Kenny Garrett – Seeds From the Underground

2012 Mack Avenue

Seeds From the Underground, the latest from saxophonist Kenny Garrett is a strong, straight-ahead, acoustic statement from the acclaimed bandleader and sideman. An all original set of pieces dedicated to those who have inspired and influenced Garrett either personally or musically, the disc is full of memorable themes, odd-metered grooves and robust soloing. Garrett is in exemplary form on both alto and soprano saxophone, at times caressing simplistic motifs, yet willing and able to burn on a moments notice.

Hard driving swingers such as "J. Mac," dedicated to Jackie McLean, and "Du-Wo-Mo," for Duke Ellington, Woody Shaw and Thelonious Monk, find Garrett at his most inspired and ferocious, stretching out vigorous and edgy lines. Pianist Benito Gonzalez gets plenty of improvisational space, emitting a McCoy Tyner vibe on "Du-Wo-Mo" and the Roy Haynes-inspired waltz "Haynes Here." Bassist Nat Reeves and drummer Ronald Bruner round out the tight quartet with percussionist Rudy Bird and vocalist Nedelka Prescod adding flavor here and there. Prescod's wordless vocalizing thickens the dark harmonies of "Detroit," Garrett's pensive tribute to his hometown.

www.kennygarrett.com

Steve Horowitz – New Monsters

2012 Posi-Tone

Anchored by Steve Horowitz's fretless bass, New Monsters explores quirky grooves and thematic material with plenty of room for open-ended improvisation. Along with Horowitz, The San Francisco-based quintet features the dueling saxophone front-line of Steve Adams and Dan Plonsey—who composes the groups material—, pianist Scott Looney and drummer Jim Bove.

Tight, two saxophone harmonies are prevalent and give the music a unique character, at times deliberately harsh, certainly ear catching and a lot of fun. Plonsey's writing is at its best when things happen quite unexpectedly, as with "Dragon of Roses" and "New Boots for Big Foot," moving from pseudo-ethnic dance rhythms to out-of-nowhere abandonment of form. Plonsey and Adams burn it up on the title track showcasing a penchant for free blowing.

The sci-fi/horror theme of the track titles and the cover art coincide with the overall unusualness of the music to create a refreshing listening experience.

www.posi-tone.com

Anne Borges & Bill Ward – Receita de Samba

2012 Self Produced

Husband and wife duo Anne Borges and Bill Ward stir up a soothing blend of Brazilian music on their collaborative release Receita de Samba. With eleven songs taken from a catalogue of various Brazilian composers, Borges and Ward take turns with lead vocal duties, emphasizing drawn-out phrasings that are most effective in Portuguese. Both singers, even Ward who is American-born, bring an authentic approach to each song, highlighting the music's hard-to-describe nuances. Ward is also quite convincing on nylon-string guitar, unrelenting in a demanding style of syncopated accompaniment, especially on up-tempo pieces such as "E Luxo so" and "Eu Sambo Mesmo."

Residing in the Boston area, Borges and Ward are part of a vibrant local community of jazz and Brazilian musicians, including the special guests here. Bassist Jose Pienasola and drummer Vinicius Pienasola, along with percussionists Fernando Saci and Gabriel Meireles provide solid backing throughout. Amir Milstein's flute adds extra flair to this all around bright affair.

www.receitadesamba.net

John Moulder Quintet – The Eleventh Hour

2012 Origin Records

Chicago guitarist John Moulder delivers an impressive live set with his quintet on The Eleventh Hour, recorded at the legendary Green Mill jazz club. Moulder's compositions tend to lean on modal frameworks with odd-metered grooves. His pieces have accessible qualities while presenting daunting musical challenges to the players involved. A thoughtful improviser who takes the time to tell a compelling story, Moulder is able to utilize a variety of guitaristic nuances. His tone on "African Sunset," for instance, has an intense overdriven bite compared to the cleaner approach heard on the unaccompanied intro to "Cold Sea Triptych." What's most impressive is the apparent conviction that accompanies Moulder's sonic choices. When he lays the fuzz on thick on the title track and the outro to "Time Being," there's just cause.

Saxophonist Geof Bradfield and pianist Jim Trompeter are equally impressive as soloists, taking chances and gracefully applying technical skill. Trompeter is especially strong on "Magical Space," taking cues from drummer Paul Wertico whose presence throughout elevates the music to monumental heights. Bassist Larry Gray does a stand-up job keeping everyone in check.

www.johnmoulder.com

Undivided – Moves Between Clouds (Live in Warsaw)

2011 Multikulti

There's an overwhelming sense of arrival, almost processional, heard on "Hoping the Morning Say," the opening track of Undivided's Moves Between Clouds. The majestic rumblings of pianist Bobby Few, drummer Klaus Kugel and bassist Mark Tokar provide supple backing to Perry Robinson's bluesy clarinet and Waclaw Zimpel's intense bass clarinet. The anxiousness of such a lengthy welcoming subsides with the more meditative title track. Here, Few's somber block chords lead a serene woodwind theme and an engaging conversation between Robinson and Zimpel. There's a seamless transition into the third and final piece on the disc, "What a Big Quiet Noise," where Few and Kugel stir things up noisily, giving way to a staccato-infused gathering of the ensemble. A big quiet noise indeed occurs with an extended unaccompanied bass solo. Tokar's fierce approach and undeniable technique give way to one of the more captivating moments of the session.

www.undivided.pl

Alfredo Rodriguez – Sounds of Space

2012 Mack Avenue

When a relatively unknown young jazz musician is given the opportunity to present his debut recording with Quincy Jones as a co-producer, high expectations abound. Fortunately, with the release of Sounds of Space, when the clutter of hyped-up press is cleared, Cuban-born pianist Alfredo Rodriguez presents himself as a highly skilled and inventive musician deserving of wide-scale recognition. The son of a popular singer and television personality in Havana, Rodriguez learned from an early age the ins and outs of performing and arranging in a variety of musical genres. Real world experiences coupled with formal classical training serve as a solid foundation for Rodriguez's far-reaching voice as a pianist and composer.
The eleven original pieces heard on Sounds of Space have traces of the great Cuban pianist/composer Ernesto Lecuona, jazz legend Bud Powell and the infectious dance rhythms associated with Afro-Cuban music. The opening "Qbafrica," a tribute to Jones, is a spirited virtuosic introduction featuring Rodriguez's sweeping lines alongside the solid accompaniment of bassist Peter Slavov and drummer Francisco Mela. Bassist Gaston Joya and drummer Michael Olivera anchor the bulk of the tracks.

The bebop harmonies of "Cubop" encourage a trio groove reminiscent of Michel Camilo. A more lyrical and listener friendly side of Rodriguez's writing is revealed with the aid of Ernesto Vega's soprano saxophone on "Sueno de Paseo." Vega is also on hand for the intensity of the modal-driven "Silence" and the hard-hitting avant jazz vibe of "Transculturation." The solo piano pieces "April" and "Crossing the Border" leave little doubt as to the creative potential of this emerging jazz star.

www.alfredomusic.com

Clipper Anderson – The Road Home

2012 Origin Records

A flowing, uninhibited approach could describe Clipper Anderson's bass playing. With impressive technical flourishes and lyrical phrasing, the Seattle veteran stands front-and-center on his trio release The Road Home. Joined by equally dynamic band mates, pianist Darin Clendenin and drummer Mark Ivester, Anderson explores not only his capacities as a performer but also his range as a composer and arranger. The disc features many of Anderson's original pieces with soulful, accessible traits, including the beautiful straight eighth ballad "Can You Meet Me There?" and "Two Rivers," with a low-end bass track and an overdubbed melody/solo.

The trio is augmented on Anderson's Brazilian flavored "Esperançoso Destino" with fiery percussion from Jeff Busch and expert vocalese from Greta Matassa. "Jimnopodie," composed by the late pianist Jack Brownlow, a mentor of Anderson, delivers convincing, heartfelt interaction between trio members. The tune nurtures a quiet intensity with memorable solos.

A pair of Bill Evans pieces bookend the disc. The first is the challenging "Twelve Tone Tune Two," paying homage to the late pianist and bassist Eddie Gomez. The session closer, "Only Child" features Anderson vocalizing on Roger Schore's lyrics.

www.clipperanderson.com

Doug Webb – Swing Shift

2011 Posi-Tone

Los Angeles-based saxophonist Doug Webb delivers a muscular set of high-end jam session jazz on Swing Shift, his third release of material taken from a marathon recording session in April, 2009. Along with bass legend Stanley Clarke and drummer Gerry Gibbs, Webb invites a trio of guest pianists to augment the disc's six tracks of original and familiar pieces.

The lengthy "Patagonia Suite" finds Webb and company in a Coltrane frame of mind, with extended modal workouts and free-form excursions. The unrelenting and highly responsive rhythm section of Clarke and Gibbs, on full display here, propels Webb's command of both soprano and tenor. The veteran woodwind man of countless studio sessions displays acute knowledge of the jazz saxophone lineage. "Patagonia Suite" and Frank Foster's "Simone" also feature jaw-dropping piano solos from Mahesh Balasooriya.

Larry Goldings takes over the piano chair for Mal Waldron's "Soul Eyes," swinging hard and settling into a fiery up-tempo groove with Clarke, whose bass presence is characteristically larger-than-life throughout the recording. A soulful, straight-ahead reading of "Where or When" features the stripped-down duo of Webb and pianist Joe Bagg.

www.dougwebb.us

Jacob Deaton – Tribulation

2012 Self Produced

Atlanta guitarist Jacob Deaton assembles an energetic quintet for a convincing run through six original compositions on his debut release Tribulation. Deaton solos with a straight-ahead, swinging edge, at once alluring and laid-back. His single-note lines and chordal runs on "Hoexter's Hex" stand out as a disc highlight. Alto saxophonist Akeem Marable and pianist Nick Rosen are impressive on the up-tempo title track and drummer Justin Chesarek, who exhibits a wide dynamic range, creates a quiet intensity on the waltz "Major Differences." Bassist Craig Shaw provides rock solid accompaniment, driving home "Eclipse," Deaton's take on Miles Davis' "Solar."

All in all, an impressive release of high energy jazz from these dedicated Atlanta cats.

www.jacoballendeaton.com

Elio Villafranca/Arturo Stable – Dos y Mas

2012 Motema

On Dos y Mas, the Cuban-born duo of pianist Elio Villafranca and percussionist Arturo Stable create an intimate soundscape of rhythms from their native land with elements of jazz, Brazilian and Middle Eastern traditions. Having collaborated on various projects over the years, the U.S.-based musicians come together fervently in this atypical instrumental pairing to showcase virtuosity and compositional skills.

Stable's flamenco-influenced "Vertiente" finds Villafranca stirring an improvised pot of Afro-Cuban subtleties with a dash of Chick Corea. The pianist is at his most fiery on "Saghezi," a tune he wrote based on an Iranian rhythm of the same name. Here, Villafranca initiates a lively, contrapuntal give-and-take between right and left hand.

The interplay between piano and percussion flows naturally with the trust that comes with camaraderie and familiarity. The interaction heard on "Agua Marina," a plaintive theme that bursts forth with intensity, is captivating. The disc ends with vocalist Igor Arias lending a hand on Villafranco's beautiful "Cuba Linda," a Coro de Clave y guaguanco describing with splendor the composer's longing for home.

www.motema.com

Wes Montgomery – Echoes of Indiana Avenue

2012 Resonance

Coinciding with the late Wes Montgomery's 88th birthday on March 6, Resonance Records has assembled a nine-track treasure trove of never-before-released material from the guitarist's early career in Indianapolis, Indiana. The title of the disc, Echoes of Indiana Avenue, refers to a longstanding popular commercial strip in Indianapolis with historic ties to the city's African American community. The music, recorded between 1957 and 1958 in both studio and live club settings, showcases Montgomery's undeniable prowess as an innovator on his instrument just prior to earning international notoriety for his legendary sides for Riverside Records.

Blistering, bebop and blues-based lines dominate the repertoire of standard jazz club material from the era, including "Round Midnight," "Straight No Chaser," Body and Soul" and "Take the 'A' Train." Montgomery's characteristic horn-like weaving is front and center, stretching the limits of what listeners were accustomed to hearing from a guitarist, especially on the jam session vibe of the live tracks. On "Take the 'A' Train," for example, just when you think the master's well of ideas has run dry, he digs deep into thick, fast-paced chord clusters that are still jaw dropping by today's standards. One of the more revealing tracks is "After Hours Blues," based on Pee Wee Crayton's blues guitar staple "Blues After Hours." Here, Montgomery utilizes string bending and slides, techniques borrowed from the down-home blues players of the day, and uncharacteristic of anything previously heard from his recorded catalogue.

Along with his brothers, bassist Monk and pianist Buddy, Montgomery is joined on this collection by fellow Indiana musicians Paul Parker and Sonny Johnson on drums, organist Melvin Rhyne, pianist Earl Van Riper and bassist Mingo Jones.

www.resonancerecords.org