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An Evening with Carol Bach-Y-Rita

October 17, 2018

By Dee Dee McNeil / Jazz Journalist

It was a windy October evening and I had just left the wedding and reception for my first-born grandson, Kendall McNeil. To top off an afternoon celebrating love, what better way than to go hear some jazz. There is a restaurant and club called VIVA! RANCHO CANTINA in Burbank, California, just fifteen minutes from Pasadena where the reception was held. Carol Bach-Y-Rita has been sending me press and information on her upcoming performance schedule for some time. This was my first opportunity to catch one of her shows. When I arrive, vocalist & host, Laura Pursell, is already on stage singing “There Will Never Be Another You.” I slid onto a barstool and looked around. The club is intimate with a tiny space at the front of a line of banquet-table-seating. Two couples are swing-dancing near the stage. There are a couple of tables with seating for four pressed against one wall. The cohesive band is a trio, featuring Dori Amarillo on guitar, John Leftwich on double bass and the legendary Frank Devito on drums. Ms. Purcell is petite with a big voice. Dressed in a skin-tight, black sheath, after her song she invited a gentleman named Patrick to the stage to join her. They did a duet, singing “Pennies From Heaven.” Patrick has a satin-smooth voice, reminiscent of Frank Sinatra. Afterwards, Laura Pursell left the stage, leaving her male counterpart in the spotlight. He sang “Witchcraft”, followed by the familiar standard, “More.” During this beautiful balled, John Leftwich bowed a lovely solo on his double bass.

Finally, Ms. Pursell introduced Carol Bach-Y-Rita. Carol told the attentive audience she was going to begin with a samba that told the story of dancing ducks. To my pleasure, Carol Bach-Y-Rita sings in various languages. I believe she was singing this song in Portuguese. Ms. Bach-Y-Rita’s voice is warm and sensuous. It dances atop Dori Amarillo’s superb guitar rhythms lightly and with great enthusiasm.

Next, she offered her captive audience a ‘swing’ arrangement of the popular standard, “That’s All.” Swing dancers took to the tiny dance floor and Carol Bach-Y-Rita swung hard with Frank Devito pumping out a solid, infectious rhythm on his drum set. For her third song, Bach-Y-Rita dismissed the drummer and guitarist, featuring only her mellifluous voice and the double bass. The song is “Traveling Light” and she made the challenging melody sound easy, entertaining us emotionally and holding down the melody in her own stylized way. She closes her set out with a Latin arrangement on “You Don’t Know What Love Is.” Carol scats a verse when she comes back in, after the band solos, and she and Frank Devito play tag on the end of the song, as she becomes very percussive with her voice against the strong backdrop of Devito’s drum chops. It was a short set, but packed with energy. Unfortunately for me, there was a very loud, drunk and obnoxious man sitting at the bar who was very inattentive to the music and extremely annoying. Other than that, it appeared that a fine time was had by all.
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October 7, 2018

By Dee Dee McNeil / Jazz Journalist

October 7, 2018

You may be surprised and perhaps as excited as I was to discover that a new, never before released album by Dexter Gordon’s Quartet has been released. He also has a soon-to-be released biography by his widow and former manager, Maxine Gordon. It will be available right before Christmas, published by University of California Press. Ralph Peterson Jr., and Donald Harrison were once staunch pillars in the Art Blakey ensemble. Peterson has put together a stellar big band with mostly Berklee Music School students that features, special guest, Donald Harrison. It’s called the Ralph Peterson Gennext Big Band. Arturo O’Farrill, a composer, pianist and educator encourages a multi-cultural, musical extravaganza at the Mexican border to protest division between people. Phil Schurger strives to find the connection between the higher self and the lower self with his compositions. Sergio Pereira puts his passion and Brazilian memories into a premier album full of spiritual joy and international talent. The lovely composer, Connie Han, is a new pianist on the scene who is passionate and exceptionally gifted. Christian McBride’s new CD is cordless, with the exception of his bass, then adding drums, trumpet and reeds. Finally,Grammy nominated trombonist,John Fedchock successfully moves from big band arranging to an intimate quartet production.


Dexter Gordon, tenor & soprano saxophones/composer; Al Haig, piano; Pierre Michelot, bass; Kenny Clarke, drums.

1977 was a transitional year for Dexter Gordon. He was in the process of moving back to the United States from Europe, where he would settle in New York City. He hadn’t been in the Big Apple since the 1940s. He was experiencing a master year of his life at the ripe and creative age of fifty-five years young. It was September 25th and Gordon was joined by Bebop pianist, Al Haig (who had worked with both Charlie Parker and Dizzy Gillespie), Don Byas and Milt Jackson, French bassist Pierre Michelot and dynamic drummer Kenny Clarke, to perform a Parisienne concert. Lucky for us, it was recorded. Elemental Music is the first to discover and release these never before heard recordings.

Opening with Gordon’s composition, “Sticky Wicket,” the party begins right away. It continues with “A La Modal, another Dexter Gordon composition. Al Haig has a light, but assertive touch on the grand piano. Kenny Clark is always prominent and pivotal on drums. Pierre Michelot, a famous French bassist who worked with Kenny Clarke back in 1949 when they were both in French recording sessions with Sidney Bechet, also played with Coleman Hawkins, Zoot Sims and James Moody. Michelot also worked with Miles Davis and Stan Getz. He was part of the Bud Powell trio that came to Paris in 1959, also with Kenny Clarke, and they worked together off and on until 1981. So, there is a cohesiveness to their playing that comes from bandstand familiarity. Dexter Gordon is stellar on soprano saxophone on this second cut. It’s the only tune where he plays soprano sax instead of his alto. I have always loved and admired Dexter Gordon and his unique style and sound. This entire production is such a rare and exciting find. It’s wonderful to enjoy the man and his horn once more. You’ll relish the quartet’s interpretation of the familiar standard, “Body and Soul,” and they race through the Sonny Rollins composition, “Oleo” at high speed. To close this album, they play “Round Midnight,” sans Gordon, and featuring only the trio.

His wife and former manager, Maxine Gordon, has just completed his official biography entitled, “Sophisticated Giant: The Life and Legacy of Dexter Gordon”. It will be released in November of this year, published by the University of California Press. I can just imagine myself curled up on the couch with his autobiography, putting on this magnificent, historic recording and listening to his unique and compelling tones while I read his life story.

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Ralph Peterson, drums/cornet/Conductor; Antoni Vaquer & Dabin Ryu, Piano; Youngchae Jeong, bass; Julian Pardo, Karol Zabka & Jas Kayser, drums; SAXOPHONES: Eric Nakanishi, lead alto; Devin Daniels,2nd alto; Tim Murphey, 1st tenor; Jake Hirsch, 2nd tenor; Gabe Nekrutman, baritone saxophone; Tomoki Sanders, tenor sax. TROMBONES: Elliot Alexander Brown, lead trombone; Brandon Lin, 2nd; Alan Hsiao, 3rd; Will Mallard, 4th. TRUMPETS: Jon Weidley, lead; Robert Vega Dowda, 2nd; Milena Casado Fauquet, 3rd; Will Mallard, 4th. Ryan Easter, rapper.

An exciting drum solo opens this CD featuring the talents of Ralph Peterson Jr. The tune is called “Uranus” and it’s a spirited number showcasing the dynamic Donald Harrison on saxophone as a special guest. Peterson is employing Art Blakey’s concept with the usage of a two-drummer format to propel his Gennext Big Band. As you may know, Donald Harrison is from the alumni of Art Blakey, as is conductor/ drummer, Ralph Peterson Jr. It was in 1983 that Peterson joined Art Blakey’s Jazz Messenger group as a second drummer. They worked together for several years. Now, like Blakey did, Ralph Peterson Jr., continues a jazz legacy of inspiring and mentoring youthful musicians. This ‘Gennext’ Big Band is made up of mostly Berklee College of Music musicians. They are some of the brightest and best examples of the next generation of jazz talent.

“Uranus” whirls and twirls around, like the planet itself, with arrangements that are on fire! It’s a great way to open this exquisitely well produced album of music. Donald Harrison brings not only straight-ahead saxophone bliss, but also his “Nouveau Jazz” style to this recording. His Nouveau jazz is described as embracing genres like Hip Hop, smooth jazz and R&B. That has got to inspire and encourage the younger generation of musicians who enjoy such a variety of styles and relish mixing the music up. On the sixth cut, “Egyptian Dune Dance” a rapper Ryan Easter is added, and the horn lines bounce around in a repeatable dance throughout. However, for the most part, this music is big band, straight-ahead jazz with a heavy swing groove. Youngchae Jeong is featured during a memorable bass solo on the “Little Man” tune. His tone and timing are first-rate. The tune, “For Paul,” proffers a stellar arrangement that supports an amazing execution by both Donald Harrison and Tomoki Sanders on saxophones. I also enjoyed Elliot Alexander Brown on lead trombone featured on “Ms. BC” playing at a maddening pace. From the spontaneous applause, the ‘live’ audience was thrilled by their performance as well.

The Wayne Shorter composition, “Free for All,” is also played at a sparkling speed that demands the listener’s attention, moving bright as a shooting star. The horn lines fly like startled birds, harmoniously punching the melody and laying the foundation for Donald Harrison’s alto saxophone solo. Jon Weidley on lead trumpet also establishes his formidable style. There is a stellar drum solo for the drummers to dynamically dance in the spotlight. Three drummers are listed on the CD jacket, along with conductor Peterson, of course. They are: Julian Pardo, Karol Zabka and Jas Kayser. Nothing was listed on the CD jacket, so I’m not sure which ones were featured on this tune, but whoever played was absolutely awesome! I was exhausted from just listening to this composition. The energy was contagious.

Ralph Peterson has composed one tune on this production and it is the title tune, “I Remember Bu.” This song is a lovely ballad, but for the most part you will be swinging to energetic big band recordings that celebrate the excitement only an orchestra can muster. This entire project is illuminating and entertaining. The diversity of song choices and the beautiful arrangements that these talented young people interpret make for a listening feast of delicious sounds. Donald Harrison is the hot sauce, but the meat of the matter and the center piece of this musical meal are the extraordinary talents of conductor/drummer, Ralph Peterson Jr. and the way he serves it up.
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Phil Schurger, guitar; Greg Ward, alto saxophone; Jeff Greene, bass; Clif Wallace, drums.

According to the liner notes, this CD’s title, “The Water’s Above” references a connection between the higher self and the lower self. This is one of the goals of the meditation process. The titles of the original compositions herein seem to explain the artist, Phil Schurger’s basic concept for this album.

“Scorpio” opens the CD. It is an astrological sign, the eighth of twelve zodiac references. Its element is water and it’s ruled by the mysterious planet Pluto. Scorpio signifies secrecy and loyalty. Those born under the sign of Scorpio can also be very controlling and charismatic. Phil Schurger’s composition spins around melodically, like a planet twisting in space. Greg Ward interprets the melody on his alto saxophone, while the composer strums his guitar in the background. The second tune, “Anikulapo” is taken from the Yorubic religion and means ‘one who carries death in his pouch.’ It generally refers to a man. This title resonated with Schurger because of his experience with death early in his life. He also is a fan of Nigerian artist, multi-instrumentalist and pioneer of the popular Afrobeat music, Fela Anikulapo Kuti, who died Aug 2, 1997. Kuti is legendary in Africa and worldwide as a superstar musician with great charisma.

“I had several brushes with death …As a result of this, I began to look at the concept of death as a driving force for living life with focus and intention, recognizing that time is our only currency in this physical world. These experiences defined my pursuit of both music and meditation. Music is an offering for the betterment of our collective community through an ongoing dialogue amongst generations of musicians and meditation is quite the same,” said Phil Schurger in his liner notes.

Schurger’s band is Chicago-based. They have a tight, cohesive sound, as though they have been working together for many seasons. All the compositions they interpret are composed by the artist. The Yorubic influence returns on the tune, “Yoruba” and is written by Schurger as a nod to some African-American music mentors like Milton Cardona, who introduced him to Cuban Santero music and how rhythms become a ritual language. It’s a nod to Michael Patterson, a person who studied Qabalah and West-African religions, along with a Panamanian Rabbi and that type of cultural music. Together, with Jeff Greene on bass and Clif Wallace on drums, Phil Schurger lays down a tight rhythm section that explores his concepts and compositions in a very modern jazz way. You will find this “Yoruba” composition showcasing freedom and exploration of Schurger’s chordal changes by his individual players. Greg Ward is molten on saxophone. Jeff Greene grandly walks his bass, while Clif Wallace takes a thunderous drum solo. Finally, Phil Schurger steps out front like a sunbeam, hot and determined. From that point forward, the music is avant-garde and modernistic. He closes this album with a tune called, “Nogah” that translates in Hebrew to ‘brightness’. It was also the name of a son of King David in the Old Testament. Schurger offers us a musical journey full of mystery, double entendre and world music improvisation.
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Sergio Pereira, acoustic guitar/electric guitar/vocals/percussion; Ales Cesarini, acoustic bass/vocals; Mauricio Zottarelli, drums/vocals; Baptiste Bailly, piano/vocals; Alexey Leon, soprano saxophone; Devin Malloy, rapper; Patricia Garcia, violin/viola; Sandra Villora Arenas, cello; Paula Santoro & Sergio Santos, vocals; David Gadea, percussion; Oriente Lopez, flutes; Viktorija Pilatovic, lead vocals; Voro Garcia, trumpet/flugelhorn/string arrangements; Marcus Teixeira, elec. Guitar; Ariel Ramirez, elec. Bass; Gabriel Grossi, harmonica; Helio Alves, piano; Perico Sambeat, alto saxophone.

Brazilian music is infectious and full of spirit, even when it’s slow or moderate tempo’d. Sergio Pereira, a guitarist and composer, has recorded ten original compositions that echo the music of his youth.

“I learned by growing up listening to samba rhythms and playing Brazilian percussion at a local school of samba,” shares the Rio de Janiero native, currently residing in New York City. “Since I was a kid, I have been always playing samba rhythm, making that ‘batucada’ rhythm with my hands and fingers at school, until my teachers would tell me to stop making that noise. I still do it all the time. It’s addictive.”

His musical ensemble is world-class featuring Cuban-born saxophonist, Alexey Leon; Spain’s alto sax great, Perico Sambeat; Cuban flautist and longtime New York resident, Oriente Lopez and Valencia, Spain-based trumpeter and arranger, Voro Garcia. Also, on board is Sao Paulo-based electric guitarist, Marcus Teixeira and French pianist, Baptiste Bailly. Ales Cesarini is from Valencia, Spain and plays bass. Ariel Ramierez is from Cuba and also adds his bass talents. Gabriel Grossi brings his Brazilian harmonica talents to the studio, along with Brazilian-born pianist, Helio Alves and drummer Mauricio Zottarelli. Vocalists Paula Santoro, Sergio Santos and Viktorija Pilatovic add vocals. Paula Santoro’s lead vocal sounds beautiful on “Arpoador,” a lilting Brazilian ballad. This composition was inspired by a beach of that name on the South side of Rio. Pereira recalls spending a lot of his teenaged years at that beach. This song summarizes memories of young love, teen friends and broken hearts. It was a time right before he moved to New York and the United States. Sergio Pereira has even added a ‘rapper’ on the opening tune by the name of Devin Malloy.

“I started work on this song last summer while vacationing down in the south of Puglia, Italy. Changing environment and location often provides me with great vibes for inspiration. It’s a happy samba groove with a magical soprano sax solo from Alexey Leon. Devin’s rap (on “Down South”) is basically describing the experience of failure in pursuit of your dreams and talks about how life will continue to evolve and will pick you back up after you’ve fallen.”

For sure, Sergio Pereira’s music will pick you up. It will invigorate you, or soothe you; make you want to dance or lay back peacefully and stare at the ocean waves or perhaps at the East River. Pereira has written a song inspired by his view from his Upper East Side neighborhood in Manhattan.

“I frequently jog on the East Side by the East River and many times, after the jog, I just sit on a bench next to the 59th St. Bridge over-looking Roosevelt Island and Long Island City,” he explains about his composition titled, “East River.”

The title tune, “Nu Brasil” showcases Lithuanian-born singer, Pilatovic. It’s a happy, up-tempo number that showcases Sergio Pereira’s guitar talents in support of the vocalist during this spirited samba. Pianist, Baptiste Bailly, offers a joyful solo and trumpeter, Voro Garcia swings the samba into a jazzy Latin combination, then challenges the vocalist as he exchanges scats with Viktorija Pilatovic at the song’s faded ending. Every composition on this recording is impressive and beautifully written. The music is full of Pereira’s life-journey and the eighteen musicians who join him do justice to his arrangements and creative compositions. As his premier recording for the Zoho label, this production is fueled by passion and sure to please.
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CONNIE HAN – “CRIME ZONE” Mack Ave Records

Connie Han, piano/Fender Rhodes; Edwin Livingston, bass; Bill Wysaske, drums; Walter Smith III, tenor saxophone; Brian Swartz, trumpet.

On the first tune, Brian Swartz takes the lead on trumpet. He plays his instrument with strength and impetus. This ensemble of five comes out swinging hard. The challenge here is discovering the main artist, whose name is plastered on the CD cover. Who is Connie Han? The horns are so forceful, at first, I thought she must be a horn player. Then I heard the electric pianist enter the scene, the curtains parted and I knew she was centered in the spotlight. That’s when I picked up the CD jacket and read the credits. I learned that Han has composition skills, obvious on the first tune titled, “Another Kind of Night,” a song she co-wrote with drummer, Bill Wysaske. They have collaborated on every original composition. “Crime Zone” is the second cut on this album and the title tune. Once again, their arrangement features strong horn lines that establish the melody and punch harmonic lines that are spirited and spew the room with energy. Walter Smith III steps out of the horn lines to offer a memorable solo on Tenor Saxophone. We hear Han lead the rhythm section with lush chords on grand piano in support of Smith’s solo. Then it’s her turn to step out and she does so, moving from acoustic piano to Fender Rhodes, creating a different musical climate. You may recognize traces of the Freddie Hubbard tune, “One of Another Kind,“ at the top of this tune and used as a sort of theme throughout.

Han’s music has a post-bebop feel to it with sudden breaks and bars of silence that shatter the continuity for seconds, before her band pops back in and continues to drive hard. Her influences include Kenny Kirkland and McCoy Tyner; Herbie Hancock and Chick Corea. At the age of twenty-two, Connie Han brings something fresh for her peers to pay attention to, with one-foot quicksand-deep in jazz history and another high-heeled boot stepping swiftly into the future. On “Southern Rebellion,” another original by Han & Wysaske, you hear more of Connie Han’s style and attack on her instrument. This song flies at an incredible pace and she finally leads the band with stellar tenacity and unbridled power that I didn’t hear in the other songs. I am spellbound by her speed and agility on the 88-keys. Bill Wysaske takes a drum solo and then the tempo changes, like Hawaiian weather, where it sun shines on one side of the street and rains on the other. Han plays a rubato piano piece that’s beautiful and startling all at the same time. Then, before you can blink, the tempo is racing again and she and Wysaske’s drums make a formidable jazz duo. “Gruvy” (another original) also showcases the trio only, no horns. Edwin Livingston, on bass, takes an opportunity to show off his solid mastery of the double bass instrument. I’ve worked with Edwin in the past and he has always been one of my favorite bassists because of his creativity and inspired playing on both electric and acoustic bass. The tune, “Gruvy” has a repeatable melody that has you humming along before you know it. Jon Henderson’s tune, “A Shade of Jade” cements the realization that Connie Han is an exceptional pianist with a style and a presentation all her own. Her left hand slaps the chords, keeping the time and never wavering, while her right-hand solos like a restless river, flowing over the treble register as fluid as water. This is a solo piano presentation that shatters any preconceived ideas about her ability on her instrument. Connie Han’s youthful talent is a serious force on both piano and electric keyboards. She explained her creative ideas on this solo piano arrangement:

“The concept for the entire arrangement, which was recorded on his ‘Mode for Joe’ album, is actually based on just four bars of Joe Chambers’ polyrhythmic comping on the head of the original recording.”

And polyrhythmic she is! This is one of those recordings that just seems to get better and better as it progresses. Here is a young, blossoming pianist who doesn’t just play expertly, but she has a passion brightly burning in her presentations. As she flowers, her obvious talent is glowing successfully, like a sunrise peeking through a cloudy morning.
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Christian McBride, bass; Nasheet Waits, drums; Marcus Strickland, tenor saxophone/bass clarinet; Josh Evans, trumpet.

A cartoon characterization on the cover of this new production by Christian McBride draws you in like a comic book. While listening, you realize, this is no joke; no laughing matter. This is a serious! McBride’s exploratory production is presenting us with a rhythm section of bass and drums, topped with the improvisational punch of trumpet, saxophone and bass clarinet. This is a new horizon for McBride and he uses this platform to explore the outer-limits of his D’Addario bass and his unique creativity. On the drummer-penned number titled, “Ke-Kelli Sketch” McBride and Waits, on drums, solo and explore textures, time and melodies to open the composition before the trumpet and reedman join them. The music is captivating and full of spirit.

McBride explains: “I was looking for a new challenge. I don’t get the chance too often to play in a cordless group. Every major group I’ve been a part of for the last ten years, whether it’s been with Pat Metheny or Chick Corea or my own projects, there’s been nothing but chords. So, I wanted to see what happens if I just pull the chords out altogether.”

This project spans styles like blues, swing, abstract modern jazz and Avant-garde with a number of original compositions that sometimes tickle memories of the iconic Charles Mingus, like “Ke-Kelli Sketch.”. At other times, McBride conjures up memories of the steady, solid bass of Ray Brown. McBride and trumpeter, Josh Evans, draw me into “Ballad of Ernie Washington,” a beautiful, bluesy ballad, written by trumpeter Josh Evans in tribute to Thelonious Monk. Monk used this name as a pseudonym on his cabaret card in order to work when his card was revoked. The tone of Evan’s trumpet is silky and beautiful.

The title of this compact disc, “New Jawn” is based on a depiction of a slang used mostly in Philadelphia, PA. Jawn is described as an object, place or thing; sometimes referring to a woman or girl. This work is definitely a new thing for Christian McBride.

As one of America’s virtuoso bassists and arrangers, Christian McBride has become one of the most recorded bass players of his generation, appearing on more than 300 recordings and is proudly, a six-time Grammy award winner. He continues to nest and encourage fledgling, young talented musicians, the same way that Betty Carter or Miles Davis or Art Blakey did. The ultimate goal is to not only give platform to these young voices of jazz, but to strengthen them and encourage their development. Sometimes, those very musicians grow to a point where they leave the nest and fly off on their own. Examples of this are Christian McBride’s former trio with Christian Sands, a gifted pianist who I just reviewed. McBride had a trio featuring Sands and drummer Ulysses Owens Jr. Both have gone on to explore their own dreams and formed their own groups. Trumpeter, composer, Josh Evans is a force to watch, as is the extremely talented, Marcus Strickland. Nasheet Waits is certainly the Velcro that attaches securely to Christian McBride’s amazing bass playing. They hold this project in perfect place. No need for piano, guitar, organ or any other strings in the rhythm section. McBride and Waits are enough.

With this recording, each of these musical participants are composers and lend their compositions and talents to making this a rich and celebratory trip to support the concept of “New Jawn”. McBride’s music is fresh, the arrangements are novel and innovative, the production is surprisingly different, but wonderfully creative and pleasant to the ear. Here is a contemporary approach to jazz that is open, like space and heaven itself, and glistening with stars.
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Resilience Music Alliance

Here is a double CD rich with culture and inspired by Arturo O’Farrill, a pianist, composer, bandleader, and educator, as well as a respected musical activist. With all the social media and newscasters blasting the public with stories about Trumps threatened wall between our country and Mexico, he was sadly reminded of the things, both solid and ethereal, that divide humanity. The idea that a difference of color, people or cultures could be used as a political weapon is an atrocious reality. O’Farrill wanted to be a voice speaking against unwanted and unnecessary borders and lines of division. Thus, was born this ambitious work that showcases a plethora of talent and cultures coming together in perfect harmony to create a beautiful and loving project. As the brainchild of Arturo O’Farrill and his producer, Kabir Sehgal, their concept is to tear down the walls that separate us, using music as a bulldozer.

Jorge Francisco Castillo, who is a retired librarian, has been organizing the Fandango Fronterizo Festival for a decade. This event is annual and features son jarocho music, performed by musicians on both sides of the border wall between Tijuana, Mexico and San Diego, California. Over the years, it’s been a sort of celebratory jam session. Once O’Farrill read about this in the New York Times, he decided he wanted to participate.

“I … spoke to everyone I could about my hope to join the Fandango Fronterizo and record at the border, bringing special guests and making it a true collaboration,” Arturo O’Farrill explains.

Consequently, this project brings together a beautiful bunch of sixty musicians and voices, gathered like colorful flowers, to create a sweet bouquet of cultural traditions that disintegrate walls of division. You will hear Latin flavors throughout that merge with jazz icons like violinist, Regina Carter, cellist, Akua Dixon, and rapper/singer, Ana Tijoux, who is outstanding on her composition, “Somos Sur.” She raps in Spanish and you can feel the urgency and excitement in her message, even though I could not understand her Spanish words. You will listen to son jarocho greats like Patricio Hidalgo, Ramon Gutierrez Hernandez and TachoUtréra. Ramon Gutierrez Hernandez is featured on “Cupido,” one of many Public Domain songs included in this production. Also featured is Iraqi-American oud master Rahim AlHaj and his trio, and Iranian sitar virtuoso, Sahba Motallebi, adds a striking solo on “Tabla Rasa”, a composition by Arturo O’Farrill. Mandy Gonzalez’s gorgeous vocals on “Amor Sin Fronteras” are enhanced by the strikingly lovely violin strains of Regina Carter. O’Farrill has graciously shared his stage and recording platform with a multitude of talent. So many I cannot mention them all. This is an extravagant musical collage, both entertaining and historic. If you love the Mexican heritage and the influence their music has had on America and the world of jazz, you will find this recording truly rewarding.
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John Fedchock, trombone; John Toomey, piano; Jimmy Masters, bass; Dave Ratajczak & Billy Williams, drums.

The trombone is said to be the closest instrumental emulation of the voice. I am always intrigued by the smooth, round sound of the trombone. John Fedchock brings the beauty of this instrument and the sincerity of his emotional connection onto his recording entitled, “Reminiscence”. The spattering of applause after his gusty and satin, smooth fluidity on trombone reinforces that this project was recorded ‘live’. There are no studio fixes here. It is all excellence and improvisational opportunity.

Fedchock opens with his original composition, “The Third Degree” and John Toomey, on piano, plays a swinging solo before passing the baton back to Fedchock. The leader is off and running, making an up-tempo beeline for the goal post. Four minutes in, they trade fours with the drummer, Dave Ratajczak, who spontaneously soaks up the spotlight. Throughout, I find the melody of this first tune sings in your head like a jazz standard. It’s a very catchy melody that pleasantly hums along, as does the next composition by Fedchock, “Loose Change.” Obviously, he’s a fine composer. This tune is a moderate-tempo, bluesy affair. Bassist, Jimmy Masters takes an opportunity to introduce his thick, melodic bass sound to the audience and he also pumps the rhythm up throughout this production.

“What better place to try an untested song but on a live recording,” Fedchock shared about the tune “Loose Change”.

“As it turned out, our first reading of the tune is what appears on this CD. This was the perfect time to debut the piece.”

This recording is a comfortable mix of jazz standards and Fedchock original compositions. The up-tempo swing approach on “The End of a Love Affair,” eloquently showcases Fedchock’s royal chops on his trombone.

Here is a CD pleasant to listen to from beginning to end. Although John Fedchock is known more prominently for his big band sound and has released five recordings of his New York Big Band and received two GRAMMY nominations for “Best Instrumental Arranging,” this diversion to a smaller, more intimate jazz sound is lovely. It allows the listener to hear more of Fedchock in an intimate and comfortable way. You may want to pour a glass of some favorite libation, settle back and enjoy these stellar musicians. This album of music is a throwback tribute to small jazz clubs and the magic that great artists make before a small but packed audience, where we can watch and hear every nuance of jazz in the most friendly and informal of settings. Prop yourself up in your favorite easy chair and enjoy!
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September 28, 2018


By Dee Dee McNeil

September 28, 2018

The current QUINCY JONES Netflix documentary is informative and inspirational. Don’t miss this wonderful biography. His insight and history are important to pass on to our youth, as well as being entertaining for us. Q’s film honestly documents the music business and his life over the past eight decades. He’s lived it, loved it and made the best of his life and his music in the hardest of times and the best of times. His stories will uplift you. His diverse talent will astound you. His tenacious determination will inspire you to overcome all obstacles and keep your eye on the dream to make it come true. You will witness what an activist Jones has been all these years, while making his musical mark on the universe. Also, you will witness the price he paid for his dedication to music and appreciate his ability to cross genre lines and bring musical styles and eras together in a satin smooth, seamless way, as only Quincy Jones can do. A must see!

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Eli Degibri, tenor & soprano saxophones; Tom Oren, piano; Tamir Shmerling, bass; Eviatar Slivnik, drums.

Eli Degibri, a talented tenor and soprano saxophone master, has chosen to celebrate the late, great Hank Mobley with this tribute recording. For those of you with no recollection of Hank Mobley, let me tell you a little bit about this iconic reedman. Mobley was born in Eastman, Georgia, but his family soon moved to New Jersey where he was raised. The jazz journalist, Leonard Feather, once referred to Hank Mobley as the “middleweight champion of the tenor saxophone.” He swung hard and seriously on his saxophone and came up in the era of Bebop and hard-bop music. Perhaps not as aggressively fluid as Coltrane, he adopted (comparatively speaking) a somewhat reserved style on his instrument with heavy blues influence and he was also very melodically soulful, similar to Gene Ammons.

Eli Degibri says his goal has been to keep playing-old-in-a-new-way as his mantra. This project is a remake of the 1960 album, “Soul Station” on the Blue Note Record label featuring Hank Mobley, pianist Wynton Kelly, bassist Paul Chambers and drummer Art Blakey. What a line-up of stellar and historic jazz cats! On the first song, “Remember,” Degibri uses the composer, (Irving Berlin’s) original changes, when he records this song, rather than using the re-harmonization of Mobley’s arrangement. However, it’s Mobley re-harmonization that made this song so innovative and memorable, along with his light, staccato approach at the beginning of the song that encourages a hard swing groove.

Still, Degibri and his trio do a fine job or re-interpreting this song in their own inimitable way. Degibri has a rich, round sound on his instrument. I think Mobley would applaud the way he handles the reinvention of Berlin’s compositional changes. They hold true to the staccato groove at the top of the song and we get to properly meet Tom Oren, on piano, during his brief solo.

The second song, “This I Dig of You” is very familiar to my ears. I was a big Hank Mobley and Art Blakey fan as a teen. I remember this song that used to get so much airplay on the radio and also at jam sessions around the city of Detroit, Michigan, where I grew up. Degibri plays soprano saxophone, doubling with the piano in a unison way. It has a different sound than the Mobley production, but perhaps that’s what keeps it fresh and modern. Actually, he and Tom Oren are playing a transcription of Wynton Kelly’s original solo. I think it’s a nice touch and very creative. Tamir Shmering takes a fast-paced solo on bass that’s impressive. Eviatar Slivnik is given ample time to showcase his drum skills while trading-fours. The group has worked three years on this project and their determination and musicianship sparkle in the excellence of this production.

Their closing tune shows you how deeply Eli Degibri digs into the blues. Degibri has composed this tribute song to Hank Mobley and I believe it captures the essence of the man and his music. It’s a fitting and dynamic way to end this very well-played tribute to Hank Mobley, one of our jazz icons, by a group of very excellent and competent musicians.

Eli Degibri explained: “When I came to New York, I didn’t write. My goal and dream was to be able to play and to speak the language, and the only way to that was by playing with great musicians and playing standards. All my guys knew all this music, because in Israel, “Soul Station” is taught in school. The kids in Israel know their tradition. They don’t feel it’s not cool to play 4/4 rhythm changes or to play the blues. … Why is it acceptable to remake a classic Hollywood movie but such a faux pas to remake a classic jazz record?”
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Fred Farell, voice/lyricist; Richie Beirach, piano/ composer; Dave Liebman, soprano and Tenor saxophones/wooden recorder/composer.

If you enjoy the smooth vocals and music of Tony Bennett and Frank Sinatra, this album of original music, composed by Fred Farell, brings the heyday of jazz vocals from the sixties and seventies to the forefront. Farell recalls:

“My journey in jazz followed military service in 1970, and in discovering a jazz club in Lakewood, New Jersey, owned by Richard Stein named “Richard’s Lounge.” My first singing engagement there was in 1971, on which bop pianist Barry Harris played the final evening. After listening to his masterful interpretations of that night’s music, via tape, I desired to alter my pop oriented vocal style and expression.”

Following that date, Fred Farell began sitting-in at that club and that’s where he first heard and met pianist, composer Richie Beirach. At some point, Stein asked the fledgling vocalist (Fred Farell) if he would consider studying with Richie in New York. That began a long and fruitful relationship between the two musicians. Fred Farell developed his vocal style and, on this recording, he has written all the lyrics to music composed by both Dave Liebman and Richie Beitrach. Farell’s lyrics are, for the most part, prose rather than poems that rhyme. The first song is beautifully romantic with a melody both challenging and lovely. It’s composed by Richie Beirach. Dave Liebman adds his saxophone highlights to further enhance this song. Beirach improvises in a minor mode, playing around the melody and shining the spotlight on his piano prowess. There is one small stumbling block in this recorded effort. There is only one hit jazz song that I know, that has lyrics of entirely prose, and it’s a standard jazz song played over and over again called, “Moonlight in Vermont.” That song has no rhyme. As a songwriter, I would say that writing a complete production of prose lyrics is somewhat risky, although creative. For the most part, as a lyricist you are hoping that others will hear your work and want to sing it and/or record it. Listening to this project, it resembles a songwriter’s demo that showcases original music. The duo of accompanying musicians, (piano and saxophone), take it one step further and their instrumental work is so lovely to listen to, so entertaining, that the project rises to an artistic status. Farell’s voice is smooth and silky. This trio gives their recording a feel of experimentation and the openness of prose poetry helps to solidify the artiness captured on this CD. Richie Beirach’s piano playing is hypnotic. Liebman’s saxophone flutters like a restless, beautiful bird. Sadly, I could not remember any of the lyrics from these songs.

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Christian Sands, piano/Fender Rhodes/keyboard/ B3Organ /composer; Yasushi Nakamura, bass; Jerome Jennings, drums, Caio Afiune, guitar; Marcus Strickland, saxophone; Keyon Harrold, trumpet, Roberto Quintero & Cristian Rivera, percussion.

As soon as I heard the first strains of jazz peeling from this compact disc I thought, who is that piano player? I hadn’t read the credits and had no idea who Christian Sands was, but I recognized at once that the pianist on this recording was amazingly excellent. That’s how I met Christian Sands! This music is so full of light and joy; excitement and creativity I stopped everything I was doing to listen. I soon discovered that Christian Sands is not only the dynamic pianist, but he has composed most of the music and is co-producer of this project, along with Al Pryor. His style is as diverse as his compositions. He moves from Modern Jazz, to blues in the blink of an eye. His two-handed boxing of the bass and treble clefs, simultaneously, is a wonder to behold and his impeccable timing challenges the rhythm section and locks in with Yasushi Nakamura on bass and Jerome Jennings on drums like paper and super glue. His first composition is titled, “Rebel Music” and that certainly perpetuates the mood and essence of this entire production. The second cut, “Flight for Freedom” establishes a sense of global awareness, a nod to the importance of civil and human rights, and a signal that he is a politically concerned world citizen. I salute and appreciate that, because I think all music and art represents and reflects the days of our lives; the history and relevancy of our neighborhood, our country and our planet. Christian Sands is making an unequivocal statement with his music and its as stark as a wooden ruler slapped across a student’s desk to gain the attention. His music is striking. Saxophonist Marcus Strickland adds his spontaneous gusto to this song, spreading wings and taking flight. He is joined by trumpeter, Keyon Harrold as they punch harmonic horn lines. In the Beatles pop tune, “Yesterday” Sands brings a taste of Erroll Garner to the piano intro, marching the song across space, then rolling out the red carpet for bassist, Yasushi Nakamura to strut his solo inspiration and improvisation. It’s a unique and engaging arrangement. As the ensemble progresses, the energy and spontaneity rise like steam from a boiling pot. Sands becomes more and more modern-jazz-aggressive.

He takes us to church on his gospel-flavored composition, “Sunday Mornings,” adding a Jamaican Reggae rhythm for good measure. Sands covers all bases, showing his talents on both electric instruments, B3 organ and acoustic piano presentations. This is an album breathing fire and creativity, like its ‘dragon’ title.
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Cecile McLorin Salvant, vocals; Sullivan Fortner, piano/organ.

Her voice is clear, lovely, sensitive and how wonderful to hear Cecile McLorin Salvant deliver an emotional rendition of the Stevie Wonder song, “Visions.” This is a striking recording of only two people, the vocalist and her pianist (sometimes organist), where both musicians lay their soulful talents bare and unprotected on the altar of public opinion. There are no drums, no bass, no strings or horns to clutter or color the production. Never mind! Sullivan Fortner is quite proficient and extremely creative. You hear his unique and unusual arrangements on familiar tunes like, “By Myself”. Some of the chord structures and changes beneath Salvant’s strong soprano vocals are surprisingly creative; sometimes dissonant. Nothing shakes Cecile McLorin Salvant’s polished tones and succinct pitch. She is a formidable artist with strong style and character to her voice. Sullivan Fortner matches her tenacious attitude and talent with his provocative solo piano and inspired organ playing. Together, they are quite the incredible duo. Sullivan sometimes drifts into stride piano and other times roams the outer limits of improvisational dexterity from modern jazz to Count Basie 1940 simplicity. His timing is impeccable. He’s as dramatic as the chanteuse. Listen to them on “Ever Since the One I Love’s Been Gone”, a buddy Johnson tune. The drama is pulpable. This is an artistic and creative experience for the ears. Cecile McLorin Salvant is also a composer and her song “A Clef” is sung in French. For a moment, I am reminded of the stellar recordings and life of Josephine Baker. Seventeen diverse and exceptionally expressed songs are recorded for your listening pleasure, many performed before a ‘Live’ audience.
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Anthony Fung, drums/composer; Erin Bentlage, vocals; Edmar Colon, tenor & soprano saxophones; Josh Johnson, alto saxophone; Alex Hahn, soprano sax; Jon Hatamiya, trombone; Isaac Wilson, piano/synthesizer; Mats Sandahl, bass; Simon Moullier, vibraphonee; Oscarin Cruz, Oscar Cruz & Manolo Mairena, percussion; Yu-Ting We, Niall Ferguson, Lauren Baba, & Jonathan Tang, strings.

There is a sense of space and imagination wrapped in the music of Anthony Fung. It’s modern jazz dipped in Avant Garde arrangements. All the music on this recording is composed by Anthony Fung and he has also written the lyrics. Cut #2 “Ilekun” is rather mysterious, like the title itself. It is the music you would hear behind the scene of a movie where someone is creeping up the dark stairwell intent on doing something ominous to some unsuspecting soul. Fung uses horns, vibraphone, synthesizers, percussion and a string quartet to achieve the unusual affects and moods that his music conjures up. He is a warlock, making his magic musical and casting a spell over his listeners. He has honed his talents under the tutelage of folks like Wayne Shorter, Herbie Hancock, Chris Potter and Billy Childs while attending the Thelonious Monk institute of Jazz. The fourth tune, “Guanaban” is very joyful with a Latin touch and striking horn lines. The addition of Simon Moullier on vibraphone is lovely. This song gives Fung an opportunity to solo and show his drum prowess. “Forever” is a very beautiful song that utilize the string ensemble to set the tone and mood. I was eager to hear Anthony Fung’s lyrical talents.

Erin Bentlage has a haunting beauty to her vocals as she interprets the challenging melody that Fung has written. These lyrics are prose that unfold a story of love proclaimed forever. Here is a young, talented drummer and composer, winding his way up the jazzy stairway to the stars.
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Devin Gray, drums/composition; Chris Speed, tenor saxophone/clarinet; Kris Davis, piano; Chris Tordini, bass. Ellery Eskelin, tenor saxophonist; Michael Formanek, bass; Dave Ballou, trumpet.

Devin Gray is a composer and drummer based in Brooklyn, New York. He made his debut album in 2012 on Skirl Records.

This is the reconvening of his all-star group for their second release. If you are an Ornette Coleman fan, you will find this Avant-Garde approach to jazz, freedom and creativity full of innovative improvisation and lush with spacey melodies. Gray is melodic, sometimes repetitious, but never boring. He embraces an open genre concept, giving his musicians vast amounts of room to roam freely and with musical spirituality. Gray explains:

“I don’t set out to make jazz records, per se. I set out to make music, period – to capture the moment, the contemporary feel of the music, hoping that it can reflect in some small way how we live now and what we all have to deal with as human beings in the world.”

With that explanation by the artist himself, I will leave the review and essence of his music to your talented ears. Take a listen to his recent submittal to the 7 Virtual Jazz Club Contest.

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Mark Winkler, vocals; Cheryl Bentyne, vocals; Rich Eames, pianist/arranger; Gabe Davis, bass; Dave Tull, drums; Grant Geissman &Pat Kelley, guitar; Bob Sheppard, saxophone; Kevin Winard, percussion; Stephanie Fife, cello. Talley Sherwood & Mark Winkler, producers.

One thing I am sure of, each time I see the name Mark Winkler printed on a CD, I know I am going to hear some exceptional music tracks and listen to some good songs. Winkler always contracts some of the notably best and in-demand musicians on the West Coast. Cheryl Bentyne and Mark Winkler have been performing together since 2010, with much success. The “Devil May Care” tune opens this recently released CD. The song is energetic and rich with Afro-Cuban rhythms, and radiates the trust, joy and pure fun these two artists enjoy when performing with each other. Mark Winkler likes telling stories with his musical choices. “Rhode Island is Famous for You,” is just a such a composition. Winkler’s vocals are Broadway at its best. He’s theatrical, believable and his voice floats above the strong swing ensemble like Fred Astaire dancing across the stage. One of my favorite songs by composer, Mark Winkler, “Like Jazz” comes next. It was first introduced to me by vocalist Cheryl Barnes on her “Listen to This” album. Bob Sheppard gives a boisterous, double-time solo on saxophone that settles into a rich blues. The melody and lyrics are catchy and repeatable. Bentyne’s tinkling soprano compliments Winkler’s emotional baritone. The duo is fun and the Rich Eames arrangements swing hard and true throughout.

“Bumpin” is a tune I recall from the Wes Montgomery “Tequila” album. Now, it appears, the song has lyrics, thanks to Winkler’s lyrical talent. Guitarist Grant Geissman is featured. “Eastern Standard Time” presents songs with an East Coast lineage, most of them being tunes you might have heard in the late 1950s or early 1960s. The duo’s previous release was titled “West Coast Cool” that featured songs popular during the West Coast ‘cool’ period. That release rose to #16 on the Jazzweek Chart. Hopefully, this project will also zoom up the jazz charts and be received with the same enthusiasm.
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Autumn Jazz Releases Spotlight the Odd, the Unusual & the Beautiful

September 17, 2018

By Jazz Journalist/Dee Dee McNeil
September 15, 2018


Alain Mallet, piano/keyboards/electronics/lead vocals; Peter Slavov, acoustic bass;Jamey Haddad,percussion,kanjira solo; Layth Sidiq,violin; Tali Rubinstein, recorders/lead vocal/vox; Song Yi Jeon,lead vocal;Veronica Morscher, trans-oceanic lead vocal; Samuel Batista,alto saxophone; Daniel Rotem,tenor saxophone; Abraham Rounds,drums; Jacob Matheus,acoustic guitar/elec.Guitar; Leandro Pellegrino, electric guitar; Negah,pandeiro/congas; Gonzalo Grau,xekere.

I was trying to figure out what the title of this CD meant. We know that the word ‘mutt’ is a mixed breed dog or animal. Slang is a type of language that consists of words and phrases that are regarded as informal and more common in speech than writing, typically restricted to a particular group of people. From the odd faces of weird, masked animals that stalk this CD cover, to the ethereal sounds of Alain Mallet’s compositions, this is an album rich with imagination and very cerebral. It is also, perhaps, tethered to mallet’s philosophical views on art and culture.

Born in the tiny French village of Andernos, baby Mallet had an affliction that paralyzed his left side. As a child, his parents enrolled him in piano lessons as a form of therapy. He recovered from the early paralysis, with a deep love for music. He hoped to one day be a great player like some of his heroes, namely Oscar Peterson and Erroll Garner. But you won’t hear any of that type of jazz on this project.

After twenty-five years as a working musician and composer,pianist/composer,Alain Mallet, has finally decided to produce and record his own unique musical perspective. This is a double CD package and the first CD is mixed as a high-quality, stereo recording. The second is engineered for surround-sound. The production is full of melody, horns, jungle sounds and electronic voices. Flute sounds fly like colorful tropical birds. Percussion beats like horse’s hooves and electronic keyboards and other electronic instrumentation puts this project into the realm of easy listening, world music. I would compare some of it to smooth jazz, but the typical R&B grooves you normally enjoy with smooth jazz are missing. This artist explains his odd title and his goal in composing and producing his music in this way.

“Mutt Slang came from the idea that so much of our music is the product of a unique mix of seemingly unconnected influences, when in reality, they emanate from that untethered spiritual expanse that we all tap into. It’s like an alternate consciousness which seems to supersede all other moral, racial, religious and political prejudices, as well as geographical boundaries. To be a musician means to unravel the mystery of a language spoken by only a handful, but seemingly understood by everyone. …. It’s a multi-cultural transcendence of sorts.”

In 1983, Alain Mallet left France and continued his study at the prestigious Berklee College of Music. After touring with a variety of artists for many years, Mallet took the job as a professor of the Ensemble and Piano Departments at Berklee, his alma mater. His CD ensemble is a blend of cultures including Veronica Morscher, who is an Austrian and she sings in Hebrew on the tune “Alone”. Negah is an amazing percussionist who immediately grabbed my attention. He hails from Sao Paulo, Brazil and there is a gifted vocalist/composer by the name of Song Yi Jeon who comes from South Korea.

Mallet’s composition “Salif,” finally picked up the tempo and features Alain Mallet on piano, offering us a solo that is very jazzy and fueled by his wonderful percussion players and Abraham Rounds on trap drums. It’s a mixture of modern and fusion jazz, but it is repetitious and over eight minutes long. For the most part, this production does not swing or explore straight-ahead or groove jazz. This is an experimental music project and much of it seems to set the scene for a National Geographic film. I see some of this music as being licensable behind commercial television ads or as part of a film score. Another example of this unique presentation is the song, “Adama,” where Layth Sidiq’s violin solo is remarkable. Then enters Tali Rubinstein who sings this song, (it’s her original composition) in a language I don’t recognize. There are other voices, some mimicking horns. For example, on the song “Spring” interpreted by Song Yi Jeon’s beautiful voice. This number might be the closest to a true jazz presentation with her spontaneous scatting. The rhythm section is smokin’ hot on this particular cut.

You get a taste of many creations and many cultures on this project. Allain Mallet closes with a very Euro-folksy, pop song that he sings, “Cradle.”. Maybe now, I understand what the title, ‘Mutt Slang,’ represents. Maybe.
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Judith Lorick,vocals; Eric Reed,piano; McClenty Hunter,drums; Kiyoshi Kitagawa, bass; Jeremy Pelt,trumpet.

Judith Lorick has a voice that’s warm and comforting. Her tone is rich and sincere. Opening with one of my favorite ballads, “Why Did I Choose You,” she captures my attention immediately. She has partnered with pianist/producer, Eric Reed, and he suggested she pick songs that told her life’s love story. Singers always perform admirably when they pick songs that reflect lyrics they have lived. This is an album of torch songs; ballads of pure passion and intricate lyrical stories that roll off this vocalist’s tongue like streams of warm, dark molasses.
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Miguel Zenon, alto saxophone; Clara Lyon & Maeve Feinberg, violins; Doyle Armbrust, viola; Russell Rolen, cello.

Miguel Zenon was born and raised in San Juan, Puerto Rico and has recorded and toured with a number of notable jazz musicians including Charlie Haden, Fred Hersch, Bobby Hutcherson, Kenny Werner and Steve Coleman. Zenon is a founding member of the SFJAZZ Collective.

This musical production is quite unique because there is no rhythm section. It features Miguel Zenon on Alto saxophone with a string section utilizing the popular Spektral Quartet. Every composition was composed by this artist and reed player. This is Zenon’s eleventh recording as a leader and his arrangements and original songs are meant to reflect Puerto Rican folklore. Beginning as a commissioned work by the David and Reva Logan Center for the Arts and the Hyde Park Jazz Festival, this album is now a collection of eight recorded works. The addition of the Spektral Quartet, an internationally renowned, Chicago-based string quartet, gives his production a chamber-feel. However,the unusual and beautiful compositions create a more contemporary and avant-garde product. Here is conceptualized music, rooted in classical flavors and Puerto Rican heritage. After researching the island’s music for over a decade, and making regular trips to his country to re-explore his cultural roots, Miguel Zenon has blended them with religious (mainly Catholic) nuances and island folklore. The strings pluck, slide and harmonize to explore two fundamental cadences found in Puerto Rican traditional music. They create a woven, musical basket where his horn can rest. Zenon is smooth and fluid on the saxophone and his melodies are exploratory and unusual with intervals that soar and grooves held tightly by the brilliance of the string ensemble. If you are seeking something both elegiac and inspirational; sweet and unique, this music will satisfy.
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Greg Diaz, arranger/composer/tenor saxophone/clarinet; Eero Turunen, keyboards; Christian Davis, guitar; James McCoy, electric & double bass; Matt Calderin, drums/percussion; REEDS: Ismael Vergara, alto saxophone/clarinet; Manny Echazabal, alto saxophone/clarinet; Scott Klarman, tenor saxophone; Mike Brignola, baritone saxophone. TRUMPETS: Jesus Mato, (lead), Doug Michels, Seth Merlin & Kevin Wilde. TROMBONES:Russell Freeland (lead), Jason Pyle, Tom Warfel, & Michael Nunez,bass trombone.

Here is an engaging production that features all the arrangements of Greg Diaz and many of his compositions. It’s a stellar mix of big band orchestration, exemplary solos by musicians of note and Louisiana soul. I always enjoy a big band or orchestra that salutes and tributes its outstanding instrumentalists. There are several amazing soloists on this recording. When Diaz named this the “Art of Imagination” he wasn’t kidding around. This piece of work is truly imaginative and innovative. On “The Navigator,” a Kevin Eubanks composition that opens this CD, the orchestra builds the tension and excitement to a high climax and then enters Christian Davis on guitar to perform a stunning solo. The orchestration behind him energetically accelerates and then the production tunes down to a trio sound featuring pianist Eero Turunen. When Diaz enters on tenor saxophone, he swings hard and is joined by the orchestra. I enjoy arrangements that allows space for soloists to excel. Meantime, the horn lines are harmonic, supportive and fun. They move in Charlie Parker-like fashion at points, with flying tempos and innovative lines, bringing a joyful sound to the music. The second cut is composed by Diaz and titled, “Circadia”. It’s a more moderate tempo’d number with a pretty melody and a smart arrangement. This project is simply delightful to the ears. On cut #3, Diaz takes us to New Orleans with harmonic male vocals that chant on the familiar song titled, “Brother John” and reminds us of Mardi Gras or the struttin’ funerals of Louisiana culture. During this song, we also discover that Greg Diaz is a wonderful vocalist, as well as a master musician on reeds, as well as an arranger/composer. This imaginative orchestra and its talented leader, Greg Diaz, presents a variety of genres and music, tapping into R&B with the same strength and dexterity as they play first-class jazz. I was star-struck when on the tune,” Frank Blank,” drummer Matt Calderin showcases mad talent and trumpeters Seth Merlin and Kevin Wilde also steal the spotlight. The title tune embraces the blues and is another Greg Diaz original composition. It’s a blues ballad with Matt Calderin kicking up the tempo with powerful licks by busy drum sticks.

Greg Diaz resides in Florida and is a Professor of Jazz Voice at Miami Dade Community College. He has used his reed-chops to enhance the music of such notables as Ben E. King, Phil Woods, Ira Sullivan, The Temptations, Tito Puente and many more. This is his debut orchestra album and it is certainly indicative of the excellence and imagination he brings for his musicians to interpret. I can’t wait to hear his next recording project. Meantime, I’ll just play this one again.
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EVAN SALVACION LEVINE – “MESTIZO” Shifting Paradigm Records

Evan Salvacion Levine, bass/composer; Matt Gold, guitar; Andrew Green, drums.

“Mestizo” is the title of a production featuring a guitar trio who interpret all of Evan Salvacion Levine’s compositions. In this recording, the liner notes establish Levine as celebrating his dual nationality; namely a Jewish father and a Filipino mother. The CD title is reflective of this intention. When we explore the word, “Mestizo,” it is defined as “someone of mixed race; a combination of mixed European and Native American descent.’

Evan Salvacion Levine explained: “…I really wanted to write some music addressing the complicated nature of identifying as ‘Mestizo’. …Today, that meaning extends to all of South America and a lot of Asia. …My father’s family comes from a mix of Ireland and Russia. My mom’s family comes from the Philippines.”

This reviewer found herself a bit disappointed when I listened to this unique work of art, because I heard very little Latin or Pilipino musical influences. Also, this artist does not use a lot of minor modes that you find in Jewish music. Instead, this production starts with a tune titled “Age II”. I’ll remind you that all compositions are written by Evan Salvacion Levine. This first song on the album is somewhat repetitious, establishing a groove and repeating it over and over again, more like pop songs, rhythm and blues productions or Hip-Hop loops. Levine is featured on his electric bass, dancing atop the strong but repetitious, rhythm chords of Matt Gold’s guitar. However, I hear no trace of Tagalog music which is fused with Hispanic rhythms or Ifugao music, Bandurria or Maranao Kulintang music. These are some of the folk music of the Philippines that warmly lend themselves to guitar and bass interpretations

On “Center of Gravity”, (the second song on this CD), the arrangement becomes more rock music than jazz and once again, the trio sticks to several repetitious melody lines that establish a groove for the trio to develop and improvise upon. The problem is, there are no exciting, improvisational solos. I was impressed with the strength and support of drummer, Andrew Green. He breaks loose on his drum kit during this arrangement with a driving solo. Green is always bursting with expression and dynamics throughout this production. The trio’s entire recording is quite electric and perhaps somewhat simplistic in arrangements and musicianship. I think minimalist would be a better description. The tunes are all mid-tempo. This, in itself, causes one to lose a certain amount of interest after the first four original songs. On the title tune, “Mestizo” they endeavor to pick up the tempo, with the thrust of Andrew Green driving beneath them like a hurricane. If the artist, Evan Salvacion Levine, is truly looking to merge his music with his cultural roots, perhaps he needs to look deeply into the music that reflects his father’s Russian and Irish roots and the artistic Philippine’s folk music from his mother’s side of the family. Then he can truly express the word, “Mestizo.”

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Richard Shulman, piano/composer; Jacob Rodriguez,tenor & soprano saxophones; Zack Page,bass; Rick Dilling,drums; Wendy Jones,vocals.

The Richard Shulman Group has an easy listening, smooth jazz-feel on this project. Their songs are melodic and all are composed by Shulman. His music is reminiscent of Pat Metheny productions, beginning with a seven-minute piece called, “Atmosphere.” Richard clearly develops his melodies first and even the improvisational solos stick very closely to that same melody.

“In Between the Blue and Green” is a good example of how the Richard Shulman Group blends smooth jazz and old-school, straight-ahead jazz. This third tune on his album perks me up, with Zack Page walking strong on bass and Shulman taking more chances on his improv solo. I hear him stretch out on this tune, tickling the piano keys with precision and groove. Enter Jacob Rodriguez on tenor saxophone, and he swings hard. This is probably one of my favorite tunes on this CD. Wendy Jones is the featured vocalist. She interprets the lyrics on a few of the Shulman compositions including “The Gifts You Gave to Me.” This was co-written by Brenda Lee Morrison. Jones has a pretty voice, but it is not jazzy in tone or style. This takes away from the authenticity of this project, rather than adding to it. Wendy Jones is a pop singer, and on this song, the whole premise of this album takes a turn into a new direction. Once the vocals recede, we drift back to smooth jazz on “For Mom,” a song that follows the Jones debacle. It’s a sweet, Latin arranged Bossa Nova, driven by Rick Dilling’s drum kit. Jones is back, adding her vocals on “Homage to Pharoah.” This time she doubles the Rodriguez horn line, with several spots where the unison with his saxophone just doesn’t match up. It’s always difficult to sing unison with an instrument and make the tones fall in perfect synchronization. Jones tends to slide to the notes and this can make for a musical challenge. “Buried Diamond” is a nice jazz waltz that was a refreshing change of pace. All in all, this is an album showcasing mostly moderate tempo tunes and with a laid-back character. The CD cover pictures two, tall drinks near a sandy beach scene. Exemplary of the CD cover, the music feels like sleepy time at the beach through most of it.
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ALEX CLOUGH – “NEAR, FAR, BEYOND” Independent Label

Alex Cough, piano/composer; John Tate, bass; Jay Sawyer, drums; Steve Kortyka, tenor saxophone; David Smith, trumpet/flugelhorn.

Pianist, Alex Clough, has composed every song on this project. This is his fledgling record release, after spending the last decade performing as a professional musician. Based in Brooklyn, New York, Alex studied both drums and piano as a youth. In high school, he was a member of the All City Concert Band and NJPAC’s prestigious “Jazz for Teens Program.” In college, he pursued a B.A. from Tufts University in Economics and International Relations. Later, he received an M.M. from SUNY Purchase in Jazz Studies. His piano and keyboard talents have led him to perform in most of the New York City Jazz hot spots, as well as Lincoln Center, Rockwood Musical Hall and he served as musical director for the Nightingale Jazz Band. Showing his diverse accompaniment qualities, he played with opera vocalist, Marie-Claire Giraud. He’s also played for dancers, namely the Mark Morris Dance Group, and as a sideman, Clough has honed his craft by diving into a variety of styles and cultures ranging from instrumental jazz to burlesque. He’s played Hip-Hop gigs and even Iranian punk rock. So, I wondered what this premier work of his original music would sound like.

Enlisting two horns, that join his very competent rhythm section, “Swirl” is the first song that circles off this compact disc. I am intrigued. Alex Clough is a strong composer with an even stronger jazz sensibility. Grounded by a one-note, punctuated bass line, he establishes the groove. His piano solo plays tag with the bass player, who is quite melodic in his own right. As the song progresses, the bass line dances to the changes as John Tate locks in the rhythm with drummer, Jay Sawyer. Alex Clough is one of those free style, fluid players who improvises with ease and comps behind the other soloists with precision. I get all of this from the very first song. David Smith is brilliant on trumpet and creates a strong platform for Steve Kortyka to come forward on his tenor sax, spread wings and fly.

Clough is straight-ahead and non-apologetic on this recording. Clough has a light, passionate touch on the piano, especially noticeable when he plays “Shore Road.” On this second cut, John Tate is extremely melodic during his bass solo. The third number titled, “Red Shades” is a funk jazz tune, reminiscent of the way the great Eddie Harris used to groove. Cut #4 features horn lines thick with harmony with the piano lines tastefully mirroring them. The bass and trumpet set the mood. This arrangement drops the other instruments out for a short while and it works to grab the attention and spotlight David Smith, who is quite a superb trumpet and flugelhorn player.

This entire album of music is beautifully produced and shows the wonderful composition skills of Alex Clough, as well as spotlighting his visceral excellence on piano.
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RHYTHM SECTION: Marion Powers,voice; Daniel Pinilla,guitar; Paul Lees,piano/keyboard; Raul Reyes,bass; John Sturino, drums/percussion/arranger; SAXOPHONES: Kyle Bellaire,(lead)alto/soprano sax/clarinet/flute; Sam Cousineau,alto saxophone/clarinet; Brandon Moore, tenor sax/clarinet/flute/ arranger; Will Nathman,tenor saxophone/clarinet; Brendon Wilkins,baritone sax/bass clarinet/flute. TRUMPETS: Nick Owsik,(lead),Adam Horne,Huang-Hsiang Chang, Kazunori Tanaka & Gregory Newman; TROMBONES:Brian Woodbury (lead),DJ Rice, Brett Lamel,Tommy Barttels & Kenny Davis, (bass trombones). Alan Baylock,Band Director.

Whenever I receive product from the North Texas Jazz program, I am always excited to listen and I already know that it’s going to be a quality work of musical art. This recording is no exception. It was in the late 1940s that this UNT music experiment began at the University of North Texas. This was the era of big bands, swing dancing and dance hall concerts. It was the time of the Count Basie and Duke Ellington orchestras or Artie Shaw and Buddy Rich big bands. Recognizing that one of the foundations of an exceptional big band is the musical arranger and the other is a tenacious drummer, meet John Sturino. He exhibits proficiency in both. They open their album with Victor Lewis’ tune, “Hey, It’s Me You’re Talking to” and their percussionist, John Sturino arranged it. This song sets the mood for the rest of their album. It’s exciting, well-arranged and well played. “The Rhythm of the Road” follows and features the band’s lead tenor player, Brandon Moore. Moore is a multi-instrumentalist/composer/reed-player and arranger who handles these interesting and challenging chord changes with ease. You will hear Billy Strayhorn’s beautiful song, “A Flower is a Lovesome Thing,” featuring the sweet, believable vocals of Marion Powers and “After the Rain” is a John Coltrane composition arranged by Moore. Another one of my favorites is their bluesy interpretation of “Blues for Kazu,” featuring Kazunori Tanaka on trumpet, also arranged by Brandon Moore. Bassist, Raul Reyes, also makes an outstanding statement on his solo.

Under the direction of Alan Baylock, the One O’clock Lab Band has already performed twenty-eight concerts in 2018. They’ve travelled to twelve cities, four states, and have featured eleven guest artists. Notable bassist/composer/recording artist, Mr. Christian McBride, said:

“The One O’clock Lab Band is one of the first bands I heard about when I was just learning about this music. Their stellar reputation has preceded them for many years. It was an absolute pleasure to work with this fantastic band, which continues its tradition of excellence.”

There’s not a bad cut on this album.
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September 6, 2018

By Jazz Journalist/ Dee Dee McNeil

September 6, 2018


John Coltrane, soprano & tenor saxophone/composer; Elvin Jones, drums; Jimmy Garrison, bass; McCoy Tyner, piano.

Recently, Impulse Records released a lost album featuring the historic art of John Coltrane, one of our greatest, jazz giants. I was quite excited to listen to it. This time each year, John Coltrane’s birth date of September 23, 1926 is celebrated. Consequently, it seems a perfect time to release this unexpected recording. It’s a precious gift to the world. The first cut on the album is an unnamed original. You hear the recording engineer ask Coltrane, “This is an original, right?”

John Coltrane responds affirmatively, “Yeah.”

Then the studio sound engineer announces, “11383 original” and the distinguishable brilliance of John Coltrane’s amazing horn enters like a prophet or a religious scholar taking to the podium. The dynamic and distinctive drums of Elvin Jones thrust the music ahead with fiery thunder and McCoy Tyner strokes the piano keys with authority and passion. When Jimmy Garrison steps forward, veering from his tenacious, walking bass into a breathtaking, bowed bass solo, it stills the music to a hush, but never loses intensity or drive. I am so taken by this un-named original composition that I play it three times before moving on.

It was March 6, 1963 and John Coltrane was thirty-seven years young and at the top of his game. That was a very busy week for the Coltrane quartet. They were playing a two-week stint at the famed Birdland club in New York City and Coltrane was scheduled to cut his legendary album with Johnny Hartman on March 7th. That Wednesday, John, McCoy, Elvin and Jimmy Garrison walked into the Van Gelder studio, in Englewood, New Jersey, bent on putting down some fresh tracks and recording new material that John had composed.

This was the first time he ever recorded the “Nature Boy” song. It begins with Elvin Jones and Jimmy Garrison locking down the groove with bass and drums. John Coltrane floats atop the afro-Cuban feel like a breath of fresh air off the river Nile. McCoy Tyner is conspicuously missing, laying-out on this entire tune. It does not diminish the energy or the production. In fact, it’s almost super charged without piano. The second untitled original, #11386, is the third cut. It’s eight minutes and forty-two seconds of straight-ahead bliss. McCoy is back in all his improvisational glory. The trio is titanium-strong, capturing the groove like the walls of a NASA space craft. Elvin Jones and Jimmy Garrison solo simultaneously, pushing the limits of their instruments and stretching their creativity over the chord changes of this Coltrane original composition.

John Coltrane’s historic recording features fourteen songs. One of the world’s true saxophone masters was experimenting during this session. The famed quartet took their time, sometimes playing these songs two or three different ways, and of course never playing them the same way twice. For example, at this session, John Coltrane recorded the familiar “Impressions” song four different times. Once, they even played it without any piano accompaniment. You will be blessed to hear all four takes on this double-set. John’s son, Ravi Coltrane, picked out seven cuts for one CD and the rest can be found on the second CD of this double-set release. Their music blows my mind! Takes me back to a different space and time and propels me ahead to an unknown future in the same musical breath.

This recording was discovered on a rough-mix tape that John Coltrane took home that 1963, Spring night, after his session. For fifty-five years, it sat patiently waiting to be discovered. Thankfully, the reference tape was in great shape, because the master tape was never found. In spite of that, the mix on this recording is delightfully clean and you can clearly hear the genius of each player.
Perhaps a recent statement by Sonny Rollins sums this discovery up the best. Upon hearing this beautiful piece of musical history, Rollins commented:

“This is like finding a new room in the Great Pyramid.”

I concur!
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Charles Pillow, arranger/alto & soprano saxophone/flute & alto flute; Colin Gordon, alto & soprano sax/flute; Luke Norris, tenor sax/clarinet; CJ Ziarniak, tenor sax; Karl Stabnau, bass clarinet; Michael Davis, Jack Courtright & Abe Nourl, trombone; Gabe Ramos, bass trombone; Tony Kadleck, lead trumpet; Charlie Carr, Clay Jenkins, & Tim Hagans, trumpet; Julian Garvue, elec. Piano; Chuck Bergeron, elec. Bass; Mike Fortia, acoustic bass; Jared Schonig, drums. SPECIAL GUEST: David Liebman, soprano saxophone.

This artist/arranger has chosen established jazz composers of iconic stature to interpret. He embraces the songs of Joe Zawinul, Wayne Shorter and Miles Davis as vehicles for his Charles Pillow Large Ensemble. This is the fiftieth anniversary of Miles Davis’ celebrated fusion jazz recording of “Bitches Brew.” Can you believe fifty years has passed? It was 1969 and Miles was experimenting with a new sound. The fusion generation was just beginning to take root. The old-school jazz cats were furious with this new wave of music. I remember many were disappointed in Miles for stepping outside the acceptable jazz mold of the fifties and early sixties. It’s nice to have David Liebman as a special guest on this recording, because Liebman recorded with miles on the original 1972 release of the “On the Corner” project. He is the soprano sax soloist featured on “Black Satin.” Clay Jenkins is the featured trumpeter and Michael Davis sings his song on Trombone. Jaren Schonig stands out on drums, driving the ensemble like a sixteen-wheeler at full throttle. There’s nothing silent about Schonig’s drums on “In A Silent Way.” I like the way Pillow arranged this song to move from a mellow, ballad into a strong funk tune. The horns play sweetly in the background, while Clay Jenkins soars on trumpet and Schonig stretches out on an impressive, percussive solo, while holding the double-time rhythm tightly in place during the entire production. This may be my favorite arrangement on this CD.

On the tune, “Directions”, written by Zawinul, Tim Hagans is featured on trumpet and it’s another red-hot arrangement. Luke Norris performs an admirable tenor solo. I enjoyed the strong bass line that pulsates and helps hold the rhythm section in place. Kudos to bassist, Chuck Bergeron. The Miles Davis composition, “Yesternow” is beautifully celebrated with Charles Pillow playing a sensuous and emotional alto flute on this arrangement. Dave Liebman is once again featured on soprano saxophone. The introduction snatches the listener’s attention with Pillow’s unusual arrangement using a short, half-bar horn ensemble to harmoniously punch a few startling chords. The bassist comes next, setting the time and groove solo. Now that my attention is peeked, the ballad unfolds in a lovely way. But the drums never let the tune get boring. They keep the funk solid and in-your-face, even on this slow tempo. It’s impressive to hear a large ensemble and a gifted arranger tackle fusion and modern jazz with a big band sensibility and still keep the funk alive and powerful.

Charles Pillow has synopsized an important era for jazz using his seventeen-piece band to execute arrangements from the best of fusion and recording eight tunes written by historic composers. Born and raised in Baton Rouge, Louisiana, Pillow attended Loyola University and received his Master’s Degree in Jazz Studies at the prestigious Eastman School of Music. After moving to New York City, he honed his musical skills playing with a number of well-respected artisans including Frank Sinatra, Luther Vandross, Paul Simon, Michael Brecker, Mariah Carey, Jay Z, Bruce Springsteen and David Sanborn to name only a few. Currently he is an Assistant Professor of Jazz Saxophone at the Eastman School of Music.
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OYTUN ERSAN – “FUSIOLICIOUS” Independent label

Qytun Eran, bass/composer; Dave Weckl, drums; Eric Marienthal, saxophone; Gary Husband & Gerry Etkins, keyboards; Dean Brown, Brett Garsed, Okan Ersan & Mike Miller, guitar; Gokay Goksen, trombone; Utku Akyol, trumpet; Karen Briggs, violin; Simge Akdogu & Aytunc Akdogu, vocals.

A big, bright sound dances off my CD player. “Oh, That Butterfly!” is an original composition by bassist, Oytun Ersan that is funky and fluid with drummer Dave Weckl flapping his sticks like butterfly wings and kicking this album into gear. This arrangement is exciting, plush with horn licks and capably mixing electronic jazz with a straight-ahead feeling. This is a delicious, modern jazz presentation bonded with a fusion feel. This song soars with crescendos and Ersan’s bass grounds the electronic rhythm, locking it down with drummer Dave Weckl. The second tune features an inspired rhythm section acting as the diving board for the horns. They splash onto the scene and punch like a boxer. All the solo musicians are innovative and inspired. Mike Miller, on guitar, explodes with creativity, as does Gary Husband on keyboards. The swift scat lines written for these instruments are formidably played and add zest and energy to the mix. Throughout, the bass playing of the artist, Oytun Ersan, keeps this project fueled with spectacular energy. The popular smooth jazz artist, Eric Marienthal, brings his saxophone excellence to the project.

The third cut titled, “Rise Up” features Karen Briggs on violin. She makes this tune memorable and touches my heart with her musical passion. This song begins as a ballad, but Oytun Ersan has a style burrowed in funk and groove. This, third of seven original compositions by Oytun Ersan, blooms like a brilliantly colored flower rising up from his earthy rhythm section. The final song, “Sacred Solace” ends this production like a prayer, incorporating the angelic voices of Simge Akdogu and Aytuc Akdogu.

Here is an album of music exceptionally produced by Ric Fierabracci that spotlights the talents of the artist, Oytun Ersan. Ersan is a Turkish Cypriot bassist, a composer and an educator who has played as a member of the International Nicosia Municipality Orchestra, the largest band in Northern Cyprus. He’s composed every song on this project. Appearing at festivals worldwide, Ersan has performed and/or recorded with such notable jazz artists as trombonist Wycliffe Gordon, Trumpeter Rex Richardson and Nigerian singer/songwriter, Ola Onabule. This is a recording of progressive, modern, fusion jazz at its best.
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Ayn Inserto, conductor/composer/arranger; Eric Hofbauer, guitar; Jason Yeager, piano; Sean Farias, bass; Austin McMahon, drums; Trumpets: Jeff Claassen, Bijon Watson, Dan Rosenthal, Jerry Sabatini & Matthew Small; Trombones: Randy Pingrey, Chris Gagne, Garo Saraydarian & Tim Lienhard. Bass Trombone: Jennifer Wharton & Jamie Kember. Reeds: Allan Chase, soprano & alto saxophone; Rick Stone, alto saxophone/flute/clarinet; Kelly Roberge, tenor saxophone/clarinet; Mark Zaleski, tenor saxophone/clarinet; Kathy Olson, baritone saxophone/bass clarinet; Mike Tomasiak, tenor saxophone. SPECIAL GUESTS: John Fedchock, trombone; George Garzone, tenor saxophone; Sean Jones, trumpet.

“Down A Rabbit Hole” (the title track) was commissioned by Amherst College Jazz Ensemble, 2011, as part of the Robin McBride ’59 Jazz Commission Series. Ayn Inserto offers us a fusion of modern jazz with classical excellence, Latin flavors and innovative arranging. Ayn Inserto’s flamboyant horn section produces tones that wave like red flags against space. “BJs tune” is a pretty composition written by trumpeter, Sean Jones, that features him on a lovely solo that exhibits the dexterity Jones has on his instrument. Ayn Inserto met Jones during his tenure as chair of the Berklee College of Music’s brass department. Jones is one of three special guest artists on this project. The other two are George Garzone on tenor saxophone and trombonist, John Fedchock. Garzone, who has mentored several generations of improvisers and is the celebrated subject of a new documentary “Let Be What Is” has appeared on every recording by Inserto’s orchestra. Although he’s not a member of the orchestra, Ayn Inserto says that he has played an essential role in shaping the group’s sound. John Fedchock hired Inserto years ago as a copyist and they struck up a close friendship. Look at her now! She is a proud and innovative arranger and orchestra conductor.

Born in Singapore, Inserto was fourteen when her family relocated to Northern California. She took piano lessons as a child and was active in the church choir. She played organ for a small modern band that performed as part of Catholic church services, but improvised during rehearsals. By the time she attended an East Bay, City of Concord High School, she was infatuated with Bill Evans, McCoy Tyner and studying classical piano. She played piano in various school jazz bands. Her college days included entering the respected jazz program at Los Medanos College and transferred to Cal State HayWard (now retitled Cal State East Bay). Her mentors were trombonist/arranger/bandleader Dave Eshelman, New England Conservatory professor, Allan Chase and private study with Bob Brookmeyer.

“I was writing from a piano player’s point of view and he (Brookmeyer) got me into more melodic writing, developing these long lines. After attending New England Conservatory, he really took me on as a mentor.”

Ayn Inserto brings fresh ideas and vivid writing skills to her orchestration and arranging. This seventeen-piece orchestra executes her compositions and arrangements with flare, talent and excitement. Her CD cover pictures Alice in Wonderland (in this case Ayn in Wonderland) climbing out of a rabbit hole. Artist/bass player, Kendall Eddy has painted a small army of men pointing at three musical giants who are playing trombone, saxophone and trumpet. Obviously,those are her three dear friends, Fedchock, Garzone and Jones. Ayn Inserto invites the listener to embrace her musical gifts and these very fine musical giants who represent an orchestra that has no problem chasing the rabbit and the music ‘Down a Rabbit Hole.’
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Henry Conerway III, drums, Kevin Smith, bass; Kenny Banks, Jr., piano.

Henry Conerway III is a Detroiter, steeped in the blues. He studied with a dear friend of mine, trumpeter/educator, Marcus Belgrave. You can tell from the very first cut of this album, penned by legendary bassist, Ray Brown and titled, “Slippery” that this artist loves the blues. Kenny Banks Jr., sets the mood with his piano blues tones. Kevin Smith takes a tasty, extended solo on the double bass.

Conerway’s album title is taken from a tune composed by the trio’s pianist. The liner notes explain that “With Pride for Dignity,” is a nod to their ancestors and an affirmation of musical power in a world that too often denies or inhibits pride, dignity and humanity to people of African descent. So, there is a political overtone echoing from the CD title.

The second song on the album begins dramatically and then breaks into a 1920’s feel, reminding me of Scott Joplin or 1920’s jazz. Conerway uses his drum sticks to tap dance the rhythm beneath on his drum rims and cymbals. This song employs tempo changes and mood changes that make it sound almost like a suite of songs instead of just one composition. Before you can blink an eye, straight ahead jazz moves into the arrangement like a steamroller. The pace doubles and the instrumentation flies. Seven minutes later, the composition returns to a dramatic ballad and then to the 1920’s type jazz. It’s a journey of creativity and entertainment. “Sugar Ray” is a Phineas Newborn Jr. composition and once again, the arrangement is blues-soaked. Henry Conerway the third has composed one song on this album and I was eager to hear his cut #8, the last song on this album of fine music. It’s called “Carvin’s Agreement” and is named for one of his mentors, Michael Carvin. He performs the composition solo, which is somewhat rare. This rhythm execution gives the listener an ear to what this bandleader is all about. He explores his instrument generously. Conerway seems to be painting the song with sounds that color with percussive inspiration and he stimulates the imagination on his drum kit. If any criticism is necessary, I would say this piece ends way too soon. I enjoyed the way the ensemble ‘swung’ hard on Ellington’s “Cottontail” tune with Henry Conerway tenacious and formidable on his drums, once given an exciting amount of time to solo and exhibit his technique. All in all, this is a swinging trio, with a nice repertoire and a tight, jazzy, acoustic presentation and sound.
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Marco Pignataro, tenor & soprano saxophones/composer/arranger; Adam Cruz, drums; Alan Pasqua, piano; Eddie Gomez, bass; George Garzone, tenor saxophone.

The title of this CD, “Almas Antiguas” translates to ‘old souls’. Tenor and soprano saxophonist, Marco Pignataro explained why he chose this title for his second album release.

“To me, “Almas Antiguas” reflects a romantic idea of reconnecting with things or people or places from another life, not necessarily in a rational way.”

This production is an energetic blend of modern jazz, Avante Garde jazz and Latin roots. The saxophone opens the album, solo, as if Marco Pignataro is issuing a prayer call. You can hear Flamenco influences in some of the music, for example on this first tune, “Panarea.” Pignataro’s saxophone sweetly floats atop the grand piano and Adam Cruz’s drums, until the song bursts into an up-tempo minor mode.
“I’d been listening to a lot of Latin American and Neapolitan singers while I was envisioning this CD,” Pignataro says. “This music is about roots from the Mediterranean and how jazz can become this lens that absorbs all these different colors, through which you can create a new sound and bring out your cultural identity,” Marco Pignataro shares in the liner notes.

Marco Pignataro brings his mixed heritage to the recording studio, celebrating his paternal Italian roots and his mother’s Puerto Rican heritage. On “Panera” (named for a Sicilian island) he incorporates North African music fused with Flamenco. Alan Pasqua is brilliant on piano and Pignataro’s soprano saxophone plays like a spiritual chant on top of a smokin’ hot, five-piece ensemble. Pignataro has arranged all the tunes on this project and he has contributed six original compositions. Favorites tunes are, “Panarea”; also, the beautiful ballad titled “Otranto: Mov. 1 il Mare and Mov. 2. spotlights one of my favorite songs, “Estate” incorporated uniquely into his original composition. I enjoy Pignataro’s very melodic tenor saxophone presentation on “Alfonsina Y El Mar” and his composition “Almas Antiguas” (the title tune), is arranged as a nuevo bolero. His tenor plays passionately on this song.

This ensemble gathers beneath the umbrella of Marco Pignataro’s arrangements and they deliver simpatico tones to express his world jazz music.
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Russell Ferrante, piano/keyboards;Bob Mintzer,saxophones/EWI; William Kennedy, drums; Dane Alderson, bass; Luciana Souza, vocals.

The opening tune, “Man Facing North” is very ethereal and adds Lusciana Souza’s vocals as a pleasant treat that doubles the Dane Alderson bass lines. The contrast is delightful. If you are a fan of the Yellowjackets, you may recall this composition on their 1993 album, “Like a River.” Today, it has a fresh arrangement-face. Towards the fade, Mintzer stretches out to adlib and they use studio technique to double and layer the vocals. It’s a pretty tune and sets the stage for an easy listening experience. Dane Alderson offers an exciting bass solo on electric bass. The song, “Mutuality” begins with Ferrante’s solo piano, reflective in a classical kind of way. I waited for the funk and excitement I am used to the YellowJackets bringing to the studio and to the bandstand. Especially since this Ferrante composition was inspired by the fiery speaker, the Rev. Martin Luther King Jr., and his speech, “Network of Mutuality.” However, this continues to be more easy-listening jazz. I wish for the grooves and swing that made this group popular with hit after Smooth Jazz hit. Then “Ecuador” comes on the scene with its creative time and staccato drum licks quickly tantalizing my interest. Mintzer penned this one and he’s brightly featured. Enter the ‘funk’ on “Strange Time,” another Mintzer composition. Now this sounds like the Yellowjackets legacy and style. A perfect blend of straight-ahead with funky rhythm and technically astute bandmembers who bring their inimitable best every time they play. This tune really had me patting my foot and bobbing my head. This is master musicianship at its best. The tune “Emerge” is greatly enhanced by the lyric-less scat vocals of Luciana Souza. It’s a very melodic piece written by bassist Dane Alderson. Ferrante’s “Timeline” tune is haunting and Souza’s voice kisses the song alive with tone and emotion. It’s a difficult melody to sing, with fluid yet challenging intervals and quickly captivates with its unexpected changes. Luciana Souza has leant her songwriting skills to co-write “Quiet” with Ferrante. On this song, she sings in both English and Portuguese. I am more drawn to the compositions of Dane Alderson. “Divert” and “Brotherly” both dance and groove in a joyful way, even though “Divert” is only a few minutes long. Ferrante’s compositions are brilliant and more cerebral than groove. Mintzer brings old-school and smooth jazz together in a neat package that embraces straight-ahead. “His “Swing With It” does just that! It swings! This is Bob Mintzer’s niche and it’s one of my favorite compositions on this entire album. William Kennedy is prominent and combustible on drums. He appropriately accents and fills each song with energy. Kennedy is a powerful and creative drummer. Luciana Souza brings the ‘ying’ to the ‘yang’; the Venus to the Mars; the feminine softness and vocal emotion that expands this male driven music. These are the twenty-first century Yellowjackets and the more I listen, the more I become a fan.
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August 29, 2018

By jazz journalist / Dee Dee McNeil
August 29, 2018

Outside In Music

Peter Nelson, trombone/composer; Alexa Barchini, voice; Nikara Warren, vibraphone; Josh Lawrence, trumpet; Hailey Niswanger, alto saxophone; Yuma Uesaka, bass clarinet; Willerm Delisfort, piano; Raviv Markovitz, bass; Itay Morchi, drums.

It’s an odd title for a CD, but it embraces the unique journey of Peter Nelson, trombonist and composer. I rarely read liner notes before listening to music, because then I become influenced by what someone else has written and surmised about the music. But the title of this CD was so peculiar, that I was tempted to read about this artist. First, I pushed play on my CD player and listened as I went about my daily household chores. The first tune titled, “It Starts Slowly (First in Your Heart),” reminded me of space and moonlight; stars and planets. There was an ethereal vocal, along with vibraphone and trombone. No words. Just lovely, spacey sounds that tickled my imagination about universes and the vastness of creation. Who is this guy, Peter Nelson, I thought to myself? The tune is brief, but it peeked more interest in reading the liner notes. That’s when I discovered Nelson’s life story.

A Michigander, born in Lansing, Peter Nelson fell in love with the trombone at age ten. He earned a bachelor’s degree in Jazz Studies at Michigan State University, then moved to Brooklyn, New York where he currently resides. Along the way, during a pinnacle in his career he was struck with a debilitating disease that no one could diagnose. It began with small, localized pain and feelings of anxiety. Later, it escalated to chronic hyperventilation, severe shortness of breath and pain in his face, down his back and in his arms. Horribly, all of this was happening while he was on the bandstand.

“It became difficult to be on the bandstand, while at the same time fighting my horn and fighting my body. It felt like a physically violent way of losing my medium for relating to the world and was emotionally and spiritually crippling.”

In search of help, he saw many doctors, physiologists and educators. But it was not until he met Jan Kagarice, one of the world’s authorities on musicians’ health, that she diagnosed him and in a single lesson was able to reverse sixty percent of his pain. She showed him how to comfortably play again. His odd symptoms appeared to be the result of bad pedagogy, or habits inherited from teachers who did not recognize or understand the workings of the human body and the physical process of making music. Thanks to her insight, Peter Nelson has produced this magnificent tribute to his journey from dark days to brilliant light; from illness to health. His music celebrates that struggle. Nelson plays the trombone so swiftly, at times, like on the composition, “Do Nothing (if less is more),” that I am stunned by his agility on the instrument. He has composed every song on this album and each is a story in itself amply interpreted by his ensemble, with Alexa Barchini on lyric-less vocals. I enjoyed each tune, but found the abrupt endings on several of his compositions annoying after the first one. On the up side, these musicians and Nelson himself make the chapters of his life an interesting and inspirational jazz journey.

“We always want closure,” Nelson says in the liner notes. “But it’s an almost laughable concept. Everything that I learned about brass playing — and more importantly about myself and what music-making really means to me, those lessons are priceless and I wouldn’t change a thing.”
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Hakon Skogstad, piano/arranger.

If you love tango, classical music and piano jazz, Hakon Skogstad’s latest CD will richly reward you. He is entrenched in solo piano technique and stimulated by his love of the bandoneón and how that instrument is used in solo arrangements and compositions. The Bandoneón is popular in Tango music and very popular in Argentina, Uruguay and Lithuania. It resembles an accordion in appearance. Challenging himself on the piano, Skogstad endeavors to incorporate much of that unique bandoneón style and technique in his solo playing. His piano technique is very dramatic. As a composer, he has contributed two of his own compositions; “Milonga Impromptu” and “Norte.” You feel his passion and dedication to this unique and wonderful music throughout this production. Perhaps he explains it best in his liner notes.

“I wanted to see if I could incorporate the multilayered, flowing and improvisational manner of playing, constantly changing focus between the bass chords and melodic structures, rather than trying to do it all at once, as often as possible, like an orchestral reduction. “

If you have never seen a tango performed, check out this example with one of my favorite actors from the movie, “The Scent of a Woman.”

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Samuel Martinelli, drums/percussion/composer; Claudio Roditi, trumpet/flugelhorn; Marcus McLaurine, bass; Tomoko Ohno, piano.

Samuel Martinelli is a blossoming Brazilian drummer and composer who is currently based in New York. He is joined on this recording by some pretty legendary jazz musicians. For one, Brazilian jazz trumpeter, Claudio Roditi. Mr. Roditi has performed with Herbie Mann, Dizzy Gillespie and Charlie Rouse after coming to the United States years ago to study at the Berklee School of Music in Boston. Marcus McLaurine is playing bass. Like Claudio Roditi, McLaurine is also a seasoned jazz veteran who has worked with Kenny Burrell, Dizzy Gillespie, James Moody, Lou Donaldson and the Count Basie Orchestra under the direction of Thad Jones.

Tomoko Ohno is a pianist/composer and recipient of the Student Award of Outstanding Performance. She was a celebrated member of the Dean’s Honor List and graduated with a B.A. in Jazz Studies from William Paterson University in New Jersey. A native of Japan, this young talent has already performed with such artists as Jerome Richardson, Wynton Marsalis and Benny Golson. She’s released three albums on a Japanese record label and spent time in Brazil, recording an album there for MDR Records. Consequently, she fits perfectly into Samuel Martinelli’s Brazilian flavored band.

On “Samba Echoes,” the first song on this production, Tomoko Ohno makes a solid statement on the 88-keys with a backdrop of Samuel Martinelli playing double time on his drums with driving force. On his solo, towards the end of this tune, he resorts back to an Afro-Cuban feel along with the brilliant bass playing of Marcus McLaurine. This is one of six original compositions featured on his recording and penned by Martinelli. “Talking About Spring” is a lilting, moderate tempo’d swing tune that feels like we should be skipping down an avenue, holding hands with happiness. “Bob’s Blues” shines the spotlight on the bass and McLaurine showcases a melodic bass accompanied by Martinelli on drums and Ohno on grand piano. They set it up beautifully for Claudio Roditi’s trumpet solo.

“St. Thomas” is one of my favorite Sonny Rollins tunes. It is one of only two tunes on this project that Samuel Martinelli did not compose. Martinelli brings a fresh arrangement to the piece, letting Ohno’s grand piano set it up while McLaurine’s bass bows the melody atop the contemporary chording of the piano. Sometimes it’s dissonant and it’s arranged as a ballad, rather than the ebullient, carnival-type production that Rollins originally recorded. It certainly shows that Martinelli thinks outside the box. “St. Thomas” was kept a trio tune, without adding the horn and featuring the bass instead. It is a unique production of the Rollins’ composition. On Martinelli’s original composition, “A Gift for You,” he invites Claudio Roditi back to the recording booth and the group swings hard. There is a drum solo that allows Samuel Martinelli to stretch his technique and talent across the skins for our complete listening pleasure. The only other cover-tune that Martinelli features is the Dizzy Gillespie song, “Birks’ Works.” This gives Claudio Roditi the well-deserved spotlight.

Martinelli’s album title, “Crossing Paths” is in celebration of the wonderful people he has met along his continuing journey up a jazzy, musical avenue. This entire album gives us an up-close and personal look at a budding composer and competent drummer. His quartet of prominent musicians make the music dance effortlessly across the airwaves.
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Mike Spinrad, drums/percussion/composer; Don Turney, piano/organ/sound engineer; Guido Fazio, tenor saxophone/flute/horn arranger; Richard Conway, trumpet/ flugelhorn; Larry Stewart, baritone saxophone; Eric Lyons, John Hettel, Daniel Parenti & David Enos, bass.

Mike Spinrad played drums throughout his youthful school years all the way into college days. He earned an AB in Psychology from the University of California, Berkeley; then an MA degree in Counseling from St. Mary’s College of California. After securing a teaching certificate, he settled into making a secure living teaching history, psychology, economics and government at San Marin High School in Northern California. But his passion for music remained strong. He’s been teaching for fifteen years and performing on the side, whenever opportunity presented itself. This is his dream-come-true project, where he can express the composer/ musician inside of him to its fullest extent. This disc is full of creativity. His compositions come alive with the help and mastery of his close friends and peers.

The “Horns” waltz into my room with harmonic precision, speared by the awesome timing and technique of Mike Spinrad on drums. “Smarbar” is co-written by Spinrad with pianist John Groves. It’s smart and straight-ahead. Mike Spinrad has composed or co-composed every tune on this album. All the horn arrangements are written by Guido Fazio. When you merge these two talented men, (Fazio and Spinrad), the result is a quality musical product. The second tune is titled “Bette ‘N Hy,” a more funk and contemporary arrangement, featuring Don Turney on organ. Turney formerly produced Spinrad’s premiere CD and acted as recording, mixing and mastering engineer on this project. On the third cut, “Chaim” puts us back into a straight-ahead realm. The horn arrangements scream, ‘big band’, although this is a group of just six talented men. Spinrad had a specific goal in mind when he decided to create this musical work of art.

“When I decided to do this project, the first person I contacted was Guido Fazio, who arranged the horn sections, and plays tenor sax and flute on the recording. He’s a monster player with amazing instincts. … his approach to music mirrors my approach. For me, music needs emotional content. It’s great to listen to someone with incredible technique, but technique alone doesn’t move me. Guido has great technique and plays with an incredible amount of heart and soul,” Mike Spinrad shared.

There is something for everyone on this recording. The “Sheila” composition is a sweet and beautiful ballad and the tune named “Raul” is a Cuban-influenced montuno, named after one of Spinrad’s co-workers.

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Stephane Spira, soprano saxophone/composer; Joshua Richman, piano/Fender Rhodes; Steve Wood, bass; Jimmy MacBride, drums.

Stephane Spira plays a smooth, straight-ahead soprano saxophone. I’m not a big fan of soprano saxophone, but I love this musician’s tone and technique. “Peter’s Run” opens his CD and it’s a perfect vehicle to showcase his amazing trio. Jimmy Macbride is stellar on drums, bringing texture and time to his instrument. Steve Wood is cement solid on bass and Joshua Richman colors the music with his piano mastery. All songs on this recording are composed by Stephane Spira. I found his music to be melodic and beautiful. “Gold Ring Variations” and “New York Windows” are both intriguing titles and the compositions themselves are lovely. Spira writes music that inspires and his melodies lend themselves to lyrics, still unwritten. His soprano saxophone style is honest and steeped in blues with a taste of Django’s gypsy style echoing through his compositions. Spira says song #3, “New York Windows” was inspired by Les Fenetres de Moscou (Moscow Windows), a favorite traditional Russian song that his dad loved. The up-tempo jazz waltz, “Underground Ritual” gives Richman an opportunity to stretch out on piano and Jimmy MacBride, on drums, is always a driving force throughout this recording. But it’s the tone and vulnerability of Stephane Spira’s saxophone excellence that draws me into this recording like quicksand. His compositions, and the way he plays them is intriguing. He’s like a child, exploring a “New Playground” and sharing his excitement with us.
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Michika Fukumori, piano/composer. Steve Kuhn, producer/piano duet on cut #11.

Michika Fukumori has composed the first song called “Colors of Blues” and it exhibits admirable piano technique with a seemingly easy ability to use both hands in counterpoint and still keep perfect rhythm. Actually, that is no easy task. Her original composition was inspired by United States Blues, a music steeped in hard work and rooted in African American slavery. Ms. Fukumori explained:

“I learned how important the blues is to jazz after I moved to this country and I fell in love with the form. This is my dedication to this music.”

Right away, Fukumori establishes her love of melody. I want to sing along with her compositions even though I’ve never heard them before this moment. That is particularly true on the second cut titled, “Into the New World.” Michika Fukumori has composed nine of the thirteen tunes on this CD. She is a strong player and competent composer, which is brazenly clear on this solo recording. She needs no other instrument to sell her songs or make them beautiful. That raw talent she exudes needs no lipstick, rouge or pancake makeup to enhance it. There is natural brilliance to her playing and I am even more impressed with her composer abilities. Her left hand is busy playing memorable bass lines and holding the rhythm in place, while her right hand creates lovely melodies and improvises with tenderness and a deft touch. On the eleventh song, “Oceans in the Sky,” she combines talents with her mentor and producer, Steve Kuhn, who has written this song. They both play piano simultaneously to interpret this composition, using two sets of hands and 20 fingers. There is the feeling of rushing water, ocean waves and the forcefulness and intimidating independence that miles of water, with no land in sight, can represent.

Born in Mie, Japan, Michika Fukumori began studying piano at age three. Receiving her classical training at the Aichi Prefectual University of Fine Arts and Music, she soon was drawn to jazz and began working professionally in various Japanese jazz clubs. In 2000, Michika Fukumori moved to the United States and studied with two jazz icons at City College in New York; bassist Ron Carter and pianist extraordinaire, Geri Allen. She also began taking private lessons with Steve Kuhn, who has produced this recording for her. For the most part, this is peaceful music. It’s easy listening jazz and showcases the stellar talents of Michika Fukumori on piano.
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Randy Brecker, trumpet/flugelhorn; Mats Holmquist, arranger/composer/conductor; Mikel Ulfberg, guitar; Seppo Kantonen, piano; Juho Kiviuori, bass; Markus Ketola, drums; Trumpets & Flugelhorns: Jakob Gudmundsson, Teemu Mattson (lead) Timo Paasonen, Mikko Pettinen, Tero Saarti, JanneToivonen; Saxophones: Ville Vannemaa, lead alto/soprano/clarinet; Mikko Makinen, alto/soprano/clarinet/flute; Teemu Salminen, tenor/clarinet; Max Zenger, tenor/flute; Pepa Paivinen, Baritone/flute; Trombones: Heikki Tuhkanene,(lead); Mikko Mustonen, Juho Viljanen, Mikael Langbacka, bass trombone.

On this recording, harmonies fly off my CD player like a flock of starlings. This is an exhibit of dynamic orchestration, featuring the arrangements of Mats Holmquist. Randy Brecker is grandly supported by the 18-piece UMO Jazz Orchestra. The Holmquist style seems deeply rooted in the classical genre, with splashes of modern jazz. Trumpeter Randy Brecker is the featured soloist on many of the tunes. His musical accomplishments include collaborations with Horace Silver, Larry Coryell, of course his brother Michael Brecker and their amazing success as The Brecker Brothers, and a significant number of popular smooth jazz and pop recording artists. In this setting, you will enjoy Randy Brecker encircled by the astute arrangements of Mats Holmquist and the orchestra. They utilize composers like Chick Corea, (Windows, Crystal Silence and Humpty Dumpty) along with several songs composed by Mats Holmquist.

Mats Holmquist was born and raised in Sweden and is a first-class composer/arranger who has eight albums under his belt as a leader, four of them released on Summit/MAMA Records. He has also authored “The General Method” called “The Big Band Bible” by Jamey Aebersold who published his book.
The UMO Jazz Orchestra was founded in 1975 and is considered Finland’s finest big band. They have featured a number of iconic jazz names including Dizzy Gillespie, Dexter Gordon, McCoy Tyner, Michael Brecker and John Scofield. Blending these three extraordinary talents, Brecker, Holmquist and the UMO Jazz Orchestra is musical magic.
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Mike Freeman, vibraphone, coro; Guido Gonzalez, trumpet, Coro; Ian Stewart, bass; Roberto Quintero, congas/guiro/shakere; Joel Mateo, drums/campana.

Here is an album that peeked my interest from the title, “Venetian Blinds.” Mike Freeman took this title from the look of ‘vibes’ all strung-together in bars, similar to venetian blinds. I learned from the press package that Tito Puente used to roll his vibes into the Palladium and his followers would say, “Here comes Tito with those venetian blinds!”

Freeman is a masterful vibe player and his music is very percussive and heavily cemented in Latin jazz grooves with the rhythm of Joel Mateo on drums and Guido Gonzalez congas. There are three cuts on this album that are meant to celebrate Bobby Hutcherson; “Clutch the Hutch”, “Bobby Land” and “House of Vibes.”

Mike Freeman composed these songs and was working on this project when Bobby Hutcherson passed away. “Fancy Free” was written to celebrate his daughter and her first birthday and “What’s Up With This Moon?” was written for his son, a direct quote from a video his son texted to him one night. This is a project full of joy, rhythm and Latin flavor.
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Gary Brumburgh, vocals; Jamaison Trotter, piano; Gabe Davis, bass; Christian Euman & Conor Malloy, drums; Pat Kelley & Larry Koonse, guitar; Bob Sheppard, tenor saxophone; Paulette McWilliams & Gail Pettis, vocals.

Gabe Davis, on bass, walks his instrument with power and determination as an introduction to the first song. Jamieson Trotter adds piano after several bars of bass. Then in steps the star of the show, Gary Brumburgh singing the Lennon/McCartney hit record, “Day Tripper” in a very jazzy way. Bob Sheppard always brings the magic to the bandstand and this recording session is no exception. His saxophone solos are inspiring and complement Brumburgh’s vocals. Brumburgh introduces us to some song verses we may not be familiar with, for example on “I’ll Close My Eyes.” I enjoyed hearing the verse of that song interpreted. However, I found some of the smart and creative arrangements on these tunes to work better with the instrumentalists than with the vocalist. Pointedly, on this tune, some of the guitar chord changes at the top of this song, that become a repetitive theme throughout, are challenging but don’t necessarily support the vocalist. After all, it is his project and the point is to be ‘hip’ but also to give him a substantial stage of musical support that spotlights his vocal talents.

That being said, the musicians on this project are some of the best in the business and they offer him a strong trampoline of tracks to bounce upon. For me, the stumbling block are a few of the unique arrangements that don’t always fit the vocalists’ tone and timbre.

Brumburgh has a smooth, distinctive vocal style. His repertoire is well-rounded, including oldies like Sweet Georgia Brown (mixed with the Miles Davis composition “Dig”), Jimmy Webb’s “Witchita Lineman,” Sting’s “Heavy Cloud No Rain,” Michael Franks’ “Eggplant” and the title tune, “Moonlight” a John Williams composition with lyrics by Alan and Marilyn Bergman. The songs he picks are wonderful. He also includes a couple of awesome female vocalists. For one, Paulette McWilliams, who adds harmonic background to the arrangement on “Heavy Cloud No Rain” produced quite bluesy, allowing Paulette McWilliams to pump the soul into this song. At times, Brumburgh bursts into scat and has a tone that easily becomes a vocal horn. I thought the Brazilian feel on “Just A Little Lovin’ (Early in the Morning)” well-suited Brumburgh’s vocal style. I must credit Brumburgh and Jamison Trotter for successfully arranging so many pop tunes with strong jazz creativity. I bet Holland, Dozier and Holland were surprised to hear the way the Diana Ross hit record, “My World Is Empty Without You, (Babe)” was re-arranged. I know I was. The final song, with the very sensitive piano accompaniment of Terry Trotter, “What’ll I Do” touched me deeply. It was just voice and trio; simple and honest, obviously sung with passion and sincerity. This is Gary Brumburgh at his best.

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August 25, 2018

By Jazz Journalist/Dee Dee McNeil
August 25, 2018

When I first met Aretha Franklin, I was maybe 22 years young. I had gone down to the Fireside Lounge in Detroit where she was performing. I believe she was signed to Columbia records then and she was recording jazz songs. I had those albums in my collection. I loved hearing her sing “Skylark,” “Take A Look” and “Mr. Ugly” was another one of my favorites.

I remember my friend, Marthea Hicks, took me backstage to say hello to the queen. She was gracious and downhome; still getting dressed for her appearance. At that time, Marthea had a radio program on a local Detroit station and her father was a minister, so she and Aretha had that in common. Rev. C.L. Franklin probably knew Rev. Hicks quite well. I remember feeling star-struck, sitting in the dressing room and being absolutely quiet. I was overwhelmed just being in the queen’s presence. No one could sing a song with the emotion, passion and pitch like Aretha Franklin. I think, at one time, I might have owned just about every record Aretha Franklin recorded. But my record collection of over 2000 LPs was sold three years ago when I cleaned out a storage space in Detroit. Since then, I’ve replaced my Aretha Franklin collection with CDs and often listen to her. One of my many favorites is her Amazing Grace CD. I was in the audience both nights when she recorded that album ‘live’ at James Cleveland’s church in South Central Los Angeles. The electricity in his historic church was palpable. Cameras were everywhere and they filmed that session. I hope that film is released, because that was an exceptional afternoon and evening of unforgettable music. Her dad was still alive then and Reverend Franklin was sitting right upfront in the first row. Aretha was playing piano and recording Marvin Gaye’s song, “Holy Holy.” She kept going over the introduction and being the perfectionist that she was, she kept stopping and starting over. She wanted to play it a certain way. Her dad, the honorable Reverend Franklin, finally encouraged her saying, “play it Aretha” and You can hear him on the original recording speaking those encouraging words. I don’t hear him on this newer CD I bought. But that was the time she played it perfectly and that’s one of the takes you hear on her recording that is beautifully performed. There were plenty of cameras there that night. I do hope they release that documentary because the music and Aretha’s performance were both electric! The spirit in the room was palpable. The Southern California Community Choir, directed by Rev. James Cleveland, was on fire. Aretha Franklin’s music was a soundtrack for our lives. Every album and every single she released reminds me of a special time in my life. She influenced so many singers. Chaka Khan told me once that her family used to refer to her as “Little Aretha,” and how much the queen meant to her. As a young singer, Chaka proudly admits patterning herself after Aretha Franklin, along with the influence of Stevie Wonder. You can hear Aretha’s influence in the vocals of Patti Labelle, Mary J. Blige, Fantasia, Whitney Houston (who was her God Child), Natalie Cole and so many more. No one could slide to a note like Aretha. She changed the face of Rhythm and Blues music, the same way that Ray Charles did. Both of them brought Gospel music into the mix and the spirit of a deep belief in God. Aretha Franklin also brought awareness to the Civil Rights movement with both her songs and actions. After all, art is always the reflection of a society. Aretha Franklin’s songs lifted us and addressed the challenges we faced as a people. She spoke up for women’s rights in her songs, long before the “Me Too” movement. She always made us feel proud of ourselves and our community by the way she carried herself and with the songs she sang.

She supported Dr. Martin Luther King, who was a family friend, and Aretha consistently offered her songs and support during the civil rights movement. If Americans didn’t realize her importance and the impact of her amazing talent on the world stage, they sat up and took notice when, on August 16, 2018, she overtook the news media on all major television stations in America. The Queen of Soul was featured prominently on CNN, MSNBC and more. Instead of the negative news we are used to seeing on network television, the airwaves paused from their usual news feed to celebrate the life and legacy of Aretha Franklin, our unforgettable Queen of Soul. Rest In Peace, beloved Aretha, and thank you from the bottom of our hearts for sharing your voice and your unrelenting love with us, in hopes of making the world a better place.


August 10, 2018

By Dee Dee McNeil / Jazz journalist
August 10, 2018

One thing I learned from the liner notes of SCOTT PETITO’S latest release titled, “Rainbow Gravity.” Rainbow Gravity is actually a theory and a concept in quantum physics. It contradicts the Big Bang Theory and asks humanity to consider that time stretches back infinitely and continues on endlessly. very much like music. This rainbow of artists I’ve reviewed do the same. For one, the amazing arrangements and execution of THE COUNT BASIE ORCHESTRA under the direction of GREG FIELDS recalls another era, but still shines with contemporary and timeless music. THE SOUTH FLORIDA JAZZ ORCHESTRA DIRECTED by CHUCK BERGERON presents THE MUSIC OF GARY LINDSAY, a versatile and talented arranger. The JEFF “SIEGE” SIEGEL QUARTET offers a ‘live’ recording in London that reminds me of the freedom and excitement of John Coltrane’s heyday. Vocalist, REBECCA ANGEL, blends pop and jazz music on her debut CD. PEDRO GIRAUDO & THE WDR BIG BAND meld an Argentinian conductor, composer and arranger with a German band to celebrate his South American heritage and his two decades of living in New York City. JIM McNEELY pours all his imagination and composer skills into the FRANKFURT RADIO BIG BAND. Last, but certainly not least, the satin-smooth vocals of VIVIAN LEE, personalize love and loss on her CD titled, “Let’s Talk About Love.” Read all about them.


Scott Petito, composer/bassist/piccolo bass/NS bass/cello & loops; Omar Hakim, Peter Erskine, Simon Phillips & Jack DeJohnette, drums; David Sancious, keyboard; Rachel Z. & Warren Bernhardt, piano; David Spinozza, guitar; Mike Mainieri, vibraphone; Bashiri Johnson, percussion; Bib Mintzer, saxophone; Chris Pasin, trumpet.

Here is a production of pure funk and contemporary musicality played by some of the top modern jazz players in the business. Scott Petito is a bassist, a composer, producer and engineer. This is his second recording as a leader and he has contracted a melting pot of world class musicians. You recognize their talent right away, from the first strains of “Sly-Fi”, one of nine compositions that Petito has written. He has a strong sense of melody. This tune sparks of fiery, punchy horn lines by Bob Mintzer on saxophone, with Petito’s bass, pumping up the band, locking in with Omar Hakim on drums and David Sancious on keyboard. David Spinozza adds guitar to complete this hot rhythm section. Bashiri Johnson fattens their sound with percussion. This tune is over seven minutes long, but I’m never bored for one second. The time changes and melodic intervals keep the music interesting.

Each tune features a different mix of characters, like short, on-stage vignettes. For the second cut, Petito invites Peter Erskine to the drum set, Rachel Z. is on piano and Chis Pasin masters the trumpet. Titled “The Sequence of Events,” Scott Petito adds a piccolo bass solo and Rachel Z is given ample opportunity to showcase her excellence on piano. All of Petito’s compositions are full of groove and embrace the smooth jazz idiom. Even when they settle down to a moderate tempo ballad like “A Balsamic Reduction,” they manage to inspire this listener to tap her toes. The difference between much of the smooth jazz I hear on the airwaves and this recording is that Petito is an awesome composer and has employed these stellar, Grammy nominated musicians to enhance his excellence. None of this music is repetitious or simplistic. The vibraphone solo of Mike Mainieri during this lovely tune is pleasant to the ear and adds to this production. Simon Phillips mans the drums and David Spinozza shines on his guitar solo. Scott Petito covers all bases, incorporating styles. This may be contemporary jazz, but every one of these players know how to produce straight-ahead jazz and are masters in their own right. You hear a sample of this diversity on “The Sanguine Penguin” where Bob Mintzer celebrates his saxophone skills with gusto and where Scott Petito walks (or should I say ‘runs’) his bass lines beneath this production like raging waters. Simon Phillips is given a space to solo on drums, showing off mean technique. This is a recording project burning with talent and excitement. It’s beautiful music with memorable arrangements. There is not one bad tune on this entire recording. Perhaps Petito summed his project up the best when he explained:

“The experience of playing and listening to music can suspend us and yet at the same time sweep us away to new places with infinite possibilities. That relationship between music and our very essence of being, always struck me as the most human of experiences.”

On” Dark Pools,” utilizing the great Jack DeJohnette on drums and Petito on NS bass, cello and loops, Scott Petito expands his sense of music and stretches our imaginations. Petito’s music is provocative.

The title of Petito’s CD is meant to further describe Scott Petito’s musical goals. What I learned from the liner notes is that “Rainbow Gravity” is actually a theory and a concept in quantum physics. It contradicts the Big Bang Theory and asks humanity to consider that time stretches back infinitely and continues on endlessly. As a bassist and stellar composer, Scott Petito endeavors to create a sense of timelessness in his music. At the same time, he’s striving to capture a feeling that could very well continue on forever. To me, “Dark Pools” exemplifies some of this magical music and the composer ‘s forward-thinking mindset.
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I was expectant and excited to get a preview listen of the Count Basie Orchestra’s September release. Undisputedly, here is a big band/orchestra that has consistently produced amazing music with an unchallenged style and sound. This album is no exception. They open with their famed “Everyday I Have the Blues” featuring the Grammy winning vocal group, “Take 6.” It’s joyful to hear this normally a‘Capella, contemporary vocal aggregation singing with the Basie Band. Oh boy, do they swing! It’s a wonderful blend of modern vocal arrangemenst melded with classic Basie. This is followed by Earth, Wind and Fire’s hit recording of “Can’t Hide Love.” Iconic trombonist, Wycliffe Gordon, often celebrated for his plunger trombone style, is featured and he leads the trombone section. Pianist, Eric Reed adds his virtuosity at the grand piano. This pop piece ‘swings’ hard and continuously, as only the Basie Band can do. This album is produced by Gregg Field, former drummer of the Basie orchestra. Field has garnered eight Grammy Awards celebrating his creative production talents. Stevie Wonder joins the orchestra as a special guest on harmonica, whistling his way into our hearts with his awesome delivery on his self-penned, “My Cherie Amour.” But trust me, there is nothing ‘Pop’ about this arrangement or production. Wonder fits right into the slow swing arrangement that reminds me a little bit of Neal Hefti ‘s Lil’ Darlin’ hit record. It was recorded in the early Basie-Band-days on an album titled, “Atomic Basie.”

Woodwind player, Hal McKusick, who recorded with Neal Hefti in the 1950’s, once asked Hefti what made him stray away from his up-tempo, swingin’ compositions to create this ballad? Neal Hefti explained he originally wrote Lil’ Darlin’ as a medium tempo swing. During a rehearsal, when Basie was running the tune down, the Count asked Neal if the band could try it really slow. Basie said, ‘I’m hearing something.’ So, Neal agreed. He knew Basie’s instincts were always spot on. Basie proceeded to count off Lil’ Darlin’ at a much slower pace. After it was over, Neal said all he could do was smile and say to Basie, you did it! *

“My Cherie Amour” is followed by the timeless jazz standard, “Don’t Worry ‘Bout Me,” passionately interpreted by the silky-smooth, vocal style of Kurt Elling. Gregg Field sits in on drums during the revival of this Frank Sinatra hit record.

The orchestra shows its Latin side on the memorable hit by guitarist, Wes Montgomery, choosing “Tequila” as the vehicle to recall the Basie Band’s great success in the 1950’s and 1960’s when they used Latin music as a vehicle. Jon Faddis, with his high trumpet tones and impeccable style, is a welcome featured guest on this arrangement. Bobby Floyd records the hip-swaying, Latin piano chords. He locks the groove into place, along with Will Matthews on guitar. This arrangement also invites the legendary Chick Corea to add his own piano licks and Luisito Quintero flavors the tune with percussion and conguero.

Jamie Davis, a Basie alumni and baritone vocalist re-introduces Jimmy Rushing’s blues hit, “Sent for You Yesterday” with a small ensemble of Basie band members including L.A.’s saxophonist, Rickey Woodard, with Eric Reed back on the keys, Gregg Field manning the drums and L.A.’s own Trevor Ware on bass. Jazz trumpeter, Scotty Barnhart adds a solo. This album would have been incomplete without a good old Kansas City blues and the one chosen does not disappoint. Another highlight is one of my favorite modern-day jazz organists, Joey DeFrancesco. He joins the Basie Orchestra for the second time. I also enjoyed him on the album,“Ray Sings/Basie Swings.” De Francesco brings new life to “April In Paris.” Carmen Bradford is a stellar jazz vocalist who frequently sings with the Count Basie Orchestra. On this project, she tributes Ella Fitzgerald by singing and debuting a never-before-recorded arrangement of “Honeysuckle Rose.” The arrangement was written specifically for Ella by Benny Carter. Gregg Field and the orchestra have covered all bases with this production, adding “Hallelujah” by Leonard Cohen, and even incorporating the Adele pop hit, “Hello” to show they are still staying current. The orchestration shows that they can easily embrace popular, contemporary music with the same love and style that the Basie band always brings to their bandstand. They transform”Hello” into a slow swing, featuring a unique, stylized piano solo by Bobby Floyd and a sexy, bluesy trumpet solo by arranger, Kris Johnson. At the song’s ending, they incorporate the popular signature Basie tag to remind the world, “It’s All About that Basie.” Release date is September 7, 2018.

*Note: Historic reference from biography of Neal Hefti (1922 -2008) – Jazz Wax, Oct 15, 2008.
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WOODWINDS: Gary Lindsay, alto saxophone/clarinet/composer/arranger; Gary Keller, alto/soprano saxophones/flute; Ed Calle, tenor saxophone/flute; Phil Doyle & Jason Kush, tenor saxophone/flute; Mike Brignola, baritone saxophone/bass clarinet; Rick Margitza, tenor saxophone; TRUMPETS: Augie Hass, Jeff Kievit, Jason Carder, Alex Norris, Greg Gisbert & Peter Francis. TROMBONES: Dana Teboe, Dante Luciani, John Kricker, Major Bailey, Derek Pyle & Andrew Peal. FRENCH HORNS SPECIAL GUEST: Richard Todd; RHYTHM SECTION: Martin Bejerano, electric & acoustic piano; John Hart, guitar; Chuck Bergeron, acoustic & Elec. Basses/orchestra director; John Yarling, drums; Brian Potts, shaker, pandeiro; Ksenija Komljenovi, vibes & xylophone. Julia Dollison & Nicole Yarling, vocals.

Gary Lindsay is a popular arranger of big band music. This is the first full album that celebrates Lindsay’s big band orchestration on all eight songs. Directed by bassist, Chuck Bergeron, the orchestra includes some of Florida’s best jazz and studio musicians. Both Lindsay and Bergeron are music educators. Lindsay teaches at the Frost School of Music, part of the University of Miami, where he is Director of the Master’s in Music program in Studio Jazz Writing and the Doctoral program in Jazz Composition. Bergeron is a professor of Jazz bass and Jazz History at the University of Miami. This music is an easy listening jazz experience.

The first cut, “Moment in Time” was penned by Gary Lindsay and it brings to mind the smooth, unforgettable sound of Stan Getz, featuring a beautiful saxophone solo. John Hart adds an energy driven guitar solo on this arrangement. “Spring Is Here,” introduces vocalist Julia Dollison, with her soprano range and flexible vocal power. Dante Luciani proffers a memorable trombone solo. “Easy Living” features another vocalist, Nicole Yarling, who brings a soulful expressiveness to this old standard. The arrangement sometimes dwarfs the vocalist with the busy musicality. Lindsay explains:

“…I don’t write arrangements where the vocalist sings the melody and the band plays the accompaniment. I prefer to write arrangements where the singer and the band are in a contrapuntal conversation with one another.”

Ms. Yarling is up for the job, standing her ground with passion and sometimes scatting against a backdrop of horn punches and sweet, pudding-thick orchestration. Soloing, Greg Gilbert steals the attention on trumpet and plays beautifully.

The Pat Metheny composition, “Better Days Ahead,” steers the orchestration into Smooth jazz waters. While the Title tune, “Are We Still Dreaming,” reflects a sultry ballad composed by Lindsay. He once again incorporates the bell-clear soprano voice of Julia Dollison, blending her instrument with the orchestra like a soprano horn. The gorgeous Thelonious Monk composition, “Round Midnight” features Ed Calle on tenor saxophone with a bluesy interpretation of Monk’s music.

This project is produced by trombonist, John Fedchock. It’s a mix of music, styles and eras, strung together by the arranging talents of Gary Lindsay and amply interpreted by the musicians who make up the South Florida Jazz Orchestra.

Gary Lindsay is a recipient of the National Endowment for the Arts Award and a Chamber Music America grant from the Doris Duke Foundation.
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Artists Recording Collective (ARC)

Jeff “Siege” Siegel, drums; Erica Lindsay, tenor saxophone; Francesca Tanksley, piano; Uli Langthaler, bass.

This project opens with a striking drum solo. The tune is smoky; sultry; straight ahead! A sexy saxophone sings and a piano solo lifts tenor saxophonist, Erica Lindsay’s composition titled, “Meet Me at the Station.” to an exulted level. This group brings back memories of John Coltrane. Speaking of which, when I finally did get to overview the album credits, their third cut is the Coltrane composition, “Peace on Earth.” I was driving to a gig when I first listened to this album. Immediately, I noticed the excitement and technical ability of the drummer. He takes an outstanding solo on this first tune and always keeps pushing the musicality; coloring the phrases and supporting the various players with solid rhythm, but even more-so, with carefully placed licks of percussive encouragement. I could not wait to park my car, so I could read the liner notes and see who the players were. Sure enough, it’s the drummer’s quartet, and a magnificent ensemble it is! This is a ‘Live’ recording; a concert at the Pizza Express Jazz Club in London. It was the culmination of a European tour of Germany and Austria. You can hear the tightness and precision of this group, but also the freedom that comes from trusting your musical peers and being familiar and comfortable with each other. This is jazz at its best; Live! Uninhibited and formidable.

It’s the Jeff Siegel Quartet’s fourth album and their second live recording. Six of the eight songs are original compositions written by tenor saxophonist, Erica Lindsay, pianist, Francesca Tanksley and their leader, Jeff Siegel. Every song on this recording is excellently played and memorable. If I were giving out stars as praise, I would shower all the stars in our universe upon this project. Had I not been driving, I would have given this group a standing ovation.
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Geoffrey Keezer, Yamaha pianos; Lee Perrson, drum; Mike Pope, elec & double bass; Gillian Margot, vocal.

Geoffrey Keezer is a busy pianist, with fingers flying and crescendos raging on the very first song titled, “These Three Words.” He makes the title sound more like a novel of music rather than something as simplistic as three words. Keezer’s amazing talent races up and down the black and white keys, with tenacious attention and detail. He fills up every space of Stevie Wonder’s composition. It’s a song from Stevie’s “Jungle Fever “album. A song I know quite well, but hardly recognized. I listened twice and I enjoyed the tenderness that bassist Mike Pope put into this composition during his solo. If you’re familiar with the lyrics of Wonder’s composition, they touch you in a tender kind of way. I think sometimes that if musicians listened to the lyrics of a song, as closely as they listen to the melody, their interpretation of that song would be more efficient and inspired. I enjoyed Keezer’s solo, when he re-entered, after the bass improvisation. However, it didn’t take long before he was once again crashing against space with amazing strength and piano power.

Vocalist Gillian Margot has a beautiful voice and has taken to penning lyrics to “You Stay With Me” a Keezer composition. The melody is challenging and the vocalist has penned prose to Geoffrey Keezer’s tune that are printed on the album cover. At first listen, they do not attach themselves to memory. As a published songwriter myself, I’ve learned to understand the way that melodies ebb and fall inspire lyrics. The rhyme and rhythm should match. I think this was a lyrical opportunity lost in translation.

“All the Things You Are” is interpreted as a medley with the Earth Wind & Fire popular, “Serpentine Fire” song. Keezer and his trio show us the funkier side of his group, and Lee Perrson on drums is formidable. Mike Pope’s bass-line pushes the funky feeling forward, locking in with Perrson. It’s a strong rhythm section and Keezer is amazing during his piano attack on this creative and unique medley that fuses these two familiar tunes.

Geoffrey Keezer is an artist who creates new art, finger-painting on his piano and splashing surprise solos and unusual arrangements in vivid colors of sound. Take for instance, Thelonious Monk’s “Brilliant Corners” tune, played as a funk; or listen to his arrangement of the Michael Legrand composition “On My Way to You”, where he adds strings and Gillian Margot’s lovely voice. I think her rendition would make Barbara Streisand proud.

Perhaps Geoffrey Keezer sums up this project best in his liner notes when he says:

“When I got to New York in the late ‘80s, it was the clear mission of the pianists there to play strong and hard; to give it up a thousand percent every time,” he summed up his style and explained his energetic and ebullient playing.

“Even though I’ve lived in California for almost twenty years, I’m coming out of that late 80’s New York piano style for sure.”
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REBECCA ANGEL – “WHAT WE HAD” Timeless Grooves Records

Rebecca Angel, vocals/programming/composer; Jason Miles, keyboards/Fender Rhodes/Moog bass/pads/percussion; Dennis Angel, flugelhorn; Gottfried Stoger, flute; Hailey Niswanger, soprano saxophone; Sebastian Stoger, cello; Jonah Miles Prendergast & Christian Ver Halen, guitar; Ricardo Silveira, acoustic rhythm guitar; James Genius, acoustic bass; Reggie Washington & Adam Dorn, bass; Mino Cinelu & Cyro Baptista, percussion; Brian Dunne, drums.

A mere twenty-two year old, Rebecca Angel brings a pop/jazz,crossover feel to these arrangements, beginning with the Charmichael/Adamson song, “Winter Moon.” Hailey Niswanger offers a compelling soprano saxophone solo during this Latin arrangement and the sexy rhythm track on this first cut sets the mood for what is to come. Kudos to the percussion player, Mino Cinelu, and also Brian Dunne on drums. They create a strong groove that may also have been enhanced by producer, Jason Miles, who is a master on pads, percussion and keyboards. Jason Miles also plays Fender Rhodes and Moog bass. Rebecca Angel has surrounded herself with a cadre of musical excellence on this, her first EP production and premiere release. I note that she already has a signature sound. That is to say, you will recognize her voice when you hear it again. She exhibits a smoky second soprano tone and tends to slide up to her notes. The title tune is one of her original compositions. It too is produced with a Latin feel and there’s lots of overdubbing on her vocals, adding descants and harmonies. This tune is very ‘popish’ and could have been mixed better. On “Agora Sim” we get back to a jazz/Brazilian feel, tickling my memory of Astrud Gilberto or the popular A&M recording group, Brazil 66. “Stand by Me” is a standard R&B song, made famous for its insertion into film and originally performed by the famous artist, Ben E. King. It’s strange to hear “Stand By Me” recorded on a CD being publicized as a jazz recording. Then again, if you’re trying to break into the Smooth Jazz market, it could easily find a foothold. This is a fresh and well-produced beginning to a young artists’ vocal career. She has time to develop her style, confidence and fan base.

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Pedro Giraudo, composer/conductor/bassist/arranger. The WDR Big Band.

There is no doubt that music crosses all boundaries, all borders, all cultures and nourishes us with its richness. Sometimes music introduces us to new horizons, new thoughts and often music blends nationalities and experiences sweetly, like sugar and salt, that are both combined in baking a successful cake. Pedro Giraudo is a composer, conductor and Argentinian, who relocated to New York twenty years ago and recently found himself in Germany, conducting the esteemed WDR big band on November 29, 2016. It was an evening to remember, playing to a packed house at the WDR Funkhaus in Koln. Like my example of the cake, it was a sweet and rewardingly successful experience.

Each of Giraudo’s compositions has a title and story behind that title that he shares with us in his liner notes. I enjoyed his composition, “Chicharrita” (“Cicada”), that gave the clarinetist an opportunity to solo and soar. Giraudo explains that Osvaldo Pugliese (1905 – 1995) was for decades an important figure in the history of the ‘Tango.’ He was a composer, pianist and bandleader. His style was deep, rich and lush, but his voice was shockingly high pitched, thus earning him the affectionate nickname of Chicharrita. Giraudo uses the high-pitched woodwind to float above his lush arrangements and celebrate this man who popularized the tango with his unforgettable music. “La Ley Primera” (The First Law) is played in a very bluesy way, featuring a lovely and heartfelt saxophone solo. You will find Pedro Giraudo’s music adequately expressed by the German WDR Big Band in an exuberant and technically proficient way. I wish I could have credited the many expert soloists I heard. They put their heart and souls into expressing these very sensitive and passionate compositions. Their individual voices on their instruments spoke to the beauty in each arrangement and magnificently interpreted Pedro Giraudo’s original works. I regret the soloist names were not included and referenced in liner notes, pinpointing the solos they played. One of the things I enjoyed about Pedro Giraudo’s arrangements is that he left lots of open space for soloists to improvise and express themselves.

Pedro Giraudo is well known in the New York arena, having merged his talents as a virtuoso bass player with well-respected musicians like Regina Carter, Reuben Blades, Paquito D’Rivera, Branford Marsalis and more. He is a respected bandleader who has released five critically acclaimed albums. Giraudo, diversified in his musical efforts, leads three bands; a big band, a jazz orchestra and a sextet. This is another plume in the multi-cultural, multi-generational hat he proudly wears.
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Jim McNeely, composer/arranger/conductor; Peter Reiter, piano; Martin Scales, guitar; Thomas Heidepriem, bass; Jean Paul Hochstadter, drums; Heinz-Dieter Sauerborn, soprano & alto saxophones/flute/alto & bass flutes/clarinet; Oliver Leicht, soprano & Alto saxophones/flute/alto flute/B flat and alto clarinets; Tony Lakatos, tenor saxophone/flute/alto flute; Steffen Weber, tenor saxophone/flute/bass flute/clarinet; Rainer Heute, baritone saxophone/bass clarinet/alto flute; Frank Wellert, Thomas Vogel, Martin Auer, & Axel Schlosser, trumpet/flugelhorns; Gunter Bollmann & Peter Feil, trombone; Christian Jakso, trombone/euphonium/valve trombone; Manfred Honetschlager, bass trombone.

The opening tune reminds me of the Cozy Cole style of drums. The percussion staunchly carries this arrangement and I search for the drummer’s name in the credits. The horns accentuate the rhythm-licks and the arrangement is interesting and ear-catching. Christian Jakso is featured on valve trombone and Martin Scales shows his skills on guitar. But it’s the drummer, Jean-Paul Hochstadter, who makes this first cut pop and memorable. It’s called “Bob’s Here” and is one of seven songs composed and arranged by Jim McNeely for this project. McNeely started working with the Frankfurt Radio Big Band in 2008. After three or four projects, he became familiar enough with the band members to imagine their talents, tone and improvisational sounds while he was writing his scores. With great care and adulation, Jim McNeely has tailored these musical visions to support each individual musician’s high points and uniqueness. He also composed these songs with various historic inspirations. For example, on “Bob’s Here” McNeely imagined the return of composer and trombonist, Bob Brookmeyer, who was one of McNeely’s mentor’s. Brookmeyer died in 2011. “Redman Rides Again” is his composition celebrating famed arranger and reedman, Don Redman, who wrote fantastic clarinet trio arrangements. McNeely let’s Axel Schlosser on flugelhorn and Oliver Leicht on his harmonized clarinet re-imagine Redman’s arrangements, woven into the texture of McNeely’s tribute composition. This is no ‘swing’ band, but it is a work of lush orchestration, imagination and aptitude.
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Vivian Lee, vocals; Brenden Lowe & Joe Gilman, piano; Buc Necak, bass; Jeff Minnieweather, drums; Jeff Clayton, alto saxophone.

Vivian Lee’s rich, alto voice floats atop solid, jazz, band arrangements and immediately peeks my interest. From the premier cut, their unique presentation of the Burt Bacharach tune, “Wives and Lovers,” is fresh and original. I used to love to hear Dionne Warwick sings this song, but Vivian Lee and her swinging ensemble makes it totally their own. Her repertoire is plush with tunes from the Great American Songbook. However, Vivian Lee interprets each in her own inimitable way. For example, on the Gershwin standard, “The Man I Love,” she turns a bluesy ballad into a mid-tempo ‘swing’.

This talented vocalist reminds me of songs I’ve loved and missed, reaching back into yesteryear and pulling out gems like “Didn’t We” and “Out of Nowhere”. Ms. Lee breathes new life into beautiful melodies and lyrics like “Being Green,” (the Mercer/Mandel composition), or “Emily and “Waltz for Debby.” Not only does Vivian Lee talk about love, she tells stories of love we all have lived and makes us relate to each one with the passion and tonal precision that only a seasoned and sincere jazz vocalist and storyteller can do.
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August 1, 2018

By Dee Dee McNeil
August 1, 2018


Adison Evans, baritone saxophone/bass clarinet/flute/ composer/producer; Troy Roberts, tenor saxophone/co-producer/co-writer; Silvano Monasterios, piano; Joseph Lepore, bass; Roberto Giaquinto, drums; Jeremy Smith, percussion; Vasko Dukovski, clarinet; Mat Jodrell, trumpet, Flugelhorn.

Adison Evans is a baritone saxophone, bass clarinet and flute player. She’s also an accomplished composer. With the release of this recording, she continues her journey of jazz. In 2014, Adison Evans brought two and a half busy years of touring with Beyoncé and Jay Z to an end and began her independent journey as a solo artist. She felt she needed a break from the demands of touring that come from performing on-the-road with two very public, very popular artists. When the tour concluded, this talented female saxophonist passed up the opportunity of returning to New York City and decided she’d relocate to Europe. Her choice led her to Asciano, a small countryside village located on a hillside just outside of Siena in Tuscany, Italy. Then, in 2016, she released her debut album titled, “Hero”. On this, her follow-up recording, she continues her pursuit of expression using her reed instruments and her penchant for composing. It took a change of pace to produce this album of nine songs. Once settled into her Italian village farmhouse, she found peace and inspiration by staring at the rolling hillsides, soaking up the morning fog and enjoying a village bursting with nature gifts. Her composition, “Owl People” reflects her musical connection to the natural beauty of her surroundings. It’s both melodic and full of rhythm-licks that Jeremy Smith and Roberto Giaquinto accentuate on drums and percussion. Adison Evans’ silky-smooth tone on her baritone sax is both beautiful and comforting. This particular original composition made me sit-up and really take note of her playing and her composing talents. Troy Roberts, co-producer of this project, is stellar on tenor saxophone. He sounds like birds taking flight. Mat JodrelI, an outstanding trumpeter and flugelhorn player, also elevates this tune with his soaring talents. “Prelude and Fugue in D Minor – The Plunge,” is a lovely mix of classical technique, brightly showcased by Silvano Monasterios on piano. The classical music melts into straight-ahead jazz like fresh churned butter on hot toast. As a Julliard graduate, Adison Evans reflects her classical training in this original composition. It’s very beautiful. There is something haunting and sensitive about Evan’s talent that is reflected each time she picks up the baritone saxophone or her bass clarinet. It’s not just her technique. There’s a richness to her playing and an honesty that creeps from her horn and touches me. On Henry Mancini’s “Two for the Road” she glows like a full moon on a dark night. Troy Roberts has arranged this tune and gives Joseph Lepore an opportunity to share an improvisational solo on his bass instrument. Roberts and Evans play horn-tag on the ending. Troy Roberts has co-written several of the compositions on this recording. The title of this work of art is “Meridian” which translates to a circle passing through the celestial poles and the zenith of a given place on this earth’s surface. As I listen to the Adison Evans project, I find peace and entertainment holding hands with her music. But she knows how to play it straight-ahead and gritty too. On “The Parking Song” she ups the tempo and splashes some East Coast energy onto the cool Tuscany hillsides. This tune sounds like a jazz jam session at Small’s Paradise in NYC. Everybody gets a piece of this song. When Adison Evans describes “Meridian” she explains:
“Meridian is a pathway in which vital energy flows within and radiates beyond, to the earth, the trees, to the sun, to each other. Everything is connected.”

You will enjoy a sweet connection between Evans, her creative spirit and the wonderful musicians who join her in the interpretation of her music and mindset.
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Lucia Jackson, vocals; Ron Jackson, 7-string electric arch top guitar; Yago Vasquez, piano; Matt Clohesy, double bass; Corey Rawls, drums, Yaacov Mayman, tenor saxophone; Frederika Krier, violin; Javier Sanchez, bandoneon; Dan Garcia, Flamenco classical guitar; Samuel Torres, cajon/congas/percussion.

The first thing that knocks me out about this CD is the fantastic rhythm section that Lucia Jackson has backing her up. What a group! One of the star players is Ron Jackson on guitar. He puts the ‘swing’ into the music. Lucia Jackson is a dancer, model and has a pleasant voice to complete the picture. However, when it comes to jazz, you have to be able to ‘swing,’ especially when you have a rhythm section this strong. That being said, her choice of repertoire is impressive. This is her debut album and she’s young enough to develop into a strong and confident vocalist. I especially enjoyed her arrangement of “And I Love Him” the famed Lennon/McCartney song. Her bell-clear tones are lovely on ballads. She also includes the verse on the title tune, “You and The Night and The Music” which is done very tastily and rubato on the top with just vocal and guitar. When the band enters, the tune ‘swings’ and Lucia Jackson handles this song with class and confidence. Yaacov Mayman steals the show with his unforgettable tenor saxophone solo. The addition of a violin, beautifully played by Frederiko Krier, is a lovely touch to Lucia Jackson’s vocalization on “I’m A Fool to Want You”. Additionally, Javier Sanchez adds a nice touch on his bandoneon instrument during this ballad arrangement. Flamenco classical guitarist, Dan Garcia, has co-written “Feel the Love” with Lucia Jackson. It’s a melodic and rhythmic Latin tune and her singular contribution on this recording as a songwriter. The arrangement of “Never Let Me Go” as a Latin tune is very nice and Lucia Jackson sounds comfortable and at ease. She also sounds beautiful singing the Osvaldo Farrés tune, “Toda Una Vida” with only the talented accompaniment of Ron Jackson on 7-string acoustic classical nylon string guitar. As I listen and peruse the liner notes, I discover that Ron Jackson, the guitarist on this project who I commented on earlier in this review, is this artist’s father. I’m certain with his talent and guidance, Lucia Jackson is on her way to bigger and better musical rainbows. She has the talent. The pot of gold patiently awaits.

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Carol Liebowitz, piano; Bill Payne, clarinet.

Pianist, Carol Liebowitz has locked talents with clarinet player, Bill Payne to create an artistic accomplishment as an improvisational duo. Here is a unique work of art. Theirs is a ‘live’ concert, performed and recorded in Albuquerque, New Mexico, at the Outpost Performance Space during the Spring of 2016. This is a spontaneous concert presenting Liebowitz and Payne compositions and incorporating, at times, the poetry of Mark Weber. On the “Spiderweb Mandala Flower Explosion Poem: Drishti” Mark Weber interjects his original, spoken word. Weber also hosted this outdoor event, featuring the two spontaneous artists. All of their music is created improvisationally and on-the-spot. This is musical poetry; avant garde, modernistic and magical. These two artists have been working together for eight years and you can hear their camaraderie in the compositions they create. Carol Liebowitz shows her classical influence at times and, at other moments, her dynamic exploration of chord harmonics and piano colorations that both support and enhance Bill Payne’s clarinet talents. They are each musicians who are part of the New York jazz improvisation scene. Liebowitz is a student who developed from the inspiration of the High School of Performing Arts and later, at New York University (NYU). She has studied with Sheila Jordan, among others, and performed in Europe and throughout New York and the United States. Her CD, “Payne Lindal Liebowitz” was recorded with Bill Payne and violinist, Eva Lindal. That 2015 recording was chosen by Art Lange as one of the Top Ten Jazz CDs in the National Public Radio Jazz Critics Poll.

Bill Payne was raised in Harvey, Illinois and moved to New York in 1977. Early in his fledgling career, he spent five years touring with the Ringling Brother’s Circus. He has played in ensembles that backed -up theater shows and toured with Margaret Whiting, Kay Starr, as well as playing in orchestras on Cruise ships. He’s been a musical director for the Los Angeles Circus for three years and toured with the UniverSoul Big Top Circus. Currently, his direction has been tapping the deep waters of improvisation and performing freeform music without boundaries. He enjoys the liberation and creativity that working with Carol Liebowitz inspires. This recording promises to continue the Liebowitz/Payne legacy.
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Bob Mintzer,arranger/bandleader/tenor saxophone/flute; Kim Nazarian,vocals; Lauren Kinhan, vocals; Darmon Meader, vocals/vocal arranger; Peter Eldridge, vocals/piano; REEDS: Bob Sheppard & Lawrence Feldman, alto saxophone/flute; Bob Malach, tenor saxophone; Roger Rosenberg, baritone saxophone/clarinet; TRUMPETS: Bob Millikan, Frank Greene, Scott Wendholt, James Moore. TROMBONES: Keith O’Quinn, Jeff Bush, Jay Ashby,trombone/percussion; David Taylor, bass trombone; Phil Markowitz, piano; Marty Ashby, guitar; Jay Anderson, bass; John Riley, drums.

Listening to this project was absolutely rewarding and joyful. Bob Mintzer has arranged a magnificent jazz treat for our musical palate and it’s delicious to my ears. Lead vocalists, Kim Nazarian and Lauren Kinhan do a superb job of singing “Autumn Leaves” with an amazing arrangement by Bob Mintzer that features Phil Markowitz on piano and Bob Sheppard on alto saxophone. All the vocal arrangements are by Darmon Meader. When the New York Voices employ all those ninth and thirteenth chordal harmonies, they are beyond beautiful. Peter Eldridge has a smooth, clean, lead vocal on “I Concentrate on You” and he helped with the vocal arrangements of this song.

One of the reasons this recording is so historic and special to the MCG Jazz label is because The New York Voices performed with the Count Basie Orchestra on this label’s first commercial release. This unique singing group has been a part of the MCG Jazz family since the 1980s. Their recording with Basie’s band went on to win a Grammy Award in 1996. MCG Jazz has produced five other Bob Mintzer Big Band recordings. This is the first time they have blended The New York Voices with Mintzer’s illustrious orchestrated arrangements. Integrating the creative genius of Darmon Meader’s vocal arrangements with Mintzer’s big band magic is pure gold. This project sparkles and is rich with talented singers and musicians. One of the ladies and founding members of the group is Kim Nazarian.

Kim Nazarian has come across my desk on numerous recording projects. For two and a half decades she’s been an intricate part of The New York Voices. She was one of the featured vocalists on Bobby McFerrin’s “VOCAbuLarieS” CD. She was honored to collaborate with the Smithsonian Jazz Masterworks Orchestra and the Manchester Craftman’s Guild on a concert tour that celebrated the great mother of jazz, Ella Fitzgerald. She’s a jingle and studio session vocalist who also sings on movie scores. For the past three years, Kim Nazarian has been a judge for the International a’cappella Competition in Graz, Austria. Her solo CD, “Some Morning,” won national acclaim a few years ago.

The only other female in The New York Voices is Lauren Kinhan, who I thoroughly enjoyed when she sang the lead on “Old Devil Moon” and “Speak Low.” Ms. Kinhan is also a competent songwriter, discovered in 1997 by the legendary Phil Ramone. It was during her performance in New York City at the club Bitter End. Lauren Kinhan’s latest CD is titled, “A Sleepin’ Bee” released on her own label, ‘Dotted I Records’ that tributes the great Nancy Wilson. She also has three recorded albums featuring her own original compositions. Like Ms. Nazarian, she’s been with The New York Voices since their inception.

Bob Mintzer brings voices and musicians together with a wave of the baton and a stroke of the pen. He has golden ears and a clear sense of what brings out the best of each song, each instrument and each voice. A native New Yorker, at age sixteen an organization that sponsored jazz performances called, Jazzmobile, sent an amazing quintet of musicians to young Mintzer’s New Rochelle high school. The group consisted of Billy Taylor, Grady Tate, Ron Carter, Harold Land and Blue Mitchell. After hearing these jazz masters, Mintzer was hooked on music from that point forward. One of his great teachers was Jackie McLean, during his study at University of Hartford’s Hartt School in Connecticut, where Mintzer had received a classical clarinet scholarship. Mintzer quickly joined the jazz program at Hartt. His illustrious career has spanned decades of performances, album productions and arrangement writing. From working with Buddy Rich’s Big Band to being a part of Jaco Pastorius’s “Word of Mouth Band”. He became a member of the Yellowjackets group in 1991 and is currently a well-respected educator at the University of Southern California in Los Angeles where he teaches jazz composition, saxophone, directs the Thornton jazz Orchestra and conducts jazz workshop classes worldwide. ‘Scuse me while I play this recording one more time.
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Judi Silvano, vocals/composer; Kenny Wessel, guitar; Bruce Arnold, processed guitar/bass clarinet/soprano & tenor saxophone; Joe Lovano, tenor saxophone; Retzo B. Harris, bass; Bob Meyer, drums; Todd Isler, percussion.

Judi Silvano is produced by reedman/husband, Joe Lovano. They feature a Zephyr Band. Zephyr is said to be a musical project started in 2000 by London-based composer and producer Elizabeth Henshaw, involving musicians from a variety of different backgrounds. According to other sources, Zephyr music records was born out of passion for transcendence music that would influence the lives of music lovers and artists. Zephyr is also an instrument with a very unique sound. So that gives you an insight into what Judi Silvano and her Zephyr Band are striving to produce with this project.

On their recording, Judi Silvano has composed all the songs both music and lyrics. As a respected vocalist, who has four times been named a DownBeat Top Ten Vocalist and Composer, she continues using her composer skills to share life stories that encourage people to recognize that all of humanity is connected. I appreciate her songwriting ability and her lyrical messages. For this reviewer, however, her vocals are an acquired taste. To my ear, this is not an album I would consider jazz. As a social message, it is definitely cerebral food for thought. As a composer, Silvano soars.
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RACHEL CASWELL – “We’re All In The Dance” Turtle Ridge Records

Rachel Caswell, vocals; Sara Caswell, violin; Dave Stryker, guitar; Fabian Almazan, piano/Fender Rhodes; Linda May Han Oh, bass; Johnathan Blake, drums.

Rachel Caswell is an exquisite jazz singer. From the very first tone of her voice on the Sting composition, “Fragile,” I knew I was in for a treat. First of all, I do love Sting’s songwriting and it takes a special vocalist to tackle his music. Rachel Caswell has a lovely style, a wee bit reminiscent of the great Roberta Flack in the way Caswell phrases, but Caswell is certainly strong and uniquely her own person in both vocal characteristics and presentation. She scats as easily as she emotionalizes the lyrics of her songs. Caswell is sweet as syrup and as powerful as the maple tree that births that maple syrup. Her sister, Sara Caswell, plays a violin solo on this song that is spellbinding. It appears talent runs in their family. Dave Stryker, also takes a notable solo and additionally produced this recording. With only Linda May Hon Oh playing bass, Rachel begins the next tune, “A Lovely Way to Spend An Evening” and the duet is surely a lovely way to start this song, arranged at a medium tempo. By the time Johnathan Blake joins them on drums and Fabian Almazan adds his complimentary piano licks, the song is in full ‘swing .’ Once again, Caswell breaks into a scat that may have well been a saxophone or trumpet solo. She’s silky smooth and joins Dave Stryker in certain parts, singing unison scat tones with his guitar. The title tune, composed by Will Jennings & Christophe Monthieux, has memorable and sensitive lyrics that sum up this album of artistic music. Rachel Caswell sings:

“Like the dance that we all have to do. What does the music require? People are moving together. Close as the flames in a fire. … Looking for one more chance, oh I know, We’re all in the dance.”

Once again, I do find deep appreciation for the virtuoso violin work of Sara Caswell on this arrangement. Rachel Caswell’s repertoire is refreshing and she is deeply passionate when she sings. Not everyone can capture passion inside a recording studio. I was eager to hear her delivery on the Ray Charles hit record, “Drown In My Own Tears.” She keeps it as a bluesy ballad, perhaps a little less Gospel than Ray Charles arranged it, but Dave Stryker puts a capital “B” in the blues on his guitar. Rachel Caswell is a fearless artist who puts her own ‘take’ on tunes by Charlie Parker (“Dexterity”) or Herbie Hancock’s “Tell Me A Bedtime Story” with interesting lyrics by Tom Lellis and a challenging melody that demands her full range. Closing with Thelonious Monk’s “Reflections (Looking Back),” she has shown the listener that she is a full-fledged jazz diva with excellent timing, pure tones that swoop and soar like a reed instrument and the ability to improvise with precision pitch and great creativity. Her flawless enunciation reminds us of the importance that lyrics add to music and her emotional delivery seals the deal.
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Johnaye Kendrick, vocals/arranger/composer; Dawn Clement, piano/keyboards; Chris Symer, bass; D’Vonne Lewis, drums/percussion; Michael Nicollela, guitar;Adele & Nola Oliver, children’s voices.

Johnaye Kendrick is another singer/songwriter with a social consciousness that creeps through her music with lyrics like:

“They push you, they pull you. Don’t even know how much you can bear. Though they’ll tell you that they rule you, never you mind. You come from a legacy of warriors and though there’s fear, know that fear’s what fueled the fire of courage.”

This original composition by Kendrick, “Never You Mind,” opens her album and is very melodic and engaging. It’s followed by a tune called “Fallen” written by Lauren Wood. Johnaye Kendrick has a pleasing soprano voice and she sweetly draws you into the songs she sings. When she performs the popular jazz standard, “It Could Happen to You” with only bass and drums as accompaniment, she breaks into a scat solo that’s fiery and effective before returning to the poignant lyrics. Chris Symer takes an interesting and creative solo on bass during this arrangement.

Her composition, “You Two,” is a beautiful ballad, dedicated to her twin girls. You can hear the coos and childlike voices on the tag of this song. The weak link in this recording is that this talented lady probably needs a producer and jazz studio session players that could lift these songs and give this vocalist the professional cushion she deserves to elevate her presentation. I do enjoy Ms. Kendrick’s arrangements and her creative ideas. She’s a very fine songwriter, both melodic and she’s lyrically fluent. Her music easily crosses from jazz to pop and borders on smooth jazz. For example, cut #6, “I’ve Got No Strings” is a little Erykka Badu-ish and expands Johnaye Kendrick’s appeal towards more commercial opportunities. Once again, although this has the makings of a pop hit, with the right production and a more funk-sensitized pianist, she probably would have had the makings of great crossover appeal and a hit record. Sometimes it’s more expedient and dynamic to use seasoned studio musicians to lay down strong tracks and then hire another band for touring and ‘live’ performances. Another original composition titled “Boxed Wine” is definitely one that could be played on both Easy Listening and Smooth Jazz stations. The addition of Adele and Nola Oliver, who beautifully layer harmonics with their background vocals, creates a delightful, ethereal groove. Johnaye Kendrick’s lead vocal sings the story and she smoothly floats atop the catchy arrangement. This is another example of her diversified composition talents.

Johnaye Kendrick earned her Bachelor of Music degree from Western Michigan University. She has already garnered a DownBeat Student Music Award for Outstanding Jazz Vocalist and has worked with some of the best musicians in the business including great pianist, Fred Hersch. I wish he had played on this production. She was featured vocalist with the Ellis Marsalis Quartet and the Grammy winning New Orleans Jazz Orchestra. Ms. Kendrick received an Artist’s Diploma from the Thelonious Monk Institute of Jazz and a Master’s degree in Jazz Studies from Loyola University in 2009. Currently, she is sharing her experience and talent as an educator, songwriter and vocal coach in Washington State.
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Max Haymer, piano; Lyman Medeiros, bass; Dan Schnelle, drums; Marcel Camargo & Larry Koonse, guitar; Bob Sheppard, saxophone; Brian Swartz, trumpet; Kevin Winard, percussion.

Joanne Tatham is another cabaret singer who has surrounded herself with some of the best Southern California musicians around. She has perfect elocution, sharing stories of New York (her former stomping ground,) using the ebullient Michael Franks tune, “Summer in New York”. Franks is one of my favorite modern composers and the musical arrangement on this tune features Larry Koonse on guitar and Max Haymer on piano. Both exhibit their technique and bravado during spicy solos. Haymer has done most of the arrangements on this album and for the most part, they are stellar. Singer/songwriter, Phoebe Snow left us way too soon, but gifted her faithful audience with several delightful and sensuous compositions. A favorite of mine is “Poetry Man” that Max Haymer has completely rearranged. I hardly recognize it. Tatham sticks to the lovely melody, no matter what the repetitive chords do, but I think the beauty of Snow’s composer skills are buried in this arrangement. The title tune, “The Rings of Saturn” is beautifully executed. The track and arrangements are smokin’ hot on this one. Bob Sheppard sounds fabulous on the song, “Can We Still Be Friends?” All in all, the arrangements really swing on this album.

Tatham is a fine vocalist. Producer Mark Winkler knows how to contract a band and he has put such an amazing group of musicians behind Ms. Tathan, she can only soar. She is especially successful on the more Latin flavored tunes and the way she learned the scat part of the guitar on “If You Never Come To Me” (composed by Jobim), puts her into the realms of jazz in a sweet way. However, for the most part, she sounds like an actress or Broadway rather than a jazz vocalist. When I read her bio, I recognized that I was correct in my assumption. Tatham studied music at the performing arts conservatory at the University of Hartford at the Hartt School. She has a graduate degree from Syracuse University’s Newhouse School and lived in New York City for ten years working as a theater actress.

Although this album was released in the Spring of this year, it’s never too late to give it a spin and enjoy the wide diversity of this talented actress and cabaret vocalist.
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July 26, 2018

By Dee Dee McNeil
July 26, 2018


Featuring: Hendrick Meurkens, vibraphone/harmonica; Roger Davidson, piano/composer; Eduardo Belo, bass; Adriano Santos, drums.

This musical production, produced by Pablo Aslan, is a happy celebration. Pianist, Roger Davidson, has composed all the Brazilian compositions recorded. The harmonica of Hendrik Meurkens dances in complete abandon from the very first cut of this album titled, “My Love is Only You”. Tastefully enters the piano and the drums. It sounds like a party. Meurkens has his own signature sound on the harmonica and there is a warm familiarity between him and the piano. On cut #2, “Celia,“ the piano plays tag with the harmonica, colorfully tickling melodies that mirror or harmonically enhance the pianist as they interpret Roger Davidson’s lovely composition.

On Cut #3, “Comment Je t’Aime,” sparkles and blinks like candles on a cake. The fourth cut, “The Way You Move My Heart,” is melancholy, but beautiful. I’m impressed with the way Roger Davidson, on piano, always seems to finish Meurkens’ musical sentences and vice versa. They work well together. Davidson is a wonderful composer and offers us fifteen delightful compositions to enjoy. One very melodic original is “Fico Feliz,” where it was nice to hear Eduardo Belo briefly solo on bass. Also, I especially enjoyed Belo when he bowed his double bass on the very romantic tune, “Um Amor, Um Abraco.” Adriano Santos brings rhythm and gusto to the project on drums, showcased grandly on the final Samba. The ensemble enters and ends with a celebratory feeling, sharing “Music from the Heart.”
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Kate Reid, vocals; Paul Meyers, Larry Koonse & Romero Lubambo, guitars; Fred Hersch & Taylor Eigsti, piano.

Kate Reid has a voice that reminds me of Julie London, Joni Mitchell and Diana Krall all rolled into one, sultry ball of talent. She has chosen eleven songs to entertain us, each one produced as a unique duo featuring herself and one other musician of excellence. Opening with the Strayhorn/Ellington composition, “Something to Live For” she captures my heart with her tone and emotional connection to both the lyrics and melody. As a pianist herself, although she doesn’t play on this recording, Reid has arranged most of the songs. For this song, Paul Meyers amply accompanies her on his guitar.

Critically acclaimed vocalist, pianist, composer and founder of the vocal group, ‘New York Voices,” Peter Eldridge, produced this album and it’s Kate Reid’s third CD release. He helped her choose this rich repertoire. She has embraced the superb talents of a handful of amazing musicians. For example, Fred Hersch, a ten-time Grammy Award nominee and winner of the 2018 Jazz Pianist of the Year from the Jazz Journalist’s Association. He composed two of the songs she sings, “Stars” and “Lazin’ Around with You.” Hersch takes to the piano and accompanies her on the moody ballad, “No More,” and the familiar standard “If I Should Lose You.”.

On the sassy song, “Confessin’” Kate Reid is joined by a very busy Los Angeles guitarist by the name of Larry Koonse. He also plays on her rendition of Joni Mitchell’s composition, “Two Grey Rooms” that was arranged by Peter Eldridge. I was intrigued with the lyrics of this song and impressed with Reid’s emotional delivery. Romero Lubambo is a Brazilian guitarist. He plays on the Fred Hersch “Stars” composition with touching lyrics written by Norma Winstone. This tune is lilting and infectious, reflecting its South American roots because of Lubambo’s rhythmic guitar excellence. The Hersch melody is challenging and beautiful. Lubambo also accompanies Reid on “Minds of Their Own” composed by famed Brazilian composer, Ivan Lins with lyrics by producer, Peter Eldridge. I really enjoyed Kate Reid’s rendition of James Taylor’s “Secret of Life” composition with Taylor Eigsti taking to the 88-keys, where she sings, “The secret of life is enjoying the passage of time.” Well said!

Kate Reid is a Mid-Western talent, born and raised in Cuyahoga Falls, Ohio. She received her Bachelor of Music degree in Jazz Studies from Western Michigan University. She also has a Master of Music degree in Jazz Performance and a Doctor of Music Arts degree from the University of Miami. For a while, she moved to Los Angeles to work at Cypress College as Professor of Music and Director of Vocal Jazz. Currently, Dr. Kate Reid is Director of the Jazz Vocal Performance Program and Associate Professor of Jazz Voice at the University of Miami. This project is exquisite, and in its duo simplicity, amazingly complicated. Singing a duo gig or recording with just two musicians is no easy task. Kate Reid makes it sound easy and seamless, flowing like a lovely river, from one tune to the next and intriguing us with her sensuous delivery and undeniable vocal gift.
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John Bailey, trumpet/flugelhorn/composer; Stacy Dillard, tenor/soprano saxophone; John Hart, guitar; Cameron Brown, bass; Victor Lewis, drums/cymbals; Janet Axelrod, flute; Leo Grinhauz, cello.

A trumpet always makes people come to attention. John Bailey’s clear tones, dramatically expelled from the bell of his horn, immediately command my consideration. Next arrives the percussive drums of Victor Lewis and then the horn harmonics of sax and trumpet that mirror New York City’s busy traffic. This tune, “Rhapsody,” is established by the rhythm section’s groove. For a moment, it sounds like smooth jazz; but quickly these musicians are traveling down several straight-ahead lanes. Stacy Dillard joins the production with his saxophone, solo cruising across the busy musical highway. The saxophone spits fire. Then John Hart climbs into the front seat, cool as ice on guitar. Thus, begins my trip with this newly released John Bailey debut album. I’m prone to categorize this production as all fire and ice, heightened by the flaming trumpet virtuosity of Bailey.

John Bailey fell in love with the trumpet at age eleven. It’s been a long and lovely love affair ever since. Seven of the nine compositions contained on this album were composed by Bailey. The second cut is dedicated to his teenaged son, Louis, and titled “My Man Louis”. It has a Pink Panther feel at first, thanks to the creeping bass line of Cameron Brown, who sets the mood and groove. Almost immediately, this tune stretches into the solar system, like a rocket ship taking off, and it’s propelled by the energetic drums of Victor Lewis and the innovative solos by each member of this talented ensemble.

This production gives me an intimate look at a trumpet prodigy who was first celebrated for his amazing talent during high school in 1984, when DownBeat Magazine cited him during their annual Student Music Awards for his outstanding performances in both classical and jazz trumpet categories. Today, after garnering several other awards, he is well known in the New York area as a sideman, studio session musician and educator. Bailey honed his gifts in college, playing with the Buddy Rich Band and he has worked with Ray Charles, Ray Baretto, The Woody Herman Orchestra, James Moody, Kenny Burrell, Dr. Lonnie Smith and a host of other icons. With the release of this production, Bailey lets us know It’s time for him to share his composer skills, musical production talents and sensuous horn playing with the world “In Real Time.”
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Bobby Sanabria, musical director/drums/cowbells/police-whistle/samba-whistle/lead vocals/producer; Darwin Noguera, piano; Leo Traversa, electric bass; Oreste Abrantes, congas/itotele batá drum; second voice on Maria; Matthew González, bongó/cencerro/primo bomba drum/lya batá; requinto pandereta/ganza/Dominican gűira; Takao Heisho, claves/Cuban gűiro macho/cencerro/Puerto Rican guicharo/okonkolo batá drum/maracas (Cuban & Venbezuelan)/shekere/tambourine/cuica/pandeiro/triangle/gong/ police-siren; TRUMPETS: Kevin Bryan, Shareef Clayton, Max Darché, & Andrew Neesley. REEDS: David Djesus, lead alto/soprano saxophones/flute; Andrew Gould, alto saxophone/flute; Peter Brainin, tenor saxophone/flute; Yaacov Mayman, tenor saxophone/flute/clarinet; Danny Rivera, baritone saxophone; Gabrielle Garo, flute/piccolo; TROMBONES: David Miller, Tim Sessions, Armando Vergara, & Chris Washburne, bass trombone; Ben Sutin, electric violin.

Afro-Cuban percussive excitement opens this CD with exuberance and joy. The famed tune, “Maria” never sounded so good or so uniquely arranged. Here is a production of timeless compositions that celebrate the music of Leonard Bernstein (with the unsung lyrics of Steven Sondheim) from the groundbreaking musical, “West Side Story.” Bobby Sanabria has reinvented the music in celebration of the 1957 stage play’s recent 60th birthday in 2017 and also to salute composer Leonard Bernstein’s 100th birthday this year. Using the stellar talents of his passionate Multiverse Big Band, Bobby Sanabria brings fresh life and exultation to this music. Sanabria explained in his liner notes:

“West Side Story holds a special place I my heart. I first saw the (1961) movie as a young boy when my parents, Jose and Juanita, took me and my sister Joanne to the luxurious Loews Paradise on the Grand Concourse in my hometown., da Bronx. At that time, there wasn’t anything that acknowledged the contributions we had made, let alone the existence of NYC’s Puerto Rican community, other than articles about gangs and crime in relation to us. … Yes – gang life in NYC back in the 50s forms the framework of West Side Story, and of course it’s based on Shakespeare’s Romeo and Juliet … but that’s looking at things superficially. It’s a complex story of romance set in the energy of the inner city amidst racism, bigotry, and what causes it; fear, that’s offset by cultural pride, humor and the spirit of fighting for what one believes in, good or bad.”

Using his musical director talent, his musicality on drums and percussion, and his deep love of Bernstein’s composition skills, Bobby Sanbria has produced and packaged his dream on disc. Utilizing the amazing talents of some of the best East Coast musicians alive, this is a recording I have listened to over and over for several days; never tiring of the CDs explosive energy and the beauty it reflects. Bobby Sanabria’s music obviously comes from the heart.
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Maggie Herron, piano/vocals/composer; Bill Cunliffe, piano/arranger; Grant Geissman & Larry Koonse, guitar; Dean Taba, bass; Jake Reed, drums; Bob Sheppard, flute/bass/clarinet; (HORN SECTION): Brandon Fields, Bob McChesney, Ryan Pewees. Geoffrey Keezer, piano; Gillan Margot & Jason Morales, vocal harmonies.

Maggie Herron is a prolific composer, a competent pianist and talented vocalist. Her alto vocals recall the rich, round tones of Cleo Laine mixed with the sultry, expressive voice of Shirley Horn. The catchy lyrics of her songwriting (often written by her daughter, Dawn Herron) grab the attention right away. On both the title tune, “A Ton of Trouble” and the second song, “Perfect Specimen,” Bill Cunliffe’s tight horn arrangements add brightness and accentuate Herron’s unique lyrics. “Salty Wine” is a title full of poetry and so Is the song itself. Maggie Herron composes using a lot of minor chords and melodies that etch themselves into your consciousness like love letters carved into a tree trunk. On this song, we hear Herron on piano and the sensitive guitar work of Larry Koonse. When she sings, “Dance Me to the End of Love,” (a Leonard Cohen composition) the music is arranged more folksy than jazzy. At other times, the arrangements embrace ragtime, slap-stick and on the lovely ballad titled, “There is love” she adds a soft, harmonious background chorus that enhances her production and delivery. All in all, Maggie Herron, the artist, is poetry in flesh and blood.

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Wayne Powers, vocals; Ziad Ravie, tenor saxophone; Keith Davis, piano; Ron Brendle, double bass; Al Sergel, drums.

When I listen to Wayne Powers sing, I am reminded of some of our great male vocalists of yesteryear like Arthur Prysock, Johnny Hartman and Billy Eckstine. Wayne has that air of history wrapped into his style and presentation but sung with his own unique style and verve. His album is chuck full of fourteen jazz standards that make me feel as though I’m sitting in a cozy, intimate jazz club in ‘Anywhere, USA’. Wayne Powers knows how to put emotion and sincerity into his songs. It’s easy to overlook the occasional flat notes or his penchant for sliding up to the tonal pitch. That being said, one can tell that this vocalist has lived life and he has picked songs he can relate to; songs where he can dig his heels deeply into the sturdy roots of life. I enjoy each of his presentations, some with the often unheard of or unsung verses, like on his arrangement of “Body and Soul”.

Other songs recall the magical improvisational lyrics of a King Pleasure or Eddie Jefferson. For example, Powers’ arrangement of “All of Me” that begins as a ballad, that then breaks into a lyrical, improvisational scat at a double time tempo. He makes an old song fresh and innovative, borrowing from the style of King Pleasure. Wayne Power’s shows he is unafraid to tackle the brilliance of Strayhorn, on “Lush Life” or the passionate beauty in the famed Ann Ronell composition, “Willow Weep for Me.” His musicians are competent and supportive, with Keith Davis, on piano, lending sensitive accompaniment; Al Sergel locking the time strongly in place on drums, Ron Brendle beautifully complementing the rhythm section on his upright bass and Ziad Rabie strong and creative on tenor saxophone. If you love the standard jazz love songs, here is a rich, emotional, baritone vocalist who amply interprets them for your listening pleasure..

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Ernie Krivda, tenor saxophone/arranger/composer; Joe Hunter, piano; Marion Hayden & Brian Thomas, bass; Lee Bush, guitar; John Bacon & Rick Porrello, drums; Steve Enos, trumpet; Chris Anderson & Gary Carney, trombone.

This is a party album, created by a small band with a very big sound. Tenor saxophonist, Ernie Krivda has written all the arrangements for his ‘Swing City Band’ and ‘swing’ they do! “Lime House Blues” opens his CD with John Bacon peddling the music, introducing a mid-tempo swing on his drums and propelling the band ahead, like a wind-driven cyclist. “Roses” is a sultry Krivda composition. His bluesy ballad is sexy and seems plucked from another era. Krivda’s tenor saxophone style winds back the clock to the 1930’s and 40’s, when Billie Holiday and Prez were popular jazz icons. Next, Marshall Baxter Beckley sings a memorable rendition of “Summertime” that is heated up by the hot tempo and the exciting arrangement that features a strong bass line by female, Detroit, bassist, Marion Hayden. Both Ms. Beckley and trombonist Gary Carney are listed on the CD jacket “In Memoriam”.

“On the Road” is another one of Ernie Krivda’s original compositions. It’s a slow swing that allows Joe Hunter to tinkle the piano keys in a very low-down, bluesy-kind-of-way, utilizing the 88-keys upper register. Even as the horns soar and harmonize, Hunter manages to attract the listener’s attention with his tasty piano chops. Whoever mixed this CD did a superb job. Ernie Krivda writes music that sticks like glue to your melodic memory. His melodies beg to be sung and his arrangements engage both the musicians and the listener. For example, on “Easter Blue,” I am once again captivated by the rich, warm melody that Krivda establishes on his tenor saxophone. Steve Enos mirrors Krivda’s passion on trumpet during a sweetly played solo.

In Cleveland, Ohio, Ernie Krivda is a local hero and national treasure. Krivda explains, in his liner notes , that the original mission of his septet was meant to reflect a broad arena of jazz styles, exploring various eras of jazz music. His band’s name, “Swing City”, immediately identifies their rhythmic groove. This recording of their music captures the prime period shortly before they disbanded in 2002. They took pride in blending bebop with the swing era, interpreting the genius of both Ellington and Strayhorn, (i.e. Mood Indigo, Caravan and The Mooche); embracing standards like “The Man I Love” and “Summertime” in a most Swinging way, while also leaving their mark on Ernie Krivda’s original compositions, including the happy, joyful, title tune, “A Bright and Shining Moment.”

Ernie Krivda is a 2009 recipient of the Cleveland Arts Prize award for lifetime achievement in music and he’s been a driving, Mid-Western force in jazz since the 1960’s. He’s won the Jazz Legends Award from the Tri-C Jazz Festival and a Community Partnership of Arts and Culture Fellowship. You will find him bandleading his own quartet in and around Cleveland, Ohio, as well as directing the Fat Tuesday Big Band.
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Delmark Label

Geof Bradfield, tenor & soprano saxophones/bass clarinet/composer/producer; Anna Webber, flute/bass flute, tenor saxophone; Greg Ward, alto saxophone; Russ Johnson & Marquis Hill, trumpet/flugelhorn; Joel Adams, trombone; Scott Hesse, electric guitar/classical guitar; Clark Sommers, acoustic bass; Dana Hall, drums/percussion.

For this final review, I chose Geof Bradfield’s seventh album, as a leader, because his music obviously blossoms straight from the heart, like the title of this reviewer’s column. Using the supreme talents of several noteworthy midwestern musicians to explore and deliver eight of Bradfield’s original compositions, you will find this music inspirational and artistic. Each song and every instrument competently splashes color against a canvas of space, painting the music brightly and freely for our ears to digest. Jazz, being the music of freedom, is well represented on this album. Bradfield explains the title of his recording in the liner notes.

“Yes, and … takes its name from an improvisational theater game often implemented by the iconic Compass Players. … It requires you to believe that what you improvise is building on whatever everyone else is doing – even if the response is ‘Yes, and’ … it says here’s my contrasting response to that. I want to see people making some decisions. That’s what jazz is; that’s how my favorite players approach music.”
I should explain, that in 1955, a few blocks from the University of Chicago’s campus, two theater aficionados (David Shepherd & Paul Sills) launched a storefront theater ensemble they named The Compass Players. They were radical for that time and remain influential to this day.

Bradfield’s music ensemble on this production is radical also, sometimes reminding me of the Chicago Art Ensemble and at other times the recording is lush and full, sounding more like a big band than a small, nine-piece ensemble. This is particularly obvious on “Impossible Charms”, the fourth cut on this work of art. Anna Webber shines on flute during her solo on cut #6 titled, Anamneses. It’s fourteen minutes long, but I was never bored. There is plenty of improvisational spirit shown by these players and Geof Bradfield is an exceptional composer/arranger and reed man. No wonder that this project was commissioned by Chamber Music America’s New Jazz Works through the generous support of the Doris Duke Charitable Foundation. You can enjoy this ensemble up close and personal at the upcoming Chicago Jazz Festival on August 30, 2018 or simply pop this stellar recording into your CD player and musically embrace them at your leisure.
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