A Note From George: There must have been something in the air over the last couple of months. Why? Because we have seen an unusually large number of female vocal recordings recently. Most are pretty impressive too, so look for a bit of an imbalance this month.
Spherical; Tim Warfield, tenor and soprano sax
It is a given that Thelonious Monk brought something fresh, unique, and witty to the jazz world. So it should come as no surprise that his music continues to be explored and interpreted time and time again. This time around the Monk menu is under the leadership of veteran saxophonist Tim Warfield. He has assembled a stellar group to bring us seven Monk tunes, one original, and one traditional opus; the latter two walk well within Monk’s shadow. The other players, incidentally, are the underrated Eddie Henderson (trumpet), plus a rhythm section of Orrin Evans (piano), Ben Wolfe (bass), and Clarence Penn (drums). The quintet chooses rare Monk entries like “Gallop’s Gallop” and “Oska T.” as well as the more familiar “Ugly Beauty,” “Coming On The Hudson,” “’Round Midnight,” and two takes of “Off Minor.” Warfield’s original, “Blue Hawk”, includes some Monk-like qualities, and the traditional tune, “That Old Man,” is a cousin to the children’s tune, “This Old Man.” Warfield can be a bit aggressive at times, but lyrical and calming at others. Henderson is subtle in support and solid (as always) as a soloist. Monk’s music deserves to be honored in a well-crafted session such as this.
Criss Cross; 2015; 65:07
Wherever You Go, There You Are; Michael Kocour, piano
Pianist Michael Kocour spent about two years working with the late legendary saxophonist James Moody. That alone on a resume would be enough to raise the eyebrows of any jazz fan in-the-know. So, why the heck have I not heard from him on his own until now? Go figure, but on this solo effort, he is the picture of lyricism, graceful touch, and (when called for) major league chops. It is an all solo effort for Kocour and he impresses on an array of standards including “Con Alma,” “How About You,” “Just In Time,” “How Deep Is The Ocean,” “An Affair To Remember,” and “Evidence.” One of two original compositions, “Winter’s Spell,” is a lovely detour. If I could change only one aspect of this album, I would pull the plug on the electric piano which he plays on three tunes, “Pensativa,” “Freedom Jazz Dance,” and the other original, “Wherever You Go, There You Are.” Other than this minor hiccup, Michael Kocour has a lot to offer. And it is all played without pretense and with nary a speck of glitter.
OA2 Records; 2015; appx. 47 min.
The Mood I’m In; Marlene Ver Planck, vocals
Somebody call Guinness World Records! You see, in the notes to this album, Marlene Ver Planck informs us that she has been with the same label, Audiophile, for nearly forty years. If records were kept for such things this would surely “make the book!” Ver Planck remains a solid interpreter of the American songbook. And you have to pick up on her choice of “underdog” tunes like “The Mood I’m In,” (which I only recall from a swinging Jack Jones version). Then there is “Me And The Blues,” a Harry Warren rarity performed to perfection years ago by Joe Williams. Or how about Bobby Troup’s “Free and Easy”? Do you remember it from Jackie and Roy? Other winning items here include “I Want To Talk About You,” “All Too Soon,” “This Is Always,” “Too Late Now,” and a personal fave, Benny Carter’s “My Kind Of Trouble Is You.” Ver Planck treats all of these and more with great respect and tenderness. Her accompaniment is provided by a quintet lead by pianist and fellow singer John Pearce. Ver Planck caresses twelve tunes and every one of them is well worth hearing.
Audiophile; 2015; appx. 48 min.
My Shining Hour; Bobby Broom, guitar
It seems as though guitarist Bobby Broom has found a home on Seattle’s Origin label, but somehow I must have missed this 2014 release. It is still available and worth telling you about. Broom takes off in very straight-ahead fashion with his trio mates, Dennis Carroll (bass) and Makaya McCraven (drums) on a menu of nine much admired standards. Broom is equally impressive whether playing single-note passages or rich, rewarding chords. His improvisations tend to be a little quirky and off the center of the highway, but always creative and musical. By the way, Broom’s tune list includes such winners as “Sweet And Lovely,” “My Ideal,” “Just One Of Those Things,” “Sweet Georgia Brown,” “Jitterbug Waltz,” and “Lady Be Good.” Two surprises are “Tennessee Waltz,” and a beautiful rendition of the classic Lerner and Lowe melody from Brigadoon, “The Heather On the Hill.” Broom surely respects the guitar. You can hear it in every note.
Origin; 2015; appx. 57 min.
Our Father Who Art Blakey; Valery Ponomarev, trumpet, arranger
The immortal Art Blakey employed a bevy of the World’s premier trumpet giants. Consider for a moment names such as Bill Hardman, Donald Byrd, Clifford Brown, Kenny Dorham, Freddie Hubbard, and Lee Morgan. To that formidable list, add the name Valery Ponomarev, a Russian-born hard-bop specialist. He appeared in one of the late versions of The Jazz Messengers. On this session, a tribute to his mentor, Ponomarev invites another player with Blakey connections, tenor hero Benny Golson. Golson guests on Bobby Timmons’s “Moanin’” and his own evergreen anthem, “Blues March”. The remaining instrumentation is in the hands of Ponomarev’s “Jazz Big Band” (as he calls it). And they are very much on target on “Hay Problemas,” plus “Gina’s Cooking,” a scorcher by the leader. All of this riveting hard-bop was recorded live at New York City’s Dizzy’s Club Coca Cola in August of 2014. Ponomarev’s solos are passionate and fulfilling. And this set of brilliant, blustery hard bop is a great listen. Just close your eyes and you are there.
Zoho Records; 2015; appx. 60 min.
Let Me Love You; Nancy Lane, vocals
If you are a regular reader of my reviews you know that I sometimes struggle with singers who cannot separate drama and decoration from the simple yet difficult concept of telling the story. Nancy Lane is a young singer who seems to understand this concept. On this session she works with an ontask quartet of piano, guitar, bass and drums on eleven wellchosen tunes. At times she displays the understated sultry qualities of a Peggy Lee but there is also the phrasing and jazz chops of say, someone like Marion Montgomery. Check her out on finely-honed fare like “Let Me Love You,” “Everything I’ve Got,” “You Took Advantage Of Me,” “What Is This Thing Called Love”,” and a slowed-down, 3:00 A.M. version of “All Of You.” In addition there is quite a surprise in an Español take of “Whatever Lola Wants”. Bet you have not thought of that one for awhile. Among a few titles new to me, I really liked the upbeat spirit of “Every Time I’m With You.” On all these and others, Lane displays a maturity in her intimate handling of a lyric combined with a vocal quality that is most pleasing from the first note to the last.
Self-produced; 2015; appx. 45 min.
This Happy Madness; Cory Weeds, tenor sax, w/ the Jeff Hamilton Trio
If you happen to be a hometown guy from Vancouver, B.C. and have the good fortune to hook up with The Jeff Hamilton Trio, you would be well-advised to go for it. Such was the case for tenorman Cory Weeds, whose inspired playing is in premier company with Hamilton’s drums, Tamir Hendelman (piano), and Christoph Luty (bass). Weeds is one of those masterful players with a sound so classic it reminds me of someone like Dexter Gordon. The quartet gets underway with a John Clayton blowing-thing appropriately entitled “Blow Your Horn”. From there the bill is divided nicely between fresh originals and about half a dozen standards. Included among them are “Get Out Of Town,” “This Happy Madness,” “Young At Hear,” “I Thought About You,” “There’s A Lull In My Life,” and “Secret Love.” Hamilton’s original, “Max” (named for Roach?) is a swingin’ shuffle. Horace Silver’s rare “Out Of The Night Came You” offers a nifty, boppy melody line. And finally, there is “Mister Baggy Pants,” a bluesy opus from George Cables. This is a very well-balanced album with outstanding solo work from all players. Weeds is a force to be reckoned with, and his album is what the jazz art form is all about.
Cellar Live Records; 2015; appx. 61 min.
Evoke; Blueprints Trio
The Blueprints Trio is a Portland-based outfit featuring pianist Matt Tabor; bassist Craig Snazelle and drummer Dave Averre. On their second album the trio brings us fourteen selections, eleven of which are written by individuals within the group. Of those eleven tunes, five are credited to Averre and three to Tabor. One of Averre’s tunes, “Monk’s Pocket Change,” employs a shuffle beat under a Monk-ish melody line. Averre’s entries show considerable diversity including the provocative and sensitive title tune, “Evoke,” and the lilting “When Will I See You?” Pianist Tabor is right there with his own creative compositions in “ZJPM,” a reflective ballad-like piece, and “Cerulean,” a piano solo with a theme-like mysterious quality. These and other originals all reflect some thoughtful and varied musical thinking from trio members. There are even a few standards here as well. The best of them is “I’ll Take Romance” in very straight-ahead “piano trio” attire. “Just One Of Those Things,” rather surprisingly, works nicely as a waltz, while “You And The Night And The Music” is all dressed up in elegance. The album concludes with a little bass tag on, “Tennessee Waltz,” a charming way to say adieu. I enjoyed the light but sure touch of Tabor’s piano work. And as intriguing and listenable as the mostly original compositions are, next time out, I would love to hear these guys cook up some Bird, Dameron, Bud and Miles tunes, among others.
Self-produced; 2014; appx. 64 min.
Interludes; Lyn Stanley, Vocals
The CD marks my first encounter with singer Lyn Stanley, but I hope it is not my last. She sings spot-on key, phrases with practiced ease, and simply interprets this set of juicy songbook goodies in such a way that one knows she has done her homework. Her accompaniment, by a variety of Los Angeles jazz stalwarts, includes Bill Cunliffe (piano), Chuck Berghofer (bass), Ray Brinker (drums), Hendrick Meurkens (harmonica), and a number of others. Stanley’s versatility suggests she would be equally comfortable in a big band setting as well as the smaller group heard here. There is a generous fourteen tune menu on the album, and some of the best known choices are “How Long Has This Been Going On,” “Just One Of Those Things,” “More Than You Kno,”, “Don’t Explain,” “Nice and Easy,” “In A Sentimental Mood,” “I’m A Fool To Want You,” and lots more. While it may be a stretch to describe Staley as purely a jazz singer, it is obvious that she is a very polished one who never goes for anything gimmicky or poppy. In consideration of that and solid vocal prowess, Lyn Stanley gets my vote.
A.T. Music; 2015; appx. 57 min.
The Knife; Ben Winkelman, piano
A few traits concerning pianist Ben Winkelman were pretty clear after hearing as few as four or five tracks among the thirteen played on this session. First, he is adventurous, but still accessible. Second, he likes tricky, pert little melody lines with lots of movement. Third, Winkelman resolves his upbeat melodies with very satisfying chord work. Fourth, there is a suggestion in listening to him that Winkelman “put in his time” with the intricacies of Bach, Czerny and others who shape a pianist’s skill. His playing mates are Sam Anning on bass and Eric Doob on drums. Winkelman’s music is airy, free-flowing and fullflight, but thankfully he never slips from the controls. You will also notice a consistency of touch, sure and comfortable. If you asked me, I would bet that Winkelman has listened to such players as Herbie Nichols or Elmo Hope, and sometimes there is a touch of Monk or even Mose Allison.
OA2 Records; 2015; appx. 65 min.
Some Morning; Kim Nazarian, vocals
This is the first solo journey for Kim Nazarian, a founding member of the acclaimed vocal group The New York Voices. And for this project Nazarian assembled some high-powered accompaniment including John Pizzarelli (guitar and vocals), Gary Burton (vibes), Paquito D’Rivera (clarinet), and a host of other instrumental and vocal participants. As for Nazarian, she possesses a very sweet and pure voice with excellent intonation and, thankfully, no frills or gimmicks. Among her eleven tune program there are familiar choices such as “Robbin’s Nest,” “Gotta Be This or That,” “What’ll I Do,” “So In Love,” and even “Que Será, Será.” The remaining selections were mainly new to this listener, but all were well-performed. She seems to straddle the line between a quality pop singer and a jazz singer. But in that comfort zone of two distinct approaches she does extremely well.
KIMJ Music; 2015; appx. 50 min.
A Walk; Will Caviness, trumpet and flugelhorn
In the liner notes to this refreshing CD, New York City trumpet man Will Caviness indicates that he is a disciple of towering figures like Blakey, Silver, Adderley and Davis. Their original compositions nearly defined the era of the late fifties through the early sixties. And that is the sound Caviness goes for on this invigorating session. His playing mates represent some of the hot youthful New York talent who share his hard-bop passion. They include Benjamin Drazen (alto sax), Sam Dillon (tenor sax), Jeb Patton (piano), Will Slater (bass), and Pete Van Nostrand (drums). Of the seven tune set, five are Caviness originals. The standards on the album are the Allen-Mercer gem “My Shining Hour,” and the rarely played ballad “Trust In Me.” Caviness and company solo with authority and clarity, and the original music celebrates the era that the leader admires. This is music played by exceptional craftsmen who hit the target. Bullseye!
Cellar Live; 2015; appx. 45 min.
My Heart’s In The Wind; Deborah Shulman, vocals
Anyone in the mood for romanticism? Love songs? Well, that is the order of the day for singer Deborah Shulman and a quartet of sterling silver colleagues. Shulman may not be considered a jazz singer in the realm of the O’Days or McRaes. However, she possesses a sweet charm and delivers a lyric with a clear understanding of the meaning behind it. The Los Angeles-based quartet supporting her includes the versatile pianist Terry Trotter alongside Larry Koonse (guitar), Ken Wild (bass), and Joe La Barbera (drums). And the love songs do prevail. How about entries such as these: “The Shining Sea,” “A Sleepin’ Bee,” “My Foolish Heart,” “Sometime Ago,” “My One And Only Love,” “Never Never Land,” and my personal fave, Johnny Mandel and Dave Frishberg’s masterpiece, “You Are There.” On all of these and several more surprises, Shulman and friends get the message across with simple, straight-forward beauty. One can tell that they deeply care about these touching songs.
Summit; 2015; appx. 52 min.
Tomorrow; Ira Hill, vocals
At nineteen years of age most of us barely know our way to the restrooms. So how is it that at nineteen, Ira Hill even knows about lyrics such as John Hendricks’ “Cloudburst,” King Pleasure’s “Tomorrow’s Another Day,” or Eddie Jefferson’s “Moody’s Mood For Love”? Or how about the hip scatting on “Billie’s Bounce” or “You’ve Proven Your Point.” These are all challenging bop anthems, so again I ask, how does a nineteen-year-old pull this off? Well, with the help of John Proulx’s piano and a host of scintillating LA cats, Hill is up to the task. Also heard are winners such as “I’ll Remember April,” “Estaté,” and “Afro Blue.” Hill will likely continue to grow in the music, no doubt. Will he reach the status of Giacomo Gates, Mark Murphy, Hendricks or Jefferson? Time will tell. But at his tender age, he is off to a swingin’, solid start.
Ira Hill Music; 2015; appx. 45 min.
Soundscapes; Lew Tabackin, tenor sax and flute
With a resume including a musical partnership with Toshiko Akiyoshi’s big band and numerous albums as a leader, Lew Tabackin goes bare bones on this session with a trio of tenor, bass and drums. No piano here, so some extra harmonic pressure is exerted on Tabackin and his mates, Boris Kozlov (bass) and Mark Taylor (drums). The trio opens quite cleverly with a few bars of “The Last Time I Saw Paris,” and then steamrolls into “Afternoon In Paris.” Other standards include Jerome Kern’s classic “Yesterdays,” and two gems from the Ellington book: Duke’s “Sunset and The Mocking Bird” and Billy Strayhorn’s wistful “Day Dream.” The remaining familiar refrain is “Three Little Words.” The CD is completed by three Tabackin originals that reflect his creativity, fire, and delicacy. Personally, I miss the presence of a piano on recordings like this. But if you are a tenor enthusiast this session will grab you!
Self-produced; 2015; appx. 59 min.
Photographs; Mary Foster Conklin, vocals
Drum roll, please! Our last female vocal for this issue arrived just before deadline day. Mary Foster Conklin is a very distinct singer who (it would appear) would have a following in both the cabaret and jazz camps. In that way she might be compared to someone like Wesla Whitfield. On this session she samples a varied program of well-selected tunes such as “Cinnamon and Clove,” “Moonglow,” and “Autumn Serenade.” There is also the stirring title from the musical Oliver called “Night Song.” Conklin must be a Bob Dorough fan because she includes three of his rarely heard tunes “Small Day Tomorrow,” “Nothing Like You,” and “The Winds Of Heaven.” It is interesting to also note that no less than five of the eleven tunes on the CD feature lyrics by one of the best of that craft, Fran Landesman. Mary Foster Conklin, in her unique way, gets the message like few others.
Mock Turtle Music; 2015; appx. 54 min.
SHORT TAKES
Live Beauty; John Stowell, guitar; Michael Zilber, saxophones
The gifted Portland guitarist John Stowell manages to get a record or two per year out there for his loyal listeners to enjoy. This time it is saxman Michael Zilber, who joins Stowell and the quartet before a live audience in Berkeley, California. Stowell and Zilber communicate effortlessly on six originals of varying moods and tempos. There is also one standard; the venerable “My Funny Valentine.” and you have never heard it quite like this.
Origin; 2015; appx. 61 min.
Exit Moon; Kenny Carr, guitar
Am I correct in my belief that so called smooth jazz has hit the skids and is fading fast? Kenny Carr and friends are here to apply CPR. Carr’s quartet, with bass, drums and the obligatory Wurlitzer electric piano take up the cause on nine custom made tunes for “the wave”, “the surf ”, or in this case, “the moon”. If you have not yet grown weary of seamless, formulaic sounds, well, give it a try.
Zoozazz Music; 2015; appx. 53 min.
Blue Whisper; Amina Figarova, piano
Amina Figarova is a creative presence in the piano world. Almost all of her work over many years is original and it can range from rather cerebral and almost “new age-y,” to complex and sometimes quite riveting. On this CD her “all over the place” material goes from a child’s narrative to some swinging lines. Special kudos for the solo work of flutist, Bart Platteau.
In & Out Records; 2015; appx. 65 min.
Bactrian; David Friesen, bass and Glen Moore, bass
Both David Friesen and Glen Moore are Portland residents who have worked together and separately for more than forty years. On this album they explore eleven originals, some of which cross the paths of jazz and contemporary classical music. Of particular interest is the fact that both Friesen and Moore try their hand(s) at the piano on a few tracks. So there is lots of variety here. If you are a student of the bass, you will want to check out this one.
Origin; 2015; appx. 45 min.