By Dee Dee McNeil
Aug 15, 2023
ALLAN HARRIS – “LIVE AT BLUE LLAMA JAZZ CLUB” – Love Productions Records
Allan Harris, vocals/guitar/composer; Arcoiris Sandoval, piano/keys; Marty Kenney, bass; Norman Edwards, drums/cajon; Irwin Hall, saxophone/flute.
During the pandemic, Allan Harris held live stream concerts that previewed new arrangements and kept his band tight and his talent in the eyes of the world. As soon as COVID restrictions were lifted, Allan Harris and his ensemble began to tour again. This concert was recorded ‘Live’ in Ann Arbor, Michigan inside the Blue Llama Jazz Club. It captures the excitement and excellence of Harris and his quartet in January of 2023. Harris is not only a vocalist, fondly referred to as the “Jazz Vocal King of New York” but he’s also a composer. I enjoyed his original song titled “New Day,” where Allan writes poetic and engaging lyrics and delivers a memorable melody. His smooth baritone voice caresses the lyrics of a well-established standard song, “The Very thought of You.” He follows this with the beloved Mile’s Davis & Eddie Jefferson gem, “So What?” Arcoiris Sandoval is creative throughout this production on piano and keyboards. Other original compositions by Allan Harris include his “Black Coffee Blues” which begins with the “All Blues” ‘lick’ made so famous by Miles Davis. Allan picks up his guitar and reaches down into the gut-belly of the blues.
He sings “Don’t take a lot of money to put a smile on your baby’s face. But you got to grind that coffee on a slow and easy day. Woke up on that morning and always try to fill my baby’s cup, she’s got that sweet black coffee and she’s good to the last drop.”
He follows this blues tune with a slow shuffle original composition called “Shimmering Deep Blue Sea.” Another original by Harris is “There She Goes” with an arrangement that throws me back to the Gil Scott Heron and Eddie Harris musical days.
Allan Harris shares music that will put a smile on your face and a skip in your step.
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MAX GERL – JML Recording
Max Gerl, bass.
Before I begin this review, let me say that every album cover is its own piece of art. Although I appreciate the cover artwork of Gerl hunched over his bass in the studio, I am appalled by the teeny tiny printing of the album credits. I had to put on my glasses and use a magnifying glass. May I remind you; the album credits are as important as the music itself. That being said, ….
This is a daring and adventurous solo recording that features a bass master, Max Gerl. He offers us eleven-tracks of original grooves, melodies and bass techniques on both double bass and electric bass.
He was produced by jazz great, Stanley Clarke, which lends its own validity and stamp of approval to this unique project. Recording straight to two-track, he shows us the amazing potential of the bass instrument. Max Gerl clearly explains his approach on this instrument in the video above.
“My aims were to perform musically, to compose FOR the bass, and to demonstrate the breadth of sonic diversity available to this instrument,” Max Gerl explains his intentions in his liner notes.
This is a fascinating ‘listen!’
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MACI MILLER – “NINE” – Independent label
Maci Miller, voice; Aaron Graves, piano/organ/producer; Mike Boone, bass; Byron Landham, Leon Jordan & Josh Orlando, drums; Larry McKenna, tenor saxophone; Victor North, soprano saxophone; SPECIAL GUEST: Jeremy Pelt, trumpet.
Maci Miller puts her own spin on the Chick Corea tune, “High Wire” to open this album. The lyrics tell the story of a trapeze artist balancing their life and career on a wire stretched across the space. Miller’s own life and career has been influenced and stretched like the high wire, from a family musician pouring into her own DNA. Maci’s great-grandfather was a Russian Jewish violinist. He immigrated to the United States to gig with the historic Ziegfeld Follies. She’s been in love with music from childhood to the present.
Although she grew up drawn to the soulful R&B sounds of Tina Turner, Aretha Franklin, Chaka Khan and Whitney Houston, her voice is softer and way more pop than R&B. Of course, those divas could all sing pop and jazz with the same energy that Rhythm and Blues demands. However, Maci Miller has a sweeter, softer tone, that’s quite distinctive. I could hear the blues surface when she sang, “Love Me for who I am,” a song she co-wrote with her producer, Aaron Graves. The changes belong to the hit song “Since I Fell For You.” However, she and Graves have changed the melody and created new lyrics. The tenor saxophone solo by Larry McKenna is impressive.
The title of Ms. Miller’s album, “Nine” represents a number of things to this artist, including spiritual growth, inner awakening and self-realization. She took a nine-plus-year’s hiatus from her music career to concentrate on motherhood. Maci has returned with this, her second album, and reinvigorated her career as a singer/songwriter. The Philadelphia-based vocalist hired nine musicians for this project. She offers six original compositions (six being an upside-down nine) and Aaron Graves, (her producer and co-writer) turns out to be Maci’s ninth collaborative writing partner. I enjoyed their track, the original tune titled, “Little Bird.” It scratches the surface of contemporary jazz in a sweet way. Their co-written song “Strange is the Night” has a musical track that sounds a lot like Nina Simone’s arrangement of “Four Women.” Maci’s publicity package referenced that song, “Strange is the Night” as modern-day echoes of Billie Holiday’s immortal “Strange Fruit” composition. Billie’s song documents the hanging of a black body from a tree that horrifically, was once common practice in the Southern United States. There is no song on this album that can be compared to that sadly historic and unforgettable depiction in Holiday’s famous song.
Miller’s album ends with an upbeat original tune titled “Feel the Music,” which lifts the mood, and she has added her own lyrics to Cedar Walton’s song “Firm Roots.”
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MIKE JONES – “ARE YOU SURE YOU THREE GUYS KNOW WHAT YOU’RE DOING?” – Capri Records Ltd.
Mike Jones, piano; Penn Jillette, bass; Jeff Hamilton, drums.
Mike Jones is a gifted pianist with Straight-ahead ‘chops’ and he obviously loves to ‘swing’ starting out with Gershwin’s ’S Wonderful. The listener meets the trio on this one, as each musician parts the production curtain and takes a gratifying, improvised solo. Clearly, this trio is the crème de la crème of jazz cats. On Track #2, the Sonny Rollins’ tune, “Doxy” swings hard and makes my feet dance. As I listen to Mike Jones interpret “Green Dolphin Street” I am reminded of one of my favorite pianists, Ahmad Jamal, although clearly Mike has been inspired by Oscar Peterson and perhaps Art Tatum. Still, there is something that brings Jamal to mind. The drums are ever constant and creative, played by the masterful Jeff Hamilton.
I was quite surprised to read that the double bass player was Penn Jillette, of Penn & Teller fame and he’s respected as a popular magician. This duo has headlined in Las Vegas for years, showcasing their mind-blowing illusions to the applause and appreciation of sold-out audiences. The connection here is that Mike Jones became the Penn & Teller musical director and when the renowned drummer, Jeff Hamilton dropped in to enjoy their show, he was impressed enough to suggest they should record a jazz trio album.
“Penn freaked out,” Jones recalled in their press package. “He was as nervous as I’ve ever seen him. He was a basket case and kept repeating, this is absurd. I’m out of my league. But I reassured him and it was a fun session that turned out great,” Mike Jones concluded.
On “You’ve Changed” there is a taste of Erroll Garner present in the Mike Jones piano arrangement, with Penn pumping the bass and comfortably locked into the rhythm of Jeff Hamilton. Every tune on this album is well-played, familiar and beautiful. Mike Jones has performed ‘live’ for over four million people over his last twenty-one years acting as MD and opening act with the legendary magicians, Penn & Teller.
This is a tight mix of Mike’s comfortable relationship with Penn Jillette. The addition of the phenomenal Jeff Hamilton to the mix is quite complimentary. It shines a bright spotlight on the very talented Mike Jones and his mad piano skills and supports Penn as a serious musician. I was blown away while listen9ing to the Mike Jones solo medley of “I’ll Close My Eyes” and “Close Your Eyes.” I stood up in my listening room and gave him a standing ovation!
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NICOLE ZURAITIS – “HOW LOVE BEGINS” – Outside in Music
Nicole Zuraitis, vocals/piano/Fender Rhodes/composer/arranger/producer; Christian McBride, co-producer, bass; Gilad Hekselman, guitar; Maya Kronfeld, organ/Wurlitzer/Fender Rhodes; Dan Pugach, drums; SPECIAL GUESTS: David Cook, piano; Billy Kilson, drums; Sonica, Thana Alexa & Julia Adamy, vocals.
Here is a voice, as soft as velvet, but full of emotional excitement and believability. Nicole Zuraitis is not only a jazz vocalist, but she is also a competent songwriter, who has co-produced this album with bass legend, Christian McBride. The first song is a wonderful blues, caressed by her throaty, husky delivery. I wonder why she didn’t name it “Your Type of Crazy” which is a continued phrase throughout this catchy original song. Instead, it’s called “The Good Ways” and it falls under a division she titles “Oil.”
The second half of her album is called “Water” and as you know, oil and water don’t blend. The premise of this album is that opposites attract. Nicole has composed ten songs, placing five in each category. Her voice is crystal clear and flawless on a tune called “Let Me Love You” that features Gilad Hekselman as her guitar accompaniment. The up-tempo composition called “Burn” spotlights the wonderful bass mastery of Christian McBride. Nicole’s original song “Two Fish” swings, and David Cook brings his piano interpretations to the forefront and shines. Nicole Zuraitis plays piano on several tracks where she has a gospel feel on “Well Planned, Well Played” while her voice floats above the track like a sweet horn. On her composition, “20 Seconds” Nicole plays Fender Rhodes. She has included a booklet of all her poetic lyrics for each of the ten songs she’s written. Her melodies are beautiful, and like a free-flying bird, she uses her full range to dip and dive through this creative music. Nicole Zuraitis is an artist who paints pictures with her voice, using notes like paint brushes, blurring colors and moods across the landscape of the listener.
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WAYNE SMITH JR. – “BE STILL” – Blue Collar Records
Wayne Smith Jr., composer/drums; Madison Rast, bass; Ian Macaulay, guitar; Matthew Clayton, alto saxophone; Brent White, trombone.
Wayne Smith jr. was a stationary member of the legendary Sun Ra Arkestra for many years. As the drummer with Sun Ra, he toured Europe, Canada, and Australia. Wayne feels as though his touring and musical life with the Sun Ra Arkestra helped his talent to evolve into the artist he has become. Wayne Smith Jr. was nurtured by the provocative Philadelphia jazz scene. When he began to venture out and explore other cities and spaces, his talents were swooped up by such luminaries as Dr. Donald Byrd, Orrin Evans, Duane Eubanks, John Ellis, Stacy Dillard and Bootsie Barnes. Wayne teamed with organist, Lucas Brown and saxophonist, Victor North to form the trio known as “Three Blind Mice.” They still perform together to this day.
With his current quintet, Smith encouraged the musicians to approach each of his compositions with an open mind and gives them free reign to explore their instruments, their creativity, and to embrace their improvisation with total freedom. They open with a tune titled “Distant” that is brief and paves the way for “Ephesus,” a composition that starts our very mysteriously and features Madison Rast on bass until Brent White (the co-writer) enters on trombone to steal the show. Wayne Smith Jr. has composed all the music on this album with two songs he co-wrote with White.. I enjoyed Madison’s bass solo on the original composition called, “I-5.” This tune rambles along like a car on the I-5 freeway holding steady at fifty-miles-per hour. On “Echo,” Smith picks up the pace and spurs the group on with busy and combustible drums. Even though the drums are rhythmic, the tune arrangement itself is moderately paced. Matthew Clayton on alto saxophone and Brent White on trombone play a lot of unison parts that introduce the melodies. However, I found I could not spiritually connect with most of this original music. I think it’s because most of the songs sound dirge-like and sad. This is modern jazz that scratches the surface of Avant-garde at points in Smith’s production. Ian Macaulay’s guitar work is solid and beautiful throughout. He shines like a sunrise on a “New Day.” I would have enjoyed hearing more rhythmic diversity in these original compositions. Finally, on “Surge” I heard a blues peep through and a locked-in rhythm by Wayne almost made me want to slow-dance. The title tune “Be Still” stays in the same pocket, with all the original songs jangling together like a group of in-the-pocket silver coins.
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CHAD McCULLOUGH – “THE CHARM OF IMPOSSIBILITIES” – Calligram Records
Chad McCullough, trumpet/composer; Jon Irabagon, tenor & soprano saxophone; Larry Kohut, acoustic & electric basses; Jon Deitemyer, drums/percussion.
The music of Chad McCullough beams off my CD player like a bright smile. It’s happy and energetic from the very first tune titled, “Retroactive Resonance.” I am quickly impressed by Chad McCullough’s beautiful trumpet tone and attack. Each player is showcased during this presentation, including a creative improvised solo by Jon Irabagon on tenor saxophone and a spirited drum solo by Jon Deitemyer towards the end of the production. However, it was Larry Kohut, flying under the radar on bass. who grabbed my attention. This is the kind of bassist I always enjoy. One who is highly imaginative, yet still holds down the rhythm section; is foundational, but still remains true to their own individuality. Larry Kohut does just that. His spontaneity is impressive. “Bee in the Flower” is a conversation between Kohut’s bass and McCullough’s trumpet. Deitemyer spurs them on with his drums and when Irabagon enters on saxophone, he reminds me of the bee tasting the sweetness of the flower. He flitters and flits, lights and dances among the petals. The two horns certainly paint a portrait of insects at work. Once again, Jon Deitemyer is dynamic on drums. Together, this quartet brings us a united project of spontaneity and beauty. McCullough is a gifted composer, and his music is bright and boisterous. This entire production is inspired and their productivity and musicality energizes me. Even this tender ballad had me wondering where these musicians would lead me. McCullough’s muted trumpet brings new color to this musical palate. Chad McCullough explores everything a trumpet can do during this album that continuously expresses “The Charm of Impossibilities.” This time, Larry Kohut brings his electric bass to their party. I can tell that these players are familiar old friends. When I read their press package, I discovered my assumption was correct. McCullough, Deitemyer and Kohut have a relaxed, comfortable interplay after performing together for the past decade. Irabagon began playing saxophone with Chad McCullough a few years back.
“He brings so much to the table. It’s impossible to overstate all of the ways in which he makes everything and everyone better,” McCullough praised his talented reed man.
Clearly each musician on this project is a master in their own right. Each has a unique sound and specialty on their instrument that never gets lost in Tim Hagans productions and yet is still supportive of the cohesive unit. If you are looking for surprising and spontaneous jazz, woven tightly together like silk threads in an expensive suit of clothing, this is the outfit you have been waiting to hear. Slip into it and enjoy.
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LOWCOUNTRY – Ropeadope Records
Matt White, trumpet/composer/arranger; Quentin E. Baxter, drums; Tim Fischer, guitar; Demetrius Doctor, piano; Rodney Jordan, bass; Jerald Shynett, trombone; Mark Sterbank, tenor saxophone/clarinet; Michael Thomas, alto saxophone/bass clarinet; FEATURING; Chris Potter, tenor saxophone; Charlton Singleton, trumpet; VOCALS: Gracie Gadsen, Joseph Murray, Ron Daise & Rosa Murray; Ron Daise, narration. THE CHARLESTON SYMPHONY STRING QUARTET: Micah Gangwer & Alex Boissonnault, violin; Jan-Marie Joyce, viola; Norbert Lewandowski, cello.
“LOWCOUNTRY” is a lesson in history about Gullah singers and storytellers. Composer and trumpet master, Matt White, has created a plush platform of jazz for these stories to dance upon. Voices speak to share the history of their culture and families. We enjoy the happy, inspired compositions of White and his ensemble as a unit he labels, “Lowcountry.”
The Gullah are an African American ethnic group who predominantly reside in the Lowcountry region of the United States inclusive of Georgia, Florida, the Carolinas, and some on the coastal plains of the Sea Islands. That includes St. Helena Island. White, along with Dr. Eric Crawford, have made it a mission to conserve this rich heritage of the Gullah people and pass it on to their families and the families of the world. Not only is this music rich with historic intonations and proclamations, but the inspiration that infuses this music is meant to be embraced and celebrated. Dr. White and Dr. Crawford make a stellar impact with this cultural phenomenon wrapped in a jazzy theme.
You will hear singers and storytellers as a new collective of the Gullah people including the vocals of Rosa Murray, Joseph Murray, Gracie Gadsen and Ron Daise telling us stories about their family culture and singing us chants and spirituals they learned as children. Consequently, we are introduced to “Aye Neva” from a chant offered by Joseph Murray. Quentin E. Baxter energizes the drums. White features Chris Potter on Tenor saxophone and Charlton Singleton on trumpet to warm this project with jazz excellence. Tim Fischer brings his guitar magic at the fade of “Raise the Hymn” and I am affected by the sweet violin song at the fade of this brief and spontaneous arrangement. On the tune “Were you there?” they reference the familiar hymnal, ‘Were you there when they crucified my Lord?’ African heritage, slavery and Christianity meet and convene on this project. Rodney Jordan’s bass sings the melody of “Cheraw” and the ensemble picks it up and runs with it, both as soloists and parts of the harmonic horn lines. There are “Salt Peanuts, salt peanuts” adlibs thrown in to celebrate Dizzy. It’s a seven minute, 43-second arrangement, but never boring. “Prayed Up” is a recollection of the Gullah’s connection to Christianity with a great sax solo by Chris Potter.
This is not only an enjoyable musical recording, but also an important piece of American history and represents a deeply rooted culture called the “Lowcountry.”
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ALINE HOMZY – ALINE’S ETOILE MAGIQUE – “ECLIPSE” – Factor Canada
Aline Homzy, violin/theremin/synth/voice/composer/arranger; Michael Davidson, vibraphone/bowed vibes/piano/synth/marimba/composer; Thom Gill, acoustic & electric guitar/synthesizer; Dan Fortin, bass; Marito Marques, percussion/drums; Joao Frade, accordion; Felicity Williams, voice; David Traverse-Smith, additional synth.
Aline Homzy’s virtuosic violin is dazzling, and her group of musicians is appropriately called, “Aline’s Etoile Magique.” As her magic wand tweaks across the violin strings, you may become hypnotized by the unique and completely entertaining sound. Together, this group brings a magical mixture of jazz, classical and original music beginning with Homzy’s composition, “Caraway” that shows the velocity and mastery of her instrument. Her composition is bold and melodic; forceful and power driven.
Homzy is a native of Montreal, Quebec, but has since moved to Toronto where she studied jazz. She also studied privately in New York with Sara Caswell and Sy Johnson, respected arranger for Charles Mingus. Additionally, Aki Takasi, a berlin-based pianist/composer has had a profound impact on Aline Homzy. All three of these inspired people had an effect on Aline’s musical trajectory. According to the violinist’s press package, her musical goal is the same or similar to those of Monk, Mingus and Ellington; to create serious music, executed with a sense of playfulness, wit and humor.
The first thing I notice about Aline Homzy are the bold choices she makes on the violin, and the way she uses studio effects that shape and color her compositions. For example, her arrangement on “Cosmos” features a warm mixture of Michael Davidson’s vibraphone with Aline’s violin. It’s a wonderful arrangement full of spark and spunk. On “Hanakatoba” she solos to introduce us to both her instrument mastery and the lovely original melody. Her violin stimulates my imagination. When she settles down, I picture a castle on a hilltop and picturesque grounds, lush with grassy green and an abundance of wildflowers. For the most part, this music feels ethereal and spacey, which according to Aline Homzy, is exactly what she was striving to produce. For example, on “Aliens are Pieces of Wind” she leans towards a more contemporary, modern jazz arrangement and on her original tune, “Mesarthim” (that is the name of a binary star system in the Northern constellation of Aries) the song sounds like outer space ghosts floating in a starry universe or disappearing into a black hole in space. She and Davidson employ synthesizers and the theremin ( a Moog Etherwave electronic musical instrument controlled without physical contact to achieve a special sound palate).
She explained, “…It’s important to me to use the tradition as a foundation whole shining a more contemporary light on the instrument and its capabilities. ‘Eclipse’ is a universe where I can explore the idea of the unknown. I’m fascinated by how we capture other-worldliness in music and sounds. When the sun and moon align during an eclipse, the light changes. How do we translate this visual shift into an aural one? Aline asks.
Indeed, her original compositions and arrangements reflect her musical foundation in creative ways. She and Michael Davidson have composed all the music except Charlie Parker’s “Segment” tune, and each musician reflects their own style and imaginative creativity. Homzy says she has borrowed some inspiration from violinists like Jean-Luc Ponty, Regina Carter and learned from Stephane Grappelli. Her father encouraged her to listen to Ellington, Charles Mingus and Thelonious throughout her formative years. He is a musicologist and a serious jazz lover.
The music of Aline and her group of musical magicians is as intriguing as a hypnotist’s watch that tantalizes us and gets our full and undivided attention.
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