Tim Bedner, Of Light and Shadow - Introspective Maturity

Tim Bedner, Of Light and Shadow
by  Jeff Becker

Guitarist Tim Bedner masterfully conveys the art of color and textural contrasts in his brilliant offering Of Light and Shadow. His ability to create the slow burn and say much

more with space is the cornerstone to a mature guitarist and Bedner illuminates these qualities in spades.

The Ottawa, Canada-based Berklee alum successfully unites emotive feelings with introspective philosophies and darker contemplations on the all-original masterpiece, Of Light and Shadow.

Bedner's greatest strength is highlighted in his ability to comprehend the effectiveness of volume, aggression and the use of guitar effects in an impacting and effective manner that is easy on the ears.  At times guitar effects can be not used in a pleasing manner, but Bedner’s maturity and definitive ear clearly sets him apart in the large genre of jazz guitarists.

The guitarist's support cast is small in numbers, with only two others  Normand Glaude, for example, covers bass, percussion, synth strings and harmonica, but it's the last instrument on that list that really makes an impact; his Toots Thielemans-esque harmonica is the perfect foil for Bedner. Drummer Jeff Asselin creates a woven canvas firm yet flexible further creating a solid foundation for all concerned. He's equally comfortable with odd-metered furrows and sweeping feel shifts, and Bedner gives each player equal time to create a truly collaborative trio sound.

Of Light And Shadow doesn't win the listener with pyrotechnics of sound, rather its subtly seeps into the ears and lingers there and wins the deeper meaning through its beauty of sound, well-crafted compositions and truly mature essence. Truly a striking experience.

Track Listing: Umbra; Aurora; Lumen; Chiaroscuro; Synergetic; Sometimes Sadness; A.M. For P.M.; Bluenote; Waltz For Elise.

Personnel: Tim Bedner: acoustic guitar, electric guitar; Normand Glaude: contra bass, chromatic harmonica; percussion, synth strings (6); Jeff Asselin: drums, percussion.

Record Label: Self Produced

Tianna Hall, Two For the Road - A ride worth taking

TIANNA HALL, TWO FOR THE ROAD
Review by  Jeff Becker

Tianna Hall is back with a new release entitled, Two for the Road.  Hall delivers another project filled with a refined, marvelous voice that sparkles and emotes rhythms filled with the feeling of life — romance, passion, and love all supported with a swinging and creative rhythm section.

Two for the Road is a collection of fourteen well-chosen selections from jazz vocalist Tianna Hall in collaboration with a solid core of musicians; acoustic bassist Agustin Bernal, pianist/arranger Miguel Villicaña and Gabriel Puentes of The Mexico City Jazz Trio.  Hall’s relationship with the trio began after meeting Agustin Bernal at a jazz festival they were both performing at in Guadalajara, Mexico.  After performing together Mr. Bernal invited Tianna to come to Mexico City and record with his trio in 2004.

A swinging version of “Til There Was You” starts the road trip off with well-placed hits from the band and Hall’s rich voice propelling the melody with articulated assurance.  Bassist Agustin Bernal takes the wheel for the first solo providing plenty of twists and turns through his melodic road map throughout Coltrane’s town of “Giant Steps.”   The selection keeps moving forward by the swingin’ phrasing of pianist Migeul Villicaña as he too provides musical statements of creative drive.

Hall has put together a delightful set list on Two For The Road. We are treated to fresh arrangements and melodic interpretations on such classics as: “What Is This Thing Called Love?,” “They Can’t Take That Away From Me,” “You’d Be So Nice To Come Home To,” “I’ve Never Been In Love Before,” “Good Morning Heartache,” “I’m Gonna Sit Right Down and Write Myself A Letter,” and “Moon River.” However, Hall has chosen a few selections from outside the standard arena such as; Radiohead’s “Creep,” Soundgarden’s “Black Hole Sun” and 10cc’s “I’m Not in Love.” These selections are surprising gems on this musical road trip that have been given arrangements and sung in such a way that fits right in with the well-known standards, but provides a moment of surprise along the journey. 

“They Can’t Take That Away From Me” is augmented by special guest artists; vocalist/saxophonist David Caceres resulting in a stirring vocal duet with Hall.  Guitarist Mike Wheeler is joined by cellist Lisa Vosdoganes to accompany Hall’s rich voice on the title track “Two for the Road” giving a quiet close to this enjoyable road trip. 

Two for the Road is a journey worth embarking on with vocalist Hall.  Her honey dripped vocal style is like a sexual burn that last well past the experience. Backed by a swingin’ ensemble this is easily the best vocal album I have heard all year, and believe me; I get sent plenty of them.  Hall is meant to sing jazz, and this reviewer hopes to hear many albums in the future, we need great jazz vocalists such as this in an genre filled with aspiring jazz vocalists.

Players:

Tianna Hall - vocals
Miguel Villicaña - piano
Agustin Bernal - bass
Gabriel Puentes - drums
with special guest appearances from
David Caceres - saxophone/vocals
Mike Wheeler - guitar
Lisa Vosdoganes - cello


Tracks:  
1) Til There Was You - 2:39 
2) What Is This Thing Called Love? - 3:22 
3) When October Goes - 4:38 
4) They Can’t Take That Away From Me - 3:09 
5) Creep - 3:25 
6) You’d Be So Nice To Come Home To - 3:03
7) Black Hole Sun - 4:26
8) I’ve Never Been In Love Before - 3:06
9) Good Morning Heartache - 4:54
10) I’m Not In Love - 4:50
11) I’m Gonna Sit Right Down & Write Myself A Letter - 2:35
12) So In Love - 5:57
13) Moon River - 3:36
14) Two For The Road - 4:30

Steve Lehman, Dialect Fluorescent

Review by Jeff Becker

Steve Lehman’s approachable and resourceful chops combined with warm rich tone are the focus of his new release, Dialect Fluorescent (Pi). Although Lehman has become known for his blending of the exotic and the familiar jazz vocabulary, on this release, a trio outing, he explores standard material with fresh angles and progressive fringes that have their origins in the cannon of straight-ahead jazz. Lehman’s acerbic alto sax is joined by Matt Brewer on bass and Damion Reid on the drums.

Lehman received his B.A. (2000) and M.A. in Composition (2002) from Wesleyan University where he studied under Anthony Braxton, Jay Hoggard, and Alvin Lucier, while concurrently working with Jackie McLean at the Hartt School of Music. He is currently a doctoral candidate in Music Composition at Columbia University, where he is a departmental fellow and studies under Tristan Murail and George Lewis.

Lehman’s early mentor Jackie McLean’s composition, “Mr. E,” is given a healthy work over by the trio.  The driving pulse is explored by all with Lehman’s alto spending plenty of time developing melodic and rhythmic fragments to maturity.  Reid “fills the void” where the chordal instrument might reside with confidence and plenty of “poly” commentary.  “Moment’s Notice” is given the “Countdown” treatment with Lehman and Brewer blowing over the clearly stated changes, later to be joined by Reid to add to the development.  Lehman makes obvious references to the melody as he continues to develop the theme until the end where we are given the melody in its entirety.

We hear from Lehman’s apt pen on “Alloy.”  A well-crafted selection that feels right at home with the surrounding “standards.”  Brewer’s growling sustaining notes ground the highly interactive conversation between Lehman and Reid.  “Jeannine” by Duke Parson is an enjoyable journey through the familiar AABA form with a very enjoyable swing groove that finds Lehman speaking new ideas about well-known topics. 

Overall this is a very enjoyable trio release with a nice mixture of feels, harmonic movements and interaction. This is a must have if you enjoy non-chordal trios and a very 

nice addition to the modern language of jazz.

Steve Lehman - alto saxophone, Matt Brewer – bass, Damion Reid – drums,

Label Pi Recordings, Recorded August 22, 2011, Engineer Mike Marciano, Mixed Liberty Ellman Mastered Steve Fallone, Producer Steve Lehman

http://www.stevelehman.com

Two Guitars, A Refreshing Approach

Review By: Jeff Becker
self-produced

Many times the music industry is dominated by the 20 year old musicians who pull together the latest thing with friends from school or in their local scene and take it on the road, hoping to hit the “big time.”

So what is the relevance of Two Guitars, Bending Time that features over 50 year-old musicians who have already paid their dues, already been on tour, already been on labels and played in some of the top groups of yesteryear like; The Turtles, The Tokens, Al Wilson, Lou Rawls, Chubby Checker, Leslie Gore, Bobby Day, Ray Charles, Eubie Blake, Snoop Dogg (believe it or not!) as well as jazz artists Jerry Mulligan, Jackie Paris, Sue Raney, Dizzie Gillespie? I am glad you asked; let me sum it up in one phrase “Musical Experience.” What does this add up to? An easy listen, an enjoyable musical experience paying homage to groups and songs they have actually been involved with over the years.

The eclecticism is actually the glue that showcases the mastery and wisdom of note choices from these two veteran musicians, Gus Wieland and Brian Conigliaro have put together a well blended jazz influenced offering that will also appeal to the adult contemporary, adult-rock and jazz listener, that prefers quality sounds, playing and execution as well as, well conceived originals that blend well against well known nuggets.

The Imagine Project

Review By: Jeff Becker
Herbie Hancock Records

The Imagine Project continues the ever evolving and creative ideas of Herbie Hancock. His experiences in jazz are now richly enhancing more pop cultured endeavors. This latest offering embraces the concept of love and world unity, and the diversities from around the world.

"Imagine" features India.Arie, Seal, Pink, and Jeff Beck (on guitar) and is augmented by African chanting and the delicate sensibilities of Hancock's delicate tinkling of the ivories. A texture change to a more rhythmic feel introduces India.Arie who places her own slice of heaven.

The moody "Don't Give Up," features John Legend and Pink, both equally soulful artists who enhance this cut with yearning exchanges and believable performances. The solid continuous backbeat drives the emotion even deeper.

"Tempo de amor" features Céu with a dreamy Latin feel, the loose translation of the lyric is; “Oh, it would be so much better to live in peace without having to suffer without having to cry, without having to want, without having to give yourself. But you have to suffer, and you have to cry and you have to want to be able to love. Oh, deceiving world peace doesn't mean "love" anymore. Oh, there is no sadder thing than to have peace and to regret and to submit and to protect yourself of a love, of loving.”

A bluesy rendition of "Space Captain" is perfectly matched by the talents of the soulful Susan Tedeschi and groovin’ Derek Trucks, almost reminiscent of the Bonnie and Delaney sound of the early 70’s.

"The Times, They Are a' Changing" features The Chieftains and Lisa Hannigan, a slow shuffle with sprinklings of horns and sitar, make this cut a motivic half-way mark. "La Tierra" features Juanes and is a beautiful Tango. "Tamitant Tilay/Exodus" is desert Blues with an Arabic touch featuring K'naan, Los Lobos and Tinariwen and a looped sample of Bob Marley's "Exodus".

"Tomorrow Never Knows," has a hybrid psychadelic Middle Eastern feel and features The Dave Mathews Band, "A Change is Gonna Come" is taken as a slowed pace and features James Morrison who is reminiscent to young Stevie Wonder. The closing takes us on an middle eastern journey with sitar-drenched lines running reverently throughout with driving drum crashes this cut is an epic presentation of "The Song Goes On," featuring luminaries such as; Chaka Khan, Anoushka Shankar and Wayne Shorter giving an Indian sounds and experience. This project is appropriately entitled; the listeners have the opportunity to Imagine and journey to every place in their mind and hear and experience every flavor of the musical rainbow.

Alekos Galas, A Fusionary

Review By: Jeff Becker
Ehos Records

With a career that spans over 4 decades, it is with great anticipation audiences have waited for the release of Mediterranean Breeze from the virtuosic Bouzouki artist Alekas Galas. With four decades under his belt one would expect to hear true mastery, this expectation is not let down, as Galas has created a truly masterful weave of World, Pop and Smooth Jazz into his debut release as a leader. What makes this release even more intriguing is the innovation of adding Bouzouki, a widely recognized world instrument most commonly used in Greek music. The result is magnificent, and highly successful. Galas has created a landmark sound, melding for the first time a Bouzouki with the commercial sounds of Smooth Jazz and Pop along with cuts that are a hybrid of World fused with adult-contemporary influences.

Today we will examine the cut “The Road Home” which is augmented by legendary artists; Marc Russo (alto sax), Abraham Laboriel (bass) and Alex Acuna (congas, percussion). What is so delightful about this cut is the amount of musical prowess exhibited by each player and how is does not detract away from the musicality of the song. This cut has a contagious beat that highlighted even further by the musicians abilities on their instruments and the evident chemistry between the players. Strongly influenced by the Smooth Jazz genre but given the Greek spicing of the Bouzouki, the song is elevated to a new level of enjoyment, a grooving piece that each player clearly leaves their signature on. Galas have done a wonderful job connecting all the genre dots together for an extremely enjoyable listen no matter your setting. Highly Recommended!

Glenious Inner Planet, Blasts Off

Review By: Jeff Becker
Blue Bamboo Music

In a genre where the most recognizable sounds are usually piano, bass and drums; bassist Glen Ackerman has gathered an up and coming stable of predominately Houston musicians to create a uniquely cutting edge sound. To call this a fusion only album would be to overlook the complexities and harmonic richness of the compositions and arrangements. Though technically sound in all aspects from a player and compositional standpoint; the music has a lyrical theme throughout making this much deeper than just an album filled with technique pyrotechnics and dexterity (which it does offer), never allowing virtuosity to overpower the group message of the compositions.

This band of musical brothers features: saxophonist, Woody Witt, drummers, Joel Fulgham and J.D. Guzman, keyboardist, Ted Wenglinski, and guitarists, Chris Cortez and Paul Chester and all are equally adept at conveying Ackerman’s message. What was equally enjoyable was the artwork and space theme! Creating a fun theme, and an energetic musical experience and stellar musicianship, Glenious Inner Planet is a full rocket ride.

Today, we will examine the track “Blue Rondo a la Raad” in hopes you will be so intrigued you will go directly to the Blue Bamboo Music site or your favorite retailer and get your own copy immediately. We know our readers have their own opinions, and rather than dribble on and prolificate our opinions, we will introduce you to one track and you take it from there.

“Blue Rondo a la Raad” is a driving and pulsating cut that quickly conveys the dexterity of Cortez and Ackerman, signaling it is time to blast off. The selection is a contrafact based on the Dave Brubeck composition, “Blue Rondo a la Turk.” The original 9/8 time signature is retained for the first theme. However, Ackerman plays with the grouping of the 9 eight notes (the Brubeck pulse can be felt as 1-2,1-2,1-2,123) by placing the accent on different eight notes Ackerman delivers a fresh statement upon the 9/8 undercurrent. Beginning with bass and drums, the theme is built upon with layered orchestration of guitar and saxophone. The B section releases the driving eight pulse in the melodic line with a call and response section between the saxophone lines being answered by the bass and guitar. This builds to a tutti section with underlying hits from the bass and drums. Landing in the solo section and a new 7/4 sixteenth “funk” feel (1234-123), guitarists, Chris Cortez hits the overdrive pedal and delivers a fine energetic solo through the original harmonic structure. Back to the original 9/8 feel, the B sections is used as an interlude between solos; the ensemble navigates the transition with confidence and ease.

Saxophonist, Woody Witt, takes us on the next “Raad” ride through the funky 7/4 solo section. Witt’s tone is rich and full of drive, bending notes and developing his exotic colors and motifs to a steaming climax of notes and rhythms. Again the transition to 9/8 and the B section melody are used for the interlude to Ackerman’s bass solo. Ackerman effortlessly flows between the upper and lower register of his bass to develop his melodic statements over Cortez’s color arpeggiated chords.

The selection returns to the original melody for the closing statement. This is only one example of the exemplary offering within each Ackerman composition. A well produced – well conceived release that will be a welcome addition to any jazz or modern jazz listener’s collection, which likes their jazz to have a bite.