Eulalia; Bob Dorough, Piano, Vocals, Composer.
The first event for which I made reservations at last month’s Portland Jazz Festival was the Bob Dorough-Dave Frishberg concert. While Dave is no newcomer to the jazz biz, he’s a “newbie” next to Dorough, who, at age 90, is as hip and creative as ever. His new album revisits many of his “greatest hits.” But instead of his usual duo or trio presentations, Dorough provides arrangements for a bevy of sympathetic colleagues. The bestknown of them are alto sax ace Phil Woods and his long time bassist, Steve Gilmore.
The title tune, a pristine Dorough melody, is one of only two instrumentals. While nearly every selection is an album highlight, let’s take a look at a few extra special ones. “Love (Webster’s Dictionary)” examines the various meanings of the word. Dorough covers them all, even the tennis term meaning “zero’! “But For Now” is a ballad so pretty that, in a perfect world, it would have been a Grammy winner. “I’ve Got Just about Everything” is an up beat look at life whose lyric includes the line, “barrels of laughter and hope ever after.”
“To Be or Not to Bop” tells us to “get some Charlie Parker in our soul” and to remember, “lookin’ for a new note, don’t desert the blue note.” Finally, there’s “Whatever Happened to Love Songs,” a question more relevant today than ever before. (Just watch American Idol sometime.) But this album is a perfect delight in every respect. At 90, Dorough still brings it!
Merry Lane Records; 2014; appx. 47 min.
Road Scholar; Stan Kenton Alumni Band directed by Mike Vax.
I was informed a long time ago that it was Stan Kenton’s wish that there not be a “ghost band” after his passing. And indeed, that has been the case. But why not a collection of mostly Kenton alumni? A grand idea, don’t you think? So here they are in a live performance with such ex-Kentionites as Kim Richmond, sax, Kenny Shroyer, trombone, Carl Saunders and Don Rader, trumpets, and Portland drummer Gary Hobbs, among several others.
While the spirit of Stan Kenton hovers nearby, this band is not as “purposefully brassy” as Stan’s. Times do change and music evolves. And this spirited big band may be the result. With arrangers such as Bill Holman, Lennie Niehaus, Scott Whitfield and Dale DeVoe, you know the band is looking at top tier charts. Finally, putting all that exceptional writing in the hands of soloists like Saunders, Richmond, Rader and trombone ace Scott Whitfield is a “can’t miss” proposition. Everyone puts it in high gear on standards “I Have Dreamed,” “Stompin at the Savoy,” “Yesterdays,” “Beautiful Friendship,” “Lullaby of Broadway,” and even “America the Beautiful.” From the jazz book, there’s a hip Quincy Jones line called “Stockholm Sweetnin’,” which features Whitfield’s deft trombone solo and his very cool vocal duo with Ginger Berglund. Ditto on Johnny Mandel’s near-standard, “Cinnamon & Clove.” On all these and several more, these guys are having more fun than the law should allow. Kenton devotees: you will as well.
Summit; 2013, appx. 67 min.
What I Am; Red Mitchell, bass, piano, voice, lyricist.
Weary of the racism, violence and other social ills in his native country, Red Mitchell took off for Sweden in 1968. He stayed for 24 years, returning to the US in 1992, where he settled, of all places, in Salem, Oregon. This recording was previously released on vinyl, but appears on compact disc for the first time. It represents a comfortable gathering of some of Red’s Swedish jazz pals both in studio and in Red’s Stockholm apartment. It all went down in the fall of 1978, with and without an audience.
The title tune gets the session underway. It is, in essence, Red’s message about his musical allegiances, and it covers numerous jazz luminaries. Red was an activist in many worthwhile causes, one of which was the environment. Hence, “The Sun and the Water,” one of Red’s “social songs,” and a pretty one at that. Another of those, “What Are We Gonna Do?” deals with the importance of a good name and a certain pattern of life which creates it. In a more whimsical vein, there’s “You’re Me,” explaining a “two peas in a pod” relationship where I’m you and, of course, “You’re Me.” One last, thought-provoking tune is “Envy,” and Red clearly states that it’s an unwelcome trait, whether expressed by one person or an entire nation. Heavy duty stuff indeed.
To create some lovely balance, there are two “forever” tunes in the mix as well. “Autumn in New York” features Bosse Broberg, one of Sweden’s greats on trumpet in a serene duet with Red’s beautifully rendered piano. Red switches to bass for a quartet reading of Duke’s “In a Sentimental Mood,” featuring Nisse Sandstrom on tenor sax.
In regards to his social concerns, Red never pours it on or tries to create guilt. Instead, he seems to ask, “Why can’t we see the beauty of life and treat one another with love and respect?” But don’t forget his musical side. An innovator with a distinctive sound, he was better than just okay on piano as well. Red loved music and people. Maybe he should have served as king of the world. It would have surely been a better place.
Caprice Records; 2013; appx. 53 min.
Quiet Time; John Brown, bass.
Do you recall that line in “You Are too Beautiful,” when Johnny Hartman sings, “I’m a fool for beauty?” Well, count me in, because I’ve always reserved a special place for “pretty.” Bassist Brown came up with a great idea, and darn it, hardly anyone ever does it anymore. Plain and simple. Get a sympathetic quintet into the studio and 10 real pretty tunes. I mean tearyour- heart-out pretty songs. Only one name in the quintet is familiar to me. And that, perhaps surprisingly, is drummer Adonis Rose. He and Brown are joined by Ray Codrington, trumpet and flugelhorn, Brian Miller, saxophone, and Gabe Evens, piano. The only etched-in-stone standard is the timeless, “You Don’t Know What Love Is.” The remaining choices are inexplicably under-exposed, so it’s our task to comment on at least a few. For me, the crowning glory of the set is Oscar Peterson’s “When Summer Comes.” It’s a rich and touching melody line from the latter period in Oscar’s career, and it’s as close to perfection as a ballad can be. Please don’t think I’ve lost a few wheels when I inform you that Barry Manilow (yes, that guy!) wrote a winning song in “When October Goes.” And … I may never say this again, but score one for James Taylor, too, as the quintet makes “Don’t Let Me Be Lonely Tonight” sound more lovely than ever before. Other selections are credited to the likes of Elvin Jones, Gerald Wilson and Dr. Lonnie Smith, all of whom obviously had some tender memories resulting in these beautiful and serene melodies. So, kudos to Brown and friends for a rare musical gift. “Pretty” still gets to me. I’d bet you’d be similarly affected by this peaceful music.
Brown Boulevard Records; 2012; apprx.74 min.
No Sad Songs For Me; Carol Fredette, vocals.
A number of years ago, I was lucky enough to come into possession of a CD titled. “The Songs of Bob Dorough and Dave Frishberg.” The singer was Fredettle, and I have wondered from time to time just why I had not heard anything more from her. Well, here she is again with a brand new set of 14 Songbook America tunes, some classics and others delicious obscurities. Carol’s low-pitched, mature voice just wraps itself around familiar fare such as “I Am In Love,” “The Best Thing For You,” “This Is Always,” “Dancing in the Dark,” “Long Ago and Far Away” and “You’re Getting to Be a Habit with Me.” But you might also recall some lesser known gems like “You’d Better Love Me” and “You Better Go Now” (from Buddy Greco); “To Love and Be Loved (from Frank Sinatra); and several others. Fredette is accompanied by a septet of very adroit players. An ensemble of this size is something of a rarity today, and it certainly adds a “plus” to this session. Fredette possesses a style which perfectly compliments these evergreens. How very nice it is to hear her once again.
Soundbrush Records; 2014; appx. 50 min.
Scenes Trio with John Stowell, guitar.
Students of jazz are always told to listen to everyone, borrow what inspires them, but give it back eventually. Because their most important assignment is to find a voice of their own. Many flattering things can be said of Portland guitarist John Stowell. And one of them is that he is very much his own man in a highly creative musical sense. He even holds the guitar like nobody else! On this CD, Stowell is reunited with his Seattle playing mates of over 12 years — Jeff Johnson on bass and John Bishop on drums. Added as a welcome guest this time around is another Seattle player, Hans Teuber, on saxophones and flute. His third stream approach leaves a lot of space for the listener to happily absorb. If I were to compare Teuber to anyone, well, Lee Konitz is the first to come to mind. Both Teuber and Stowell contribute most of all-original program here. Much of the music has great depth and feeling, and now and then it swings with authority. Stowell and friends are deep in the shed, creative cats and, you may be sure, they’ve found their own very distinctive voices.
Origin Records; 2014; appx. 44 min.
Blue Skies, Ira Sullivan, tenor sax and trumpet.
Doubling in jazz is a skill to be greatly admired. The saxophone player who picks up a clarinet is a fairly common occurrence. Less so is the pianist who doubles on vibes. But only twice in my memory have I witnessed a trumpet player turn his attention to the tenor sax. One of those occasions brought Seattle’s multi-talented Jay Thomas to the bandstand. The other trumpet and tenor man is Ira Sullivan. To me, it’s like a doc who specializes in eye surgery but does a little podiatry on the side.
You see, the trumpet and tenor sax, aside from the fact that both are “blown into,” have not a thing in common. To play them both is a neat trick. But to do it well, aye, there’s the rub! Sullivan is an admired veteran of decades of stardom on these two instruments. On this very welcome session, he is joined by the Jim Holman Trio. Pianist Holman is a very unorthodox player — something of a minimalist in the Ahmad Jamal camp — with a touch of Monk and some gratitude to Bud Powell. The guys keep it all in the standard bag with “out” but always swinging’ takes on “Blue Skies,” “Just Friends,” “Solar,” “Someday My Prince Will Come,” “Along Came Betty,” Just in Time” and “Sunny Side of the Street.” Sullivan is one of rare double-threat guys. Here’s your chance to get better acquainted.
Delmark Records; 2013; appx. 56min.
Staring Into The Sun; Tri-Fi (piano trio).
One of the delights in writing jazz reviews is the constant exposure to creative and talented musicians. Sure, there’s a lot of “so-so’s” that cross my path. But let me tell ya, it’s always a treat to find that surprise! Tri-Fi is a standard, no gimmicks, no electricity, no extraneous throw-ins piano trio with a whole lot to say in 10 varied original compositions. This threesome has worked together for years, and it shows as each has contributed compositions for the disc. Two of the players, Matthew Fries, piano, and Keith Hall, drums, are new to me. Bassist Phil Palombi is well-remembered from a fairly recent sessions with the brilliant pianist Don Friedman. I would describe their music as serious, fresh and contemporary, yet there’s a strong adherence to a time-honored piano trio tradition. Others try. These guys communicate. And while we’re at it, hip yourself to Fries’ supple and serene touch. Someone like Tommy Flanagan would have this trio an enthusiastic thumbs up!
Self-produced; 2013; appx. 61min.
Out of The Blue; Adam Smale, guitar.
I must admit to a tinge of nervousness whenever a guitar record is submitted for review, particularly when the guitarist is unfamiliar to me. The guitar, you see, is the most abused of all instruments. Think of the whole world of rock and roll, for instance. And in our little jazz corner of the planet, the guitar is also subject to audacious mishandling. So when a real jazz guitar CD waltzes in the door, it’s “grateful time.” Of further interest, Tri-Fi’s Mathew Fries is on piano, Phil Palombi, bass and Keith Hall, drums. As on the Tr-Fi disc, the tunes are all original compositions (with one exception) from leader and guitarist Smale. That exception is a good one, Wayne Shorter’s “yes and no,” a hard bop classic.
The remaining tunes exhibit a range of interesting writing by Smale. He easily moves from frenetic tempo to delicate ballad, and his colleagues are solidly in his corner all the way. Give Smale credit for some scintillating writing and, of course, for never losing sight of what an electric jazz guitar is supposed to sound like. Pianist Fries once again earns high marks, albeit this time in a supportive role. I love albums with no pretense and no “fooling’ around,” and that’s what we have here. More … please!
Self-produced; 2014; 58:26.
Ronin; B.J.Jansen, baritone sax.
After we lost jazz giants Gerry Mulligan and NIck Brignola, my interest in and awareness of baritone sax players took a tumble. And then last August, we unexpectedly lost the lesserknown but beautifully lyrical Kerry Strayer. Baritone Gary Smulyan has since done a credible job on the “big horn.” But now there’s a new face on the bari map. His name is B.J. Jansen and he seems to have what it takes to help keep the “big boy baritone” in our consciousness. With pianist Maniko Watanabe and two bassists and drummers splitting those chores, Jensen’s quartet hands us nine original compositions, concentrating on some rich hard bop, but with one foot deep in the blues. If I were to characterize Jansen’s sound, I would put him more in the Brignola-Pepper Adams camp, as opposed to Mulligan’s and Strayer’s more lyrical approach. Jansen and his associates have cooked up a nice record here. Very straight ahead and bopy and bluesy and darn good!
Artist Recording Collective; 2014; appx. 54 min.
Whiskey Jack Waltz; Joe Sullivan; trumpet and flugelhorn.
Seems to me if one Sullivan (Ira on an earlier review) is highly praised, well, another might be well worth taking a look at. Joe Sullivan is a native of Canada, and a long-time resident of Montreal, where he leads both a jazz sextet and a big band. In his “spare” time, he teaches jazz composition and trumpet at McGill University. On this session, he is joined by four Canadian colleagues, the best known of whom might be the outstanding guitarist Lorne Lofsky. Also on hand are Andre White, piano, Alec Walkington, bass, and Dave Laing, drums. The quintet plays nine of Sullivan’s original compositions, allowing plenty of solo room for he and Lofsky. Both take full advantage with lofty lyricism. Sullivan’s melodies are accessible and often quite rich. And his sound on both trumpet and flugelhorn is the sound of a veteran who knows the value of every note. There’s everything here, from wistful elegance to witty and quirky solo work. And while there isn’t anything to shake you out of your chair, sometimes a little finely-crafted jazz can make your day.
Perry Lake Records; 2013; appx. 66 min.
Promises to Burn; Janice Borla Group.
Before I even put this one into the CD player, there were some tip-offs. First, “Janice Borla Group” seems to give recognition to both the singer and her colleagues. Indeed, this is far from the usual combination of good singer solid accompaniment and 10 or 12 reliable standards. Borla takes a jazz singer’s road. And she’s a natural jazz singer. You’ll hear it in her phrasing, her often exquisite little turns of emphasis, to say nothing of her never-over-the top scatting. And she scats in the way a horn player improvises — work those changes and never put too much frosting on the cake. The proof of the real deal is her tune list. Borla only covers one standard, “You Don’t Know What Love Is.” Other that that, it’s revered jazz tunes. How about Tadd Dameron’s “If You Could See Me Now,” Bill Evans’ “Funallero,” and a scatter’s delight, Lennie Tristano’s “Lennie’s Pennies.” And, while we’re at it, how often do you hear the latter two tunes done by singers? Just for good measure, there’s Leonard Bernstein’s “Some Other Time” and a handful of lesser known but fitting selections. Her creative pals include Scott Robison, reeds, Art Davis, trumpet and flugelhorn, John McLean, guitar, Bob Bowman, bass, and Jack Mouse, drums. Borla is refreshing, creative, warm and really, really good at her craft.
She’s a jazz singer!
Tall Grass Records; 2014; appx 54 min.
Heavy Artillery; Howard Alden and Andy Brown, guitars.
Now that a long run on the Concord label is history, it’s ohso- nice to see Alden surface again, this time from Chicagobased Delmark Records. He is paired here with the like-minded Andy Brown, another guitarist obviously capable of anything, but rooted in groovy swing. Downbeat magazine puts Alden in the thin air category of master guitarist Johnny Smith, and they link Brown with Ed Bickert and Joe Pass. Talk about the ‘A” team, right?! Their duo-guitar quartet is rounded out with subtlety and sophistication by Joe Policastro on bass and Bob Rummage on drums. Their song selections cover a lot of ground, from James P. Johnson to Clark Terry; from Harry Warren to Thad Jones; and speaking of top tier guitarists, from Django Reinhardt to Tal Farlow. A couple of Brazilian beauties complete the program. Alden and Brown work “as one” in giving us a stunning set of tunes seemingly meant to be heard in a two guitar setting. This is music to savored and admired. Delmark; 2013; appx. 59 min.
Tribute; Tim Hegarty, tenor & soprano saxophone.
Rather surprisingly, the bio sheet that accompanied this CD indicated that Hegarty has been “a force” in New York jazz circles for some 25 years. Not knowing of him, the disc made me sit up straight in my chair when I noticed his rhythm section. How’d you like to have Kenny Barron, Rufus Reid and Carl Allen on your record?! To sweeten the deal, add Mark Sherman on vibes and … what a powerhouse quintet! Hegarty chose the title in recognition of heroes with names like Coltrane, Monk, Heath, Gordon, Rollins, Henderson, Coleman and Foster. Hegarty’s hard driving, intense sound certainly celebrates the style of the above-named idols, with a leaning particularly towards Coltrane. His choice of tunes honors these greats, with titles that include “Pannomica” (Monk), “Inner Urge” (Henderson), “Gingerbread Boy” (Heath) and lots more. In addition to Hegarty’s fiery, hard bop stripes, Kenny Barron has plenty of opportunity to show why he’s one of the best pianists of his generation. And vibist Sherman also earns high marks with some tailor-made solos. Ditto for Reid and Allen. All in all, here’s an exciting, new (to me at least) tenor voice traveling down the hard bop highway with some of the finest players the jazz art has to offer.
Miles High Records; 2014; appx. 70 min.
Music For September; Vadim Neselovskyi, piano.
Jazz star Gary Burton said about Neseloskyi: “His background in classical music and his individual take on jazz composition has produced a fascinating fusion of classical and jazz traditions.” This incredible debut CD, a solo piano project, and quite a mind blower, finds Neselovskyi in flight on originals with a classical leaning and on well-chosen tunes from the jazz arena. They include highly personal and creative versions of “All the Things You Are,” “Body & Soul,” “ My Romance” and “Birdlike,” where bebop stares down classical eye to eye. Neselovskyi’s touch is like fine crystal, and his concept can range from spare and romantic to busy virtuosity.
Sunnyside Communications, appx. 52 min.
Unsung Heroes, Vol. 2; Brian Lynch, trumpet and flugelhorn.
Now and then on my radio program, I would play great but under-appreciated players on a segment called “jazz underdogs.” Well, now it’s trumpet man Lynch’s turn to put that concept into a very enjoyable recording. In fact, it’s the second time he’s done so. I apparently missed out on the first one. His high flying quintet includes Alex Hoffman, tenor, Rob Schneiderman, piano, David Wong, bass, and Pete Van Norstrand, drums. Alto sax great Vincent Herring rides along as a guest.
The idea of the album is to play some great but little-known compositions by significant but unsung players. It comes as no surprise that Lynch would choose trumpet players exclusively. Hence, we are treated to 10 rare gems by the likes of Tommy Turrentine, Joe Gordon, Howard McGhee, Idress Suleman and Donald Byrd. To complete the program, Lynch offers two of his own compositions. All the players are at the top of their game, obviously enjoying the straight ahead ideas. And there are enough engaging solos her to please any hard bop aficionado. I love the concept of honoring the unsung heroes and wish I could get my hands on volume one! Hollistic Music Works; 2013,appx 70 min.
Swingin’ on the New Hammond; Matthew Kaminski, organ.
Really now, what would a month of reviews be without at least one B-3 record? As you know by now, I’m much more absorbed by that other keyboard, the piano. But having said that, this is a very invigorating B-3 ride as these things go. First, it’s not strictly an R&B-funk outing. It’s a well balanced program of some blues and some big time surprises! Hands down, the biggest of them would be “Cecelia (Does Your Mother Know You’re Out?).” No, that’s not the “Cecelia” by Paul Simon. It’s the one featured by Whispering Jack Smith back in 1925! Other contenders for the “odd choice award” would be “Until the Real Thing Comes Along” and a real oddity by Charles Aznevor (remember him?) simply entitled “She.” Kaminski, who is a real whip on B-3, is joined by Dave Stryker on guitar and Justin Varnes on drums. On these and five other tunes, this organ record has some pop going for it.
Summit; 2013; appx. 43 min.
SHORT TAKES
Blippity Blat; Matt Criscudlo, saxophone.
What sets this record apart from the usual is the front line of Criscudlo’s sax and the French horn of John Clark. Although French horn is considered by some as an interloper in the jazz world, it’s not here, as Criscudlo and Clark put it in high gear on eight original compositions and one standard, Kurt Weill’s “My Ship.” Big time kudos also to pianist Larry Willis, who adds excitement to any session.
Self-Produced; 2013; times not indicated.
L’Amour; Brigitte Zarie, vocals.
The first thing that catches your attention is a full big band (arrangements and all) and even a string section here and there backing this spirited singer. Most of the tunes are hers, and she swings with ease on titles like “Good to Be Home,” “Nobody Else” and “Celebrate.” The program’s two standards are “Quiet Nights” and, believe it or not, the Johnny Cash hit, “I Walk the Line.” Something for everybody, I guess.
NJMusic; 2013; times not indicated.
Off with the Cuffs; John Stetch, piano.
Some of you, I’m sure, have heard the work of Jacque Loussier, the French pianist who added bass and drums to the music of Bach. And swing it did! Well, here comes Stetch with a similar idea. This time, it’s a handsomely played solo piano. And again, it’s good ol’ Yo-Han plus Mozart, Chopin, Shostakovich and some stirring compositions from Stetch himself. And once again, it swings!
Addo Records; 2013, appx. 62min.
Forth and Back; David Bromberg, drums.
This is Bromberg’s first CD under his own name. As a prominent jazz drummer for over 40 years, “Forth and Back” says a lot. Bromberg’s quartet works out on a program of nine originals. His versatile reedman, Bill Vint, and pianist Steve Hunt, keep things contemporary and accessible. The foursome is completed by bassist Cristian Fabian. Looking for a little power in your jazz listening? Here it is!
Consolidated Artist Productions; 2012; appx. 52 min.
The Love Song of Ian Ops; Larry Gelb, piano.
Gelb plays in a stylish, elegant manner somewhat in the John Bunch-Ralph Sharon realm. Ian Ops, incidentally, is his anagram for “pianos.” Gelb’s trio covers 12 tunes, about half his own and half great but rarely done things like “While My Lady Sleeps,” “Hush-a-Bye” and “Suddenly It’s Spring.” There’s always room for polished piano music in my world.
I Am Records; 2013; appx.76 min.
Duocracy; Ian Carey,trumpet; Ben Stolorow; piano.
Here are a couple of players out of the San Francisco Bay Area’s active jazz scene. Carey’s melodious trumpet and Stolorow’s sparkling piano combine to present a very musical, middle-of-the-road set of standards and jazz favorites, most of which you’ll know. One never grows weary of evergreens such as “Little White Lies,” “You Took Advantage of Me,” “Cherokee,” “Two for the Road,” “Goodbye,” “How Long Has this Been Going On,” and “All the Things You Are.” To these chestnuts, add jazz high flyers like Monk’s “Four in One” and Gigi Gryce’s great tune, “Social Call.” Just trumpet and piano. Un-fooled around with and intimate, like a recital in your living room.
Kabocha Records; 2014; appx.60 min.