a surprise package wrapped in artistic expression and tied with bow-ribbons of classical-rooted technique and anatomical musicianship. This generous and well-produced CD offers twenty-four songs and a few precious hours of non-stop, easy-listening entertainment.

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STEVE KHAN – “BACKLOG”
ToneCenter Records

Steve Khan, guitar; Ruben Rodriguez, baby bass & elec. Bass; Mark Walker, drums; Marc Quinones, timbal/bongo/percussion; Bobby Allende, conga/bongo; SPECIAL GUEST ARTISTS: Randy Brecker, trumpet; Bob Mintzer, tenor saxophone; Mike Mainieri, vibes; Rob Mounsey, keyboards; Tatiana Parra, voice.

The Khan arrangement of Thelonius Monk’s tune, “Criss Cross,” is surprisingly infused with Latin rhythms and quite creative. You’ll want to slip on your Bossa Nova shoes for this one and prepare to swivel those hips. Productions like cut #4, “Our Town” (a Sammy Cahn/Jimmy Van Heusen composition) lilts along at a moderate pace, pushed by sensitive percussions and enhanced by Rob Mounsey’s keyboard strings. It’s easy to visualize horseback riding along a peaceful lake, with this song as the back drop. I love a bolero!

Khan’s guitar is always in command and at the forefront of his ensemble. On the Bobby Hutcherson tune, “Head Start”, Khan adds vibraphone to the mix, featuring Mike Mainieri in their spirited production. Once again, it’s Walker on drums and Quinones and Allende on percussion who drive this music hard, like cattle ranchers.
According to the liner notes, this is Khan’s fifth studio album since returning to solo recordings after nearly a decade. “Backlog” is perhaps his most innovative reimagining of musical material, generously splashing this repertoire with Latin and Afro/Cuban overtones. Compositions by Ornette Coleman, Greg Osby and even an infectious song written by Stevie Wonder called “Go Home” are all steeped in Latino rhythms. On Stevie’s composition, right from the first couple of bars, Ruben Rodriguez drops the bass groove down like a whip; crisp and commanding. Then Khan’s guitar brings the blues front and center on this Motown icon’s work.

This body of work celebrates Khan’s extraordinary creativity and technical abilities on his axe. The artist introduces special guests on this creative project, like Bob Mintzer, who lavishly sprays tenor saxophone colors on Ornette Coleman’s tune, “Invisible”. Randy Brecker also makes a guest appearance on Ornette’s “Latin Genetics” composition. As I listen to the final piece, Andrew Hill’s “Catta,” this innovative guitarist adds harmonic voices, singing like horns to enhance his production. For a brief moment, Khan’s guitar style reminds me poignantly of Wes Montgomery on this particular production. All in all, here is a recording that brings pleasure, energy, Latin rhythms and the innovative spirit that jazz inspires. Perhaps Khan explains it best.

“Because my general sound is intended to be big and warm, an impression of a jazz guitar sound, people don’t realize how loud and tough we’re all playing. The music …is very physical and intense. We were hittin’ hard!”

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