“GROOVY” RED GARLAND TRIO (PRESTIGE) * * * * *
What an appropriate title for this CD. Anytime pianist Red Garland, bassist Paul Chambers and drummer Arthur Taylor get together to work, there is going to be a groove in the air.
Garland reprises Duke Ellington’s “C Jam Blues” for his open and the result is a swinging trio tribute to America’s foremost composer of popular music. On the ballad “Gone Again,” Garland infuses his interpretation with a bluesy, soulful approach. Chambers contributes a relaxed melodic bass solo. The result is a slow and romantic rendition which merits close attention. That same bluesy feeling carries over to “Willow Weep for Me,” and perhaps is even intensified.
Two pop favorites, “Will You Still Be Mine” and “What Can I Say After I Say I’m Sorry” get a solid jazz treatment from the trio.
“CLASSIQUE” WILL DOWNING (PEAK) * * *
The singing, writing, arranging, and producing artistry of Will Downing
is on full display on this, his latest and 14th release, “Classique.”
Downing blends seven of his own sensual compositions with hits from the past by Marvin Gaye, David Ruffin, Barry White and The Originals.
One of his sexiest selections is “Love Suggestions” where he shares the vocal with Sherrida.
My personal favorite is “Baby I’m for Real,” originally penned by Gaye for the quartet The Originals. Vocalist Phil Perry adds his trademark tenor and soaring falsetto to play against Downing’s smooth baritone.
“THE VERY BEST OF PRESTIGE” VARIOUS ARTISTS
(CONCORD) * * * * *
If it’s the very best of the Prestige label, that means it has to be some of the very best of jazz. This two CD set release is a golden opportunity for jazz neophytes, as well as veteran collectors, to possess in one 5 1/2 by 4 5/8 inch package, music by those who moved it forward.
Disc one contains tracks by Lee Konitz and Lennie Tristano, James Moody, Sonny Stitt and Bud Powell, Thelonious Monk, Miles Davis, Sonny Rollins and John Coltrane with “Tenor Madness,” Red Garland and Kenny Burrell.
Disc two offers Eddie “Lockjaw” Davis and Buddy Tate, Kenny Dorham, Gene Ammons, Oliver Nelson, Eric Dolphy, Yusef Laateef, Roland Kirk with Jack Mc Duff, Richard “Groove” Holmes, Pat Martino, Dexter Gordon and Charles Earland. No better jazz primer exists.
“BIG SHOT” PAPA JOHN DE FRANCESCO (SAVANT) * * * * *
The jazz and blues arm of the De Francesco family unites for a
great romp through eight stellar tracks, with father Papa John De Francesco on organ as the leader.
Gene Ammons’ classic “Red Top” is the opener and serves as an intro to both tenor saxophonist Jerry Weldon and guitarist John De Francesco Jr. Weldon swings in the mode Ammons intended and young John proves he has considerable chops. “Too Young To Go Steady,” a gorgeous ballad on its own, takes on an added luster with Joey De Francesco on piano and Weldon articulating the message with his tenor. Papa John is in the background until his solo, whereupon Joey, on piano, accompanies his dad. Joey gets his own solo turn before handing it off to Weldon for his closing flourish.
There’s a catchy, rhythmic, New Orleans style Papa John composition, “Nola.” It’s danceable and fun. There is also a slow burning blues called “Down Home,” and John Jr. is solid with the blues. All the tunes make for great air play.
“THE SCENE: LIVE IN NEW YORK” JIMMY RUSHING (HIGHNOTE) * * * *
One of the major links in the chain of great blues singers of the past is Jimmy Rushing. The man, called by many as Mr. Five by Five, is caught live in a New York club.
Closely identified with Count Basie, Rushing here is backed by saxophonists Zoot Sims and Al Cohn, pianist Dave Frishberg, plus one unnamed pianist, bassists Major Holly and John Beal and drummer Mousey Alexander.
Rushing’s rough hewn voice is heard on some tunes he made famous like “Goin’ To Chicago,” and “Everyday I Have the Blues.” He also includes “Deed I Do,” “Gee Baby, Ain’t I Good to You,” “I Want A Little Girl,” and “Good Morning Blues.”
“RESONANCE BIG BAND PAYS TRIBUTE TO OSCAR PETERSON” (RESONANCE) * * * *
The hook is set on the first track, a rousing, thunderous explosion of brass and rhythm called “Waltzing Is Hip.” The tune also serves as a wonderful introduction to the piano artistry of Marian Petrescu, a Peterson friend, and talented enough to garner Peterson’s praise.
It’s easy to hear why.
He has a sense of swinging that comes from the gut, but when it comes to ballads like “Little Girl Blue,” he is all about melody. On that one, he is accompanied by a string quartet. The result is spectacular.
Frankly there are times while listening to this tribute one could actually think he was listening to Peterson himself, a clear indication of the level of Petrescu’s talent. He and the powerhouse big band treat us to tunes including “Down Here on the Ground,” “Hymn to Freedom,” “John Brown’s Body,” “Greensleeves,” “West Side Story Medley,” ‘Tricotism” and more.
“MELANCHOLIA” MATT CRISCUOLO (MATT) * * *
Alto saxophonist Matt Criscuolo, who is usually in a progressive, hard driving mode, says in the liner notes he was inspired by pianist Larry Willis’ record “Sanctuary” to make this album “Melancholia.”
He employs Willis on piano, and together with a four member string section, drummer Billy Drummond, and bassist Phil Bowler, they turn in a program of gorgeous melancholic music. The four strings; cello, two violins and a viola, are heard first on Wayne Shorter’s “Infant Eyes,” setting the stage for Criscuolo, who creates his own lush improvisation on one of the prettiest songs of all time.
There is a wide enough difference between melancholia and depression to make clear this CD is not depressive. It can be used as a musical time out from stress, tension and any negatives brought on by every day living. Included are Willis’ “Ethiopia,” Shorter’s “ Miyako,” Billy Eckstine’s “Melancholia,” and two especially pretty ones written by Criscuolo; “When in Rome” and “Pensivity.”
“OLD, NEW, BORROWED & BLUE” FRANK POTENZA TRIO
(CAPRI) * * * *
This new release by guitarist Frank Potenza gets off with a furious start, using Jimmy Smith’s “Ready and Able” as its launch pad. A lot of the fiery energy comes from special guest, flutist Holly Hoffman. She is backed superbly by organist Joe Bagg, drummer Steve Barnes and, of course, Potenza.
They have a lot of fun with “Walkin’” as Potenza uses the well known opening from Miles Davis’ “Walkin’” as his intro before hitting Fats Domino’s classic “Walkin’” complete with Potenza’s vocal.
The prettiest tune here is “Weaver of Dreams” with Hunter on alto flute.
“HE AND SHE” WYNTON MARSALIS (BLUE NOTE) * * * *
The dynamics of male-female relationships provide trumpeter
Wynton Marsalis the opportunity to explore differing styles of jazz, using some Marsalis poetry, as well as acknowledging boy-girl changing to man-woman.
The quintet has the musical intellect to successfully move from ragtime (”School Boy,”) onto swing, swing waltz, ballads, danzon, and concludes with a chain gang stomp shuffle, (“A Train, a Banjo and Chicken Wing”). For his exploration Marsalis has chosen saxophonist Walter Blanding, pianist Dan Nimmer, bassist Carlos Henriquez and drummer Ali Jackson, all of whom are members of the Lincoln Center Jazz Orchestra.
Blanding is astounding on soprano performing “The Razor Rim,” with Jackson evoking Elvin Jones. Marsalis is also brilliant in his solo, soaring high and making melodic sense. This is my favorite track.
“WORK TO DO” CARL ALLEN AND RODNEY WHITAKER
(MACK AVENUE) * * * * *
Drummer Carl Allen and bassist Rodney Whitaker are full speed ahead on the first cut, “Work to Do.” That is just one of the tunes reprised here from soul, rock, pop and jazz hit lists of the past.
There’s a popping version of “What’s Going On” that begins with guitarist Rodney Jones laying down some great chord work as he states the theme.
Allen and Whitaker pay tribute to the Beatles with “Eleanor Rigby.” Trumpeter Brandon Lee is first up, and he starts with a soul interpretation and deftly slides into a straight ahead chorus. Some fine drumming by Allen serves as dessert.
My favorite track has to be “ A Time For Love” which begins with Jones’ guitar and a gorgeous Whitaker bowed bass solo. The two of them together deliver the heart and the beauty of this song.
“JOEY D!” JOEY DE FRANCESCO HIGHNOTE * * * * *
Today’s premier jazz organ exponent is Joey De Francesco, and this release is further evidence of his intent to hold his position.
There are a couple of changes though. First, instead of any one of several past guitar allies, De Francesco opts to share the solo time with tenor saxophonist Jerry Weldon. Secondly, De Francesco is now a member of the Diversi group and is now playing their organs. Byron Wookie Landrum is still backing up the group on drums.
They get of to a furious start on “Dig” for 7:12, short enough for airplay and long enough for each to dig in. “Lament,” an evergreen ballad gets full and rich treatment from both De Francesco and Weldon. I detected some Dexter Gordon in Weldon’s effort. “If Ever I Should Leave You” opens in ballad form but then shifts into an up tempo delight.
“Nancy (With the smiling face)” receives the full ballad treatment it deserves as both Joey and Weldon pull out all their gorgeous ballad stops. “Blues Up and Down” is a supreme closer but it makes me face the extremely difficult decision as to which track I play first on my next KMHD radio show.
“ECHOES OF
ETHNICITY” DERRICK GARDNER AND THE JAZZ PROPHETS OWL * * * * *
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 music horizon.
In addition 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 full, rich, big sound.
On some cuts we 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 make 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” feature 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.
“A SONG FOR YOU” ERNESTINE ANDERSON HIGHNOTE * * * *
It’s easy to hear exactly why this CD is titled “A Song For You.” You, too, will know when you hear Ernestine Anderson reach into your very being with her vocal of this emphatic but tender love song.
Tenor saxophonist Houston Person is important as he punctuates Anderson’s phrases. Both are backed by an ebullient rhythm section of pianist Lafayette Harris, bassist Chip Jackson and drummer Willie Jones III.
Ms. Anderson opens with a neat up tempo treatment of “This Can’t be Love” and follows “A Song for You” with chestnuts like “Skylark,” “Candy,” “Day by Day” and “Make Someone Happy.”
On “Skylark,” bassist Jackson contributes a rich resonant solo. Harris' piano is an essential part of the venture. He has excellent accompaniment skills. Ms. Anderson should be proud of this effort as she meets challenges with her unique phrasing and singing attitude.
“SAMBA TO
GO” HENDRIK MEURKENS ZOHO * * * *
Vibes and harmonica seem to be an especially good match with samba music.
At least Hendrik Meurkens’ harmonica and vibraphone are able to plumb the best of the idiom and make some great music. Of course there is more to their great music than just the talented leader.
Samba’s demand rhythm and this band has a section of powerful players anchored by bassist Gustavo Amarante and drummer-percussionist Adriano Santos. Percussionist Ze Mauricio is heard on three cuts. Rodrigo Ursaia adds his important saxophone and flute voice. Misha Tsiganov on piano and Fender Rhodes adds a distinctive flavor.
Eight of the ten tracks were written by Meurkens. One of them, “Moutain Drive” competes with Antonio Carlos Jobim’s “ So Tinha De Ser Com Voce” as to which is the prettiest.
Meurkens closes with the familiar “My Foolish Heart,” and a grand version it is, heart warming and comforting.
“RUSH LIFE” ANTONIO CIACCA QUINTET MOTEMA * * * * *
Some new names here but that should not deter a collector from wanting
this excellent release marking its entry into the quintet sweepstakes.
Ciacca, the leader and pianist and a native of Italy, got his formal jazz training in a Bologna conservatory and went on to earn a masters in African-American Music in Sienna. He gigged frequently with American musicians touring in Europe and that is where he developed his refined chops.
The music: He lays out a fine mix of his own compositions like
“Chipewha,” and mixes in elegant classics like “I Remember Clifford” and “Green Dolphin Street.” On “Chipewha,” veteran trumpeter Joe Magnarelli and tenor saxophonist Stacy Dillard engage in a brief and strange exchange which is bound to get your attention. Ciacca takes his solo and implements several time changes escalating the tempo each time.
The band’s version of “Clifford” is magnificent and respectful with top notch work by both Ciacca, Magnarelli and Dillard. The rhythm section also has bassist Kengo Nakamura, and drummer Rodney Green who more than fill the requirements.
“TO BE CONTINUED: KEN HATFIELD AND FRIENDS PLAY THE MUSIC OF BILL MC CORMICK” M/PUB * * * *
This is a group, minus piano, led by guitarist Ken Hatfield with significant contributions by bassist Hans Glawschnig, percussionist Steve Kroon and drummer Dan Weiss.
All compositions were written by guitarist Bill Mc Cormick and are challenging. However, Hatfield is more than just equal to the task. His fingers glide over his nylon string guitar.
This is not a “jazz” album, but there is one nod to jazz when Hatfield turns his hornmen loose to open “I’m Movin’ to Cool Breeze City. He follows with his own jazzy solo. But as Duke Ellington once stated, “There are only two kinds of music: good or bad.” This is certainly the former.
“PRANA DANCE” TOM HARRELL HIGHNOTE * * * *
Trumpeter Tom Harrell is a musician’s musician, highly regarded
by other horn players and musicians in general.
He opens with “Marching,” a tune with him on trumpet with just the rhythm section of bassist Ugonna Okegwo, pianist Danny Grissett and drummer Jonathan Blake.
Tenor saxophonist Wayne Escoffery joins in on track two, “Prana,” a tune employing a pair of juxtapositioned odd meters rhythms 9/4 in the intro and 5/4 in the main strain. Escoffery plays with a certain rhythmic urgency here but always with a lusty full tone. Pianist Grissett is heard on fender Rhodes which, on this tune, is most appropriate.
“Maharaja” has a lighter feel than some of the other tunes. It begins with a repetitive exercise as Harrell switches to flugelhorn (I think).
This is so good and Harrell is so proficient that each Harrell fan who owns this album should introduce Harrell to those unknowing.
“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.
“BLUES CIT
IZENS” 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.
