Note To Readers:
As you might expect, we receive many more recordings for review than we can possibly process. To those of you who submit, we thank you for your art and wish you all the best.
America the Beautiful; Alan Broadbent, piano, composer, arranger.; with the NDR Big Band.
Broadbent’s very first “name gig” was as pianist, arranger and musical director for Woody Herman. He was 22 years old. He recalls those years as important in his musical path and has the warmest of memories of Woody. Eventually though, he left in order to fully pursue his first love: the piano trio. Then, after all these years, what happens? An opportunity to play and arrange with the NDR Big Band, one of Europe’s most prestigious organizations. So, it was “full circle” for Alan, as he returned to playing and arranging for this greatly admired jazz orchestra. And this absolutely stunning album is the result. It consists of eight Broadbent originals, a few which he has recorded previously in the trio context. The finale is the title tune, and I would submit that you’ve never heard it played and arranged with such passion as this version by a native New Zealander. Other favorites include “Sonata For Swee’ Pea,” which honors one of Broadbent’s musical heroes, Billy Strayhorn; a new take on the changes to “All the Things You Are,” which he calls “Between The Lines”; a delicacy he wrote at age 23 called “Love in Silent Amber”; a brisk melody that sounds like it was born in the bebop era called “Sonny’s Step”; and “Mendocino Nights”, a waltz with a gentle and serene melody line.
On all these and others, the NDR Big Band, an outfit honed to perfection, takes up the pianist’s charts and make them sing with pleasure and musicality. And their solo work is full of surprise and excitement. Finally, there’s Broadbent the pianist. I’m sometimes troubled to find adequate words to describe him. But let’s try these: harmonically rich; romanticist; swing is all important; honest melody lines; love of the tradition; classically influenced; breathtaking virtuosity; and, I would suspect, he’s one of those “hopeless” guys who wakes up at 3:30 AM with a new melody in his head. When one person exhibits all those qualities, all that inspiration, there’s a word for it — genius. In his humble and quiet way, I believe Alan Broadbent to be just that.
Jan Matthies Records; 2014; 73:49.
The Clare Fischer Orchestra - After The Rain; Clare Fischer, composer and conductor.
The late Clare Fischer, a most versatile musician, was equally skilled as pianist, arranger, conductor and composer, as evident in his work as jazz pianist, accompanist and arranger for singers like The Hilos, and for his frequent excursions into Latin music. On these two CDs, released through the efforts of Clare’s son, Brent Fischer, we are treated to the orchestral, classically-influenced side of his musical psyche. Written for strings, the music is for the most part gentle, ethereal and thoughtful. It most certainly brings into focus a side of Fischer that many of his fans may have been unaware of. I could “hear it” many years ago on an album called “Songs for Rainy Day Lovers,” where Fischer wrote exclusively for strings. His affinity with 19th century classical composers is clear. So, any time you want a little break from bebop, these two stirring (but never jarring) CDs might be a nice place to go.
Self-produced; The Clare Fischer Orchestra, 2013; appx. 75 min.; After The Rain, 2001; appx. 62 min.
Step On It; Mike Longo, piano.
Now and then an album like this comes out and reaffirms that, despite things being passed off as jazz these days, all is indeed well in the jazz world. Longo, a decades-long fixture in New York jazz circles, has scored again with a straight ahead trio outing. Two grizzled veterans, bassist Bob Cranshaw and drummer Lewis Nash, complete this superb trio. This time out, Longo opts for a menu of long-admired jazz compositions, a couple of Americana standards, one delightful detour, and a lone Longo original. The jazz standards include the trio’s solid and fiery takes on such winners as “Impressions,” “Nefertiti,” “Cantaloupe Island,” “Black Nile” and “Blue In Boogie.” The latter was written by Dizzy Gillespie, with whom Longo spent many glorious years as pianist and musical director. The two standards, played with precision and beauty, are “Poinciana” and “My Ship.” And perhaps you’ll remember the delightful detour, “Tico Tico,” of all things! Longo’s title tune is a boppy and vital original. On these and several other selections, he, Cranshaw and Lewis brew up a savory stew of middle of the highway, real deal piano trio material. As I said at the outset, these things still happen once in a while.
CAP; 2014; appx. 58 min.
Dream Your Troubles Away; Kat Gang, vocals.
Right off the bat, let me assure you that our singer has no connection to a gathering of felines at a veterinary clinic. But Kat Gang, as the liner note writer puts it, never “gets in the way of a good song.” I would compare her just a bit with the likes of Maxine Sullivan, another singer smart enough to leave songs “un-fooled around with.” And you may be sure that Gang profits from front line sidemen such as Harry Allen, tenor sax, Warren Vache, trumpet, and John Allred, trombone. Additional swing style mavens include Bucky Pizzarelli, guitar, Mike Renzi, piano, Jay Leonhart, bass, and Joe Ascione, drums. And those good songs that she doesn’t get in the way of? Thirteen in all, with all-timers like “Say It Isn’t So,” “In My Solitude,” “I Didn’t Know About You,” “Some of These Days,” “More Than You Know” and lots more. All in all this is a solid session from a fresh voice.
Arbors, 2014; appx. 61 min.
Moment to Moment; Cava Menzies, piano; Nick Phillips, trumpet.
Now and then in this fast-moving, complex world, it’s wise to treat oneself to something unabashedly beautiful. And this is it! While technically we have a quartet here with the above named players ably joined by Jeff Chambers, bass, and Jaz Sawyer, drums, this is a serene and stirring exercise in communication between Menzies and Phillips. Right out of the gate the quartet takes us for a ride down the “beauty boulevard” with “The Peacocks,” a Jimmy Rowles gem now considered a jazz standard.
The intensity and alarmingly beautiful playing continues on “For All We Know,” “You Don’t Know What Love Is’ and “Speak Low.” To these glorious standards, add some material of recent vintage, all of which is wistful, delicate and oh-so-welcome. Phillips is listed as a trumpet player, but at times his scrumptious tone sounds like the flugelhorn of Art Farmer. And Menzies has listened to the minimalists and added to their all-important message: No trickery here — just gorgeous balladry from first note to last.
Nick Phillips Music; 2014; appx. 55 min.
Feathery; Lena Bloch, tenor saxophone.
If you’re a proponent of the school of minimalism as once taught by a unique master of the art, Lennie Tristano, then you owe it to yourself to check out this debut album from Bloch. Born in Russia, she also resided in Israel before moving to New York. Down through the line from Tristano, Bloch is clearly a disciple of Lee Konitz and Warne Marsh. In fact, Bloch’s “Hi Lee,” which serves as the opener on the session, is her tip of the hat to Konitz. And “Marshmallow” is a rarity of Marsh’s. It is Konitz, in fact, who refers to Bloch as “a very serious and talented saxophonist and composer.” Most of the program consists of Bloch’s original works, mostly within the very special and specialized sphere of Tristano-Konitz-Marsh. Another Lenniebeliever, tenor man Ted Brown, is also represented here with
Bloch’s take on his tune, “Feather Bed.”
Bloch has one standard for the set, an ethereal “Star Eyes” which she has re-titled “Starry Eyed.” Incidentally, her pianoless quartet includes the sympathetic Dave Miller, guitar, Cameron Brown, bass, and Billy Mintz, drums. Considering that pianist Alan Broadbent and alto hero Gary Foster are, along with Konitz, among the few remaining Tristano teammates, it is especially rewarding to hear Bloch continuing in that tradition.
Thirteenth Note Records; 2013; appx. 59 min.
Chicago Fire; Eric Alexander, tenor saxophone.
Among today’s generation of tenor sax players, Alexander
is an easy choice as a favorite. He’s aware of and dedicated
to the tradition, yet he brings a skosh of contemporary attitude
and cheekiness to his playing. Every one of his albums features
two or three well-chosen standards, sometimes tunes that have
unfairly faded from the scene. He can also be counted on to
include a few originals, and they typically sound like real songs
rather than sonic meandering. One gets the idea that Alexander
is a dedicated, studious, serious lifetime jazz cat. So once
again, here’s a most welcome swingin’, straight ahead album
from a player who holds all the right cards in today’s jazz saxophone
sphere.
On this session he works with his frequent colleagues, Harold
Mabern, piano, John Webber, bass, and Joe Farnsworth,
drums. One of today’s most sought-after trumpet players, Jeremy
Pelt, is nothing short of brilliant as a guest on three cuts.
The two standards here are “Just One of Those Things” and
“Don’t Take Your Love From Me.” A first-rate assortment of bluesy, funky and boppy material completes yet another in a lengthening
Alexander book. He simply has it all — tone, shadings,
rhythm, ideas, quotes, virtuosity and the overall style of a very
personal jazzman — more recognizable and unique with each
new recording. You might say that I’m a fan!
High Note; 2014; appx. 55 min.
The Artistry of the Standard; Misha Tsiganov, piano.
More than ever before, jazz advances as an international art form. Every continent boasts significant jazz talent, and specifically we’ve seen in recent years a host of gifted players from Russia. Making his debut on the respected Criss Cross label is 47-year-old pianist Misha Tsiganov. Of particular interest is the fact that Tsiganov chose a list of well-regarded jazz compositions and standards on this high intensity session. His hard hitting, Blakey-ish quintet includes countrymen Alex Sipiagin, trumpet and flugelhorn, and Boris Kozlov, bass. From this side of the pond, add tenor man Seamus Blake and drummer Donald Edwards. The quintet takes no prisoners on the familiar “Get Out of Town,” “The Song Is You” and “Falling in Love with Love.” Six outstanding jazz compositions complete the album, including the likes of Bird’s “Al-Leu-Cha,” Wes Montgomery’s “Four On Six,” and two Wayne Shorter items, “Fall” and “This Is for Albert.” Tsiganov is a passionate player, highly rhythmic and direct. Back in the heyday of Blue Note, he would have worked well in that stable of strong, energetic players. His debut CD is most impressive indeed.
Criss Cross; 2014; 64:42.
Out of the Shadows; Maureen Kennedy, vocals.
If you’ve read these reviews for an extended period of time, it’ll come as no surprise to hear me reiterate my preference for singers who avoid glitz, glitter, froth and frosting; singers with the life experience and natural jazz chops to deliver the meaning of a quality lyric rather than just glossing over it. Kennedy is such a singer. No flash, no fancy footwork. She sings it like she means it. The quartet accompanying her, led by the silky guitar of Reg Schwager, is totally dialed in. And with Kennedy’s flawless phrasing and unforced intimacy, there’s a lot to like in her renditions of top-tier selections such as “Cloudy Morning,” “There’s a Lull in My Life,” “How Can We Be Wrong,” “Lucky So And So” and two real rarities, the Gershwins’ “My One and Only,” and Andre Previn’s “Just for Now.” Kennedy is that rare presence, a real jazz singer; and her new CD is a winner.
Baldwin Street Music; 2013; appx. 57 min.
Erie Ave.; The Lalama Brothers.
I must say, I’ve known of Ralph Lalama for quite a few years, mainly through his classy sides for the European label Criss Cross. And I’ve always admired him as a strong, creative player. This CD however, marks my initial acquaintance with his brother, Dave Lalama, a thoroughly engaging modern pianist with a multitude of ideas. Just why The Lalama Brothers haven’t recorded together until now is a mystery. But that story is for another time. For this session, the brothers are joined by the two Washingtons, Peter on bass and Kenny on drums. It would make another great story, but alas, the Washingtons are not brothers! To sweeten the deal, Joe Lovano drops in playing his G mezzo-soprano saxophone on two selections. The Lalamas and friends divide their session into a well-balanced menu of energetic originals and some rather surprising standards. From the latter comes a couple of tunes sensibly chosen by the Lalamas: Gerry Mulligan’s “Five Brothers” and Jimmy Giuffre’s “Four Brothers.” Other delights include “Portrait Of Jennie”; a Cedar Walton evergreen called “Firm Roots”; and Ralph’s heartfelt vocal on Matt Dennis’ classic, “Everything Happens to Me.” There’s a lot to like on this initial recorded meeting of Ralph and Dave Lalama.
Lalama Music; 2011 (but now being made available); 62:51.
We See Stars; The Jim Olsen Ensemble.
Ok, I admit it. Any time I see the name Bobby Shew attached to a recording, my curiosity is aroused. And Shew’s lyrical trumpet and flugelhorn are featured here among other prime time soloists. Composer-flutist Jim Olsen has composed from a varied pallette, including classic swinging material, ballad delicacies, “out there” journeys, and even some electronic meanderings. In addition to Shew’s stunning trumpet and flugelhorn solos, veteran reedman Dick Oatts is also featured. The ensemble is a bit smaller than a big band, and as such it allows for a lot of movement and freedom for all the primary players. This is rather adventurous music, almost demanding your attention. Olsen travels many roads here, and if you have the ear for it you’ll admire his creativity and versatility.
OA2 Records; 2014; appx. 72 min.
Foe Destroyer; The Commanders.
About once a year or so, one or another of the military branches issues a big band recording. This time, officially it’s the United States Air Force Band of the Golden West. A pretty name, but these guys back it up. Working out of California’s Travis Air Force Base, they are comprised of five trumpets, five saxes, four trombones and four rhythm. And you may be sure they shout, swing and solo with authority on “Harlem Nocturne,” “Bye Bye Blues,” “My Favorite Things,” “I Left My Heart in San Francisco,” and some lesser known but fresh and invigorating material as well. By golly, there’s even a beautifully rendered “America the Beautiful” to remind us that our taxes probably paid for this session. Thankfully, it’s worth the investment.
Dept. of the Air Force; 2014; times not indicated.
Bewitched -- Perry Beekman Sings And Plays Rodgers & Hart.
In an era when too many musicians want to impress us exclusively with original compositions, it’s refreshing to see an occasional songbook specialty such as this one. New York-based singer-guitarist Beekman previously did a Cole Porter tribute, and this time he turns his attention to the gifted team of Richard Rodgers and Lorenz Hart, providers of dozens of “forever” tunes from the richest era of American song writing. I’m quite confident you’ll know nearly every title on this date. Beekman’s “near tenor” voice and his guitar prowess are spot on for these gems, and he is further enriched by Peter Tomlinson, piano, and Lou Pappas, bass. There are 15 Rodgers and Hart delights here, and to give you an idea, try “Bewitched,” “Spring Is Here,” “Thou Swell,” “Blue Room,” “It Never Entered My Mind,” “This Can’t Be Love,” and lots more. There can be no doubt that the 1930s and ‘40s marked the premier era of American song. How nice that Beekman and friends are doing their part to keep it accessible.
Self-produced; 2014; appx. 55 min.
Beautiful Jazz; Christian Jacob, solo piano.
During the last several years of my radio program, High Standards, I produced an hour-long weekly feature called “The Piano Playhouse.” I’d like to think it featured exclusively exquisite piano music such as that heard on this brilliant album. Jacob has carved out a place as one of California’s leading jazz pianists. It seems that everywhere we turn in LA jazz circles, his name is there. This lovely recital will make clear the reason for all this notoriety. The 13 tunes here are played on a gorgeous Steinway “D,” and the recording quality puts you in the front row. And Mr. Jacob is all over the place, ranging from Gershwin’s “How Long Has this Been Going On” to “One Note Samba”; from “Tea for Two” to “Surrey with the Fringe on Top”; from “Till The Clouds Roll By” to Coltrane’s “Giant Steps”; and from “September Song” to a Stravinsky etude which will curl your eyebrows! On all these and more, Jacob delivers a rich, luscious solo piano concert worthy of the Gods.
Wilder Jazz; 2014; appx. 53 min.
So Is the Day; Bria Skonberg, trumpet, flugelhorn, vocals.
I know many of you remember fondly the trumpet and vocals of the late Stacy Rowles, daughter of piano wizard Jimmy Rowles. She was an under-recognized talent with a smoky, hip sound. I bring her up because Skonberg is also a trumpet player who sings, and guess what? Her vocals remind me more than a little bit of Stacy Rowles. Most of the tunes on the session are her own, but don’t let that throw you. She happens to write songs that sound like real songs (remember those?). There are clever, sometimes witty lyrics here and melodies that make sense. John Pizzarelli even drops by to vocalize on a charming, “old timey” tune called “I Wish I Hadn’t Forgotten.” Other winners include her advice to “Keep a Penny in Your Pocket”; and a loose, sultry tempo on Irving Berlin’s “Let Yourself Go.” Skonberg works in complete accord with a well-arranged ensemble. She may be at the outset of a fruitful career. This album amounts to a great start.
Random Act Records; 2012; appx. 62 min.
With the Wind and the Rain; Joshua Breakstone, guitar.
I’m sure it’s not purely by accident that Breakstone included one Oscar Pettiford composition on his new CD. The tune is “La Verne Walk,” and I single it out because it’s one of four tunes featuring Mike Richmond on cello. And therein lies the connection to Pettiford, the great bassist, who was among the earliest to bring the cello to jazz. Breakstone’s trio, which is heard on the other five selections, includes Lisle Atkinson, bass, and Eliot Zigmund, drums. In addition to Pettiford’s classic, the cello choices are all the works of famous players: “Some Kinda Mean” (Keter Betts); “I Told You So” (George Cables); and “Visitation” (Paul Chambers). The trio numbers include two Kenny Dorham lines, “Short Story” and “La Villa.” And the wellbalanced session is completed by two infrequently heard standards, “Be Anything (But Be Mine)” and the title tune, plus themore familiar, “The Very Thought of You.” A couple of things about Breakstone: 1) he’s a consistent, gimmick-free, dedicated jazz guitarist; and 2) if the guitar can be described as warm, he is the champion. His guitar sounds beautiful at any tempo. I admire him for staying the course, never bowing to fads, and for simply making one great jazz album after another for years. And so it is with this one.
Capri; 2014; appx. 60 min.
The Street Is Making Music; Zan Stewart, tenor saxophone.
It’s a common story. The person who can play, often quite well, but eschews a music career because the bills need to be paid. Such was the case with Zan Stewart for the better part of four decades, when he turned to writing for publications in California and New Jersey. Still, during all that time, he stayed “in touch” with the tenor sax, practicing daily and playing gigs at every opportunity. Now retired from his writing career, he gets to devote his time primarily to making music, and this is his debut CD. And brother, did he make a good one!
Keeping the proceedings along the classic lines of a few originals and some revered standards, Stewart scores with a San Francisco Bay Area rhythm section of Keith Saunders, piano, Adam Gay, bass, and Ron Marabuto, drums. In addition to a few well-conceived and sprightly originals, Stewart and friends give us some bop staples in Bud Powell’s “Webb City,” and Bird’s “Laird Baird” and “Diverse” (aka “Segment”). From the richness of the American Songbook comes “Love Letters” and “Polka Dots and Moonbeams.” Finally, there’s a solo version of “Everything Happens to Me,” played in a medley with Stewart’s original, “Mobe’s Symphony.” It all sounds like the beginning of a second successful career, with Zan Stewart in the heart of the tradition. Go, Zan!
Mobo Dog Records; 2014; appx. 52 min.
The Adventurous Monk; Eric Reed, piano.
Making an album of the music of Thelonious Monk is fraught with danger. Anyone trying to sound like Monk is doomed. Good thing then, that Eric Reed did it his way. Reed honors T-Monk, but finds a path which makes Monk’s wondrous and witty compositions fresh and vital. His colleagues on the session include the riveting Seamus Blake, tenor sax, Ben Williams, bass, and Gregory Hutchinson, drums. Charenee Ward offers a vocal on “Dear Ruby” (aka “Ruby My Dear”). Monk’s music is so original and timeless that it takes a monstrous effort to make it work outside the “sphere” of Monk, Charlie Rouse and friends. But hooray, it certainly works in the hands of Reed, who personalizes it, respects it, and performs it with gusto!
So which Monk gems did he choose? “Thelonious,” “Work,”,”Reflections,” “Evidence,” “Round Midnight,” “Nutty,” “Gallop’s Gallop,” “Pannonica,” “Ruby My Dear” and “Ba-Lue Bolivar Ba-Lues Are.” Monk was one of those artists who come along once in a lifetime. His music must be treated with love and respect. Reed pulls it off as few others could do. (Note: Also check Reed’s earlier CD, “The Baddest Monk.”)
Savant; 2014; appx. 46 min.
Peter Bernstein and the Tilden Webb Trio.
Over the last two decades, Peter Bernstein has rather quietly risen to the top echelon of New York jazz guitarists. Combining an ever-present sense of swing with a rich and reliable guitar sound, Bernstein also chooses the best material. This wonderful recording was done live at a Vancouver, B.C. venue called Corey Weed’s Cellar Jazz Club, where a first call Vancouver trio led by pianist Tilden Webb backs up the guitarist. The set opens with “Bones”, a bluesy medium tempo original. It is followed by “Darn That Dream,” seemingly a staple among guitarists. Bernstein and his pals then turn up the heat a notch with “Love for Sale,” and follow that with John Coltrane’s rarely played “Wise One.” The brisk tempo returns on “Come Rain or Come Shine,” and that is followed by John Lewis’ classic, “Django.” Two more etched-in-stone standards, “Yesterdays” and “What Is This Thing Called Love,” bring the set to a close. You may be assured that Bernstein and these Canadian cats deliver the goods on a balanced, swinging set right down the center lane of the jazz highway.
Cellar Live Records; 2013; appx. 70 min.
It’s A Good Day; Rossano Sportiello, piano.
If you’re interested in somebody to pick up the mantle from the late swing piano practitioners Dave McKenna and John Bunch, Sportiello just might be your guy. With a feathery touch and inspiration from the swing tradition, Sportiello is, however, versatile enough to play nearly anything from any era. This selection of songs is proof enough, as he opens with, of all things, the end theme from “Grumpy Old Men.” Its melody is so charming, you’ll be sure you heard it before. But that’s not all. The song list ranges from “Pick Yourself Up” to the children’s tune, “Lavender Blue,” to Quincy Jones’ gorgeous creation, “Quintessence.” Or from Burton and Lane’s lovely ballad, “Too Late Now,” through a Beethoven sonata, to “It’s a Good Day,” a hit for Peggy Lee, and one she had a hand in composing. Other very wise choices include Gershwin’s “For You, For Me, Forevermore” and Harold Arlen’s winner, “Last Night When We Were Young.” Sportiello’s tasty piano is joined by Ed Metz, drums, and bassist Nicki Parrott, who offers crafty vocals on three tunes. Sportiello is a refreshing presence -- a melody expert who impresses without doing extraneous, fancy footwork.
Arbors; 2013; appx. 63 min.
Strength in Numbers; Pete McGuinness Jazz Orchestra.
Last year I received a CD by a singer so hip and perfect in the demanding art of scatting that he spun me around in my chair. And now, what’d’ya know, here he is again, but this time leading, composing and arranging for a big band! McGuinness offers six original compositions featuring both his heavy duty trombone and abundant opportunities for a host of solo-hungry New York hipsters. And you may be sure that his writing is fluid, sensible and melodic. McGuinness offers three standards, one of which is quite a surprise. In his high-pitched, Chet Bakerish voice, he sings on “What Are You Doing the Rest of Your Life” and “You Don’t Know What Love Is.” The latter is especially compelling. The “surprise” is Stephen Foster’s “Beautiful Dreamer,” presented in solid big band attire. Of this band, no less an arranger than Bill Holman simply said, “wonderful writing.” This album has it al — a confident, New York swagger, great arranging and super soloists, and writing that consistently is a treat to your ears. Oh, and there’s that other Pete McGuinness, the scat singer!
Summit Records; 2014; appx. 77 min.
Blow; Louie Prima, Jr., leader, trumpet.
If you’re over 50, you might remember Louie Prima and his very personal approach to jazz. He led a small jazz band which moved within the realms of pop, swing, New Orleans, R & B, blues and any other “feel good” music you can muster. He was a proponent of the shuffle beat, and he sang in a grainy “non-voice” well-suited to his style. He often featured his wife, Keely Smith, who was the much superior singer. So, surprise of surprises, here’s Louie Prima, Jr., and the shuffle beat lives! The two familiar tunes are “Robin Hood,” a big hit for the elder Prima, and “That’s My Home,” on which the senior Prima is tracked along with junior (rather like the Nat and Natalie Cole phenomenon). The remaining tunes are all unfamiliar. It makes no difference. That honkin’ tenor sax is still there, along with the big beat, the high energy, the not-so-great singers and the whole feeling of fun and frivolity. Louie Prima, Sr. mastered that craft, and Louie Prima, Jr. must have it in his DNA. Great fun for fans of this style!
Warrior Records; 2014; times not indicated.
With Love; Jessica Williams, solo piano.
Williams is an uncompromising artist who consistently produces one stunning album after another. In recent years, she has primarily recorded her own brilliant compositions. So this album of standards played solo is a welcome detour. She elects to state these serene and glistening melodies with only minimal improvisation. This is wise, because these melodies stand on their own. Every note says something, and Williams plays the necessary ones and the right ones. I can picture her making the recording. The emotion was in high gear, and you can hear it on every tune. And exactly which ones does she give us? How about “For All We Know,” “My Foolish Heart,” “I Fall in Love Too Easily,” “Summertime,” “But Beautiful,” “When I Fall in Love,” “It Might as Well Be Spring,” Leonard Bernstein’s “Somewhere,” and one dreamy original called “Paradise of Love.” Do you wear your heart on your sleeve? It’s okay, so do I. I guess I just love “pretty.” And this, believe me, is pretty.
Origin; 2014; appx. 53 min.
Caravan; Band Of Bones.
Well, here it is! A big band made up of eight trombones and a rhythm section. Can you think of any parallels in the entire history of jazz? I’m sure there are a good number, but I only came up with two: Med Flory’s Super Sax, and, from a long time ago, an ensemble called Trombones Unlimited. Dave Chamberlain, who doubles on trombone and flute, is the leader of all this fun. So what exactly happens when eight trombone players meet up with an altogether “into it” rhythm section? Well, how about nine fresh and frisky tunes, four in the standards category and five of slightly newer vintage. Dizzy Gillespie’s “Manteca” is a natural for trombones, and “Lament,” by now a well-known “Real Book” item, was actually written by jazz trombonist J.J. Johnson. The other familiar choices are “How Deep Is the Ocean” and “Caravan.” Three guests drop by to further sweeten this dessert — Kat Gang (see earlier review) sings on three tunes, and is particularly effective on “Sway.” And trombonist Steve Turre and harmonica wizard Hendrik Meurkens also visit. There’s a lot of fresh, invigorating fun happening here.
BB Productions; 2014; appx. 52 min.
Togetherness; Jimmy Heath Big Band.
The question is: How many jazz stalwarts from the glory years of labels like Blue Note, Prestige, Verve and Atlantic are still with us and working? The answer: very few. But Jimmy Heath is still blowing great tenor sax and still working with a superlative big band. The band members have changed, but obviously Heath gets a kick out of writing, playing, and leading a big band. In this roaring 18-piece machine, those “new” names include Antonio Hart and Charles Davis, saxophones, Roy Hargrove and Greg Gisbert, trumpets, Jeb Patton, piano, Steve Davis, trombone, and the Washingtons, Peter on bass and Kenny on drums. This high wire act was recorded live before a very receptive audience at the Blue Note in New York. The set opens with three groovin’ energetic originals with jaw dropping solos. The band finally takes on a ballad, one of the best of them, in “Lover Man,” with stirring solos from Heath and Patton. Other highlights include the leader, who is also featured on Billy Strayhorn’s “A Flower Is a Lovesome Thing” and a virtual frolic on Charlie Parker’s “Yardbird Suite.” Big band records are pretty rare these days. And when one comes along with striking arrangements, top-o’-the-hill solos, and that New York attitude of Jimmy Heath and his new friends, you’d better hop to it!
Jazz Legacy Productions; 2014; appx. 68 min.
Purple Sounds; Zach Brock, violin.
Right off the bat, I’ll be straight with you. I’m not a big jazz violin guy. Oh, a little Stephane Grapelli once in a while, or Joe Venuti or even Ray Nance picking up the violin in Duke’s orchestra. So along comes Zach Brock, playing everyone from Frank Zappa to Django Reinhardt to Charlie Parker! I really don’t know much about Zappa’s music, but one of his compositions, with the odd title “Twenty Small Cigars,” was quite mellow and thoughtful. Django’s lovely tune “Nuages” is also dressed up in contemporary attire, and Bird’s “Little Willie Leaps” is an exercise in “brisk,” while the venerable “After You’ve Gone” is played with some fresh rhythms. On all these and several of his own creations, Brock brings the jazz violin into the present day. Joining him on this vigorous venture are guitarist Lage Lund, bassist Matt Penman, and drummer Obed Calvaire. Personally, I’m not likely to substantially alter my feelings about jazz violin. But I must say, Brock brings a new sort of vitality to the instrument, and there’s an aspect of fun to this session as well.
Criss Cross; 2014; 58:41.
Two Feet on the Ground; Steve Picataggio, drums.
A native of Florida, Picataggio made the New York trek two years ago. And from the evidence in this recording, he has connected very well in the Apple. On this debut album, Picataggio works in various settings, mostly as a quartet with Joe Alterman, piano, Dean Kleijn, guitar, and Martin Wind, bass. Joining the party on three of the eight tracks is trumpet man Mike Rodriguez. The album opens with three originals, one each from the bassist, guitarist and drummer. The group follows with a selection of five well chosen tunes. The first is “Early Bird,” a rare entry by the revered L.A. pianist Carl Perkins. Speaking of beloved piano giants, there’s the sprightly Bill Evans classic, “Waltz for Debby,” a particularly effective spotlight for guitarist Kleijn and pianist Alterman. Picataggio expresses a fondness for the music of Ellington, Monk and Gershwin, so we are also treated to “Solitude,” “Monk’s Dream” and “Soon,” on this eyeopening album with fine, swinging players, strong original writing, and a few standard gems for dessert. A keeper!
Self-produced; 2014; times not indicated.
SHORT TAKES
From Rags to Rhythm; Marcus Roberts, piano.
Throughout a distinguished career, Roberts has explored numerous facets of American jazz. And all to the benefit of those of us who are recipients of his masterful talent. This time he gives us a 12-piece original suite with all the colors, rhythms and nuances we’ve come to expect from him. Roberts is joined here by Rodney Jordan on bass and Jason Marsalis on drums.
J Master Records; 2013; appx. 65 min.
With Love; Jeremy Fox, arranger.
This is a compilation album of singers, most of whom are quite good, and one of whom is exceptional. Kate Reid, who has two CDs under her own name, is the standout singer here. The first and last cuts, “That Old Feeling” and “So Many Stars,” feature her in top form. Of the other eight singers, there’s not a bad apple in the barrel. But Reid is the winner in this crowd.
Jazzbill Records; 2014; appx. 34 min.
The Chase; The David White Jazz Orchestra.
This powerhouse 17-piece east coast aggregation has been together for eight years. Trombonist and leader White is responsible for all eight of the compositions here. There are several scintillating soloists on board. While most of the tunes are energetic and up tempo, the most interesting is the sleek and slow “Blues for Sally Draper,” named for a child on the hit TV series, “Mad Men.” White must be a fan!
Mister Shepherd Records; 2014; appx. 34 min.
Eight Track; Dave Stryker, guitar.
This collection of 1970s pop tunes puts guitarist Stryker in a quartet with Stefon Harris, vibes, Jared Gold, organ, and Mc- Clenty Hunter, drums. To be sure, it’s an unusual combination with guitar and vibes. A good idea, one might think, but the forgettable material (“Wichita Lineman”, “Aquarius,””Never My Love,” “Make It With You” and “Super Woman”) betrays it.
Strikezone Records; 2014; appx. 54 min.
Daybreak; Bruce Barth, piano.
Considering his big, beautiful tone and “take-no-prisoners” drive, Barth has quietly carved out his place as one of New York’s premier pianists. On this album of a few originals and a couple of standards, his basic trio is joined here and there by a couple of other Gotham Goliaths, Terell Stafford on trumpet and flugelhorn, and Steve Nelson on vibes. This is a very straight ahead blowing session. Sometimes in a relaxed groove and at other times flipping the switch, Barth and friends get it just right!
Savant; 2014; appx. 62 min.
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