CD Reviews - May 2010
by George Fendel,
Century of Jazz Piano, Dick Hyman, piano.
In a dozen or so lines of a CD review, it’s impossible to
adequately describe a five CD, one DVD set covering the entire
development of jazz piano. So please accept my attempt to cover a few
highlights. Dick Hyman is better suited than anyone to take on an
exhaustive task such as this. And if you know someone who wants to
learn volumes about the history of jazz piano, this set would make an
awesome gift. Let’s put it this way: in stunning solo fashion,
Hyman covers Joplin, James P, Jelly Roll, Mary Lou, Gershwin, Meade Lux
Lewis, Waller, Hines, Willie the Lion, Tatum, Teddy, Duke, Basie,
Erroll, Brubeck, Oscar, Monk, Tristano, Evans, McPartland, Lewis,
Corea, Hancock, Silver and lots more. And if that’s not enough,
Hyman then proceeds to blow you away with a group of on the spot
improvisations of his own. But there’s more yet, He then plays 28
more original tunes and brief figures which he calls ‘in the
manner of’ such stalwarts as Sir Roland Hanna, Hank Jones, Jay
McShann, Joe Bushkin, Roger Kellaway, Derek Smith, Bud Powell, George
Shearing, and even Bill Charlap. This is nothing less than jazz piano
history, and kudos to Arbors Records for realizing the value of the art
rendered here -- and the importance of this recording to future
Arbors Records, 2010 (five CDs and one DVD).
Afterglow, Jody Sandhaus, vocals, Pete Malinverni, piano.
It seems hard to believe how very few recordings there have been
featuring a singer and a pianist. Period. I remember an Ella-Paul Smith
disc, and a couple beauties from Irene Kral and Alan Broadbent. But
think about it -- how many others can you come up with? Well,
here’s hubby and wife in a serving of beautiful, romantic ballads
that they probably have shared in their own living room over the years.
There are few examples of this kind of intimacy, as Sandhaus interprets
these lovely tunes with a tenderness inspired, in part, by
Malinverni’s perfect, direct to the heart solo piano. Musicians
know when every note counts, and certainly that’s the case here.
Most of the tunes are obscure gems, heretofore mainly overlooked by
others, including the Gershwins’ “Isn’t It a
Pity,” Marian McPatland’s “In the Days of Our
Love” and Buke-Van Huesen’s “Do You Know Why,”
among others. Some of you might recall “I’m In Love
Again,” an album highlight that Peggy Lee had a hand in writing;
and a rarity by Bob Dorough called “Love Came on Stealthy
Fingers.” The surprise of the set? An easy call: Steve
Allen’s “Impossible.” How nice to hear it again.
It’s all for ‘pretty,’ and if there’s a place
for pretty in your life, this lovely duet is waiting just for
Self-produced, 2009, 50:30.
Cone And T-Staff, Wycliffe Gordon, trombone.
If you ventured a guess, you were right. ‘Cone’ is Wycliffe
Gordon’s nickname among his pals in the Lincoln Center Jazz
Orchestra, and his co-leader on this date is ‘T-Staff,’ or
trumpeter Terrell Stafford. And with a dynamite rhythm section of Mike
LeDonne, David Wong and Kenny Washington, Cone and T-Staff have a new,
straight ahead, blowing session for you. You know the proceedings are
headed in the right direction with the opener, Wes Montgomery’s
“West Coast Blues.” Other familiar vehicles include Oscar
Pettiford’s “Tricotism,” Curtis Fuller’s
“Arabia,” and a relaxed rendering of the
not-yet-battle-weary “Robbin’s Nest.” Each of the
leaders gets an exclusive also, with Stafford soloing ever so
beautifully on Matt Dennis’s “Everything Happens To
Me,” and likewise for Gordon as he growls his way, Al Grey style,
through Duke and Strayhorn’s “Star-Crossed Lovers.”
And each contributes an original or two to give balance and color to a
set that proves it’s still okay to swing and to participate in
the pure joy of making good jazz.
Criss Cross, 2010, 63:43.
Brasil Beat, Bill Beach, piano, vocals, composer, lyricist.
Okay, it’s one thing to sing nice Brazilian tunes. Many fine
American singers have done so ever since the ‘60s bossa nova
craze. But it’s a totally different ballgame when Portland,
Oregon’s Bill Beach writes Portuguese lyrics to his own
well-constructed melodies. What’s more, Bill sings in
a very subtle, unblemished and sincere manner. And, of course,
he’s accompanying himself on the piano. Do you have any idea just
what a challenge this must have been for one whose native language is a
zillion miles distant from Portuguese? Well, Beach pulls it all off
with great taste. Joined by fellow Portlanders Dave Captein, Reinhardt
Melz and, on selected tunes, Gary Hobbs, Beach has crafted tunes that
are imaginative, fresh and quite captivating. As if all this
wasn’t amazing enough, the English translations to his lyrics
are, for the mot part, literate and sometimes quite touching. For quite
a few years now, Beach has been one of our city’s consistent
treasures in its jazz piano cadre. With this album, we hear just where
his Brazilian muse has taken him. Very highly recommended.
Axial Records, 2010, 52:49.
Have Band Will Travel, Stan Kenton Alumni Band directed by Mike Vax.
Whether you loved the Stan Kenton band or not, there’s no arguing
that his brassy sound was unique, entertaining and immediately
recognizable. His organization was also a springboard for some of the
heroes of West Coast jazz. I’m not sure if every one of the
players in the alumni gathering actually played under Kenton’s
baton, but there are some familiar names here: Kim Richmond, Steve
Huffsteter, Don Rader, Scott Whitfield, Kenny Shroyer and even Portland
area drummer Gary Hobbs. You may expect a band like this to be
regurgitating old Kenton material, but instead, they tackle quite a few
tunes not necessarily linked to the Kenton era. Among them are
“Softly As I Leave You,” “Long Ago and Far
Away,” “This Could Be the Start of Something Big” and
even Gerry Mulligan’s “Swing House.” Of course there
are a few revisits to SK land, like “Intermission Riff,”
Bernstein’s “Tonight” and the evergreen,
“Invitation.” You’ll also notice a sprinkling of
former Kenton arrangers in Johnny Richards, Lennie Niehaus, Scott
Whitfield and Bob Florence, among others. All in all, it’s simply
‘that Kenton sound’ once again filling your living room and
testing your speaker system!
Summit Records, 2010, 58:02.
Five Play Jazz Quintet, Five Play Jazz Quintet.
This San Francisco area fivesome has apparently played together for
quite a period of time, but this is their debut recording, and a real
sparkler it is! The 10 original tunes are almost all creations of
either the group’s guitarist, Tony Corman, or its pianist, Laura
Klein. The first tune, for example, is the aptly titled “Off the
Ground,” a hard bopping yet lyrical vehicle featuring a Klein
piano solo with major league chops. Other standouts included reedman
Dave Tidball’s solo on an energetic, Latin-ish tune called
“Indigone”; the attractive melody line of “Bright
Golden Sunshine”; and the satisfying, down-home sound of
“Sidesteppin’ Blues.” The group is completed by Paul
Smith on bass and Alan Hall on drums. To their credit, the music
presented here stays in a straightahead groove, never becoming too
outside. Or, as the liner notes suggest, “modern jazz to be
enjoyed by everyone.” I couldn’t have said it better.
Jurassic Classics, 2010, 63:18.
Uncertain Living, The Britton Brothers Band.
The younger generation is coming on strong as is shown here by the
Britton brothers, John on trumpet and Ben on tenor sax; on a menu of
all originals, seven of the eight were contributed by one or the other.
The music takes on every mood, tempo and color imaginable, sometimes
quite compelling, although occasionally a bit off the edge of the
diving board for me. An added attraction is the presence of tenor man
Chris Potter, who guests on two selections. Completing the group in
fine fashion are Jeremy Siskind, piano, Taylor Waugh, bass, and Austin
Walker, drums. A couple standout tracks included “Molo,”
perhaps the most straightahead, swinging track; and the oddly titled
“June Humidity,” a composition written somewhere in the
shadow of Thelonious Monk.
Self-Produced, 2009, 64:38.
Horace To Max, Joe Chambers, drums, vibes, marimba.
Now 67 years young, Joe Chambers was there in the halcyon late
‘50s thru the ‘60s, making post bop history on dozens of
now famous recordings. Chambers makes it clear that two of his primary
influences from that period were Max Roach and Horace Silver, hence the
album title and the inclusion of several selections written by his two
jazz heroes. Except for a sprinkling of guests here and there,
Chambers’ basic group includes do-everything tenor man Eric
Alexander, pianist Xavier Davis, and bassist Dwayne Burno. A new name
to me, Nicole Guiland, provides very grown-up and hip vocals on two of
Max’s tunes, “Mendacity” and “Lonesome
Lover.” Other entries herein include Silver’s
“Ecaroh” (spell it backwards), Monk’s
“Evidence,” Wayne Shorter’s “Water
Babies,” and a rare rowser by Kenny Dorham, “Asiatic
Races.” It’s a nice bonus to hear Chambers chime in here
and there on the vibes, and Alexander is the king of versatility,
subtlety and swing in any setting. This is very accessible, classic,
gimmick-free jazz. Hats off to Joe Chambers and company!
High Note, 2010, 49:52.
Living The Dream, Chris Tedesco, trumpet and leader.
The list of big bands out of L.A. is quite impressive. Consider, over
the years, names like Terry Gibbs, Bill Holman, Bob Florence and
Clayton-Hamilton. Now it’s Chris Tedesco’s turn to take the
wheel, and he does so in fine fashion here with ten examples of big
band excitement. Six of those ten selections were written either by
Tedesco himself and/or his trombone player, Jim McMillen. They are
bouncy, buoyant and invigorating. To give some extra flavor, add the
voice of singer Tony Galla on four selections, and a bevy of strings on
two tunes. The standards on the disc include “Willow Weep for
Me,” “Moody’s Mood for Love” and an old Sinatra
warhorse, “Learnin’ the Blues.” Among the originals,
Tedesco displays top of the line trumpet chops on “I’ve Got
Some Kind of Rhythm,” a distant cousin to Gershwin’s
classic, “I Got Rhythm”; and one entitled “The
Opener,” an ebullient winner. I’d have nixed James
Brown’s “It’s a Man’s World.” The tune is
simply out of place on an album that otherwise displays fine
musicianship and solid solos.
Angel City Music, probably 2010, 54:56.
Live At The Red Sea Jazz Festival, John Fedchock, trombone.
Any of you who have been hip to John Fedchock’s past recordings
know him as leader of a peerless New York Big Band. But this time we
are treated to the trombone ace as leader of a sextet. It was August at
the southern tip of Israel; not warm, but hot like Phoenix in August.
Yet Fedchock and friends turned up the heat in an awesome set of
real-deal jazz. The friends,’ all New York buddies of the leader,
included Scott Wendholt, trumpet/flugelhorn; Walt Weiskopf, tenor sax;
Allen Farnham, piano; David Finck, bass; and Dave Ratajczak, drums.
With the exception of “Caravan” and Tom Harrell’s
“Moon Alley,” the remaining tunes are all Fedchock
originals. And in listening to these performances, one understands why
Fedchock’s ‘other hat’ is that of band leader. The
sextet roars, swoops, chides and solos with gusto and passion, but
it’s funny how much of Fedchock’s writing sounds as though
it could have easily been played by a big band. Well, maybe not so
surprising after all. In any case, this is a five-star, high wire
performance. It’s just what we’ve come to expect from John
Capri Records, 2010, 61:52.
The Move, Jim Rotondi, trumpet, flugelhorn.
Despite the title, this recording is more about returning to a comfort
zone, a straightahead swing sound, than it is about a move into other
musical territory. Rotondi, with several earlier Criss Cross discs to
his credit, brings familiar musical colleagues to this set, and it all
comes off with precision, passion and power. Ralph Bowen, for example,
is an under-rated tenor saxist who is rippingly good in the best of
blowing session tradition. Alto sax ace Mike DiRubbo is by now a
veteran of the hard bop wars, and how can one argue a rhythm section of
David Hazeltine, John Webber and Joe Farnsworth? Five of the nine tunes
are steamy original compositions from the players on the date, and all
of them illustrate some inventive and often quite lyrical writing. Of
the remaining tunes, “Progress” is a rather obscure Horace
Silver creation, and the Burton-Lane beauty, “Too Late
Now,” puts the solo spotlight on Rotondi and Bowen. Theirs is as
pretty a version of this tune as any I’ve heard.
Bacharach’s pop opus, “The Look of Love,” was never a
favorite of mine, but Rotondi and company alter the tempo slightly, and
it comes off well. Finally, there’s Harry Warren’s old
warhorse, “I Wish I Knew.” It’s played muted,
Miles-ish, and straight down the middle. Rotondi is a force on trumpet
and flugelhorn, and he pulls off this recording with aplomb.
Don’t they call that ear candy?
Criss Cross, 2010, 61:12.
Rhyme And Reason, Oleg Kireyev, tenor sax; Keith Javors, piano
According to the publicity piece accompanying this CD, Kireyev has
earned high marks as one of the premier Russian saxophonists. The late
Bud Shank said that Kireyev incorporates styles ranging from the 1920s
through John Coltrane. There can be no doubt that Kireyev has done his
homework, and it’s produced a big, full and satisfying tenor
sound, sometimes a bit like a slightly more contemporary Dexter Gordon
or Tubby Hayes. His co-leader on the date, pianist Javors, works
seamlessly with Kireyev on six originals. Each of the selections had
its own character, with widely divergent tempos. But it was easy to
conclude that they all followed an uncluttered mainstream path. Nicely
swinging at times, lyrical and lovely at others. The quartet is
completed by the sympathetic work of Boris Kozlov, bass, and E. J.
Strickland, drums. This quartet played with purpose, polish and
precision. But most importantly, they still swung.
Inarhyme Records, 2010, 54:05.
Motives, Wellstone Conspiracy.
Despite the name, this is basically Idaho reedman Brent Jensen on
soprano sax with a Seattle rhythm section of Bill Anschell, Jeff
Johnson and John Bishop. Jensen plays with great feeling, but I prefer
his earlier efforts on alto. The music here is nearly all original, and
it’s airy, bright and tasteful. The one standard is Billy
Strayhorn’s classic “A Flower Is a Lovesome Thing,”
and it’s a rare beauty. However, anytime Jensen wishes to return
to alto saxophone, as Cole Porter once said, it’s alright with me.
Origin, 2010, 51:11.
Opening, Carol Morgan, trumpet.
Morgan’s a contender. In a piano-less trio setting with Harvie S,
bass, and Rich DeRosa, drums, Morgan carves out an intimate, rich
trumpet sound on a host of well-crafted tunes that include Bud
Powell’s “Celia,” Kenny Dorham’s “Prince
Albert” and a silvery ballad treatment of Horace Silver’s
Nica’s Dream.” The one standard from Songbook America is
“Like Someone in Love.” Morgan has listened to lyrical
players such as Chet Baker and Art Farmer, and like them, he brings to
the table a refined, nearly flugelhorn-like sound. I was very impressed!
Blue Bamboo Music, 2009, 44:17.
Aliso, David Binney, alto saxophone.
Binney chooses to mix in a few items that swing with authority amidst
some original compositions which did not resonate with me. His quintet
moves nicely through Sam Rivers’ “Fuchsia Swing
Song,” which is essentially the changes to “Night and
Day.” And Monk’s “Think of One” is given a
thorough reading. Other than those two, a couple of Wayne Shorter tunes
had recognizable, even attractive melody lines. This is far more
accessible than the aimless meanderings of the avant garde; however, it
was a little over the horizon for me.
Criss Cross, 2010, 73:23.
The Bickel-Marks Group, Doug Bickel, piano, Dennis Marks, bass.
The familiar name in this group is actually tenor and soprano saxist
Dave Liebman. And therein lies a cautionary note. I’ve always
found Liebman’s tenor too growly for my straightahead
sensibilities, and I’m just not a fan of the soprano as played by
nearly anybody. But, having said that, Liebman holds back here, playing
some very lyrical original music. The up tempo choices are soaring and
sometimes searing; the best of them is “Truncated Theme,” a
rapid fire romp on the changes to Miles Davis’s “The
Zoho Records, 2010, 46:59.
If Only For One Night, Wallace Roney, trumpet.
Sixty seconds of Roney’s trumpet is all one needs to recognize
his debt to Miles Davis. The opening tune, “Quadrant,” is
loaded with electronic gimmickry far beneath Roney’s talent.
Beyond that, this is a mesmerizing album. The title tune, for example,
is pure Miles in its simplicity and passion. “Only With
You” stops, goes and surprises; and Roney’s
“Metropolis” is robust, in-your-face hard bop. “I
Love What We Make Together” is a tender example of Miles’s
most lyrical writing, and Roney gives it respectful gentility. Drop
“Quadrant” from this album and Roney’s quintet is
into something with depth and feeling.
High Note, 2010, 61:53.
Reviews by Kyle O'Brien
Brasil Beat, Bill Beach.
Veteran Portland pianist Beach has always done his own thing, and
that’s a good thing. His versatility and his originality have led
him to a long recording and performing career, and it continues with
this ambitious and ultimately pleasing project -- all original tunes
with Brazilian beats, written and sung in Portuguese by the pianist.
Beach’s rhythmic nature comes alive in these tropical tunes, and
his supple voice fits well with the fluid Portuguese delivery. Beach
made every attempt to get the language correct, even consulting
Brazilian tutors for pronunciation. Not that he sounds like a native,
but for a Northwester to sing lyrics he wrote in a foreign language,
this is impressive. And the music soothes like a Bahia breeze. These
aren’t just bossas; Beach utilizes the many musical forms of
South America, including Spanish and folk music. While this isn’t
Beach’s first venture into Brazilian music, it is his most
complete, and his visits to Brazil have certainly paid off. With Dave
Captein, Reinhardt Melz, and Gary Hobbs, Beach has assembled a fine
band to complete his Brazilian vision.
2010, Axial Records, 52:20.
Truth Be Told, Mark Egan.
Bassist Egan’s earlier years were spent nimbly traversing Pat
Metheny and Lyle Mays’s complex tunes. As a solo artist, he has
gone into New Age and contemporary jazz, but always stayed above
insipid elevator jazz, mainly due to the fact that he is an incredible
bassist. His fleet fingers fly over the fretboard like a guitarist,
much like Jaco used to do. Here Egan explores the simplicity of the
quartet. It doesn’t make the strongest statement up front:
“Frog Legs,” the opener, is a standard-sounding,
contemporary funk-jazzer that doesn’t get too meaty until Egan
unleashes one of his signature solos and saxophonist Bill Evans digs
into his soprano. But the melody doesn’t scream originality. In
fact, the light funky vibe of the disc makes me think Egan could have
taken this further. With powerhouse players like Evans, drummer Vinnie
Colaiuta and keyboardist Mitch Forman, Egan has all the tools to take
his music to the top level, but these tunes harken back to the
‘70s and ‘80s too much, not taking enough chances. Still,
it’s a really good example of how contemporary jazz fusion can be
done well. But the layered keyboards and funk-jazz rhythms just
don’t push enough boundaries to make it great.
2010, Wavetone Records,60 minutes.
Keys in Ascension, Christian Fabian and the Fabian Zone Trio.
Bassist Fabian and his trio -- pianist Don Friedman and drummer Willard
Dyson -- are augmented by a horn section of seasoned professionals. All
the musicians are veteran sidemen, and that makes for a pleasurable
recording. The opener, “All One,” is a New Orleans-style
jam, with the horns blasting and noodling over a street beat. “On
the Sunny Side of the Street” is a pedestrian version of the
classic, while Miles Davis’s “Jean Pierre” is
requisitely funky. Fabian’s own tunes are more interesting than
his covers, like the chordal horn arrangements of “Marty’s
Flair” and the funky “Black & White.” Fabian and
his cohorts are a talented bunch, but they could take a few more
chances to come out with a winner.
2009, Consolidated Artists Productions, 62 minutes.
Quite Frankly, Frank Tribble.
Guitarist Tribble has only been a part of the Portland scene for about
seven years, having spent much of his musical time in Des Moines. But
he is a pleasant addition,and his funky contemporary jazz sound
is something Portland doesn’t have a whole lot of these days.
Tribble concentrates on tone and melody over flash but manages to keep
his tunes interesting. The taut backbeat of “Fire Dancing,”
with drummer Ward Griffiths and bassist Mark Schneider keeping the
riffs tight, is a fun minor-key tune, and Tribble’s big sound
makes for a nice listen Tribble isn’t a wild technician or a
cutting-edge songwriter, but his style of contemporary jazz, with its
bluesy edges, is engaging and easy on the ears.
2009, Chillithumb Entertainment, 58 minutes.
The Erika here is Japanese native Erika Matsuo. Her Japanese accent is
fairly charming on the traditional swing of Cole Porter’s
“Night and Day,” and her voice is clear and lilting. On
Milton Nascimento’s “Bridges,” her voice is better
suited to its soft, breezy vibe. Erika is clearly a talented singer.
Some might be taken aback by her accent, which doesn’t fit neatly
into a jazz category, but her passion for the music is obvious. She
even pulls off an interesting Portuguese take of “Atras da
Portra.” Erika’s own tunes are interesting, as the ethereal
“Obsession” and the Latin themed “I Close My
Eyes” show. It would be nice to hear her do a full disc of
originals to highlight her original voice.
2009, Erika Records, 62 minutes.
The Avatar Sessions, The Norbotten Big Band.
The music of composer/trumpeter Tim Hagans is highlighted in this
powerful big band disc. The band is from Sweden, but the guest
musicians are international all stars. Saxophonist George Garzone goes
crazy on the thick arrangement of the opener, “Buckeyes,”
while trumpeter Randy Brecker is featured on the boogaloo,
“Boo.” Hagans often mashes chords together like too many
ingredients in a stew. The arrangements are thick and occasionally
over-composed, but the musicianship is amazing. Pete Erskine holds down
the rhythm with his amazing drumming, and Rufus Reid is his usual
fantastic self on bass. A shining tune is the pensive “Here With
Me,” which features Dave Liebman’s gorgeously haunting
soprano sax. Wade through the soupy chords and you’ll be rewarded
here with musicianship that just won’t quit.
2009, Fuzzy Music, 60 minutes.
Slammin’ the Infinite, Steve Swell.
Trombonist Swell’s free jazz venture is about as in your face as
free jazz can get. “Not Their Kind” smacks the listener
over the head with blaring trombone, frenetic rhythm by pianist John
Blum, bassist Matthew Heyner and drummer Klaus Kugel. Not all tunes are
as aurally offensive, but all definitely have an edge, even the softer
“Sketch #1” and the sparser “My Myth of
Perfection.” Woodwind player Sabir Mateen provides some welcome
texture, but this disc is not for the faint of heart. Free jazz has
always been more enjoyable for the musicians than the listener, and
that certainly holds true here. Still, the musicianship is spot on, and
the interplay is exceptional. So if it’s free jazz you like, this
is an ear opener. Otherwise stay away.
2009, Not Two Records, 70 minutes.
Rumors, Frank Kimbrough.
Kimbrough is an established pianist and composer who plays with
sophistication and inspiration. His intellectual nature is on display
here, on this sparse but musically rich trio recording. The music has
an immediacy that many recordings do not. Perhaps it’s the
spontaneous interplay between the musicians -- bassist Masa Kamaguchi
and drummer Jeff Hirshfield -- who all recorded without headphones in a
chamber-like setting. You can almost feel them looking at one another
to gauge the musical mood. Kimbrough’s gorgeous “Six”
starts off the disc, and it continues to evolve from there. The title
track is a gem of space and modal exploration, building freely and
organically. As trio discs go, this is a winner.
2010, Palmetto Records, 53:20.
Live at the Red Sea Jazz Festival, John Fedchock NY Sextet.
Fedchock is perhaps best known for his big band outings, but this tight
sextet is astounding as well. The trombonist wows with his crisp
arrangements that recall his big band charts. Fedchock features himself
up front, and that’s a very good thing. He stretches out on his
own “This Just In,” while the rhythm section, buoyed by
drummer Dave Ratajczak, swings and bops along. This is straight ahead
jazz that will please both traditionalists and those who like things a
bit more modern. The thoughtful arrangements, as on
“Caravan,” bring the tunes to life, and Fedchock’s
own compositions are wonderful. With trumpeter Scott Wendholt and
saxophonist Walt Weiskopf, this is a disc for jazz lovers everywhere.
The crowd at the Red Sea Jazz Festival surely seems to like it as well.
2010, Capri Records, 60 minutes.
Bessarabian Breakdown, Jim Guttmann.
Klezmer Conservatory bassist/arranger steps into the lead role with
this very large group. It’s klezmer times 12, so if you
don’t enjoy traditional middle eastern folk music with a jazz
edge, try another disc. If you happen to like the joyous and exotic
Jewish music, tune in, because Guttmann has assembled a group of
klezmer masters. The opener is like New Orleans street music meets a
Jewish wedding, with tons of reeds and horns blaring over a celebratory
traditional “Philadelphia Sher.” Things do get jazzier, as
on the swinging version of “And the Angels Sing,” and the
funky title track, but the traditional tunes are more interesting, like
the haunting “Doyne, Hora, Sirba” and the clarinet-driven
B-flat “Feylekhs.” Klezmer in its traditional and modern
hats is on display, and it’s fun to hear how diverse this genre
2010 Kleztone Records, 56:50.