Jazz Cd Reviews by Dick Bogle

2009-08-25T16:23:00.000-07:00

“TEAR THE WORLD UP” EDDIE C CAMPBELL
(DELMARK) * * * *
Get ready to pop your fingers and snap your hip bones as you listen
to this scorching blues CD by guitarist and singer Eddie C Campbell. “Big World,” a steady shuffle, pays tribute to an overly tired man who foils his lady’s seduction plan by falling asleep at the crucial moment. “Tie Your Time Up” is an ode to time delays because of late running buses, telephone long talkers and the like. Campbell bemoans them all.
“My Last Affair” is a slow grinder with Campbell wailing over the fact his just ended love affair has left him despondent. There are 14 cuts here, most of which deal with loves lost or gained, or impending doom or pain.
His band is strong in its support, with driving tempos and just the right fills behind Campbell.
Karl Outten on piano and organ and Mark Cihlar on harmonica are outstanding.

“PRIME” KENNY BURRELL (HIGHNOTE) * * * *
If one speaks of the “jazz tradition” and the "guitar," the next words spoken should be ”Kenny Burrell”. His playing exudes the tradition of those forebearers like Charlie Christian, Barney Kessell, Grant Green, Wes Montgomery and Jim Hall.
This is a live recording from a January 6, 1978 gig at the Statler Hotel in Buffalo, New York. Fortunately it is of fine quality and presents an excellent array of tunes beginning with a pretty ballad titled “Isabella.”
Accompanied by a fine group led by pianist Richard Wyands, Burrell takes “Will You Still Be Mine” up tempo with Wyands sharing solo time. “A Child is Born” gets the sensitive treatment it deserves from all concerned. Bassist Lisle Atkinson is exquisite with his solo. Track seven, the final offering, is Burrell’s beautiful, unaccompanied solo take on Duke Ellington’s “Single Petal of a Rose.”

“OFF THE CUFF” RICK GERMANSON TRIO (OWL) * * * *
The opener, “Quagmire,” will hook you as pianist Rick Germanson, known mostly for his work as an accompanist or sideman, steps up and exhibits strong solo chops. “Quagmire” is high energy, but its’ energy is carefully budgeted and spent. It’s pouring out of Germanson as the primary soloist, but solid and restrained from master drummer Louis Hayes who sticks to brushes on this one.
Bassist Gerald Cannon, an essential element throughout, is impeccable. On “Daytona,” Cannon gets solo space and delights with his improvisation. Balancing his program between the fiery and ballads, “Up Jumped Spring” on the ballad side is a pretty rendition of a too seldom heard tune. His 8:20 treatment of “Autumn in New York” is a patient interpretation of an all time favorite.

“EASTERN STANDARD TIME” ALAN BLAYLOCK JAZZ ORCHESTRA
(BLAYLOCK MUSIC) * * * * *
This band bursts forth with jet fueled energy on the opener, “Caravan.” It’s not just the zest with which they attack the Juan Tizol classic. The arrangement itself is classic, and the interplay of the reed section near the end is both startling and brilliant.
The zest continues with “On Green Dolphin Street” and a throbbing baritone solo by Doug Morgan followed by a top notch trombone effort by Joe Jackson.
Ballads? Yes, there is a gem version of “Body and Soul” with solos by trombonist Jeff Martin and pianist Tony Nalker. Blaylock sticks to familiar selections like; “Stella by Starlight,” “Oleo,” “All the Things You Are,” “ Love for Sale,’ “Cherokee,” and “Warm Valley,” but oh, so well done.

“INSPIRATION” LINDA PRESGRAVE (METROPOLITAN) * * * *
I came away from listening to this, my first hearing of pianist Linda Presgrave, very impressed by a number of her skills. The chemistry is all good between Presgrave and bassist Harvie S, first evidenced on Joanne Brackeen’s “Evening in Concert.” Drummer Alison Miller is also key in the tune’s subtle, rhythmic shifts. Sticking to her theme from an earlier recording, “The Journey,” which featured compositions by women, here she has ten additional selections written by females, including six by her. “Holmes for Holmes” is a light blues inspired tune dedicated to trumpeter Randy Holmes, a local St. Louis legend. Tenorist Todd Herbert is excellent delivering a blues message but without the clichés. Presgrave is particularly creative performing Bertha Hope’s “You Know Who,” and again, the cohesion of piano, bass and drums make this a standout.

“THE LATIN SIDE OF WAYNE SHORTER” CONRAD HERWIG
(HALF NOTE) * * * * *
This is an outstanding Latin Jazz release by trombonist, educator, composer Conrad Herwig, and it deservedly garnered a Grammy nomination. Two very special guest artists join his regular seven piece unit. Pianist Eddie Palmieri is heard on three Shorter compositions: “Adam’s Apple,” “Masqualero,” and “Footprints.” Trumpeter Brian Lynch is a guest on all tracks and is an essential part of what makes this so good. It’s everything one could want in Latin jazz; pulsating percussion, brilliant, soaring solos and arrangements shining a burning light on the eight Shorter tunes. There are some superb baritone solos by Ronnie Cuber, the date’s only reed player. The mighty rhythm work is handled by pianist Luis Pedrano, bassist Ruben Rodriquez, drummer Robby Ameen and conguero Pedro Martinez.

“THE SEARCH WITHIN” SEAN JONES
(MACK AVENUE) * * * *
No standard tunes here, as young trumpet star Sean Jones pauses for a look within, and as a result, we are beneficiary to ten tunes written by Jones and two written by others.
Jones’ band is a very good one with pianist Orrin Evans, bassist Luques Curtis, alto saxophonist Brian Hogans, tenorist Walter Smith and drummer Obed Calvaire. Special guests include Gregoire Maret on harmonica, Erika Von Kleist on flute, percussionist Kahlid Bell and vocalist Carolyn Petiete.
“Life Cycles” is a beautiful ballad with Jones switching to flugelhorn, and there’s no better example of a full steam ahead swinger than “The Storm,” on which Jones contributes a remarkable and unique trumpet solo. Saxophonists Hogans and Smith are also on top as well.

“MOSTLY COLTRANE” STEVE KUHN TRIO (ECM) * * * * *
It takes a soulful musician to play the music of a soulful musical
giant such as John Coltrane. Saxophonist Joe Lovano fills the bill as, along with pianist and leader Steve Kuhn, bassist David Finck and drummer Joey Baron, they interpret nine Coltrane compositions, plus four by other composers. Thus, the title track, “Mostly Coltrane.”
The first cut, “Welcome” is an absolute grabber. I think I heard a line from “Happy Birthday,” but nevertheless, Kuhn’s gentle opening statement and Lovano’s sensitive solo made it gorgeous. Surprisingly, Lovano is not heard on Billy Eckstine’s “I Want To Talk About You” but Kuhn freshens it up with his piano artistry. Kuhn also sparkles with his unaccompanied solo on his own tune, “Trance.”
This release is a case of superior musicians performing at the highest level.

“BEAUTIFUL MEMORIES -
BILL HENDERSON:
LIVE AT THE VIC” (AHUH) * * * * *
One of the world’s greatest male jazz singers is strong of voice on this 12 track excellent release despite his 83 years on our planet. Henderson sings from his heart and is so believable that, for example, as he sings “Sorry Seems to be the Hardest Word,” you wonder if his emotion is directed at a person in the live audience. Immediately at the conclusion of that song, Henderson lifts the room with an energetic up tempo interpretation of “The Song Is You.” He takes the opposite approach on “Sleepin’ Bee” with a superbly relaxed treatment of that chestnut. Henderson is allowed to use talents like his impeccable phrasing, to some degree, because of the excellent work of his accompanying musicians. Tateng Katindig is a marvelous keyboard artist. Bassist Chris Conner and drummer Roy McCurdy are tops generating just the right tempos. Some of the other tunes are; “All the Things You Are,” “Never Make Your Move Too Soon,” “Old Black Magic,” and “Living Without You” and more.

“WHEN THE HEART DANCES” LAURENCE HOBGOOD (NAIM) * * * * *
Laurence Hobgood, the man who has astonished world wide audiences
with his pianistic prowess accompanying song stylist Kurt Elling, teams with bassist Charlie Haden for this five star recording. Although Elling is heard on three tracks, “First Song,” “Stairway to the Stars,” and “Daydream,” it’s Hobgood’s show.
His composition, “When the Heart Dances” is a lively exercise with its own lovely melody. “Sanctuary,” another Hobgood original, performed solo, is an upbeat tune with occasional gospel hints. Perhaps the prettiest instrumental is “Why Did I Choose You,” performed with Haden, which sets the standard for this gorgeous ballad. Haden extracts not only the melodic theme but each and every nuance therein.
Of the three Elling tracks, my fave is “Stairway to the Stars but he is as eloquent as Elling fans would expect on all three.

“RITUALS” NICOLA CONTE (DECCA/EMARCY) * * * * *
This CD opens the door to a musical adventure, complete with Latin rhythms, a large roster of diverse vocal stylists, and refreshing original material.
“Karma Flower,” an original composed by guitarist-leader Nicola Conte, could easily be mistaken for a Sade tune. That’s because Chiara Civello and Kim Sanders share the vocals and give it that misty and mystical sound. The next track provides an abrupt change as Jose James, a baritone with a soul sound, sings another Conte original, “The Nubian Queens,” and Timo Lassy helps set the mood with a fine baritone sax solo. Duke Ellington’s “Caravan” showcases tenor vocalist Phillip Weiss, and some of the most exciting trumpet work I’ve heard in some time by Till Bronner. Bronner also leads off on the title tune, “Rituals.” This instrumental continues to swing with tenor saxophonist Daniele Scannapieco, and pianist Pietro Lussu, until a mellow Bronner returns to close it out.
Singers, the aforementioned Civello, Sanders, James, Weiss and Alice Ricciardi, the compositions and arrangements by Conte, the solid Italian jazz players who execute the material to perfection, make this a release worthy of being one of the top ten releases of 2009.

“TRADING POST” SOUTHERN EXCURSION QUARTET (ARC) * * * *
This release by the Southern Excursion Quartet gives us tracks of sheer beauty, others with a loose, free wheeling groove, and still others that are simply free.
I’d match the regal beauty of leader Don Aliquo’s tenor or soprano saxophones work against all comers, using either the late Andrew Hill’s composition, “Ashes” or Aliquo’s own beautiful tune, “Longing.” It may seem strange to bring up a competition when it comes to gorgeous music, however as one listens to Aliquo, whether he is on tenor or soprano, the mind begins to compare tone and ideas with past legends. He shares the top echelon with only a few others.
His accompanying players; pianist Michael Jefrey Stevens, bassist Jonathan Wires and drummer Tom Giampietro are excellent in their support.

2009-05-28T18:25:00.000-07:00

“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 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.

2009-03-26T14:20:00.000-07:00

“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 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 * * * * * This Branford Marsalis Quartet has been together ten years and manages to keep its’ offerings fresh. In this, the band’s latest, each of the members contributes a composition.
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

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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.