Leader and trumpeter Derrick Gardner has expanded both the size of his band (from a hard bop swinging sextet to an octet, and even a nonet on some tracks,) and also the scope of his musical horizon. To trombonist Vincent Gardner, tenor saxophonist Rob Dixon, pianist Rick Roe, bassist Gerald Cannon and drummer Donald Edwards, the addition of alto saxophonist Brad Leali and baritone saxophonist Jason Marshall gives the band a fuller, richer, bigger sound. On some cuts we also hear percussionist Kevin Kaiser and bassist Brandon Meeks.
These additions make the Prophets a true little-big band, and together with tunes written by the Gardner brothers and Dixon, plus their great arrangements, makes this follow up to their earlier “A Ride to the Other Side” a treat from start to finish.
Everyone in the core group introduces himself via solo on the opener, “Newk,” written for Sonny Rollins who bears a remarkable resemblance to Don Newcombe, Si Young winner and the first black pitcher in major league baseball. It signals the fact even if the names are unfamiliar they can flat out blow.
“Natural Woman” features the Gardner trumpet in a medium tempo ballad. Despite the fact they are using unique and fascinating arrangements, the band manages to create a jam feeling. This will be one of the top albums of 2009.
“GO RED GO” RED HOLLOWAY DELMARK * * * *
This is a most enjoyable release by an excellent group of seasoned musicians led by saxophonist Red Holloway. It contains an exciting mix of material ranging from one called “I Like It Funky,” one that evokes a candle lit slow dance, to the jump tune “Go Red Go.” Guitarist George Freeman’s effort on “I Like It Funky” is key, along with Holloway’s tenor and organist Chris Foreman sustaining the sexually charged mood. A pair of standard ballads: “Deep Purple” and “Stardust” are treated gently with a pretty groove. The outstanding guitarist Henry Johnson is heard on all tracks except “I Like It Funky.”
“HANK AND FRANK II” HANK JONES AND FRANK WESS LINEAGE * * *
With the first notes of the first track, “Sunday,” pianist Hank Jones and tenor saxophonist Frank Wess send a clear signal that this release is all about straight ahead jazz and the introduction of a pair of artists to a wider audience.
Veteran New York cabaret singer Marion Cowing and Russian born but American raised guitarist Ilya Lushtak are beneficiaries of the marvelous accompaniment talents of Jones. Jones carries the reputation of probably the best accompanist in jazz. Lushtak comes into full range on the gospel tune, “Lord Prepare Me.” His first solo leans toward the Gospel side. But after a lush solo by Jones, Lushtak’s second solo has much more of a jazz feel.
The next three songs are referred to in the liner notes as “Marion’s Medley.” He begins with “More Than You Know” on which Lushtak again impresses with his sensitivity. Cowing, a solid stylist, does more than justice to Miles Davis’ solo on Davis’ version of “If I Were a Bell.” He follows with nice interpretations of “I Had the Craziest Dream” and “When Your Lover Has Gone.”
Drummer Mickey Roker and bassist John Webber are major contributors to this high caliber outing but take a back seat on the next three tracks which are labeled the duet tracks featuring Jones’ masterful accompaniment and Cowing’s vocals on “You Don’t Know What Love Is,” and “Stay as Sweet as You Are.” Lushtak joins the duo on “ For All We Know” and Webber is added to the closer, “I’ll Be Seeing You.”
“Hank and Frank II” provides one more hearing of Hank Jones, one of the greatest pianists of all time and a sound embossed invitation to meet the promising guitarist Ilya Lushtak.
“METAMORPHOSEN” BRANFORD MARSALIS QUARTET
MARSALIS MUSIC * * * * *
The leader, Marsalis, wrote the opener,
“Return of the Jitney Man,” a tribute to his father, Ellis who at one time worked in construction and drove a jitney at night.
Such a schedule required a certain toughness or fierce determination. That fierceness is prevalent in the swinging of that first track. Marsalis is heard on tenor. Pianist Joey Calderazzo, bassist Eric Revis and drummer Jeff “Tain” Watts all contribute to the power of this almost six minute tune.
Track two, “The Blossom of Parting,” written by Calderazzo is the polar opposite of Jitney Man. His solo has a classical tilt and recalls pianist John Lewis’ work with the Modern Jazz Quartet. I believe very few saxophonists can derive the beautiful tonal quality from a soprano sax as can Branford Marsalis. His work here is exhibit A.
“Jabberwocky” is a challenging 19 bar form and marks the first time in nearly 20 years, Marsalis has recorded on alto. “Abe Vigoda” is a plodding, slow moving exercise reflecting the acting persona of Abe Vigoda.
Bassist Revis’ compositional contribution is a brief tune titled, “And Then He Was Gone.” He wrote that while contemplating his son growing up. Each of these musicians has carved his own niche in jazz and has grown individually which is reflected as a group in this release. It may not suit the casual jazz listener but for the knowledgeable and progressive fan it is a feast.
“THE SECOND TIME AROUND” DENISE PERRIER CHEZ PERRIER * * *
Along with special guest Houston Person on tenor, singer Denise Perrier showcases her range, with her material as well as her voice.
She opens with a rousing “S Wonderful,” follows with “You Better Love Me While You May” and then slides right into Teddy Edwards’ “Don’t Touch Me.”
Percussionist Michaelle Goerlitz is added to the mix of pianist Tammy Hall, bassist Buca Necak and drummer Kent Bryson for a standout treatment of “Dindi.” Person solos beautifully but it’s Perrier who lays it all out on the classic ballad.
Other tunes include: “Here’s That Rainy Day,” “You’d Be So Nice to Come Home To,” “Falling in Love with Love,” and “The Second Time Around.”
“BLUES CITIZENS” RADAM SCHWARTZ SAVANT * * *
Add the name Radam Schwartz to the growing number of very good Hammond B-3 players.
Schwartz is not the only fine player on this release. His entire quintet is dedicated to delivering the blues in its’ several forms. As a leader, he makes great use of his two saxophonists; altoist Bruce Williams and tenorman Bill Saxton. In either unison or while soloing, they carry much of the load. The title cut, “Blues Citizens,” a blues march features their unison work.
“Misty” is reminiscent of Richard Groove Holmes’ version with the horn duo making the difference. Schwartz is smart to include the ballad “I Don’t Stand a Ghost of a Chance.” Saxton’s tenor and Eric Johnson’s guitar make this a great tune for airplay or a romantic dance.
“WELL, ALRIGHT! LIVE ” NANCY KELLY SAYING IT WITH JAZZ
* * * * *
There is a long line of female singers standing ready to receive the torch carried by greats of the past like Sarah Vaughan, Ella Fitzgerald, June Christy, Carmen Mc Rae and Anita O’Day.
When you hear Nancy Kelly do her thing on “Well Alright,” you will hear one of those rare voices of today, one honed through practice and listening and becoming a jazz person. There are jazz singers, and there are jazz singers. Some in that category are as different as night and day. It’s a fair question to ask. “Where does Nancy Kelly fit in?” She’s more Anita O’Day than Carmen Mc Rae. Nancy is blessed with an innate sense of swing, a true rhythm singer. The warm welcoming room of Bake’s Club in Issaquah, Washington proved to be the perfect fit for her group of Seattle pianist Randy Halberstadt, bassist Jeff Johnson, Portland, Oregon drummer Gary Hobbs and special guest, tenor saxophone legend Houston Person. Kelly takes Billie Holiday’s “Fine and Mellow,” updates the lyric a bit, throws in a growling chorus and even elicits a call and response with the audience. Person’s tenor is emphatically eloquent. Other tunes include; “Alright, OK You Win,” “Let It Be Me,” “For Once in My Life.” “I Wish You Love,” “But Not for Me,” and “Let’s Fall in Love.” I love her interpretations of so many great songs. She’s both old school and new. She’s experienced yet her delivery and ideas are fresh. She has great jazz chops and sings with a pure honesty.
