CD Reviews - May 2009
by George Fendel, and Kyle O'Brien

A note from George:  
In the last 30 days or so, no less than six  CDs have been released by Portland-based jazz musicians. Each is quite distinct musically, and I might add, quite good. All are worthy of your consideration, so letís start this month’s reviews with six PDX winners.

Night, Bridge Quartet.
I don’t know if the use of the word Bridge in this group’s name is a reference to Portland’s numerous Willamette River crossings or, perhaps, a suggestion that this is music to reach to reach out to anyone willing to listen. Perhaps both concepts might be fitting. Three quarters of this quartet are resident Portlanders: Darrell Grant, piano; Tom Wakeling, bass; and Alan Jones, drums. The fourth is tenor saxophonist Phil Dwyer, who makes frequent forays from his home base in Canada for the purpose of playing with his Puddletown pals. This engaging set was performed live at what was then called LV’s Uptown. Kudos to Origin Records for putting this one out there because the six selections heard here average nearly twelve minutes per. The set concentrates on familiar tunes like “Wouldn’t It Be Loverly” and “Green Dolphin Street.” Rounding out the program are “Strode Road,” a near-standard by Sonny Rollins; and a rarely heard Victor Feldman piece, “A Face Like Yours.” Dwyer can get a little edgy now and then, sometimes sounding like a tenor version of late Art Pepper. But for the most part, you can really hang your hat on an invigorating performance from a contemporary group somehow in the middle of the jazz highway.
Origin, 2009, 71:45.

Good Morning, Geek, Portland Jazz Orchestra.
I must admit to a little jealousy in times past when I’d spot a big band jazz album from other locales. Certainly Portland had more than enough talent for such an aggregation, but it took Portland State’s Charley Gray to get the job done. Gray, Director of Jazz Studies at PSU, put this incredible organization together a few years back, along with co-leader and trombonist Lars Campbell. Life in Portland is better for their having done so. Gray composed all the material here, and he’s one of the few with that knack for composing for big jazz bands. You know the type I mean … Thad Jones-Mel Lewis, Bill Holman, the Westchester Jazz Orchestra, John Fedchock’s New York cats, the Seattle Jazz Repertory Orchestra, Clayton-Hamilton, etc. These guys take a back seat to nobody. The writing is spot on perfect for these 18 players, and it’s all loosely formed enough to allow for electrifying solo work. To use an old but fitting expression, this band cooks. I can just imagine these brilliant players in live performance. I know I’d be roaring my approval, and begging for an encore or two.
Self-produced, 2009.

Music To Watch Girls By, Quadraphones Saxophone Quartet.
This is music so interesting to listen to that I thought I’d just record my reactions rather than write a standard review.  So, here we go:  flawless individual musicianship; a contemporary trip on Strayhorn’s “A Train”; intricate writing for multiple saxophones;  no hesitation to try ‘the groove’; a dependable journey to “Georgia”; capturing the classical framework of music by Phillip Glass; reinventing an oldie on the title tune; a fresh, new look at a guy named Monk; interesting interpretations of odd and challenging time signatures; it’s always okay to play pretty; look for the unusual, and fly with it; understand the timelessness of your music and make it SING. Nice going, ladies!
Self-produced, 2009;  52:55.

Ukiah’s Lullaby, Anson Wright, guitar, Tim Gilson, bass.
Put this CD into your player, and I guarantee it won’t take long to conclude that these two players are cut from the same cloth. Two guys meant to work their magic together. You’ll notice first that Wright and Gilson seem to agree that pretty, lyrical and melodic never go out of style. And that’s how they approach these ten originals. They certainly share an affection for a warm, inclusive sort of sound from their respective instruments, and the fact that they’ve worked numerous gigs together creates the beautiful togetherness so easy to hear. While this music is not for absolutely everybody (you’re not going to bop til you drop), it is music to be somehow absorbed rather than simply listened to. One comes away from their shared ideas and musical mesmerism with an appreciation of the delicacy of the duo. Both guys have to be at the top of their game, because there’s no place to hide. On these ten recital-quality studies of two cats deep in the shed, it all works to perfection.
Saphu Records.  2009, 61:29.  

Local Heroes/American Originals: Jazz Stories by Lynn Darroch, writer, narrator
Well, maybe this is where the politics come in! If one is going to write a review of a disc made by the boss, one would hope that it’s good. Thankfully, this one is good, real good. And it’s the work of our Jazzscene editor. Darroch is a longtime jazz writer for the Oregonian, and easily the best one in their stable. For this, Lynn’s third spoken word CD, he’s employed the talents of Randy Porter on piano and David Evans on tenor sax. These dedicated musicians add both a marvelous musical dimension and a grad sense of jazz history to the recitations.  To be sure, this is a different way to experience the stories and challenges that are common to all jazz musicians. Darroch’s delivery really pulls you in, making you want to hear what happens next. My favorite piece is the extended story of Betty Carter, which Darroch divides into several sections, each of which features a distinct musical backing from Porter and Evans. Other jazz heroes include Chet Baker, Clare Fischer, and two local heroes, Warren Bracken and Jim Pepper. This is NOT jazz history class, but rather an entertaining opportunity to pick up on an altogether delightful, new jazz journey. And with Porter and Evans on board, this is Darroch’s best effort yet. For more info, http://lynndarroch.com
Self-produced, 2009, 66:49.

South Pacific, Harry Allen, tenor sax, Joe Cohn, guitar, Rebecca Kilgore, vocals.
Okay, so I stretched a bit in identifying this as a Portland product, but Rebecca Kilgore plays a prominent role as featured vocalist on no less than  seven selections. As a matter of fact, this marks the second musical theater CD that Becky has participated in for Arbors Records. Many of you will remember her delightful work on “Guys And Dolls” from 2007. Once again, she shares the vocal chores with Eddie Erickson, singer and guitarist, and a frequent band mate of Kilgore’s. (Eddie’s new CD is reviewed below.) One is reminded of just how many hits Rodgers and Hammerstein cranked out in just ONE show. This time around, the hits include “A Cock-Eyed Optimist,” “Younger Than Springtime,” “I’m Gonna Wash that Man Right Out of my Hair,” “There Is Nothin’ Like a Dame,” “A Wonderful Guy,” “Some Enchanted Evening,” “This Nearly Was Mine” and “Bali Hai.” Harry Allen alternately swings with authority or plays the ballads with great tenderness. And Joe Cohn’s guitar is the perfect compliment. There’s still room in my world for feel good music. In fact, in the midst of our topsy-turvy world, this sort of record is a welcome tonic.
Arbors, 2009, 75:54.

Return Of The Lineup, One For All: a hard bop sextet.
If you’re attracted to the New York hard bop style, the disciples, if you will, of Blue Note’s glory days, then this is the group for you. It’s almost as if each of these players may have won the Gotham blue ribbon for his dominance in this genre. Most of the melodies are not familiar. But keep in mind, if you will, that the titles and tempos heard here are simply a springboard to some curl your hair musicianship. And just who are these blue ribbon players, each a monster in his own right? Well, the front line guys are Eric Alexander, tenor sax; Jim Rotondi, trumpet and flugelhorn; Steve Davis, trombone; and a rhythm section which will cause you to ask, where do we apply the bandages? How about David Hazeltine, John Webber and Joe Farnsworth? Listen and you’ll understand, that to reach this level in the jazz high rise, THIS is how you have to play. There’s no other way.
Sharp Nine, 2009, 54:27.

New Time, New ‘Tet, Benny Golson, tenor saxophone.
Times change, styles change, and Lord knows, music today bears no resemblance to what you and I define as music. But here’s Benny Golson, now 80, and believe me, Benny’s in no time warp. His music was timeless then and it’s timeless now. The early 1960s was a watershed period for jazz, and Golson co-led the Jazztet with Art Farmer. Hence the title of this CD. Benny joins forces here with some of the high steppers on the Apple terrain in Eddie Henderson, trumpet and flugelhorn; Steve Davis, trombone; Mike LeDonne, piano; Buster Williams, bass; and Carl Allen, drums. Just as Golson’s Jazztet of the Sixties still sounds great, fresh and powerful today, this group strongly meets that standard. Typical of his approach, the tunes are neatly divided between highly lyrical originals and etched in stone winners like “Airegin” and “Epistrophy.” There’s a Golson sound to both his thick, Mrs. Butterworth tenor, but also to his compositions. It’s got the Golson stamp if there’s a brisk, attractive melody line; if it’s made to be improvised upon; and always, if it’s just too hip for other musicians to have ever composed it. The only blemish here is Al Jarreau’s vocal on “Whisper Not.” Whether it’s been playing, composing or arranging, Benny Golson has stayed on course all these years. He’s a man to be admired.
Concord Jazz, 2009, 70:37.

Echoes Of Ethnicity, Derrick Gardner, trumpet and flugelhorn.
I remember being very impressed with Derrick Gardner’s fist release for Owl Records, and I’m equally enthusiastic about this one. Gardner is one of those in your face trumpet players worthy of the classic Blue Note style. And he surrounds himself with players of similar virtues. He’s a hard bopper in every sense: riveting tempos; challenging ensemble playing; exciting original music with soaring solos and high intensity. I must say I’m not familiar with any of the names of his sextet of trumpet, trombone, tenor sax and rhythm section. To add an extra dimension of excitement, Gardner has added some guests on assorted cuts, suggesting that a lot of thought and preparation went into this assignment. The one standard in the set is “Autumn In New York,” a tune that always lends itself well to the trumpet. Gardner doesn’t miss his opportunity, and his Autumn might even remind you a bit of Clifford. All in all, this is a well honed look at the multi-colored landscape that is classic hard bop.
Owl Studios, 2009, 73:31.

Memories of T, Ben Riley, drums.
Now and then something crosses my path that, while not brand new, is at least not ancient and likely still available. This 2006 session is too good for you remain unaware of it. To some insiders, Thelonious Monk was known as “T,” hence the title. As a longtime colleague of Monk’s, Ben Riley certainly would have qualified to affectionately address his boss in that manner. Riley and friends are not trying to re-write history here. They choose instead to bring a fresh dimension, in this case that of a talented septet to Monk’s quirky, witty and timeless compositions. And they’ve chosen some of the best in “Let’s Call This,” “Rhythm-A-Ning,” “Nutty,” “Pannonica,” “Straight No Chaser” and “Bemsha Swing,” among others. Riley puts it this way: “every performance with Monk was an incredible learning experience. I couldn’t wait to get to the gig each night to see what Monk had in store for us.”  Monk’s music is honored and celebrated in this set. It’s worth casting about to find this recording.
Concord Jazz, 2006, 63:44.

I’m Old Fashioned, Eddie Erickson, banjo, guitar, vocals.
Many Portlanders know Eddie Erickson from his role as the “E” in the group B. E. D. with Becky Kilgore and Dan Barrett. The cast changes this time, but Erickson’s still here in live performance with a lively group and enthusiastic audience. Like his friend Kilgore, Eddie is a keeper of the flame on evergreens like “Pick Yourself Up,” “Síposin’,” “Little White Lies,” “You’re A Sweetheart,” “Dream A Little Dream of Me” and the title tune. Amidst all these gems, there are also some obscurities and oddities. All delightful, Mr E.
Arbors, 2009, 70;59.

Where The Warm Winds Blow, Mel Martin, reeds.
Mel Martin is one of those veteran multi-reed guys who remain on the scene, true to their muse. The biggest surprise here was the presence of the brilliant Don Friedman on piano, yet another under-appreciated mega-talent. Reed blows air into all kinds of saxophones, clarinets and flutes on a selection of fresh, lesser known tunes and a couple of all timers like “Blue In Green” and “Weaver of Dreams.” Martin may not be the best-known name in jazz, but he’s a master of phrasing and a meticulous melody maker.
Jazzed Media, 2009, 62:11.

It’s Clear, Helio Alves, piano.
Helio Alves hails from Sao Paulo, Brazil, so who better to bring us authentic Brazilian melodies and rhythms than this high octane, exciting pianist? His choice of acoustic guitarist Romemo Lubambo brings an extra dose of Brazilian excitement. Alves contributes four originals among the ten presented here. As is usually the case with Brazilian music, beautiful melody lines abound, as romance is in the air. But there’s also some fast-paced and witty outpourings. After all, you shouldn’t be lulled to sleep.
Reservoir, 2009, 54:27.

Boneyard, Tom Brantley, trombone.
If any of you took some pleasure in past recordings of Trombones Unlimited type groups, here’s a fresh, new perspective on that sort of thing. Brantley assembles a cast of four bone doctors to join his own slide master skills. With assorted additional players, this becomes a kind of trombone-based big band, and you’ll enjoy  well-chosen, tastefully arranged originals and standards. Don’t just save the bones for Henry Jones. Leave a few for me!
Summit, 2008.

Live In Tokyo ‘63, Anita O’Day, vocals.
Now and then a previously unreleased gem jumps up and astounds us. This televised concert finds O’Day at the top of her game, and with a full orchestra accompanying her. This was Anitas Verve period, so you know she’s in full flower on tunes like “Travlin’ Light,” “Avalon,” “Bewitched,” “Night And Day,” “Let’s Fall in Love,” “Get Out Of Town” and even Four Brothers!
Kayo Records, 2007.

Mission Statement, Jimmy Greene, saxophones.
At age 34, Jimmy Greene is one of the ascending players on the current scene. He has been characterized as one whose inspiration comes from the Coltrane-Rollins camp. I hear more of Rollins in his playing, and to my ear this is both a strength and an occasional red flag. Greene’s all-original program contains many high-flying moments, with occasional bursts of over-abundance. He’s a talent to be reckoned with and should not be reigned in. Call me an old fuddy duddy, but I’d sure like to hear what he sounds like on one, just one, standard.
RazDaz Records, 2009, 64:46.

Farewell Walter Dewey Redman, Mark Masters Ensemble.
Past recordings by the Mark Masters Ensemble have dealt with the music of Clifford Brown, Jimmy Knepper and Gary McFarland. And each has been a must have model of stellar musicianship and bright, buoyant arranging. The music of Dewey Redman may indeed be the most adventurous of the bunch, and some of it is about as outside as my ears will allow. But if you have the ear to give it whirl, it will, in turn, delight you with abundant creativity and sterling solos work. Is it time to broaden our horizons a bit?
Capri, 2008, 70:39.

Flexicon, Thomas Marriott, trumpet and flugelhorn.
I hope the jazz community in Seattle realizes what a monster they have in Thomas Marriott. He’s a trumpet whiz capable of just about anything playable on the instrument. His new CD is both  an exciting roller coaster ride and a lesson in lyricism. Whether it’s Freddie Hubbard’s  jet-like “Take It to the Ozone” or a faster than usual flugelhorn solo on “Spring Is Here,” Marriott and friends have put all the pieces together.
Origin Records,  2009, 50:41.

A Teardrop of Sun, LíTanya Mari, vocals.
There are enough female singers out there who will never get past the wanna-be stage, but let it be said that LíTanya Mari isn’t one of them. There’s an easy quality to her voice, and I tend to gravitate toward such singers. You know ... no need to impress with swirls and curls among the girls. Instead Mari impresses with her sincere delivery on “ Very Early,” “I Gotta Right to Sing the Blues,” “Star Eyes,” and a few choices of more recent vintage. Visit her at www.ltanyamari.com.
Falconeye Records, 2008, 48:31.    

Reviews by Kyle O'Brien