The Jazz Word

Kenny Garrett – Seeds From the Underground

2012-02-27T19:05:00.001-08:00

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

2012-02-25T06:09:00.003-08:00

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

2012-02-24T11:51:00.001-08:00

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

2012-02-23T19:08:00.001-08:00

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)

2012-02-21T09:56:00.000-08:00

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

2012-02-19T10:37:00.000-08:00

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

2012-02-18T05:35:00.000-08:00

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

2012-02-14T16:45:00.000-08:00

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

2012-02-13T15:23:00.000-08:00

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

2012-02-09T14:41:00.000-08:00

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

2012-02-03T18:21:00.000-08:00

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

Marlene Rosenberg Quartet – Bassprint

2012-01-29T18:42:00.001-08:00

2012 Origin Records

Chicago bassist Marlene Rosenberg has performed with a host of international jazz luminaries, including Kenny Barron, Frank Foster, Stan Getz and Joe Henderson. A couple of decades ago she recorded with drummer Ed Thigpen on his now classic recording Easy Flight. Her third recording as a leader and debut for Seattle's Origin Records is Bassprint, showcasing Rosenberg's strength as both a performer and composer.

Rosenberg's meaty tone and spot-on intonation enhance her swinging drive, whether accompanying soloists Geoff Bradfield (saxophone) and Scott Hesse (guitar) or laying down her own inventive lines. There are many bass highlights throughout, including the unaccompanied title track with echoes of Jimmy Garrison and Rosenberg's dynamic solo on "Thus and So."

The selections of musical styles range from hard-driving swing ("Tale of Two Monk Keys," "One False Move"), to Latin-inspired pieces ("Almost April," "Spare Parts"), to lush ballads ("Eyes for Shorter," Barron's "Lullaby"). The influence of 1960s-era Wayne Shorter is evident in two tribute pieces, "Wayne-ish" and "Eyes for Shorter," an original line put to Shorter's "Infant Eyes."

www.marlenerosenberg.com

Striving for Authenticity: Making Improvisation the Center of a Jazz Program

2012-01-29T13:00:00.000-08:00

(This is an article I wrote a few years ago that was accepted for publication in the journal Teaching Music, published by MENC, or NAfME as they're now known. Before it was able to see the light of day, the journal changed its format and stopped publishing member-written articles.)

Striving for Authenticity:

Making Improvisation the Center of a Jazz Program

One of the most challenging tasks of jazz education is to teach improvisation in a way that will lead to opportunities for students to improvise in a manner that is authentic to the spirit of the music and meaningful to the musical soul of a young learner. Typically, in a jazz band or choir program, the teacher will order an arrangement, pass out parts, and begin to rehearse in the same fashion as rehearsing a concert band/choral selection. While this approach to learning the notes written on the page can be justified, what do you do when you get to the solo section and there is no music, just slashes in the measure and chord symbols above? Unless a student has had experience performing jazz or other improvisatory music outside of school, he/she will not have the slightest idea on how to proceed. To help remedy this problem many arrangers will often include an optional pre-written solo that will substitute nicely for, and in most cases sound better than, the limited harmonic explorations of a typical middle/high school musician. The problem with this one-size fits all approach to performing jazz is that it eliminates any need to improvise, which then eliminates the very essence of the genre from the students’ experience. For the sake of authenticity in a jazz program, educators should focus on musical selections, including published arrangements, which provide adequate space for improvised soloing (Wiskerchen, 1975).

Teaching outside your comfort zone

There is an understandable fear among some music teachers when it comes to teaching improvisation. Performance experiences for many music teachers may be limited exclusively to the practice of reading notes exactly as written on the page. The lack of experience among music educators in the realm of jazz education is fairly common. Jazz educator David Baker (2002) points out that “with few exceptions, no requirements for an education major to take a course in jazz pedagogy, jazz history, or jazz performance” exist in undergraduate music education programs. Even those teachers who have a jazz performance background may not have the slightest idea how to instruct young learners on how to begin to improvise, which is probably the most significant, yet elusive dimension of jazz.

There seems to be a false myth surrounding jazz. There is a kind of mystical idea that being able to improvise is something of a gift that cannot be taught and therefore cannot be learned. Educators should realize that it is possible for students, and teachers, to learn how to improvise in the jazz tradition. There are several pedagogical ideas concerned with improvisation that can be adopted to enhance the musical experiences of even the most inexperienced young musicians (Meadows, 1991).

The most common approach to beginning improvisation found within jazz pedagogy emphasizes the relationship among chords and corresponding scales. While such a theoretical approach to learning to improvise in a jazz style certainly has practical value for the developing musician, teachers should be aware that “it doesn’t necessarily promote learning beyond a visual perspective,” and therefore should not be over-emphasized (Squinobal, 2005). Alongside learning the right notes, musical considerations such as rhythm, tone color, phrasing, and self-expression need to play an equal role in improvisation.

Allow time during rehearsals for improvising

If an ensemble, of any genre, is to achieve a level of desired musicality there has to be ample time set aside for full ensemble rehearsal. This is especially true with the young jazz ensemble that needs to develop essential skills such as a cohesive rhythmic feel, jazz phrasing, and style-appropriate tone-coloring. For a jazz program to truly flourish, however, there needs to be adequate rehearsal time dedicated solely for the purpose of improvisation (Wiskerchen, 1975). During such time there needs to be a significant portion allotted for independent and small group experiences where students and teacher can interact spontaneously without written music.

In an ensemble-oriented performance class, to make the most of valuable rehearsal time, practicing improvisation should be focused within the context of the actual music that an ensemble will eventually perform. If, for example, the end goal is to perform an arrangement of Duke Ellington’s Satin Doll for a school concert then practicing should center around navigating through the tune’s chord changes (a sequential series of ii-V-I) and internalizing the thirty-two bar form. Regardless of the structural dimension of a given piece, however, “a teacher's main concern should not be with the level of harmonic complexity at which a student is playing, but rather, with the presence of creative learning in the student's development level” (Squinobal, 2005). Although it is unlikely that during a performance every member of an ensemble will have the opportunity to solo on every selection, all students should have equal opportunity for improvisational experiences during rehearsals through listening and reacting spontaneously to the musical ideas of others.

Despite the nature of an ensemble, small or large, vocal or instrumental, when improvisation is the foundational component of jazz studies, a jazz program will thrive by way of individual and group creativity (Kuzmich, 1989).

Guide students in their listening

Listening to quality recordings is essential if students are expected to perform stylistically correct. However, as with improvisational practice, the recordings that a teacher chooses to play for students should be carefully selected and relevant to the specific pieces being worked on. It is the responsibility of the teacher to guide students in their listening by seeking out recordings by exemplars of the genre, past or present, who are renowned for improvising in the style appropriate to the music being studied. The breadth of musical styles that fall into the category of jazz is extremely diverse and vast. Students should not be expected to assimilate, out of context, decades worth of innovation in the relatively short amount of time allotted for music instruction in school. In keeping with the example of Duke Ellington, enabling saxophone players to experience the sounds of Johnny Hodges and Paul Gonsalvez (longtime Ellington band members) would help lead students to a greater understanding of the nuances of the music they are trying to emulate.

Practice and learn with students

While engaging in improvisation students will benefit from listening and responding to the musical ideas of their peers and teacher. Music teachers should be willing to throw themselves into the musical fire right along with their students. For some this may prove difficult as it will mean having to step out of the tightly controlled safety zone of being the all-knowing authority of musical knowledge. By stepping off the podium (which really has no place in jazz), dusting off his or her instrument, and abandoning musical authority, a teacher can foster a musical environment that is collaborative, open-minded, and open-ended. When students see teachers trying their best to learn and grow and when they see those same teachers stumble in their attempts (which is likely to happen to everyone), they are more likely to share in their teacher’s interests to explore new subject matter.

Encourage risk taking

The late jazz trumpeter Miles Davis believed that when a musician is asked to do something different from what he is used to doing, “he has to use his imagination, be more creative, more innovative; he’s got to take more risks” (Davis, 1990, p. 220). Throughout his long career, Davis was a musician whose name was synonymous with change and risk-taking. He was known for assembling the right combination of musicians at the right time to advance a collaborative, forward thinking musical vision. Davis was able to orchestrate musical performances that would stretch the boundaries of imagination within his musicians. He would not have been able to achieve this if he were not willing to take risks himself.

One of the biggest risks musicians can take is to let their guard down and express their own original musical ideas without fear of being ridiculed. When describing the differences between classical and jazz performances, Kuzmich (1989) notes that “in a jazz performance, if performers do not include something of themselves, their personalities, and their backgrounds, the audience rightfully feels cheated” (p. 42). Regardless of the learning environment, general music, instrumental or vocal ensemble, the notion of having something to say musically gets to the very essence of jazz and should be central to improvisational guidance.

References

Baker, D. (2002). President’s Message. Jazz Education Journal.

Davis, M., & Troupe, Q. (1990). Miles. New York: Simon & Schuster.

Kuzmich, J. (1989). “New Styles, New Technologies, New Possibilities in Jazz.” Music Educators Journal 76, no. 3: 41-46.

Meadows, E. S. (1991). “Improvising Jazz: A Beginner’s Guide.” Music Educators Journal 78, no. 4: 41-44.

Squinobal, J. (2005). The Lost Tools of Improvisation. Jazz Education Journal.

Wiskirchen, G. C. (1975). “If We’re Going to Teach Jazz, We Must Teach Improvisation.” Music Educators Journal 62, no. 3: 68-74.

Ehud Asherie w/Harry Allen – Upper West Side

2012-01-28T09:16:00.000-08:00

2012 Posi-Tone

Pianist Ehud Asherie's previous piano recording—he also plays organ—for Posi-Tone records, Modern Life, was a memorable quartet date featuring tenor saxophonist Harry Allen. For his latest release, Upper West Side, Asherie retains the service of Allen for a more intimate duo setting, showcasing the broad scope of his classic piano jazz style.

Digging in to a set of familiar standards, the pair reaches a hard-swinging common ground early on, propelled by Asherie's well-balanced left hand/right hand negotiations, expelling any desire for bass and drums. The infectious grooves created on "It Had to Be You" and the samba "O Pato," for example, blend the pianist's refined elegance with Allen's sly approach, full of bounce and mischief.

A thoughtful contrast in ballad interpretation is provided with "Passion Flower" and "I'm in the Mood for Love," while "I Want to Be Happy" and "My Blue Heaven" deliver unabashed displays of high-flying chops.

www.posi-tone.com

Pat Battstone and Richard Poole – Mystic Nights

2012-01-24T18:33:00.000-08:00

2011 Bat's Tones Music

Pianist Pat Battstone and vibraphonist Richard Poole are two veteran jazz musicians from the Boston area having too much fun to be ignored. Their improvised duets flow freely from tonal, rhythmic-based excursions to dense, darkened clusters. The emphatic rapport evident throughout their latest disc, Mystic Nights, makes it difficult for a listener to turn away.

These thirteen short stories work well as a comprehensive suite, yet stand well enough alone as individual bursts of creativity, each with a defining mood. The hurriedness of "Newsreel" and "When Creatures Reigned," bouncy nature of "Gin and Tonic" and meditative trance of "Magical Morning" are a few noticeable examples. The stark title track, named for the Mystic River, which is adjacent to the duo's recording studio, closes the disc with an unsettled intensity, perhaps signaling more to come.

www.bats-tones.com

Bill Barner – Ten Tunes

2011-12-21T10:39:00.000-08:00

2011 Self Published

On Ten Tunes, clarinetist Bill Barner sets out to showcase the diversity of his instrument, presenting original themes and improvising through a variety of jazz-influenced styles from funk to flamenco. Barner, a resident of the Washington, D.C. area, possesses a sleek, warm sound on the clarinet, shaped by years of study and freelance work throughout the United States.

With the aid of an equally diverse cast of sidemen—bassist Roger Hines, guitarist Stan Smith and drummer Danny Aguiar—, Barner explores an enticing, accessible batch of music. The danceable, toe-tapping rhythms of "Opening Gambit" and "Squeaky Rico" and humor of "Toddler's Dance" have charm that is unique and lasting. More intricate pieces, such as "A War of Words" and "Flying Monkeys" have enough harmonic substance to challenge the musicians, yet remain faithful to the discs overall emphasis on groove. A standout track is "Connecting Dots," with its Middle-Eastern feel, displaying Barner's flowing approach and an impressive arco solo by Hines.
www.billbarner.com

Tito Carrillo – Opening Statement

2011-12-18T11:27:00.000-08:00

2011 Origin Records

Trumpeter Tito Carrillo opens his debut disc Opening Statement with the fast-paced, energetic original piece "Truth Seeker." The title of the tune suggests someone on a personal quest for enlightenment. Whatever the case may be, the Chicago-based musician seems to have found a form of musical truth in an unabashed, fiery trumpet style, rooted in the post-bop styles of Woody Shaw and Freddie Hubbard and laced with a tinge of Latin American soul.

Hailing from Austin, Texas, Carrillo has built an impressively diverse resume, performing and recording with the likes of Quincy Jones, Willie Pickens, Chuchito Valdez and Phil Collins. On the music faculty at the University of Illinois at Urbana-Champaign since 2006, the trumpeter takes a hard swinging approach on Opening statement, a disc of mainly original pieces.

Weaving in and out of dense harmonic progressions with lyrical ease Carrillo creates moments of intense improvised surprise on stand-out tracks "Where You Come From" featuring tenor saxophonist Philip Doyle and "3 Colors (For R.M)," an Afro-Cuban trilogy of sorts with exquisite piano accompaniment by Benjamin Lewis. An unhurried approach enlivens the ballad "Stillness" and the soft-spoken groove of "Song for Elisa."

www.titocarrillo.com

Brian Ho - Organic

2011-12-17T11:15:00.000-08:00

2011 B2B Music

Californian Brian Ho is a musician who demonstrates depth of understanding in regard to the historical context of the Hammond organ in small group jazz settings. With studied precision and an engaging vibe, Ho's debut as a leader, Organic, recalls the sounds of legendary practitioners of the organ jazz genre such as Larry Young and Jimmy Smith.

A bluesy vibe permeates the disc, from the opening minor-themed "Tres Ritmo," to the New Orleans-inspired funk of "Beat Street" and the Jack McDuff-sounding "Artful Dodger." Ho's straight-ahead soloing contains heavy portions of grease, culminating in simmering moments of tasteful swing and funk. Veteran guitarist Calvin Keys and tenor saxophonist Oscar Pangilinan are a perfect compliment to Ho's no-nonsense approach. Drummer Lorca Hart provides solid support throughout.

Disc highlights include the down home feel of Amy Winehouse's "Rehab"—sounding like the type of pop cover done by the likes of Lonnie Smith or Grant Green in the late 1960s—and the more contemporary funk of Ho's "Restoring the Faith," a piece that stands out for its originality. The familiarity of "In a Sentimental Mood" and "Song for My Father" do nothing to deter from the vibrant interplay of Ho and his collaborators, making Organic a worthwhile listen from start to finish.

www.brianho.net

Nelson Riveros - Camino Al Barrio

2011-12-14T16:20:00.000-08:00

New york-based guitarist Nelson Riveros brings a sophisticated, Brazilian influence to contemporary jazz on his debut recording Camino Al Barrio. Having performed and recorded with many notable musicians such as pianist Hector Martignon (who appears on this disc) and bassist John Benitez, Riveros has developed the chops as a performer and composer to take the lead on a release that is rhythmically vibrant, musically challenging and, perhaps most refreshing, accessible. With so many bland, so called smooth jazz discs, bloated with tiresome, generic licks, the music on Camino Al Barrio is a refreshing display of commercial jazz at its best.
Riveros' straight-ahead jazz influence can be heard on the swinging cover of Cole Porter's "It's All Right With Me," with well executed bebop lines. The samba pulse of the opening "Caipirinha" and the title track stand out as disc highlights, showcasing the guitarist's improvised skill. A convincing vocalist, Riveros, with acoustic guitar in hand, is impressive on the Latin ballad "La Puerta."
www.nelsonriveros.com

Mateus Starling – Free Fusion

2011-11-29T17:13:00.000-08:00

2011 Self Published

Considering the hard-hitting, rocked-out tracks heard on Free Fusion, it seems Brazilian guitarist Mateus Starling is more comfortable composing and improvising in the style of American artists like John Scofield and Mike Stern than the well known samba-meets-jazz purveyors of his homeland. This may have something to do with his years spent studying at Boston's Berklee College of Music. Whatever the reason, Starling is a commanding instrumentalist who carves out intricate, harmonically dense lines over high-energy, often odd-metered grooves.

Starling uses effects tastefully, allowing distortion to enhance the music's intensity on the driving pulse of "A Cruz" and the title track, featuring a blistering 90 second guitar/drums intro. Drummer Lucio Vieira creates a whirlwind of energy throughout, softening his approach when appropriate as on the ballad "O Silencio De Deus." Saxophonist Julio Merlino and electric bassist Berval Moraes round out the lineup on this impressive debut release.

www.mateusstarling.com.br

Mike Cottone – Just Remember

2011-11-23T11:03:00.000-08:00

2011 Self Published

With a mature tone, seasoned well beyond his years, and an improvisational style steeped in the jazz trumpet lineage, New York-based Mike Cottone presents a ten-track collection of original straight-ahead fare along with a couple of standards. The album, especially the introspective title track is a tribute to Daniel McMurray, Cottone's high school band director from Rochester, New York.

Cottone's energetic band swings hard and propels the trumpeter to memorable performances throughout. Standout tracks are the hard-bop Jazz Messengers-sounding "I'm Sure," the funky "Gyroscope" and Freddie Hubbard's "Dear John," a riff based on Coltrane's "Giant Steps." Tenor saxophonist Jeremy Viner and pianist Kris Bowers contribute strong solos with bassist Paul Sikivie and drummers Jared Schonig and Ulysses Owens Jr. providing strong grooves.

www.mikecottone.com

Geri Allen – A Child is Born

2011-11-13T15:38:00.000-08:00

2011 Motema

Geri Allen (piano, various keyboards)

A Child is Born is a collection of traditional and original Christmas music performed by pianist Geri Allen. In remembrance of her parents and her "memories of many loving Christmases with family," Allen brings a fresh, and somewhat meditative solo piano approach to spiritual chestnuts such as "Angels We Have Heard On High," "We Three Kings" and "Little Drummer Boy." The discs original pieces include "Journey to Bethlehem," featuring spoken-word text and inspired by a visit Allen took to Jerusalem a few years ago, and "God is With Us," with a small choir of singers performing Allen's setting of Matthew 1:23.

There are moments of improvised sparkle throughout, such as Allen's dizzying runs on "Little Drummer Boy," however, the presentation as a whole seems to focus on accessibility. This heartfelt release should appeal to a wide range of listeners, although those familiar with Allen's progressive style will still enjoy her individualized approach. A standout track is the communal hymn "Let Us Break Bread Together," a rendition flowing with grace and harmonic splendor.

www.geriallen.com

Yotam – Brasil

2011-11-03T18:30:00.000-07:00

2011 Jazz Legacy Productions

New York-based guitarist Yotam Silberstein has established himself as an in-demand sideman, working with distinguished jazz artists such as James Moody, Benny Golson and, most recently, organist Sam Yahel. Brasil, produced by bassist John Lee, is the Israeli native's fourth release as a leader and features a stellar cast of Brazilian musicians including pianist David Feldman, drummer Vanderlei Pereira, trumpeter Claudio Roditi and acoustic guitar legend Toninho Horta. Other guest soloists include Roy Hargrove on flugelhorn and Paquito D'Rivera and Sharel Cassity on clarinet.

Yotam's single-note, horn-like approach livens up this sampling of tunes from the Brazilian songbook. The guitarist's soulful melodic renderings and jazz infused solos work well with the authentic drive of Pereira's grooves and Lee's rock solid bass playing. A relaxed, romantic allure is cultivated in Antonio Carlos Jobim's "Falando de Amor (Words of Love)" and "Antigua" featuring a charming solo by Hargrove. The disc's only original piece, Yotam's "Nocturno" has an infectious melody and ethereal accompaniment by Horta. "O Barquinho (My Little Boat)" stands out as a disc highlight with impressive blowing by Roditi.

www.yotamsilberstein.com

Samo Salamon Bassless Trios – Duality

2011-10-29T14:17:00.000-07:00

2011 Samo Records

Adding to his noteworthy, self-produced discography, guitarist Samo Salamon explores the possibilities of a guitar-led trio minus a bass player on Duality. The first part of the disc features the Slovenian musician with American drummer Tom Rainey—who appeared on Salamon's previous release Almost Almond—and saxophonist Tim Berne. The second part finds Salamon alongside European companions Achille Succi, on saxophone and bass clarinet, and Roberto Dani on drums.

The U.S. trio tunes feature Salamon's riff-based compositions, with ample room for group interplay. The guitarist's distorted single-note lines, laced with large amounts of reverb match the intensity of Berne's cutting alto tone and Rainey's explorations. "Twists and Turns" is a climactic wild ride with guitar and sax in cacophonous stride and Rainey brilliantly riding alongside with subdued brush playing.

The European trio maintains a more plaintive approach, highlighting Succi's wailing lyricism, especially on the emotive "Falcon's Flight." The disc's shortest piece "Roofs in the City" begins with prog-rock characteristics and settles into a meditative saxophone cadenza. Succi's bass clarinet playing is impressive, adding inventive improvisations to "The Weight of One Daisy" and "Asking for a Break." Salamon showcases his solo playing in an unhurried, yet rollicking manner on "Road to Nantucket," a highlight of this memorable set of thoughtful, original jazz.

www.samosalamon.com

Anthony Branker & Word Play – Dialogic

2011-10-25T18:51:00.000-07:00

2011 Origin Records

Ralph Bowen (saxophones), Jim Ridl (piano, Fender Rhodes), Kenny Davis (bass), Adam Cruz (drums), Anthony Branker (composer, musical director)

Composer and noted music educator Anthony Branker's third release for Origin Records, Dialogic, finds the Princeton Professor in good company. Under the ensemble name Word Play, Branker directs a stellar quartet through nine of his original pieces. An underlying soulfulness permeates the music, ranging from straight-ahead, swinging jazz to not-so-easy-to-label urban-inspired textures.

Saxophonist Ralph Bowen and pianist Jim Ridl are high-caliber interpreters who seem to find pleasure in Branker's lyrical leanings. The two mesh melody and improvisation gracefully, relishing in the composer's harmonic sensibilities, especially on the lush "Land of Milk and Honey." Bowen's soprano serves well the snake-like winding theme on "Skirting the Issue." Along with drummer Adam Cruz's alluring groove, the tune's funky, open vamp vibe is an example of Branker's willingness to let his musicians take part in shaping the project's musical direction. The same can be said of the modal-based up-tempo swing of "Y not," featuring Bowen's dynamic prowess on tenor and a meaty, chops-filled solo by bassist Kenny Davis. Cruz and Davis work well together, creating hypnotic fervor on "Dance of the Aesthetics" and a rock-solid foundation on "More Than Words," a rather simple, funky track with curious appeal, sans piano.

www.anthonybranker.com

Carol Morgan Quartet – Blue Glass Music

2011-10-19T18:19:00.000-07:00

2011 Blue Bamboo Music

New York-based trumpeter Carol Morgan leads a swinging piano-less quartet for her fourth release as a leader, Blue Glass Music The unaccompanied opening notes to Cole Porter's "I Love You" signal an improviser with a high regard for melodic story-telling. Front-and-center with tenor giant Joel Frahm, Morgan weaves a graceful trail through seven tracks of first-rate, straight-ahead jazz.

The absence of a chordal instrument in the rhythm section gives the disc a warm, dark tinted vibe. Bassist Martin Wind and drummer Matt Wilson avoid the desire to fill up any empty space, falling into hard swinging grooves on "April in Paris" and "Where Are You?" Ornette Coleman's "Lonely Woman" suits the group's instrumentation well, recalling the splendid timbre of the original recording.

Booker Little's "Booker's Waltz," Frahm's "Glyph" and Wind's "Last Waltz" add to this tasteful program. The angular funk of "Glyph" features one of many stand-out solos from Frahm.

www.carolmorganmusic.com

Kenny Shanker – Steppin' Up

2011-10-11T19:44:00.000-07:00

2011 Posi-Tone

Steppin' Up is a powerhouse set of aggressive jazz from New York-based alto saxophonist Kenny Shanker. A commanding soloist who draws from a wide range of influence, Shanker moves easily from contemporary, modal-based ideas to full-throttle, energized swing on this debut release, recorded in 2009. His challenging compositions maintain a listener friendly appeal with lyrical themes and tight, straightforward grooves.

The driving momentum of "Fifth and Berry," the lightness of "Sarah" and the conviction applied to Leonard Bernstein's "Somewhere" bring out an improvisational style in the California native that is fast thinking and quick witted. Pianists Art Hirahara and Mike Eckroth contribute solid performances. Guitarist Lage Lund's linear approach is stunning, especially on "Fifth and Berry" and "E. J." Brian Fishler is a workhorse of a drummer, pushing hard and keeping his colleagues on edge.

www.posi-tone.com

Lisa Maxwell – Happy

2011-10-10T13:50:00.000-07:00

2011 Self Produced

Vocalist Lisa Maxwell, aided by pianist Keith Ingham's swinging quartet, delivers an impressive collection of familiar and not-so-familiar standards on her latest release "Happy." Maxwell's light-as-air delivery and snug phrasing has an inviting allure. Up-close-and-personal ballads like "The Folks Who Live on the Hill" and "Someone to Watch Over Me" can be a tough sell to discriminating jazz audiences and Maxwell comes across as more than convincing. A pleasant bounce through "Sunday in New York" recalls Shirley Horn's classic version without being too blatant. Likewise, "Going Out of My Head" captures the spirit of Little Anthony & The Imperials with freshness and charm.

Ingham's arrangements are a sound, in-the-pocket fit to Maxwell's straight forward style. The pianist is a first-rate accompanist and shares solo duties with guitarist Al Gafa.

www.lisamaxwellsingsjazz.com

Bob James/Keiko Matsui – Altair & Vega

2011-10-08T19:31:00.000-07:00

2011 eOne

Bob James (piano), Keiko Matsui (piano)

The title of this piano duet release, Altair & Vega, refers to a Japanese folkloric tale about two stars in the galaxy that cross paths only once a year; an apt metaphor for the meeting-up of Bob James and Keiko Matsui, two contemporary jazz pianists of international allure with full schedules. The disc explores a modern approach to the four-hands tradition, allowing both performers to sit side by side at the same piano.

There are moments of improvised frolic between the two, such as the title track and a funky section of "The Forever Variations," featuring James' characteristically soulful phrasing. For the most part, however, the music lends itself to a classical approach, methodically composed and arranged with special consideration for the trappings of four hands on the piano at once. James and Matsui meet the challenge of physical clutter with technical grace and overt camaraderie. The bonus DVD of a concert the two performed in 2010 in Pittsburgh at the Manchester Craftsmen's Guild clearly reveals a shared admiration and respect.

One of James original pieces for the project, "Divertimento: The Professor and the Student," playfully depicts the nature of the duo's musical relationship, with the elder James prodding his younger counterpart while simultaneously feeding off of her energy and precision. The disc ends with James' rather hip arrangement of J.S. Bach's "Choral from Cantata BWV 147," a tasteful blending of styles perfectly suited for these two very diverse performers.

www.eonemusic.com

Rez Abbasi's Invocation – Suno Suno

2011-10-06T15:56:00.000-07:00

2011 Enja Records

Rez Abbasi (guitar), Rudresh Mahanthappa (alto saxophone), Vijay Iyer (piano), Johannes Weidenmueller (bass), Dan Weiss (drums)

Inspired by his Pakistani heritage, specifically Qawwali, a devotional Sufi music, guitarist Rez Abbasi presents an all-original set of powerful instrumental jazz with a notable group of heavy-hitting sidemen. Pianist Vijay Iyer and alto saxophonist Rudresh Mahanthappa match Abbasi's technical prowess on odd-metered, flourishing melodies and cross-cultural grooves.

Abbassi and Mahanthappa have a shared history and their mutual admiration shines bright, especially on the opening track "Thanks for Giving." Here, the two solo with unbridled creative conviction. Intentional or not, much of the disc borrows from the structures of progressive rock at its best. This is due in part to the unrelenting heavy handedness of Iyer and soaring in-the-pocket pulse of drummer Dan Weiss.

Abbasi's tunes are intricate and playful, at times meshing a handful of rhythmic and melodic ideas into a well produced tapestry. The group interplay, especially during extended solo passages, is simply breathtaking. A stand-out example would be the dirge-like intensity of "Monuments."

www.reztone.com

Afro Bop Alliance – Una Mas

2011-09-28T19:07:00.000-07:00

2011 OA2 Records

The Afro Bop Alliance, based in Annapolis MD, is an energetic big band specializing in contemporary approaches to the rhythms of Latin American music with a strong jazz emphasis. Led by drummer Joe McCarthy, the group won a Latin Grammy Award in 2008 for their release with Vibraphonist Dave Samuels and the Caribbean Jazz Project. The alliance is poised to garner further acclaim with its latest project, UNA MÁS, a well-conceived session full of first-rate playing and unconventional material.

Saxophonist Vince Norman handles the arranging duties for the orchestra and manages to find a satisfying balance between showcasing the entire band and leaving enough breathing room for small group interplay. The arrangements are both clever and accessible, featuring interesting twists, such as the odd-metered rendition of Benny Golson's "Along Came Betty" that somehow manages to come across as danceable. Norman's own composition "El Otoño," has a Brazilian-type feel with a syncopated catchiness to the melody. Here, Luis Hernandez contributes one of many exceptional tenor saxophone solos heard throughout the disc.

Bassist Mike Pope's "The Avid Listener" and "Luis Perdomo's "Golpe de Cumaco" stand out as extraordinary. Both feature the unrelenting drive of the rhythm section, featuring McCarthy, Pope, percussionist Roberto Quintero, pianist Harry Appleman and guitarist Jim Roberts. Samuels comes aboard for a handful of tracks with outstanding solo work and contributes one of his own tunes, "Cherry Blossom," a lush 7/4 bossa nova featuring the melodic prowess of Pope's electric bass and a well-balanced string ensemble.

A captivating listen from start to finish.

www.afrobop.com

Alex Brown – Paquito D'Rivera presents Alex Brown – Pianist

2011-09-21T18:00:00.001-07:00

2011 Paquito Records

Under the tutelage of woodwind master Paquito D'Rivera, pianist Alex Brown has been impressing critics and audiences since 2007, as both a performer and composer, touring the world as a member of D'Rivera's band and leading his own jazz ensemble. His debut recording, comprised mainly of original compositions, incorporates a variety of Latin American rhythms with classically influenced structures and a fiery hot jazz aesthetic.

Brown's approach as a soloist is engaging, charging full throttle out of the gate and taking rhythmic cues from drummer Eric Doob. The risk-taking heard in tunes such as "Warm Blooded," which also features the lyrical playfulness of Vivek Patel's flugelhorn, is heartfelt and impressive. D'Rivera's alto saxophone is simmering on the Afro-Cuban piece "The Wrong Jacket" and delivers his trademark clarinet warmth on "Lamentos," a cover from legendary Brazilian composer Pixinguinha.

Cole Porter's "Just One of Those Things" showcases Brown in a straight-ahead jazz trio setting with Doob and bassist Ben Williams. Here, the ideas flow effortlessly, creating a compelling energy.

www.alexbrownmusic.com

Patrick Cornelius – Maybe Steps

2011-09-15T16:49:00.000-07:00

2011 Posi-Tone

"Christmas Gift," the opening track from alto saxophonist Patrick Cornelius' disc Maybe Steps, bursts forth with voluminous strength, only to be quickly subdued by a deliberate dynamic shift. A more gradual, upward surge in intensity is heard on the brief, soulful swaying of "Bella's Dreaming." Perhaps not a groundbreaking approach to modern jazz composition, but the idea of using dynamics to enhance the music is a trait sadly missing from the wealth of mainstream disc's being released. It is this type of attention to detail in presentation that helps Cornelius create a unique ensemble sound, placing his writing on equal footing with soloing.

Cornelius' playing can be cutting and bold in one moment and soft and wistful in another. Capable of drawing out lengthy, winding lines, shaped with sense and purpose, he demonstrates schooled technique and street-savvy phrasing. Pianist Gerald Clayton solos wonderfully and accompanies with a sensitivity and grace beyond his years, holding things tightly in place with bassist Peter Slavov and drummer Kendrick Scott. Guitarist Miles Okazaki joins the quartet for a few tunes with blistering lyricism, especially on the breezy Latin groove of "Into the Stars" and a cover of George Shearing's "Conception."

www.patrickcornelius.com

Sam Yahel – From Sun to Sun

2011-09-13T19:24:00.000-07:00

2011 Origin Records

Sam Yahel (piano, organ), Matt Penman (bass), Jochen Rueckert (drums)

Perhaps best known as a modern purveyor of the Hammond B3 organ, Sam Yahel is no slouch as a pianist. His latest release for Seattle's Origin Records, From Sun to Sun is a stunning example of a forward-thinking piano trio, emphasizing fresh, compositional nuances with deep-in-the-pocket grooves.

Bassist Matt Penman and drummer Jochen Rueckert create an infectious ruckus with tight interaction that at times comes across as nothing short of mind reading. Yahel takes full advantage of the superlative foundation, experimenting with fiery single-note runs on his hard swinging compositions "One False Move" and "Toy Balloon, as well as an up-tempo take on Cole Porter's "So in Love."

The disc features three short, interlude-type pieces, two of which feature Yahel doubling organ along with the piano. The third, "Prelude," is an endearing solo piano turn with classical characteristics. Organ also sneaks itself into the soulful trio driven title track, where Yahel takes the time to solo convincingly on both instruments.

www.samyahel.com

Kusiolek/Sjarov/Wojcinski/Kugel – Nuntium

2011-09-07T17:33:00.000-07:00

2011 Multikulti

Polish musician Robert Kusiolek improvises on the accordion with the flexibility and dynamic range of a virtuoso horn player. His background in classical studies provides the technique necessary to enrich his open-ended compositional style. His collaborative release, Nuntium, with violinist Anton Sjarov, bassist Ksawery Wojcinski and percussionist Klaus Kugel is a blend of free form improvisatory anecdotes and gypsy-inspired romanticism.

The disc, comprised of seven tracks, titled as chapters 1 through 7, features pre-conceived melodic themes, performed hauntingly by Sjarov—who doubles his violin with wordless vocalizing on "Chapter 1"—, and spontaneous rumblings from Kugel's arsenal of percussive sound sources. "Chapter 4" finds the ensemble in sync with a pulsating, implied groove and thick interaction between accordion and violin. Streaks of virtuosity and bluesy undertones burst forth from all on "Chapter 6." Kugel and Wojcinski are a marvelous pair, eschewing, for the most part, traditional rhythm section roles in favor of rhythmic exploration.

With an abundance of intensity and musical surprise, Nuntium makes for a listening experience nothing short of captivating.

www.robertkusiolek.com

Claudio Roditi – Bons Amigos

2011-09-02T13:37:00.000-07:00

2011 Resonance Records

Bons Amigos, the latest release for trumpeter Claudio Roditi, is a heartwarming collection of ten pieces from some of Brazil's most renowned composers and songwriters, including three written by Roditi himself. Incorporating the somewhat-rare-for-jazz rotary valve trumpet and flugelhorn, the 65-year-old Brazilian native and New York-area resident is in dazzling form throughout the disc. Roditi's lyrical penchant is front-and-center, conjuring up solos full of exquisite phrasing and acrobatic grace. His own bossa, "Bossa De Mank," serves as an ideal vehicle for such an opulent, warm approach.

The lush samba "Ceu e Mar (Sea and Sky)" comes from the late Johnny Alf, a composer described by Roditi as "the Billy Strayhorn of Brazilian Music." The intricate drumming of Mauricio Zottarelli and bassist Marco Panascia propels the tune into a hypnotic groove. Pianist Donald Vega and guitarist Romero Lubambo contribute first-rate soloing, most notably on Egberto Gismonti's "O Sonho," a tune Roditi recorded in Brazil with the composer in the 1960s.

Antonio Carlos Jobim's "Ligia" features Roditi's comfortably gruff singing skills and saving grace solo turns from Vega and Panascia. Other notable moments are the straight-ahead swing of Roditi's "Levitation" and his high-flying piccolo trumpet feature "Piccolo Samba."
www.resonancerecords.org

Marquis Hill – New Gospel

2011-08-30T18:24:00.001-07:00

2011 Self Produced

Chicago trumpeter Marquis Hill makes his recording debut as a leader with New Gospel, an impressive display of the 24-year-old's sharp skills as both an improviser and composer. Lyricism, along with a warm feel-good vibe, shapes much of Hill's music. His solo lines are robust and full of fire, at times recalling the playful brashness of the late Freddie Hubbard. Quick-thinking trumpet creativity bursts forth on the groovy title track, the hard swinging "A Portrait of Fola" and the lovely ballad tribute to recently deceased Chicago jazz icon Fred Anderson, "Goodbye Fred," a duet with Hill and bassist John Tate.

Along with Tate, whose rock-solid playing is highlighted on the unaccompanied "Bass Solo," The disc features saxophonists Christopher McBride and Chris Madsen, pianist Joshua Moshier, guitarist Kenneth Oshodi and drummer Jeremy Cunningham. All contribute to create a strong ensemble outing.

www.marquishill.com

Ken Fowser/Behn Gillece – DuoTone

2011-08-29T16:53:00.000-07:00

2011 Posi-Tone

Friends since their teenage years in the 1990s, saxophonist Ken Fowser and vibraphonist Behn Gillece perform hard-swinging jazz that maintains hard bop roots and branches out to embrace a modern aesthetic. Their third release for Posi-Tone Records, DuoTone, continues the pair's tradition of assembling a stellar New York rhythm section to work through a repertoire of challenging, yet accessible original material.

The melding of tenor saxophone and vibes on sparkling melodies such as the energetic opener "Overcooked, the groovy "Attachment" and easy swing of "Low Ball" gives the music a sonic warmth, enhancing the toe-tapping pulse set by bassist David Wong and drummer Willie Jones III. Pianist Donald Vega keeps pace with the varied dynamics of Fowser and Gillece's writing and demonstrates knuckle-busting solo technique, especially on the barn burner "Back to Back."

All in all, a strong release from a convincing partnership.

www.posi-tone.com

Duda Lucena Quartet – Live

2011-08-24T08:24:00.000-07:00

2011 Self Produced

Duda Lucena (guitar, vocals), Quentin Baxter (drums), Kevin Hamilton (acoustic bass), Gerald Gregory (piano)

This live quartet release from Brazilian guitarist/vocalist Duda Lucena is an enthralling ride through a lush landscape of bossa nova, samba and baião with American jazz sensibilities. Performing six classics, handpicked from the songbooks of legendary Brazilian composers, as well as a Lucena original, the ensemble produces a tightly focused sound, propelled by the ebb and flow of emotion and serene romanticism heard in Lucena's voice.

Although each piece is anchored by Lucena's nylon string guitar, the soloing is ably handled by pianist Gerald Gregory and bassist Kevin Hamilton. Gregory is an attentive, first-rate accompanist, knowing when to dig in and when to hold back and let the guitar take the lead. Drummer Quentin Baxter keeps a lively pulse with sustained, yet soft-spoken intensity, especially on Djavan's "Sina."

Stand-out tracks include the familiar Jobim piece "Corcovado" and a pair by Caetano Veloso, "Trilhos Urbanos" and "Odara."

www.dudalucena.com

Sammy Figueroa & His Latin Jazz Explosion – Urban Nature

2011-08-22T19:14:00.000-07:00

2011 Senator Records

Percussionist Sammy Figueroa has performed as a sideman with a who's who of pop and jazz artists, including Miles Davis, David Bowie, Chaka Khan and Sonny Rollins. As leader of his own group, The Latin Jazz Explosion, Figueroa has twice earned a Grammy nomination. The ensemble's latest release, Urban Nature is a tribute to the New York native's adopted home of Miami, Florida. Through eight band originals and a slick reading of the Mongo Santamaria classic "Cuco y Olga" the disc reflects the versatility of Miami's vibrant Latin music scene.

Pianist Silvano Monasterios and bassist Gabriel Vivas contribute exceptional compositions with unconventional, odd-metered sections and dense harmonic structures. As dressed-up as the music can get, Figueroa and drummer Nomar Negroni keep the pulse flowing with a danceable momentum. Saxophonist John Michalak and trumpeter Alexander Pope Norris make a strong front-line and each contributes with impressive soloing, however, it's tenor saxophonist Ed Calle's guest spot on "Latin What?" that steals the show.

www.sammyfigueroa.com

Benji Kaplan – Meditacoes no Violao

2011-08-04T13:20:00.000-07:00

2011 Circo Mistico Productions

Benji Kaplan (guitar)

New York-based guitarist/composer Benji Kaplan performs original music for solo nylon string guitar on Meditacoes no Violao, an exquisite representation of the harmonies and rhythms of Brazilian music mixed with jazz and modern classical guitar techniques. Having spent considerable time studying in Brazil and at the New School in New York, Kaplan brings a convincing authenticity to his original pieces.

Whether the intent is to demonstrate danceable Brazilian liveliness ("Quando o Sol Raiar") or peace and serenity ("Nostalgia," "Valsa Lullaby"), Kaplan's clarity and expressiveness is consistent throughout the entire disc, holding the listener's attention; not an easy task for a solo recording of all original music. Standout pieces include "Baiao for Gershwin," with subtle references to the great composer, and "Baiao de Leemore," a tribute to Kaplan's girlfriend with a Beatles influence.

www.benjikaplan.com

Deep Blue Organ Trio – Wonderful!

2011-08-04T08:10:00.000-07:00

2011 Origin Records

Bobby Broom (guitar), Chris Foreman (organ), Greg Rockingham (drums)

A Tuesday night mainstay for years at Chicago's Green Mill Lounge, Deep Blue Organ Trio has been receiving wide-spread attention as of late, touring the U.S. as opening act for Steely Dan. Hoping to perpetuate this deserved recognition, the trio is set to release its fourth release Wonderful!, a tribute to the songwriting legacy of Stevie Wonder. The disc is a toe tapping, swinging affair with nine interpretations of classic Wonder material, featuring the soulful renderings of guitarist Bobby Broom, organist Chris Foreman and drummer Greg Rockingham.

Wonder's reputation as a master craftsman of melody and harmony has been secured for some time and jazz musicians recording his music is nothing new. What makes this recording stand out is the convincing and seemingly natural way the trio presents familiar pop tunes in a straight-ahead manner. The groovy swing heard on "If You Really Love Me" and "As" and the crawling ballad tempo of "My Cheri Amour" bring freshness to the material, enhanced by the band's signature, greasy allure. The dirty funk treatment given to the Wonder-penned hit for Rufus "Tell Me Something Good" is worth the price of admission.

www.deepblueorgantrio.com

Sean Nowell – Stockholm Swingin'

2011-08-03T12:25:00.000-07:00

Sean Nowell (tenor saxophone), Fredrik Olsson (guitar), Leo Lindberg (piano), Lars Ekman (bass), Joe Abba (drums)

2011 Posi-Tone

Stockholm Swingin' is the result of a tour through Sweden by New York-based saxophonist Sean Nowell with fellow American, drummer Joe Abba. The pair performed a series of concerts with a trio of Swedish musicians, guitarist Fredrik Olsson, pianist Leo Lindberg and bassist Lars Ekman, resulting in this exciting live release recorded at the Glen Miller Café in Stockholm.

Nowell's biting tenor leads this charged-up quintet. The Alabama native devours the blues on McCoy Tyner's "Blues on the Corner" and the up-tempo flavor of his own composition "NY Vibe." Not the least bit bashful of his willingness to swing, Nowell rides gracefully through Billy Strayhorn's "Chelsea Bridge."

Abba and Ekman build up unrelenting grooves, especially on Abba's Latin-type tune "Walking the Path." Lindberg and Olsson contribute searing solo turns to this all around high-energy, swingin' affair.

www.seannowell.com

Kyle Eastwood – Songs From the Chateau

2011-08-02T15:14:00.000-07:00

2011 Rendezvous Music

Bassist Kyle Eastwood seems to relish in his role as bottom-end supporter to his band of top-notch British musicians. For the majority of Songs From the Chateau, Eastwood forgoes soloing and lays down hypnotic, groove-heavy lines on both upright and electric bass, allowing trumpeter Graeme Flowers, saxophonist Graeme Blevins and pianist Andrew McCormick to flourish with intense, chops-galore solo turns.

Eastwood's composing sits squarely in the realm of contemporary/pop jazz, with the sophistication of veteran bands of the genre such as the Yellowjackets and The Crusaders. There's an alluring simplicity to the disc in terms of melodic themes and grooves, however, the musicality and tightness of the band, anchored by Eastwood and drummer Martyn Kaine, propels the music to higher ground.

When Eastwood does solo, as on the mysterious sounding "Andalucia," he reveals technique applied with relevance and taste. The bassist's nimble runs on the funky "Over the Line" stand out as a disc highlight.

www.kyleeastwood.com

John Stowell Michael Zilber Quartet – Shot Through With Beauty

2011-08-02T11:31:00.000-07:00

John Stowell (guitar), Michael Zilber (saxophones), John Shifflett (bass), Jason Lewis (drums)

2011 Origin Records

Like minds converge on Shot Through With Beauty a quartet release co-led by guitarist John Stowell and saxophonist Michael Zilber, two stalwarts of West Coast progressive jazz. Joined by bassist John Shifflett and drummer Jason Lewis, who each contribute a composition to the session, the group achieves collaborative serenity through ten tracks of original material and modern-jazz gems from the likes of Kenny Wheeler and Scofield.

Zilber swings hard with a larger-than-life tone on Wheeler's "Kayak," harkening the free flowing spirit of Joe Henderson. Scofield's "Wabash III" is done with a New Orleans style groove, similar to the original. Here, Stowell pays homage to his fellow guitarist by digging in deep with soulful, flowing lines enhanced by hip effects. Saxophone and guitar mesh together with unique textures on Zilber's "Cold Rain Warm Heart" and the quirky duet "Lost and Found," with hints of something standard.

Shifflett's bass aptly introduces Stowell's pensive title track, a contemporary piece that flowers with patience and restraint, traits observed throughout this exquisite recording.

www.johnstowell.com
www.michaelzilber.com

Michel Camilo – Mano a Mano

2011-07-29T18:09:00.000-07:00

2011 Decca

Michel Camilo (piano), Charles Flores (bass), Giovanni Hidalgo (congas)

Pianist Michel Camilo makes a triumphant return to the piano trio format with a clever twist on Mano a Mano, the Grammy Award winner's first trio project in four years. Along with bassist and long-time associate Charles Flores, Camilo forgoes the inclusion of a trap set player to include conguero extraordinaire Giovanni Hidalgo. The resulting eleven-track disc includes Camilo's trademark fiery lines, fusing Afro-Latin rhythms with jazz and soul harmonies. The opening "Yes," an impressive workout on "Indiana/Donna Lee," and an in-the-pocket rendition of Lee Morgan's "The Sidewinder," are just the type of material one would expect from a Camilo record.

A lushness, marked by restraint, can be heard on "Then and Now" and "You and Me," both expressive ballads. The latter utilizes the bachata rhythm of Camilo's native Dominican Republic. A disc highlight is the samba "No Left Turn," a duet between Camilo and Hidalgo highlighting the pianist's incomparable left hand technique.

A showcase for both Camilo's compositional output and his one-of-a-kind piano style, Mano a Mano is Latin jazz with all the expected fire accompanying unexpected subtleties.

www.michelcamilo.com

Orrin Evans - Freedom

2011-07-23T10:18:00.000-07:00

2011 Posi-Tone

Orrin Evans (piano), Dwayne Burno (bass), Byron Landham (drums, percussion), Anwar Marshall (drums), Larry McKenna (tenor saxophone)

Hot on the heels of his Captain Black Big Band release, pianist Orrin Evans delivers a swinging piano-trio tribute to his hometown of Philadelphia with Freedom. The disc has a contemplative feel with the occasional burst of frenetic energy. The direction is refreshing and telling of the maturity of Evans, who seems more concerned with artistic expression than technical posturing. With a style steeped in tradition, yet pushing forward ever-so-gently, Evans is able to show restraint while building layers of intensity, especially on the ballad "Dita"—Evans' only compositional contribution to the date—and an imaginative solo piano rendering of Herbie Hancock's "Just Enough," which serves as a fitting wrap-up. The pianist takes more of a thrill-seeking approach on up-tempo numbers such as "Hodge Podge" and "As Is."

Evans is supported by bassist Dwayne Burno and drummers Anwar Marshall and, long-time associate, Byron Landham, all Philly-bred musicians. The great tenor saxophonist and Philadelphia legend Larry McKenna adds insatiable swinging lines to a couple of tracks, including a straightforward rendition of "Time After Time."

www.posi-tone.com

Jake Hertzog – Evolution

2011-07-21T10:13:00.000-07:00

Jake Hertzog (guitars), Harvie S (bass), Victor Jones (drums)

2011 Buckyball Records

Jake Hertzog, now with a handful of recordings under his belt, is one of the very few prolific young guitarists to convincingly embrace the potential of blending a jazz and rock style of performing. What stands out in Hertzog's playing, aside from a comprehensive knowledge of his instrument, is a willingness, regardless of style, to put it all on the line. Hertzog doesn't hold back on Evolution, his third release with Buckyball Records. The recording has moments of jazz-infused exploration ("Don't Bother") and all-out rock with hard-driving, distorted rhythms ("Renegade," "Solar Flare"). Hertzog utilizes a variety of effects to illuminate rhythmic chord clustering and blistering single-note runs. Bruce Springsteen's "Streets of Philadelphia," the disc's only cover, is given a plaintive acoustic rendering, bringing out the beauty of the tune's simplicity.

As with his previous trio releases, Hertzog wisely surrounds himself with veterans who can just as easily change course. Bassist Harvie S co-produces and contributes on both upright and electric bass. Drummer Victor Jones has an electrifying presence.

*Release Date: August 16
www.jakehertzog.com

Tommy Smith – KARMA

2011-07-20T06:50:00.000-07:00

2011 Spartacus Records

Tommy Smith (saxophones), Steve Hamilton (keyboards), Kevin Glasgow (electric bass), Alyn Cosker (drums)

Saxophonist Tommy Smith first garnered worldwide attention in the 1980s, performing with vibraphonist Gary Burton and recording under his own name for Blue Note Records. Since then, the Scottish musician has formed his own label, Spartacus Records, and has released twenty-four solo albums. His latest creative venture, KARMA, is a high-energy quartet release, melding jazz-rock grooves with melodic inspirations from around the globe.

Smith's ten original compositions, consisting of unexpected tempo shifts, harmonic unpredictability and blurring thematic swirls, provide an unrelenting momentum, even during slower material, such as "Land of Heroes." Much of what Smith composes presents technical challenges to band members, yet six-string bassist Kevin Glasgow and veteran U.K. keyboardist Steve Hamilton meet the music head-on with eloquence and virtuosity. Drummer Alyn Cosker propels the band with unfaltering precision, enticing Smith into improvisational cliff diving on the Arabic-flavored piece "Tomorrow."

A highlight of the session is Smith's meditative performance on Shakuhachi flute during the intro to "Star," a piece with an undeniable Japanese influence. All in all, KARMA consist of remarkable vitality and uncompromised musicianship.

www.tommy-smith.co.uk

Brent Canter – Urgency of Now

2011-07-18T16:13:00.000-07:00

Brent Canter (guitar), Seamus Blake (tenor saxophone), Adam Klipple (organ), Pat Bianchi (organ), Jordan Perlson (drums)

2011 Posi-Tone

Guitarist Brent Canter performs original jazz with a rock and funk edge on Urgency of Now, his debut release for Posi-Tone Records. The California native, now based in New York, astonishes with lyrical melodies over infectious grooves. Even the odd-metered pieces "Meet Me Halfway" and "Marina Del Ray" flow freely with a propulsive vigor. As a soloist, Canter is an inventive risk-taker, swirling horn-like lines into cohesive statements. The guitarist's tasteful use of distortion adds to the intensity of each solo, especially the explosive piece "With Eyes Closed"—drummer Jordan Perlson exhibits jaw-dropping precision here—and the tight funk of the closing title track.

The core of Canter's sound is the classic organ combo, featuring Perlson and alternating organists Adam Klipple and Pat Bianchi. Tenor saxophonist Seamus Blake, who expands the ensemble on a handful of tunes, sets the bar high with stunning solo turns and a signature sound that seems to nestle into Canter's compositional style.

Urgency of Now is a compelling release, indicating a bright future, not only for Canter, but jazz guitar in general.

www.posi-tone.com

Mace Hibbard – Time Gone By

2011-07-13T20:28:00.000-07:00

2011 MHM

Saxophonist Mace Hibbard presents a strong follow-up to his 2007 debut When Last We Met with Time Gone By, featuring eleven original compositions and a soulful rendering of the Willie Nelson classic "Always on My Mind." The Atlanta-based musician, who travels and records with The Derek Trucks Band—Hibbard won a Grammy in 2010 for his work on Truck's Already Free release—plays with a no-nonsense straight ahead vigor, reminiscent of Cannonball Adderley with a contemporary twist.

As with his previous disc, Hibbard leads a tight quintet, with the front-line aid of trumpeter Melvin Jones. Hibbard and Jones work well together throughout, sharing a penchant for soloing with clear-cut development and an aggressive push. The band gets right to the point with the hard-hitting "Rude on Purpose," featuring Hibbard's swirling lines over the tune's modal backdrop. The disc contains many standout moments, including pianist Louis Heriveaux's swinging "Theme for Dos Lyn," Hibbard's challenging "Slip and Slide" and the pensive disc closer "For the Memories We Share.

Bassist Marc Miller and drummer Justin Varnes provide rock solid support to this vibrant release, full of memorable tunes and exciting performances.

www.macehibbard.com

Scenes – Silent Photographer

2011-07-07T10:19:00.000-07:00

John Stowell (guitar), Jeff Johnson (basses), John Bishop (drums)

2011 Origin Records

Intuitiveness coupled with camaraderie creates a steady flow of inspiration throughout Silent Photographer, the latest from the Seattle-based jazz trio known as Scenes. The collective, consisting of guitarist John Stowell, bassist Jeff Johnson and drummer John Bishop, performs mostly original compositions along with a few lesser-known jazz classics. Silent Photographer is their fourth release for Bishop's label, Origin Records.

Johnson, who is perhaps best known for his upright playing, is featured prominently on electric bass, soloing and, in the case of Herbie Hancock's "Chans's Song," interpreting a melody with a gracefulness not heard in most instrument doublers. The bassist gets the opportunity to show his prowess on upright on his own swinging piece "Contours," an up-tempo showcase for Stowell's inventive, almost pianistic approach. Stowell contributes a handful of tunes, including the plaintive "Windchaser," a vehicle for each of the musicians to improvise simultaneously without abandoning the lush essence of the piece.

The disc is full of stand-out moments, including John Coltrane's "Resolution," with Stowell on fretless guitar. The interpretation works well with a pseudo-funk vibe, reminiscent of something Bill Frisell might do. Stowell switches to acoustic guitar for the closing title track, a ballad with unhurried, streaming lines of spontaneity; A fitting summation to a recording ripe with beauty.

www.origin-records.com

Travis Sullivan – New Directions

2011-07-05T14:52:00.000-07:00

Travis Sullivan (alto saxophone), Mike Eckroth (piano), Marco Panascia (bass), Brian Fishler (drums)

2011 Posi-Tone

Alto saxophonist Travis Sullivan leads a perceptive quartet through a diverse set of his original tunes and a couple of covers on New Directions, his third release as a leader and debut for Posi-Tone Records. Aside from small group endeavors, the New York-based Sullivan leads his own 18-piece big band Bjorkestra, performing arrangements of the Icelandic pop icon Bjork.

Sullivan has a mature, lyrical sensibility, emphasizing melody and clearly focused thematic developments in his solos. Although at home in a variety of contemporary settings, including the Tears for Fears pop anthem "Everybody Wants to Rule the World," Sullivan excels on the disc's more straight-ahead fare. Tunes such as the boppish "Tuneology," the Rodgers and Hart ballad "Spring is Here" and the funk-meets-swing title track serve the saxophonist's expressive leanings.

Pianist Mike Eckroth, bassist Marco Panascia and drummer Brian Fishler play up to the challenge of Sullivan's compositional demands, bringing a relaxed playfulness to the odd-metered "Hidden Agenda" and the open-ended "Autumn in NH," a conversational vehicle with inspired results.

An enticing quartet with thoughtfulness and intensity, Sullivan and crew are forward thinkers with a firm understanding of what the tradition has to offer. New Directions is a stand-out jazz disc worthy of repeated listening.

www.travissullivan.com

Starlicker – Double Demon

2011-07-01T12:27:00.000-07:00

2011 Delmark Records

Starlicker is the brainchild of Chicago cornetist Rob Mazurek, whose dynamic excursions as a bandleader include the critically acclaimed Exploding Star Orchestra and Chicago Underground Trio. This latest vehicle for Mazurek's creative compositional style is a trio with vibraphonist Jason Adasiewicz and drummer John Herndon, a founding member of the band Tortoise.

The six tracks that make up Double Demon, ironed out in club dates prior to recording, contain a bounty of explosive energy, driven mercilessly by Herndon's unrelenting pulse and Adasiewicz's free-flowing style, creating thick, resonating textures, filling the space left empty by the absence of a bass player. Mazurek's to-the-point melodic themes and rhythmic repetitions are enough to draw a listener in and clear the way for improvisational adventure. As a soloist, Mazurek's hard-bop influence is unmistakable in sound and style, bringing a swinging allure to the most far-out spaces.

There's an apparent tightness found throughout the session, with enough cohesion to make for clever ensemble passages, allowing for clearly defined segues and endings, as on the opening title track. The hint of a drumline-gone-wild brings the disc to a peak of excitement on "Andromeda," splendidly followed by the meditative, hypnotic vibrations of "Triple Hex."

From start to finish, Double Demon doesn't let up. The music is purposeful, demonstrative, and refreshingly elegant.

www.delmark.com

Freddie Hubbard – Pinnacle, Live & Unreleased: From Keystone Korner

2011-06-23T06:49:00.000-07:00

2011 Resonance Records

Resonance Records has unearthed a lost treasure in these live recordings from Keystone Korner, San Francisco's famed jazz club throughout the 1970s and early 1980s. The late trumpeter Freddie Hubbard was a mainstay at the club, a place he and a slew of other jazz giants referred to as a home-away-from-home. Pinnacle, Live and Unreleased captures the iconic Hubbard in top form, during two nights of performances in 1980. With a fiery west coast band—including a young Billy Childs on piano and Larry Klein on acoustic and electric bass—Hubbard delivers his unmistakable majestic power and lyrical warmth on a handful of his classic compositions, as well as Michel Legrand's "The Summer Knows" and John Coltrane's "Giant Steps."

These recordings showcase Hubbard as the master improviser he was, weaving a never-ending string of intricate lines, effortless upper register acrobatics and a swinging, bluesy swagger. The disc features a satisfying mix of post-bop fire ("Intrepid Fox," "One of Another Kind"), funk ("First Light," "Happiness is Now") and ballad warmth ("The Summer Knows"). Hubbard's only known recording of "Giant Steps" is nothing short of masterful, displaying the trumpeter's authoritative take on the classic harmonic challenge.

Along with Childs and Klein, saxophonists Hadley Caliman and David Schnitter, trombonist Phil Ranelin, and drummers Eddie Marshall and Sinclair Lott contribute electrifying performances. It is Hubbard, however, who stands front-and-center, in brazen, unrepentant glory.

www.resonancerecords.org

Rich Pellegrin Quintet – Three-Part Odyssey

2011-06-22T07:40:00.000-07:00

2011 OA2 Records

The Rich Pellegrin Quintet explores improvisational freedom within the confines of compositional structures on Three-Part Odyssey, the ensemble's debut for OA2 Records. For this project, Pellegrin, a Seattle-based pianist, took special consideration in choosing band members who could meet specific technical demands while wandering confidently in a musical landscape of wide-open space. As the title suggests, the disc is divided into three parts, each consisting of individual pieces, seemingly unrelated. There is, however, cohesion throughout the recording, with each tune expressing some sort of thematic simplicity, whether it is a short melodic fragment, an ostinato pattern, or a repeated harmonic sequence, followed by impressive soloing.

As soloists, each member of the quintet demonstrates an ability to shape long, well-told stories with a concentrated mix of patience and bravado. The dynamic and contrasting personalities of Pellegrin, tenor saxophonist Neil Welch and trumpeter R. Scott Morning help to maintain interest from start to finish. Some standout moments include Morning's bold Freddie Hubbard-isms on "Marruecos," Pellegrin's reckless abandon on "Nothing Comes to Mind" and Welch's creative wailing on "Breathe."

Bassist Evan Flory-Barnes holds court on "Breath" and "Pastiche" with flowing lyricism. Drummer Chris Icasiano provides a consistent spark. With Three-Part Odyssey, Pellegrin and company achieve cordial musical connections that are progressive and intense.

oa2records.com

Nick Hempton – The Business

2011-06-21T07:19:00.000-07:00

2011 Posi-Tone Records

Nick Hampton (saxophones), Art Hirahara (piano), Marco Panascia (bass), Yotam Silberstein (guitar), Dan Aran (drums)

Saxophonist Nick Hempton leads a swinging quartet for his debut with Posi-Tone Records, The Business. The Australian native, currently residing in New York has a warm, soulfulness to his playing, emulating the styles of hard bop and R & B saxophone giants such as Dexter Gordon, Cannonball Adderley and Hank Crawford.

Hempton brings a swinging determination to his own compositions, particularly on the sly 5/4 groove of "Press One for Bupkis" and the boppish "Not Here for a Haircut." A straight-up rendering of "Gee Baby, Ain't I Good to You" reveals a strong penchant for no frills blues playing. The disc's other cover tune, Rahsaan Roland Kirk's "From Bechet, Byas, and Fats," an up-tempo minor blues with a bridge, features an exceptional solo from pianist Art Hirahara and fiery trading between Hempton and drummer Dan Aran—Aran provides a tight groove from one tune to the next with the aid of bassist Marco Panascia.

The group is augmented on a few tracks with guitarist Yotam Silberstein who comps and solos with great facility on the closing "Carry On Up the Blues." A well-conceived disc with hip tunes and strong playing, The Business is an unpretentious, toe-tapping musical ride.

www.posi-tone.com

The New Gary Burton Quartet – Common Ground

2011-06-20T08:33:00.000-07:00

2011 Mack Avenue

Gary Burton (vibraphone), Julian Lage (guitar), Scott Colley (bass), Antonio Sanchez (drums)

A Gary Burton release is always something worthy of interest, due in part to the notable sidemen the vibraphonist surrounds himself with. The list of guitar players alone who have come up through Burton's tutelage is astounding. These alumni include Larry Coryell, Pat Metheny, John Scofield, Kurt Rosenwinkel and, currently, Julian Lage who plays a major role in the New Gary Burton Quartet. With the release of Common Ground, Burton showcases his latest working quartet in a dynamic set of band member-written original pieces, as well as interpretations of "My Funny Valentine" and Keith Jarrett's "In Your Quiet Place."

The interplay between Burton and Lage—who first came to the attention of Burton while he was in his teens—is lively and playful. The elder rises to the challenge of Lage's intricate "Etude," a breakneck piece originally conceived as a guitar study. On drummer Antonio Sanchez's blistering blues "Did You Get It?," guitar and vibes swing along together gracefully with a fun, cat-and-mouse kind of interplay.

Burton's composition "Was It So Long Ago?," a tango dedicated to Astor Piazzolla, features vibes and guitar with lines full of unabashed emotion, apropos to the Argentinean tradition—a disc highlight. Other standout performances include the dynamically sensitive Lage piece "Banksy" and the guitarist's extended opening cadenza on "My Funny Valentine," a fresh rendering that allows bassist Scott Colley to demonstrate his in-demand versatility.

www.garyburton.com

Nicole Mitchell – Awakening

2011-06-17T07:07:00.000-07:00

2011 Delmark Records

Nicole Mitchell (flute), Jeff Parker (guitar), Harrison Bankhead (bass), Avreeayl Ra (drums)

"Curly Top," the opening track to Nicole Mitchell's latest CD, is a bouncy, jazz radio-friendly, piece with a catchy swing melody. The tune gives the impression of a disc intent on wide-ranging accessibility. Like previous Mitchell recordings, however, Awakening turns out to be a revealing glimpse into the flutist's diverse musical vision, where compositional pen moves unrestrained from one style to the next. Stand-out pieces include the free-flowing "Center of the Earth," with a drawn-out theme and adventurous soloing over an ostinato-driven vamp, the lengthy "Momentum," with a barrage of mood changes and the dark funk of "There" with a ferocious bass solo by Harrison Bankhead.

Mitchell works well with guitarist Jeff Parker, who is a part of her Black Earth Ensemble and appeared on the disc Black Unstoppable (Delmark, 2007). The pair complements each other with lyrical solo lines, moving effortlessly from inside to outside, taking their time to tell a story appropriate to each piece. Parker comps sparsely behind Mitchell throughout, feeding off the deep, locked-in grooves of Bankhead and drummer Avreeayl Ra.

Mitchell has become known for her full-length compositional suites, inspired by the likes of Michelle Obama and writer Octavia Butler. What makes this session unique is the more traditional quartet setting of flute and rhythm section with superb blowing and keen interaction.

www.delmark.com

David Gibson – End of the Tunnel

2011-06-14T17:14:00.000-07:00

David Gibson (trombone), Julius Tolentino (alto saxophone), Jared Gold (organ), Quincy Davis (drums)

2011 Posi-Tone Records

New York-based trombonist David Gibson digs deep into the soulful side of 1960s-era jazz with End of the Tunnel his second recording for Posi-Tone Records. With the aid of organist and label mate Jared Gold, Gibson delivers an enticing quartet set of funk grooves and driving swing.

Gibson seems to thrive on patience, shaping his solos with sparse ornamentation, waiting for the opportune moment to fill space with a meaningful barrage. This take-your-time approach works exceptionally well on the dirty funk of Herbie Hancock’s “Blind Man, Blind Man” and Gibson’s own gospel-like composition “Sunday Morning.” Refreshingly unafraid to swing hard, in the style of an elder statesmen like Slide Hampton, Gibson shines on Gold's medium toe-tapper "Splat."

The Oklahoma native contributes a handful of his own tunes, from the down-home funk of "Wasabi," to the unrelenting dirge of "A Place of Our Own," to the hypnotic intensity of "The In-Whim," featuring drummer Quincy Davis' keen awareness.

The front-line sound of trombone and alto saxophone, handled by the fiery Julius Tolentino, is a somewhat uncommon combination creating thick, dark textures. Combined with the organ, this brings unmistakable warmth to the proceedings, giving attention to the strength of the ensemble over any one individual. There is, however, no shortage of exceptional blowing throughout.

www.posi-tone.com

Chuck Deardorf – Transparence

2011-06-12T10:02:00.000-07:00

2011 Origin Records

You don't have to look far to find jazz bass players who specialize in one particular style or genre. There are very few, however, who double on upright and electric, can solo fluently on both instruments and can swing convincingly—probably the most elusive goal of so-called doublers. Seattle-based bassist Chuck Deardorf is one such elite performer. Transparence is a vibrant showcase, displaying the veteran sideman in a multitude of supportive and lead roles, playing mostly upright with splashes of lyrical fretless electric.

While much of the disc features Deardorf accompanying top-notch guitarists such as Bruce Forman ("Alone Together," "Sweet Lorraine") and Rick Peckham ("Zingaro"), it is the handful of tunes featuring pianist Bill Mays that bring out the bassist's expressive side. From the high-flying quartet opener "Collage," to the intimate duo of "Moon and Sand," Deardorf gels effortlessly with Mays' spacious, unhurried approach.

An electrifying rendition of The Beatles' "Dear Prudence" finds Deardorf and guitarist Dave Peterson in high-energy rock mode with simmering Jaco-esque fretless runs. Upper-register electric soloing breathes life into Deardorf's own fusion-style composition "Creatinine," with the impressive Richard Cole on tenor saxophone.

More than a mere business card for what Deardorf can bring to a musical situation, Transparence is a celebration of collaboration between musicians capable of side-stepping artificial labels.

www.chuckdeardorf.com

Wolfgang Muthspiel – Drumfree

2011-06-08T18:48:00.000-07:00

2011 Material Records

Wolfgang Muthspiel (guitar), Andy Scherrer (saxophone), Larry Grenadier (bass)

With Drumfree guitarist Wolfgang Muthspiel continues on the drummer-less path he started with Live at the Jazz Standard (2010, Material Records), an intimate duo recording with his mentor, fellow guitarist Mick Goodrick. As the title suggests, this latest offering features Muthspiel in a drum-free context with bassist Larry Grenadier and saxophonist Andy Scherrer.

The disc's nine tracks, all Muthspiel originals, showcase the Austrian native as a multi-faceted guitarist, able to leap effortlessly and convincingly from straight-ahead swing ("Double Blues"), to Metheny-esque flourishes ("Sunspot") to nylon string-infused Latin ("This Over That"). Muthspiel's improvised lines straddle the fence between inside and out, embracing a logical approach without sacrificing spontaneity.

Although featured prominently as a soloist, Grenadier keeps things flowing with unwavering time and spot-on intonation—not to mention his impressive arco work on the closing "Raumzeit." There is a tight, yet sympathetic rapport between guitar and bass throughout the disc, creating fertile ground for Scherrer's warm Joe Henderson-like tenor lines to sprout, creating a subtle intensity from tune to tune.

The camaraderie between the three musicians is stunning; they manage to sound rehearsed without overdoing it. This kind of first-rate interaction, coupled with Muthspiel's diverse writing makes Drumfree a success.
www.materialrecords.com

Alon Nechushtan – Words Beyond

2011-06-06T12:56:00.000-07:00

2011 Buckyball Records

Alon Nechushtan (piano), Francois Moutin (bass), Dan Weiss (drums)

New York-based pianist Alon Nechushtan has worked as a sideman with the likes of Frank London and Baya Kouyate and is the founder of the quintet TALAT, a critically acclaimed jazz-meets-klezmer ensemble. Nechushtan makes a bold statement with Words Beyond, his first release as leader of a progressive trio featuring bassist Francois Moutin and drummer Dan Weiss. The disc is a hard swinging, soulful collection of nine of the pianist's original compositions.

Nechushtan has the ability to reshape a small morsel of melody into imaginative configurations. His ideas flow freely, utilizing both hands to emphasize a punchy, aggressive attack. Right from the opening blues of "Muppet Shock," one can sense influences as diverse as Thelonious Monk, Oscar Peterson and Keith Jarrett. An unrelenting drive to swing as hard as he can is heard on tunes such as "Dr. Masterplan," with a twisted reference to "Take the A-Train," and the closing McCoy Tynerish "The Traveler."

Weiss and Moutin work well in support of Nechushtan, playing on top of the beat and reacting in accord to the pianist's highly syncopated style. Moutin's rapid-fire, thumb position soloing matches Nechushtan in both technique and intensity. Weiss keeps the grooves crackling with an enticing looseness, especially on the funkiness of "Entranced" and the glistening "Different Kind of Morning."

Exceptional camaraderie and engaging performances make Words Beyond a trio recording worthy of the most discerning listener.

www.musicalon.com

SLO JAZZ

2011-06-05T18:45:00.000-07:00

Piotr Siatkowski is a photographer/writer from Krakow, Poland. His website slojazz.net features samples of his illuminating photography of American and European jazz personalities, spanning decades of performances. He seems to have a knack for capturing an informal, revealing side to his subjects. Musicians such as Don Cherry, Maria Schneider, Hank Jones, William Parker and Tomasz Stanko are presented as joyous, artistic and humble beings. An interesting section of Siatkowski's site is Jazz Straight Outta Krakow, a brief history of the city and its music.
Well worth a few minutes of your time.
slojazz.net

Jared Gold – All Wrapped Up

2011-06-04T11:54:00.000-07:00

2011 Posi Tone Records

Jared Gold (organ), Ralph Bowen (tenor saxophone), Jim Rotundi (trumpet), Quincy Davis (drums)

New York-based organist Jared Gold leads a no-nonsense set of original progressive jazz compositions on All Wrapped Up, his fourth release for Posi Tone Records. Along with a trio of acclaimed sidemen—tenor saxophonist Ralph Bowen, trumpeter Jim Rotundi and drummer Quincy Davis—Gold draws deep into the well of organ-led jazz, preserving the styles of some of the genre’s more intricate pioneers, particularly Don Patterson and Larry Young.

The disc’s high flying opener, “My Sentiments Exactly,” features a twisting melody, deftly pronounced by Gold, Bowen and Rotundi. All three soloists careen through the tunes’ clever changes and boisterous bebop tempo. The angular stride and soulful bounce of “Get out of My Sandbox” inspires swinging rounds by all. Here, Gold stands out with his hard-driving, aggressive approach.

The medium-tempo groove of “Piece of Mine,” along with the melding of Afro Cuban and swing on “Midnight Snack” entice both Beldin and Rotundi into displays of technical brilliance. There’s a noticeable difference in musical personalities between the two that leads to interesting and welcomed contrasts. Rotundi’s lyrical, hard bop phrasing fits like a glove over the walking ballad “Dark Blue,” while Bowen’s take-no-prisoners approach adds a layer of thickness to the funky “Mama Said.”

Gold masterfully manipulates the organ's draw bars to enhance clustered harmonic textures on his moody ballad "Saudades," a compositional highlight featuring colorful percussive strokes from Davis. "Just a Suggestion," a tune with a spirited contemporary gospel vibe, closes the session with a slightly more greasy side to Gold's capacity and blistering lines from Bowen.

All Wrapped Up is a first-rate affair, combining tradition with a spirit of adventure.

www.posi-tone.com

Noah Haidu – Slipstream

2011-04-06T17:07:00.000-07:00

2011 Posi Tone Records

Noah Haidu (piano), Jeremy Pelt (trumpet), Jon Irabagon (alto saxophone), Chris Haney (bass), John Davis (drums 2, 4, 5, 7, 8), Willie Jones III (drums 1, 3, 6)

Pianist Noah Haidu composes and plays with a genuine approach to blending the sounds of hard-bop, soul and Latin-tinged jazz. Slipstream, his debut release for Posi-Tone records, effortlessly melds varying styles into an accessible mix of sleek melodic themes and contagious rhythms. Trumpeter Jeremy Pelt and alto saxophonist Jon Irabagon make up the front-line of the quintet, capturing seven of Haidu's original pieces and a swinging piano trio version of Cole Porter's "Just One of Those Things."

Haidu demonstrates an abundance of chops, at times harkening the fluidity of Chick Corea and the rhythmic incessancy of Horace Silver. His solo lines on the simmering title track and the buoyant waltz of "Floating" are indicators of a pianist with a firm grasp of the instrument's history, especially that of the last half of the 20th century. A light touch, full of intensity, can be felt on the mellow, R & B-flavored "Take Your Time."

The wild ride of "Break Tune," traversing the landscape of funk and free-jazz, features inspired blowing from Pelt and Irabagon, who trade back forth with heightened awareness. Other disc highlights include the radio friendly groove and catchy melody of "Soulstep" and the closing "The Trouble Makers," featuring the hard driving swinging pulse of drummer John Davis and bassist Chris Haney.

Slipstream is a welcome addition to the Posi-Tone catalogue. With the right combination of first-rate players and above-average material, Haidu has the potential for widespread appeal.
www.posi-tone.com

Chad McCullough & Bram Weijters – Imaginary Sketches

2011-04-04T16:53:00.000-07:00

2011 Origin Records

Chad McCullough (trumpet, flugelhorn), Bram Weijters (piano), Chuck Deardorf (bass), John Bishop (drums)

Adding to his growing body of work for Seattle's Origin Records, trumpeter Chad McCullough teams up with Belgian pianist Bram Weijters for Imaginary Sketches a compelling set of original compositions, full of lyricism and harmonic delight. Along with bassist Chuck Deardorf and drummer John Bishop, the disc stands as a showcase for thoughtful improvising and subtle, yet convincing compositional ideas.

McCullough and Weijters are a fitting pair as both build upon a strong technical foundation to develop finely phrased lines, shifting shape to accommodate the session's many moods. A slow, at times brooding pace permeates much of the proceedings, creating a wide expanse of solo space for trumpet, piano, and bass—Deadorf is prominently featured throughout. Weijters' "Burning Question," "Another Dark Ballad" and "Restless," as well as McCullough's "Imaginary Folk Song" and "Late Night, Long Drive" are all examples of the disc's contemplative nature.

Standing in stark contrast is the overt funk of "Free as Poetry" and burning swing of "Speeding," featuring some of the disc's most exemplary blowing, including that of Bishop who lets loose over an ostinato vamp on the tune's tail end.

Imaginary Sketches is one of those hard-to-categorize works; perhaps best described as intriguing. The vitality put forth by McCullough and Weijters makes this disc worthy of multiple listens.
www.origin-records.com

Orrin Evans – Captain Black Big Band

2011-03-30T19:33:00.000-07:00

2011 Posi Tone Records

The Captain Black Big Band, led by pianist Orrin Evans, is a high-intensity swinging affair featuring a number of top soloists from the jazz scenes of New York and Philadelphia. Recorded during three different live performances in 2010, the group features a rotating cast of thirty-eight musicians over seven tracks. Despite the lack of a cohesive unit, the disc maintains stunning consistency with undeniable spirit and musical drive.

From the opening "Art of War," a blistering, boppish piece featuring a jaw-dropping solo by alto saxophonist Rob Landham, the bands tight ensemble passages and intuitive use of dynamics creates an unrelenting high-energy vibe. The band is propelled by lead trumpeter Walter White, who, as a soloist, navigates through the up-tempo maze of Evans' "Big Jimmy" with strength and cleverness. Veteran saxophonist Ralph Bowen follows White on "Big Jimmy" with flowing soprano lines.

Evans contributes as a composer on four tracks and arranger on the closing "Jena 6," a Mingus-like anthem-of-a-piece with an impressive opening piano cadenza by Neal Podgurski and other-worldly, emotive wailing from alto saxophonist Jaleel Shaw. The presence of Podgurski and pianist Jim Holton on the title track allows Evans the freedom to leave the piano bench and take on a director's role. Perhaps the ability to stand out in front of the band and keep all involved motivated is the key to Evans' success. The results here are fresh, forward thinking and a cut above the typical big band fare.
http://www.posi-tone.com/

Gretchen Parlato - The Lost and Found

2011-03-19T18:46:00.000-07:00

2011 Obliqsound

Gretchen Parlato (vocals), Taylor Eigsti (keyboards), Derrick Hodge (bass), Alan Hampton (bass), Kendrick Scott (drums), Dayna Stephens (tenor saxophone)

Acclaimed vocalist Gretchen Parlato presents an ambitious follow-up to 2009's In a Dream with The Lost and Found, a smorgasbord of vocal jazz styling over a diverse set of tracks. Along with associate producer Robert Glasper, Parlato reaches far and wide with the aid of a first rate band. Pianist Taylor Eigsti, bassist Derrick Hodge and drummer Kendrick Scott create ultra-hip grooves while maintaining a sensitive rapport with Parlato's soft-spoken approach. Bassist Alan Hampton—who does a convincing turn on acoustic guitar and background vocals on "Still"—and saxophonist Dayna Stephens add to the disc's contemporary flair.

Along with pop covers such as Simply Red's "Holding Back the Years" and Mary J. Blige's "All That I Can Say," The fifteen track disc includes a handful of impressive Parlato originals, most notably the sensual, R & B flavored "Better Than," with light-as-air phrasing and hypnotic syncopated rim shots from Scott. A fondness for Brazilian music is heard on a cover of Paulinho's "Alo Alo," with a dance-like vocal line over multiple percussion parts, all performed by Parlato. Wayne Shorter's classic jazz waltz "Juju" stands out strong with Parlato's original lyrics and Stephens' soaring tenor sax.

An in demand artist, having recorded with the likes of Terence Blanchard and Esperanza Spalding, Parlato is on her way to becoming a mainstay in the field of jazz vocalists. The Lost and Found is sure to add to her growing allure.
http://www.gretchenparlato.com/

Mill City Trio – Looking Up

2011-03-04T05:46:00.000-08:00

2010 Self Produced

The Massachusetts-based Mill City Trio stirs up a quiet brand of intensity on Looking Up, with the somewhat unusual instrumentation of drums and two guitars. Drummer Anthony D'Anna provides a delicate, yet driving foundation for guitarists Jamie Dunphy and Greg Passler who display a like-minded approach to jazz guitar. Exchanging solo lines full of quick wit and swinging exuberance, the two revive the spirit of celebrated guitar duo outings with the likes Herb Ellis and Joe Pass on original pieces such as "What to Do If You Miss the Rapture" and "125th and Amsterdam." Guitaristic-voicings and arpeggios make for unique flavors on the bluesy "Hevilo," and the straight pulse of "Come Up For Air." When Passler takes up the electric bass on "Looks Like Rain," Dunphy digs in to a punchy Kenny Burrell vibe. The switch to acoustic guitars helps create a Spanish flavor on "Whirlpool." The soloing is technically proficient throughout without being over indulgent.

With an all original set of tunes, including Dunphy's arrangement of a traditional Korean melody, Mill City Trio succeeds at being both inventive and accessible with a mellow sound, heavy on lyricism. The listener-friendly grooves, spurred by D'Anna's skillful brush work encourage rapt attention and repeated listening.
www.millcitytrio.com

G.R.A.S.S. On Fire

2011-02-27T05:51:00.000-08:00

2011 Self Produced

Featuring a stellar cast of Brooklyn-based musicians, G.R.A.S.S.—the Gowanus Reggae and Ska Society—take on the challenge of reworking the classic sounds of Bob Marley and the Wailers. Their self produced release, G.R.A.S.S. on Fire brings an instrumental, jazz leaning perspective to Marley's 1973 major label debut Catch a Fire.

Although void of lyrical content, the ensemble, led by electric bassist J.A. Granelli and keyboardist Nate Shaw, captures the essence of Marley's politically charged message. Trombonist Mark Miller puts forth strong lyricism on the opening "Concrete Jungle," as do saxophonists Ohad Talmor and Paul Carlon in tight harmony on "Slave Driver." The three horn men get into a New Orleans-type mood toward the end of "Stop That Train."

A disc highlight occurs in the middle of "400 Years," with a free-form, high-speed chase featuring guest saxophonist Michael Blake. Other memorable moments come from special guest David Barnes as he kicks up a flurry of excitement with his harmonica on "Baby We've Got a Date" and the household Marley anthem "Stir it Up."

Positive vibes abound from this one-of-a-kind society of kindred spirits. Liberties are taken without sacrificing an ounce of groove. If anything, the results showcase the timeless spirit of Marley's music.

www.gowanusreggae.com

Benjamin Drazen - Inner Flight

2011-02-25T17:56:00.000-08:00

2010 Posi-Tone
Benjamin Drazen (alto & soprano saxophones), Jon Davis (piano), Carlo De Rosa (bass), Eric McPherson (drums)

New York saxophonist Benjamin Drazen doesn't waste any time letting a listener know what his musical intent is all about. From the opening moments of Inner Flights, his debut release as a leader, the fiery alto and soprano saxophonist swings unrepentantly with blistering lines and a bold, Jackie McLean-inspired sound. Along with a high-energy rhythm section, Drazen delivers a sturdy set of his straight-ahead originals and a couple of standards.

At ease with fast tempos, Drazen careens effortlessly through the opening "Mr. Twilight" and "This is New." The disc has a more reflective side, however, with the brooding "Prayer for Brothers Gone" and "Neeney's Waltz," showcasing the saxophonist's ability to shape ideas while still emphasizing bebop ornamentation. The Coltrane-leaning title track has a muscular, modal groove with Drazen going for broke on the soprano and pianist Jon Davis lending heavy-handed comping.

Davis proves an inventive soloist with a firm grasp of jazz piano history, as evidenced on "Monkish." Bassist Carlo De Rosa and drummer Eric McPherson keep things crisp and lively throughout. The two are let loose to explore on the mood shifting "Jazz Heaven."

As a composer and soloist, Drazen has a lot to offer. Inner Flights is an enticing look into his unique creativity.
www.benjamindrazen.com

Cuong Vu 4-tet - Leaps of Faith

2011-02-23T05:56:00.000-08:00

2011 Origin Records

Cuong Vu (trumpet), Stomu Takeishi (electric bass), Luke Bergman (electric bass), Ted Poor (drums)

It's a bold endeavor to believe you can invoke freshness and vitality into thinly worn standards like "Body and Soul," "All the Things You Are" and "My Funny Valentine." Trumpeter Cuong Vu meets the challenge head-on with imaginative results on Leaps of Faith, a quartet outing with wide-open improvisatory exploration, melding consonant lyricism with chaotic tumult.

Vu, a Seattle-based musician who has worked with a host of renowned musical personalities, such as guitarist Pat Metheny, stands out as a voice of reason among the intentional chaotic buildup from drums and dual electric bass. His emphasis on tone and delivery of a clear-cut theme, whether that of a standard or one of his own, such as "Child-Like," creates stand-still moments and sets up majestic climaxes. The trumpeter's tranquil rendering of George Harrison's "Something" is a disc highlight.

Electric bassists Luke Bergman and Stomu Takeishi conspire to create a multitude of effects-driven sound clusters, at times embracing the expected role of bottom-end provider, and at times completely eschewing it, building up sonic tension with drummer Ted Poor. This unique pairing works exceptionally well on the title track, a playful experiment on John Coltrane's "Giant Steps." As the two play off of each other, distinguishing each bass part from the left and right channels makes for interesting listening, although information regarding channel separation details isn't available.

Leaps of Faith is a musical paradox, conveying stillness and serenity through blatant expressions of noise. The results are brilliant.

www.origin-records.com

Peter Eldridge - Mad Heaven

2011-02-11T19:01:00.000-08:00

2011 Palmetto Records

Vocalist/pianist Peter Eldridge, perhaps best known for his work with the Grammy winning New York Voices, delivers a Latin-inspired collection of sleek songwriting with Mad Heaven, his first venture for Palmetto Records. Following in the footsteps of his critically acclaimed, self-produced 2005 release Decorum, Eldridge offers up sophisticated arrangements and clever, personalized lyrics, accompanied by a top notch crew of jazz sidemen.

Eldridge's music finds comfort in a variety of Brazilian grooves, incorporating highly-syncopated rhythms into his melodies, allowing for his prose to unfold quite naturally without an over-reliance on predictable verse-chorus formulas. The grey area of relationships, filled with ups-and-downs and mixed emotions seem to be the focus of Eldridge's preferred subject matter. His tales are most convincing on the propulsive title track, the lush "No Tomorrow" and the hopeful samba "Warm December," featuring powerful background vocals and fine tenor saxophone work from Darmon Meader."

Another tenor saxophonist, the multi-faceted Joel Frahm, is a welcome solo voice on a handful of tracks, including "Betty's Bossa (Chamego)," a stand-out track with infectious wordless vocalizing. The rhythm team of drummer Ben Wittman and bassist Tim LeFebvre are rock-solid throughout. Wittman demonstrates ultra-sensitivity accompanying Eldridge through the opening of Antonio Carlos Jobim's "Someone to Light Up My Life."

Mad Heaven showcases Eldridge as a major player in vocal jazz, revealing an artist of extraordinary depth and conviction.
www.petereldridge.com

Ernest Dawkins' New Horizon Ensemble – The Prairie Prophet

2011-02-10T18:00:00.000-08:00

2011 Delmark Records
Ernest Dawkins (alto, tenor saxophone), Marquis Hill (trumpet), Shaun Johnson (trumpet), Steve Berry (trombone), Jeff Parker (guitar), Junius Paul (bass), Isaiah Spencer (drums)

On The Prairie Prophet, saxophonist Ernest Dawkins and his New Horizon Ensemble pay tribute to friend and mentor Fred Anderson, saxophonist and owner of the Velvet Lounge in Chicago who passed away on June 24, 2010.

Dawkins and company traverse a diverse landscape of musical moods, from jubilant buoyancy ("Hymn for a Hip King"), to intense spontaneity ("Sketches"), to lyrical ensemble statements ("Balladesque," "Shades of the Prairie Prophet"). Standout soloing is in abundance throughout with strong statements from trumpeters Shaun Johnson and Marquis Hill—whose flugelhorn work on "Hymn for a Hip King" is exceptional--, trombonist Steve Berry and guitarist Jeff Parker. Parker's fluid, at times blues drenched lines resonate strongly on "Mal-Lester," Dawkins' tribute to legendary Chicago avant-garde musicians Malachi Favors and Lester Bowie.

It is Dawkins, however, whose free-wheeling drive propels the music into decidedly unconventional territory. His fervent alto saxophone whirls on "Sketches," for example, or soul-bearing phrasing on "Mesopotamia" grabs hold of a listener and doesn't let go until his message has been clearly expressed. Whether the underlying message is one of frustration, optimism, or both, it is powerful and deliberate.

The disc concludes with the lengthy anti-war rant "Baghdad Boogie," a vocal infused, swinging piece that satirically makes the case for an end to the insanity of a seemingly never-ending campaign of violence; a poignant end to an uncompromising set of original music.

www.delmark.com

Mario Romano Quartet – Valentina

2011-01-29T18:08:00.000-08:00

2010 Alma Records
Mario Romano (piano), Pat LaBarbera (saxophone), Mark Kelso (drums), Roberto Occhipinti (bass)

Toronto-area businessman Mario Romano studied music formally in the 1970s before being lured into the more lucrative world of cement and construction. Without ever losing his passion for jazz piano, Romano has managed to keep maintain a healthy dose of chops and a keen sense of arranging. Valentina, his debut recording for the Canadian label Alma Records features a familiar set of standards and a couple of original pieces in an acoustic quartet setting. Top-notch Toronto musicians Pat LaBarbera (tenor saxophone), Mark Kelso (drums) and Roberto Occhipinti (bass) aid Romano in an engaging set of straight-ahead jazz.

LaBarbera, perhaps best known for his work with the late drummer Elvin Jones, begins the proceedings with a breathy solo cadenza to introduce Romano's fresh re-working of "A Night in Tunisia." The saxophonist's focused intensity inspires the hard driving swing Kelso and Occhipinti, setting up Romano for an in-the-pocket solo turn.

Romano proves an able soloist with a solid rhythmic foundation providing subtle bursts of technique. Standout piano work is heard on "On Green Dolphin Street," a ballad rendition of "Someday My Prince Will Come" and Occhipinti's swinging contribution "Via Romano." Guest vocalist Kristy Cardinali offers a youthful, soothing delivery of Romano's original lyrics "Those Damn I Love Yous."

Valentina is a promising release for Romano, demonstrating how, even in jazz, it's never too late.
www.almarecords.com

Ralph Bowen – Power Play

2011-01-28T18:04:00.000-08:00

2011 Posi-Tone
Ralph Bowen (saxophones), Orrin Evans (piano), Kenny Davis (bass), Donald Edwards (drums)

Power Play is a disc of hard-driving, intense, full-throttle, straight-ahead jazz. It's not that saxophonist Ralph Bowen isn't capable of subdued tender moments—such moments are certainly present throughout this disc—, it's just that the renowned veteran of the East Coast scene, in both his playing and composing, happily leans to the aggressive side of modern, progressive jazz. From his days in the 1980s with young-lion super group Out of The Blue to his more recent stints with pianists Horace Silver and Michel Camilo, Bowen has received much praise from fan and critics as an artist of unwavering conviction.

The disc's opening track, "K.D.'s Blues" sets the tone of the session with a brisk swinging tempo, memorable theme and go-for-broke solos by Bowen and pianist Orrin Evans. Evans takes charge of the dark and funky "Drumheller Valley" with lively support from bassist Kenny Davis and drummer Donald Edwards. The tireless rhythm section provides rock solid support for Bowen's inspired Coltrane-meets-Michael Brecker approach on the up-tempo "Two-Line Pass." After an endearing but predictable version "My One and Only Love," the quartet displays its most intuitive, collective risk-taking on the burner "The Good Sheppard" and the buoyant "Bella Firenze." Here, Bowen displays impeccable technique and flowing lyricism.

After a barrage of tenor saxophone, Bowen's primary instrument of choice, the soprano is taken up to handle the disc's two ballads "Jessica" and "A Solar Romance," revealing a meditative, pensive aesthetic. This softer side manages to hang on to the intensity of previous tracks, bringing a fitting close to an all around stunning release.

www.ralphbowen.com

Samo Salamon Trio - Almost Almond

2011-01-22T18:12:00.000-08:00

2011 Sanje

Samo Salamon (guitar), Drew Gress (bass), Tom Rainey (drums)

For the last ten years or so, guitarist Samo Salamon has been making a name for himself throughout the European jazz market as an inventive improviser, composer and leader of diverse small group ensembles, often featuring American notables such as saxophonists Mark Turner and David Binney. A tireless self-promoter, the Slovenian native has been creating a buzz with critics and fans of jazz guitar. His latest release, Almost Almond, is an inticing trio release sure to further the guitarist's reputation. The eleven-track disc of Salamon's original pieces was recorded in Switzerland in 2006 with the aid of bassist Drew Gress and drummer Tom Rainey.

As a composer, Salamon has a penchant for combining written parts with free-form sections as a foundation for improvisation. "My Amazing Muse," for example, begins with a rhythmic, Latin-inspired structure before an abrupt transition into a dreamy landscape of arco bass and arpeggiated guitar. Similarly, "Dutilleux," named for French compose Henri Dutilleux, has a wide interval theme developed by guitar and bass before Salamon delivers stinging jabs of distorted raunchiness. The overt intensity is nicely countered with the more lyrical, flowing piece, "Pleiades," featuring the meaty gracefulness of Gress' bass.

It is Gress who introduces the moody "Lastovo" with a tone that is warm and welcoming. The lengthy piece proves an ideal setting for guitar, bass and drums to interact in an open dialogue that is brooding, yet playful. The good-natured interplay continues on the short and clever piece "The Small Buddhist" and the airy "The Ladybird is Yawning."

As a soloist, Salamon is able to lend solid technique to an imaginative array of spontaneous moods. His style is grounded in the sound of modern jazz with unique characteristics, unbounded by the traditional confines of his instrument. Much like his contemporaries Kurt Rosenwinkel and Ben Monder, Salamon is forging ahead with a new standard of jazz guitar that is accessible and beyond established categorizations.

www.samosalamon.com

Kurt Rosenwinkel and OJM – Our Secret World

2011-01-07T13:04:00.000-08:00

2010 Word of Mouth Music

Since the 1990s, guitarist Kurt Rosenwinkel has been consistently turning heads with a series of releases showcasing his unique playing and compositional voice. Aside from his success as a leader, the Philadelphia native has racked up sideman credits with the likes of Brian Blade, Joshua Redman and Danilo Perez. Since 2003, Rosenwinkel has resided in Europe and currently teaches at the Jazz Institute of Berlin. In 2008, the Portugal-based big band Orquestra Jazz de Matosinhos (OJM) invited the guitarist to be featured in what would become a series of successful concerts, leading to an ambitious six days of recording that would result in Our Secret World, a dynamic large ensemble re-working of seven Rosenwinkel originals.

Arrangers Carlos Azevedo, Pedro Guedes and Ohad Talmor manage to maintain the small group flavor of pieces such as the title track, "The Cloister" and "Zhivago," while realizing the orchestral potential inherent in the music's sound compositional structures. While the coloring of the expanded ensemble enhances Rosenwinkel's original harmonic/melodic imprint, the main attraction is the graceful dance of guitar soloing heard on each track. The open blowing sections devoted to Rosenwinkel are plentiful and lengthy. An abundance of ideas, lyrical flow and impeccable technique create an ear-catching intensity, especially on the palpitating "Dream of the Old" and the ballad "Use of Light" with some of the disc's most interesting arranging.

It's no small task fronting a big band, especially through an entire disc of demanding material. Rosenwinkel is up for the challenge, leaving little doubt about his stature as a towering figure among jazz guitarists.

www.kurtrosenwinkel.com

Mike DiRubbo - Chronos

2011-01-04T13:01:00.000-08:00

2010 Posi-Tone

Mike DiRubbo (alto, soprano saxophone), Brian Charette (organ), Rudy Royston (drums)

Connecticut native Mike DiRubbo has made a name for himself as a featured saxophonist in New York-based groups led by trombonist Steve Davis, pianist David Hazeltine and many others. His sixth release as a leader, Chronos (Posi-Tone), is a hard-blowing, straight-ahead affair with organist Brian Charette and drummer Rudy Royston. The disc features nine original compositions by DiRubbo and Charette, ranging from up-tempo burners and bouncy waltzes, to modal workouts and Latin-inspired grooves.

Primarily an alto player, DiRubbo conveys a soulful edginess with a sound reminiscent of the late Jackie McLean, the legendary saxophonist with whom he studied under at the University of Hartford. An uncompromising bebop influence can be heard in DiRubbo's soloing, especially on swinging numbers such as "Minor Adjustment" and "Lucky." The dark funk of "Rituals" and swinging intensity of "Eight For Elvin"—presumably a tribute to drum legend Elvin Jones—gives way to explosive vamp sections with DiRubbo going for broke alongside Royston's fiery drumming.

Charette provides solid support and contributes strong solos throughout the disc. The organist's manipulation of the drawbars recalls the vibrato-laden greasiness of Don Patterson, especially on his odd-metered piece "More Physical," with DiRubbo on soprano saxophone.

It's refreshing to hear a group of first-rate players who know how to swing and aren't the least bit bashful about letting a listener know it.

www.posi-tone.com

2011-01-01T12:57:00.000-08:00

2010 MaxJazz

Russell Malone (guitar), David Wong (bass), Montez Coleman (drums)

Guitarist Russel Malone has maintained a prolific balance over the last couple of decades as both a leader and sideman to jazz luminaries, such Diana Krall, Harry Connick Jr. and Sonny Rollins. It comes as a surprise to realize that his ninth solo release Triple Play is his first trio project. With the stripped down line up of bassist David Wong and drummer Montez Coleman, Malone finds himself fully exposed without the cushion of a piano or organ. With a choice selection of standards and originals, however, the Georgia native proves highly capable of shaping the harmonic and rhythmic direction of each piece.

Fans of classic guitar trio recordings from the likes of Kenny Burrell, Barney Kessel and Tal Farlow will appreciate Malone's swinging approach, punctuating chord melody with single-note runs. There may not be anything conceptually new here, but Malone's sure-footedness and openness to express his fondness for the blues is captivating.

Stand-out tracks include Malone's own tunes such as the Latin-inspired "Honeybone" and "Pecan Pie," with a Stevie Wonder-style mix of chord and melody Cole Porter's "Do I Love You" is an impressive display of ballad work while John Hick's "Mind Wine" is straight-ahead fun with interesting twists and turns.

All in all, Triple Play is a well conceived release that will appeal to both guitar aficionados and listeners of mainstream jazz.

2010 MaxJazz

Russell Malone (guitar), David Wong (bass), Montez Coleman (drums)

Guitarist Russel Malone has maintained a prolific balance over the last couple of decades as both a leader and sideman to jazz luminaries, such Diana Krall, Harry Connick Jr. and Sonny Rollins. It comes as a surprise to realize that his ninth solo release Triple Play is his first trio project. With the stripped down line up of bassist David Wong and drummer Montez Coleman, Malone finds himself fully exposed without the cushion of a piano or organ. With a choice selection of standards and originals, however, the Georgia native proves highly capable of shaping the harmonic and rhythmic direction of each piece.

Fans of classic guitar trio recordings from the likes of Kenny Burrell, Barney Kessel and Tal Farlow will appreciate Malone's swinging approach, punctuating chord melody with single-note runs. There may not be anything conceptually new here, but Malone's sure-footedness and openness to express his fondness for the blues is captivating.

Stand-out tracks include Malone's own tunes such as the Latin-inspired "Honeybone" and "Pecan Pie," with a Stevie Wonder-style mix of chord and melody Cole Porter's "Do I Love You" is an impressive display of ballad work while John Hick's "Mind Wine" is straight-ahead fun with interesting twists and turns.

All in all, Triple Play is a well conceived release that will appeal to both guitar aficionados and listeners of mainstream jazz.
www.maxjazz.com