By Dee Dee McNeil
FEBRUARY 25, 2024
Every nation of the world, continent to continent, has embraced jazz. It is a musical legacy that America has labeled its unique Classical music. Below are some carriers of the jazz torch. They are all cultures, all races, all sizes and shapes of music. The one thing they have in common is that they all love jazz, the same way that I do. Here are some recent jazz recordings that I have reviewed for posterity’s sake.
JAMES ZOLLAR – “THE WAYS IN” – Jzaz Records
James Zollar, trumpet/flugelhorn/arranger; David Hazeltine, piano/Fender Rhodes; Gerald Cannon, bass; Willie Jones III, drums; Michael Rorby, trombone/arranger; Stefano Doglioni, bass clarinet; Nabuko Kiryu, vocals/composer. SPECIAL GUESTS: Jeremy Pelt, trumpet; Jennifer Vincent, cello/bass; Riza Printup, harp; Chembo Corniel, Conga/percussion; Patience Higgins, tenor saxophone.
James Delano Zollar was already in love with horns at age nine when he was playing bugle in his hometown of Kansas City Missouri. By twelve, he had picked up the trumpet and after high school he studied the musical instrument seriously at San Diego City College and later, the University of California San Diego. I first heard this talented trumpeter at a Jeannie and Jimmy Cheatham Sunday jazz jam session that was quite popular at the Bahia Hotel on Mission Bay. Pianist Dwight Dickerson and I used to drive down from Los Angeles to participate in that popular jam session. That’s when I was a fledgling jazz vocalist. Several years later, I would hear James Zollar play in NYC when I visited a gig where Dwight was playing.
In 1985, Zollar relocated to New York City and joined the Cecil McBee Quintet for a five-year stint. His credits blossomed from there, performing with a huge variety of respected jazz artists including the Jon Faddis & Carnegie Hall Jazz Orchestra, Wynton Marsalis & the Lincoln Center Jazz Orchestra, The Count Basie Orchestra with Diane Schuur, Don Byron’s Bands, Jon Batiste, Tom Scott, Tony Bennett & Lady Gaga, Sarah Vaughan, Gladys Knight, the new jazz vocal star on the horizon, Samara Joy, and Latin piano master Eddie Palmieri. The list goes on, but as you can see, Zollar is both versatile and on the A-list of NYC session musicians, as well as being a recording artist and bandleader himself.
This album is one I will enjoy listening to time and time again. They open with “The Fruit” dedicated to Barry Harris and composed by Bud Powell. Zollar has arranged the tune along with trombonist, Michael Rorby. This music begins my morning and David Hazeltine’s dancing fingers fill my listening room with Straight-ahead bliss bouncing from his piano. When the horns enter, they dance too. After they perform in-concert with rich harmonics, we meet Michael Rorby on trombone and Stefano Doglioni on bass clarinet, each offering solo introductions. All the while, Los Angeles’s own Willie Jones III powerfully pushes this ensemble ahead with his drumsticks flying. Track #2 features just horn and the vocals of Nabuko Kiryu at the introduction of the Horace Silver standard “Peace” and then slips into “Blue Silver” creating a lovely medley. James Zollar dedicates these two songs to Al Zollar, his brother, who insisted on
producing this entertaining and well-played album of swing. Nabuko re-enters after the Zollar’s solo and scats her way through several bars of traditional jazz. She very effectively doubles the horn line, using her voice to sing along with the trumpet.
The Zollar composition, “Jim Jim” was a song that reflects a childhood nick name for James Zollar and encompasses shades of the Miles Davis “Bitches Brew” days mixed with the Chicago Pop group, Earth Wind & Fire influence. It has great energy, and the addition of special guests like Chembo Corniel on percussion lifts this song, along with Hazeltine’s funky Fender Rhodes. Corniel is also brightly featured on their arrangement of the Miles Davis tune, “Swing Spring.”
I love Zollar’s rendition of “Do Nothing Til You hear From Me” where it sounds like the trumpet is actually speaking the lyrics to me. Accompanied only by Hazeltine’s rich and sensitive piano, this is a striking duet! There is so much emotion blown from the bell of Zollar’s horn!
With this album release, James Zollar celebrates jazz history, fondly sharing the amazing talents of master musicians who he has played with or who he has been inspired by. Although many are no longer on this Earth, James reminds us that this music is their legacy on the pages of music history.
And to all the generations of musicians to come, Zollar hopes this record helps you to find “The Ways In.” Sometimes, through the music, the arrangements, the excitement and love that jazz radiates, one can not only learn, but find healing and inspiration. Perhaps James Zollar said it best when he shared in his press package these words.
“This recording is also dedicated to all the beautiful souls we lost during this pandemic, especially to Dr. Barry Harris, who’s passing still seems like yesterday. It’s all about “The Ways In” to music, to jazz, to life. To start with, there was Alfred Zollar, Jr., and Dorothy Delores Zollar, my parents and the vast record collection in our home in Kansas City … including old 78rpm records and newer 33rpm LPs. I listened to Charlie Parker, Ahmad Jamal, Dave Brubeck, Lou Rawls, Dinah Washington, Ray Bryant, Babatunde Olatunde and more. Down the street, there was the jukebox at Al & Bud’s, my dad’s tavern. I heard Misty by Richard ‘Groove’ Holmes and Lee Morgan’s Sidewinder,” James Zollar recalls.
“…This particular project is heavily influenced by the cats from Detroit, the Motor City Scene, Dr. Barry Harris (Rest in Peace, my good friend), Pepper Adams, Thad Jones and the Jones Brothers, Charles McPherson, Lonnie Hillyer, Kenny Burrell, Donald Byrd, Marcus Belgrave, Tommy Flanagan, and Ron Carter. Listen for their compositions and influences. But this recording has other influences too,” James continues.
Certainly, his other influences include his Kansas City roots, the New Orleans and Chicago scenes, the Los Angeles Central Avenue Jazz scene, San Diego, Miami and Tampa, Florida, Newark, Memphis, Pittsburgh Philadelphia, even the Texas Tenors. Milwaukee is also heavily present on this recording. In a special way, this project for James Zollar is his own historic legacy in song. Jazz music has taken him around the world.
Today, as we celebrate Black History Month in February of 2024, James Zollar continues to make moves, make music, make a difference. He has recorded with a long list of prominent names including Tom Harrell, Weldon Erving, and Sam Rivers. His credits in motion picture soundtracks include Robert Altman’s motion picture, “Kansas City.” He was featured in Madonna’s music video “My Baby’s Got a Secret” and Malcolm Lee’s film, “The Best Man.” He played on the soundtrack of “The Perez Family” and is proud to be included in the Biographical Encyclopedia of Jazz (Oxford University Press 1999).
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STIX BONES – BOB BEAMON – “OLIMPIK SOUL” – BONE Entertainment
Franklin “Stix Bones” Brown, drums; Densen ‘Meighstro’ Curwen, piano/synthesizer/strings; Anthony Stevenson & Albert Brisbane, bass; Bob Beamon, percussion; Steven Brown, guitar; Sean Taylor (sxntyir), trumpet; Melvin Smith saxophone; Adiodun Oyewole, spoken word; Khadejia bass, vocals; Rufus Moore, background vocals.
I was very interested in reviewing this album when I heard that Charles Davis of the famed Last Poets was going to be a part of it. Known as Adiodun Oyewole, I met this prolific poet many years ago (in the 1970s) when I was the female member of the Watts Prophets, and we released an album called “Black in a White World” named for a song I penned and sang. We were a West Coast based Rap group of that early era of Hip Hop, and Oyewole was with The Last Poets. We performed a couple of times on the same ‘bill’ as the popular East Coast based group. This is particularly relevant this month, since this is Black history month, and The Last Poets made an awesome impact on American culture and Hip Hop.
Another reason this album should be celebrated during Black History Month is the inclusion of Bob Beamon, now a seventy-seven-year-old Olympic long jump champion who won that title back in 1968. It was in Mexico City when he set the record of 29 feet- 2 ¼ inches that still stands today as the longest Olympic jump in history.
Beamon, a native of Jamaica, makes his first appearance as a percussionist on this Soul-Jazz recording. The album opens with a track called “Leap,” I assume that energy driven tune is in celebration of Bob Beamon and his Gold Medal Olympic Award. Stix Bones sets the groove down on trap drums, joined by Beamon on percussion. It’s a driving, catchy tune that sets the mood and groove of this album. The second composition is the title tune, also giving a nod to Bob Beamon and his “Olimpik Soul.” Unfortunately, the saxophonist plays off key quite a bit, taking the sparkle away from this otherwise shiny arrangement. The lovely voice of Khadejia bass sings an old hit record, originally recorded by William DeVaughan, “Be Thankful For What You’ve Got.” She vocally paints the song with a fresh face.
Stix Bones and his popular Bone Squad do a wonderful job of blending jazz, soul and hip hop together in a tight, cohesive package. Brooklyn born Franklin Brown uses the stage name Stix Bones and his drumming reflects a gospel church influence. He earned a bachelor’s degree in jazz performance at SUNY- Purchase College and the talented drummer, producer and bandleader has worked with the group Soulfege led by Take Back the Mic founder, Derrick N. Ashong. The B.O.N.E. Squad was the house band at the Paradise Theater in the Bronx. They have opened for The O’Jays, Babyface, Charlie Wilson, Cedric the Entertainer, Chaka Khan and many more.
When the poem and song called “Price of Freedom” written by Last Poet, Oyewole, blasts into my listening room, and I am captivated by his spoken word, tone, and message. The percussion of Bob Beamon sets the tone as Oyewole says:
“Freedom is too expensive for anyone to buy. And yet there are many who always try. … The price of freedom is your heart to allow yourself to feel. The price of freedom is your soul, that no one could ever steal,” The Last Poet speaks.
This album is a tribute to Hip Hop, to jazz, and to a duet of masters who have joined Stix Bones and his group to record history with a special nod to The Last Poet, Adiodun Oyewole and Olympic champion, Bob Beamon.
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MIKE LEDONNE GROOVER QUARTET + GOSPEL CHOIR – “WONDERFUL” – Cellar Music Group
Mike LeDonne, Hammond B3 organ/composer; Peter Bernstein, guitar; Joe Farnsworth, drums; Daniel Sadownick, percussion; Eric Alexander, tenor saxophone; Vincent Herring, alto saxophone; CHOIR: Aisha de Haas, Audrey Martells, Carolyn Leonhart, Everett Bradley, Keith Anthony Fluitt, Jamie Leonhart, Jamile, JD Walter, John James, La Tanya Hall & Tanesha Gary.
“Wonderful” is a joyful album that blends the power of gospel music with jazz in a magical way. Long time organist and pianist, Mike LeDonne brings his rich B3 organ sound and arranging talents to the studio. As a bandleader, he incorporates his deep love for gospel music into his jazz ensemble presentation.
“To me, putting a gospel choir and a jazz organist together seemed natural. … Unbelievably, it had never been done before. Most of the music I love came from the grooves and feeling of gospel and the blues. … When I’ve listened to gospel choirs swinging hard on a refrain or a vamp, I’ve always wanted to get a piece of it,” Mike LeDonne explains one of his inspirations for this album.
LeDonne’s project is all shuffle and groove. His Groover Quartet is the motor inside this music. Joe Farnsworth is powerful on drums and Peter Bernstein adds tasty guitar solos. Eric Alexander, on tenor saxophone, and Vincent Herring on the alto sax bring that gutsy, soulful quality to the production. However, it’s Mike LeDonne’s sweet organ sounds that solidify the groove of this entertaining album. He embellishes the music with a live choir of voices, like icing on the cake.
LeDonne also dedicates this uplifting music to his wife and disabled daughter. LeDonne founded the Disability Pride Parade in New York City to showcase the vibrant and diverse nature of the disabled community. His band plays everything from Ashford & Simpson’s “Ain’t Nothing Like the Real Thing” to John Coltrane’s “Lonnie’s Lament.” LeDonne has penned the final tune called “Genesis.” It splashes on the scene with energy as powerful as an ocean’s high tide. That original composition becomes a “Wonderful” way to end this album, featuring the bright technique and talent of drummer, Joe Farnsworth.
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DAGGERBOARD – “ESCAPEMENT” – Wide Hive Records
Erik Jekabson, trumpet/arranger/composer; Matt Clark, keyboard/piano; Gregory Howe, percussion/ composer; Mike Clark, drummer; Henry ‘the Skipper’ Franklin, bass; Mads Tolling, violin; Kasey Knudsen, alto saxophone; Mike Rinta, trombone/tuba; Ben Davis, cello; Jonathan Ring, French horn; William Winant, timpani/marimba.
What better way to start the day than to put on some solid, Straight-ahead jazz and let it soak into the morning air. This new album by Daggerboard is the perfect way to begin my day. Opening with the original song of Gregory Howe and Erik Jekabson, “Centrifugal” is a blend of old-school jazz with contemporary overtones. Funny, the title tune, “Escapement” sounds more like the motion of a centrifuge than the opening track. I participated in lab work during college, and we often had to use a centrifuge to separate matter. It spins in a certain way, and the introduction of the title tune reminded me of that circular spin and how it gains momentum. However, the arrangement soon settles down to a smooth, unobtrusive groove. Matt Clark steps forward with a piano solo that puts the ‘J’ in jazz. Erik Jekabson’s trumpet dances over the chord changes, bringing light and energy to the arrangement. All the music has been composed by Erik Jekabson and percussionist, Gregory Howe. “Shiva’s Mode” has a very Middle Eastern essence with Howe’s precise percussion riding alongside Mike Clark’s trap drums like horse’s hooves. The addition of Mike Rinta’s tuba and Jonathan Ring’s French horn to this project bring delightful color to these arrangements. Their tune called “The Balance Board” takes me back to the early1960s when Coltrane was king (1961 – My Favorite Things). Daggerboard offers us a pretty ballad with Jekabson’s trumpet introducing the melody and sirens echoing ominously in the background. I Flashback to the Peter Gunn television series, a popular detective series that ran from 1958 to 1960, that utilized jazz as their music of choice. The bass of Henry Franklin is distinctive beneath Clark’s piano solo and throughout the arrangement. Mike Clark shows off his brilliance on drums, building suspense into the song. This is perfect music for that new series, Mr. & Mrs. Smith or any detective show.
The addition of Henry ‘The Skipper’ Franklin to this project spotlights Black History Month in a wonderful way. You may recall Hugh Masekela’s hit record, “Grazing in the Grass? “ In 1968, that was the South African trumpeter’s number one single. Who’s that on the bass?” Henry Franklin! ‘The Skipper’ (as he is fondly nicknamed by those closest to him) has performed or recorded with such icons at Gene Harris, Hampton Hawes, Al Jarreau, Curtis Amy, Willie Bobo, Archie Shepp, O.C. Smith, Count Basie, Stevie Wonder and too many more to list here. While still a high school student, Franklin made his first professional gig with the legendary Roy Ayers and his Latin jazz Quintet. The Skipper was barely eighteen. This would lead to working with other Los Angeles based musicians like Billy Higgins and Harold Land. He recorded with Stevie Wonder on Wonder’s album, “Journey Through the Secret Life of Plants.” He’s played with Pharoah Sanders, Sonny Rollins, Bobby Hutcherson, and Sonny Fortune. Henry Franklin established his own record label in 1990. Consequently, Franklin has released over twenty albums on his SP label. He has also published an educational jazz bass book titled “Bassically yours.”
I have reviewed several of the Daggerboard albums in the past and this one is my favorite to date. The compositions are creative, inspiring, imaginative, and just good listening. The blend of horns and electronics are perfectly matched with Erik Jekabson’s orchestral arrangements brightly lifting the production.
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