Come in From the Cold and Warm Up to Nothing but Blue Sky with Humphrey

Chris Humphrey, Nothing but Blue Sky
Cadence Jazz Records
Reviewed By: Jeff Becker

Chris Humphrey (vocals)
Matt Wilson (drums)
Martin Wood (bass)
Mark Shilansky (piano)

Chris Humphrey is a musician who is multi-faceted in his talents and accomplishments. A jazz vocalist, whose primary focus is the use of the voice as an instrument, he is an improviser and composer as well as an interpreter of songs. Chris teaches jazz piano at the University of Southern Maine. Additionally, Humphrey is the Director of Music at Cheverus High School in Portland, Maine. Previously Chris was the Director of vocal jazz at the University of Southern Maine, and the University of New Hampshire.

These experiences have continued Humphrey’s exploration and experimentation with complex harmony, rhythm and technically diverse vocal presentations clearly exhibited in his latest release Nothing but Blue Sky.

A popular hit from the 70’s “I Can See Clearly Now” is a song written and recorded by Johnny Nash originally, that hit number one on the Billboard Hot 100 on November 4, 1972. Humphrey hits the emotional core of this cut, with moody and emotive colors that feature Humphrey surrounded by a pillow of rhythmic intensity provided by drummer, Matt Wilson and bassist, Martin Wind. Pianist Mark Shilansky provides dramatic lines and fantastic dynamics during his ensemble work, not over powering the bassist when he solos with over comping to detract from Wind. Humphrey uses a wide array of harmony choices with his interpretation of the melody. His lower register is strong and rhythmically precise, Humphrey lands in the pocket with each phrase.

Thelonious Monk created some of his most innovative music during the period in the early '50s when he recorded for Prestige, even then, few musicians could respond to Monk's challenging compositions and sharp-angled, dissonant comping. "Friday the 13th" is one of those tunes, now adding lyrics to the mix you really have a tongue twister. “(The Date Is) Friday the 13th,” is the compositional mastery of Monk, mixed with the lyrical acrobatics of Chris’ wife, Jenn Humphrey. Chris Humphrey (don’t get confused now) eloquently conveys the lyrical message with ease and on-point vocal control, in addition to, adding a well-rounded scat section that further exemplifies Humphrey’s vocal prowess.

Another Humphrey family affair is “Anna’s Song (Safe in My Arms).” Chris and Jenn Humphrey share the writing credits on this heart-felt tune. Bassist, Martin Wind opens the tune with a lyrical bowed intro. Humphrey shines on this cut, with a delicate and attentive inflection in his voice; it is evident that he is truly singing to his child. You can hear the sincerity in his voice, the type of sincerity only shared with a loved one. Wilson and Wind creatively, but softly, fashion a true lullaby appeal with this tune, truly showcasing their ability to thrive and listen sensitively in all musical settings.

That brings me to an important point. Nothing but Blue Sky is a well-conceived collection of songs that nicely create texture changes from cut to cut. It is apparent that Humphrey has spent many years on the bandstand because his album reads like a well put together set.

One of my favorite highlights of the CD is “Swingin’ Til the Girls Come Home.” An Oscar Peterson/Jon Hendricks tune that swings, sings and rings true. Humphrey starts the tune out with a bouncing scat that parlays into sassy lyrics and back into a swingin’ scat that keeps the flow working. The quartet works together like a well-oiled machine. Shilansky aptly reacts to Humphreys scat lines, with call and answer stabs to create a finely tuned interactive setting. Wilson holds it down and Wind again gives us a burning bowed solo. Wilson then takes the lead and shows us his fine work on the skins. The group trades eight’s and cooks the cut to a fever point. Humphrey again displays an exemplary rendition of a true technician in the vocal jazz genre.

Nothing but Blue Sky could be deceiving by its title to be a whimsical vocal CD, but make no mistake this is a disc for true jazz aficionado’s and a listener who truly appreciates the intricacies and difficult compositions Humphrey is portraying in this wonderful collection of storylines through jazz harmonies. This is a must have, for a jazz collection of any type.

Have I Got Good News

Patrick Flynn, Good News
Silverado Records
Reviewed By: Jeff Becker

Patrick Flynn (vocals, guitar, keyboards)
Leonard Gill (bass guitars)
David Rokeach (drums)
Kelvin Dixon ( drums tracks 1,3,10)

In 1995, Patrick founded Silverado Records, an independent record label, as well as Maple Station Music, a music publishing company. Since that time, Patrick has secured national distribution for the label and produced more than a dozen CDs, including five of his own; Relativity and Spontaneous Combustion from the Father Son Band, and Buried Treasure, Late Bloomer, and Good News, as a solo artist.

Good News, Flynn’s latest CD is a potpourri of sounds and textures. “Good News Blues” slides into home base with a pickin’ and grinin’ original blues that instantly puts a smile on your face the minute you hear the first notes. Flynn’s guitar is sweetly toned and his gritty full bodied voice brings a message looking for world change and begging for positive vibrations. Ron Thompson’s slide guitar work on the cut gives the track a swampy feel that is authentic and truly spicy. Drummer, Kelvin Dixon provides a solid backbeat and support for the group to catapult from. Flynn’s ability to convey uplifting lyrics in a genre that normally focuses on the bluer side of life is a welcomed addition to the blues canvas.

“Don’t Take Your Love Away,” takes a stroll along the classic rock side of the 70’s, reminiscent of the Eagles. This cut features organically driven melodies with introspective lyrics of the deeper meanings of everyday life. Violinist, Mardell Stickley weaves rich harmonic lines of beauty and intensity, while Leonards Angels Choir adds perfectly in sync backing vocals to complement the heart-felt Flynn lyrics. Bassist Leonard Gill is completely in the pocket, creating appropriate and poignant nuances to this magical track. Flynn’s voice is laced with yearning angst that completely sells the lyric and message of the outstanding well-crafted cut.

Back in the blues buggy, Flynn again takes us for a ride in the positive blues vehicle with “Money Don’t Matter”… “If you have love and your heart goes pitter patter.” A consummate lover of life conveyed in all of Flynn’s originals, it is his lyrics that are a true cornerstone to the genuine message of Good News. “Money Don’t Matter” and Good News the project, embodies overall continuous positive messages needed in today’s times. Drummer, Kelvin Dixon, again guest spots on this cut groovin’ and rompin’ with precision and soul. Harmonica icon, Charlie Musselwhite, adds a searing solo over the meat and potatoes groove. Musslewhite jabs and stabs under the vocal adding even more grit and spit shine.

Next is a stop in the Doobie Brothers mixed with Jethro Tull land, births “Take the Spirit and Run.” This throw back to the 70’s adds another layer to the multi-compositional vision of producer, song-writer, label owner and vocalist Patrick Flynn. Flutist, Mel Martin is responsible for the Jethro Tull timber, spicing the track with hard hitting flute that has verve and strength in each note. Hammond is added by Flynn, creating a groovy Doobie sound. Leonards Angels Choir adds depth to the track with a call an answer section on each chorus, a concept lost in today’s recordings.

Good News is a treat for those of us who remember the days of creative, adult album alternatives of the 70’s when music and creativity, instead of bottom lines were the focus in creating music product. Flynn captures that concept and takes it to the next step in evolution with impeccable production, iconic guest artists and a befitting tribute to the late Leonard Gill featured on bass as the core group bassist. Flynn has created a multi-genre release that is focused on good music and a Good News message, which frankly our music industry could sorely use. Each musician on this release brings years of experience and knowledge to the project, but it is Flynn, who through his song-writing and arranging talents pulls together a cavalcade of stars and creates a fitting reminiscent tribute to the great music of yesteryear, coupled with the messages we need today. I recommended this disc to anyone who truly enjoys great musicianship and great song-writing.

Special Guest Line Up:

Charlie Musselwhite (track 3 harmonica)
Ron Thompson ( tracks 1,12 slide guitar)
Mel Martin (track 5 flute/alto flute)
Mardell Stickley (tracks 2, 4 violin)
Hubert “Herb” Gibson (track 8 vibraphone)
Kirk Joseph (track 9 sousaphone)
Michael Rinta (tracks 9, 10 trombone)
Ekik Jekabson (tracks 9, 10 trumpet)
Rob Barics (tracks 9, 10 clarinet, tenor sax)
Dick Shuster (tracks 8, 9 tenor/alto sax)
Tressies Wells (track 7 vocal)
Darryl Webb (track 9 banjo
Leonards Angels Choir (tracks 2, 9, 10 vocals
Tressies Wells , Mz. Dee, Kelvin Dixon, Larry Vann and Patrick Flynn).track 10) horns arranged by Michael Rinta

Josh Nelson, A Lion On The Rise

Josh Nelson, Let it Go
Label: Native Language
Reviewed By: Carmel DeSoto
Josh Nelson (piano, Rhodes, C3 organ, glockenspiel)
Seamus Blake (tenor sax)
Anthony Wilson (acoustic, electric guitars)
Matt Wilson (drums, percussion)
Darek "Oles" Oleszkiewicz (bass)
Sara Gazarek (vocals on "Leaving Here")

A native of Southern California, Josh Nelson maintains a busy schedule as a jazz pianist, composer, and recording artist. At age 29, he is already performing with some of the most respected names in jazz. Now a soloist in his own right, Josh debuts with a brand new album Let It Go, released on Native Language, featuring a cavalcade of stars; Matt Wilson (drums), Darek "Oles" Oleszkiewicz (acoustic bass), Seamus Blake (tenor saxophone), Anthony Wilson (acoustic and electric guitars), and special guest vocalist Sara Gazarek featured on “Leaving Here.” The program on Let It Go varies from classical-esque introspective moments to driving modern grooves; the overall tone of the release is a cohesive lyrical presentation.

“Loose End” begins the journey, Nelson brings a melting pot of influences ranging from the Bill Evans School of complex harmony to the deep grooves found in this generation’s popular music The cut features odd phrase lengths of 3 and 5 measures, which could have resulted in a total train wreck, but in Nelson’s able hands it is the perfect notion of resolve through the ever shifting harmonic landscapes.

A moment of “Introspection” takes us on a road trip of moodiness that highlights Nelson’s fluidity and ability to create challenging arrangements. This ability set’s him apart from many of his piers. Wilson and Oles really shine on this track, creating a dialogue of complex rhythms and an almost intuitive interaction. Seamus Blake’s searing modern lines, commanding tone and vivid emotion add equally poignant moments, building the cut to a frenetic boiling point of musical passion.

“Leaving Here,” featuring vocalist Sara Gazarek, is a musically fulfilling piece that exhibits beauty, panache and eloquence lyrically and harmonically. Gazarek nails the cut with impeccable pitch and believable delivery. Her crystalline voice is feminine but strong in its conviction and delivery. Guitarist Anthony Wilson, dancing upon his strings, adds another convincing statement to the composition. Nelson has created a classic in the making conveyed by an impressive cast of players to fulfill his palette of musical ideas.

Nelson’s transitions from tender long lines, to freight train rhythmic complexities, to a multitude of harmonic textures are far beyond his years. “Colors” is appropriately titled, the piece is an array of colors and transitions, an extended piece that exemplifies a masterful cohesion of feel changes and arrangement. The introduction of the tune is very tender and classically driven. As Semus enters on saxophone it shows another side of his playing that exhibits beauty and warmth. A further inclusion of strings weave intent of motion to the piece, as it continues to build into a modern fury of sounds. Nelson’s ability to create sections of punctuation, moments of glide and portions of intense tension and release, fill this well-conceived cut.

A debut record is not normally this cohesively mature or executed with such mastery. Nelson’s debut release immediately lets us know this young man is a well-rounded and well-versed contributor to the jazz genre. His commanding abilities deserve to be pushed to the forefront. Let It Go is a breathtaking experience!

Dena DeRose, Not Quite On Target

Dena DeRose, Live At Jazz Standard
Label: Maxjazz
By Carmel DeSoto z

Dena DeRose (piano, vocals)
Martin Wind (bass)
Matt Wilson (drums)

Joel Frahm (tenor sax #8)

Pianist/vocalist Dena DeRose and her trio (Martin Wind on bass and Matt Wilson on drums) certainly have developed a swinging, communicative and multi-layered sound that is very enjoyable from an instrumental standpoint. Unfortunately DeRose’s vocals fall short in comparison to her piano skills. Granted all instrumentalists sing their parts in their head first and then transfer that sound to their instrument, but that does not necessarily mean they are skilled as a vocalist in quality of tone, pitch control or ability to convey an emotive storyline within the song. DeRose is certainly a more than apt pianist and clearly articulates that on her latest release Live at Jazz Standard.

As a recording artist, Dena has 5 CDs to her credit, all of which have received extensive accolades. On this latest MaxJazz offering, Live at Jazz Standard, Volume One, DeRose and crew run through a program of well-placed standards and a DeRose co-authored cut that truly showcases the trio’s instrumental chemistry as a strong unit.

The first cut, “Speak Low,” a Nash and Weil standard, is taken at a reverent speed showcasing DeRose’s dexterity and intelligent harmonic choices on the piano. Wilson displays an interactive and well-spoken voice in the trio mix, while Wind keeps a solid foundation for the trio to catapult from. DeRose’s delivery vocally stabs quickly at the melody, creating a lack luster tribute to the composers beautifully written lyrics of love and longing. “This is Love,” a DeRose and Philippe Petrucciani original, exhibits a breathtaking plot of love from a distance. Lyrically this is an outstanding cut, but regrettably DeRose’s vocal falls short from a pitch standpoint with her falsetto register. Additionally her re-entrance after a succession of solos is forced and sounds strained, detracting from the overall concept of the message.

“Get Out of Town” is a jaunty tune that lies nicely with the trio as a deep-swinging instrumental presentation. Written by standard giant Cole Porter, the cut drives with force and verve, highlighting DeRose as a stellar and fiery pianist. Wilson’s cymbal work is outstanding, lending a dynamic and high-energy feel to the cut. DeRose is much more at home vocally within this cut from a phrasing standpoint, but still lacks the bite needed to really sell the cut. Her voice feels underdeveloped tonally, and as she enters the form after the solos her voice is pinched to reach the notes. Even though she is executing the notes technically, the quality of voice exhibits a mid-range and nasal characteristic.

Saxophonist Joel Frahm joins the mix on “I Fall in Love Too Easily,” peppering the track with emotive lines that add to the moodiness of the piece. The group aptly supports Frahm as he weaves a gorgeous tapestry. DeRose again is at moments clearly at the bottom of her range, especially at the end of the form on the phrase “I fall in love too fast.” To her credit DeRose is unique in her vocal phrasing and delivery, which focuses on a very matter-of-fact presentation on each cut and you can hear her attempt to articulate the texture of a horn player, but in my opinion she has not developed the breath or control abilities she exhibits on piano.

Many of the tracks are laced with pitch deficient notes and unclear execution of the lines. To say they are “blue” notes would really be a stretch. This is not to detract from her piano abilities, which she clearly has developed with great control and emotion, but to compare her to other vocalists on the Maxxjazz label like Carla Cook, LaVerne Butler or even pianist/vocalist Christine Hitt, I would have to say that vocals are a work in progress for DeRose. I would love to hear an all-instrumental album in the future from this artist, with possibly a guest vocalist on a few cuts, to focus on Dena’s true strength, which is piano.

Pamela Hines "Return"

Pamela Hines Trio, Return,

Label: Spice Rack Records
Reviewed By: Jeff Becker

Pamlea Hines (piano)
John Lockwood (bass)
Bob Gullotti (drums)
Jerry Bergonzi (tenor sax)

Return, features Pamela Hines leading a stellar trio with special guest Jerry Bergonzi on tenor saxophone. Hines shines no matter what the setting she is put in, but this instrumental release certainly puts her in the driver’s seat and exhibits Pamela's true talent as a pianist.

A multi-faceted pianist is not an easy task to locate in today's jazz scene. Many pianists today have moved into a realm of groove oriented jazz, with no traces of swing anywhere to be found. Hines exemplifies the term well-rounded creating a pocket for the players to lay into with a deep sense of swing and driving force. Her ability to cover all styles of jazz clearly and with astounding technique comes through on her latest offering, proving once and for all that Hines is a seasoned composer, pianist and contributor to the jazz genre.

Bassist, John Lockwood who has toured the U.S. and Europe with Joe Henderson, Freddie Hubbard, Gary Burton, the Mel Lewis Big Band, and The Fringe, has also performed with the Buffalo Philharmonic, the Boston Pops, MIT Symphony, Pat Metheny, Dizzy Gillespie, Woody Shaw, Toots Thielemans, Stan Getz, and Art Farmer. Lockwood, a long time collaborator with Hines, lays the foundation for the trio to build upon. Not only does Lockwood clearly define the rhythmic vocabulary of this release, but he also exhibits the abilities to create texture between each cut, truly complimenting Hines' originals and original arrangements of well placed standards. Drummer Bob Gullotti, has performed with J.J. Johnson, Kenny Werner, Joe Lovano, Attila Zoller, and the Nelson Riddle Orchestra and has over 30 recordings to his credit. Gullotti creates multi-layers and multi-textured colors within this Hines outing. The interaction between Hines, Lockwood and Gulloti should be the measure that all jazz releases should be measured by.

Special guest artist saxophonist, Jerry Bergonzi is the spicy sprinkle added to two Hines originals "Very" and "Return." Bergonzi's impeccable rhythm and poignant note choices ring true as each step is taken in these highly enjoyable compositions. Bergonzi is an international tenor sax man extraordinaire; Michael Brecker was once asked if he still practiced daily. His answer was "As long as Jerry Bergonzi is around, no tenor player can rest on his laurels." For those in the know, this is the supreme compliment.

Return is a mixture of driving hard core energy, soft inner reflections and heart-rending compositions. Hines truly exemplifies the epitome of jazz with this release and clearly defines herself as a solid member of the next generation of greats.

Jazz Sensibilities

Welcome To Jazz Sensibilities, A Place Where Jazz is the focus!
I am Jeff Becker, a freelance writer who has written for jazz and food publications across the nation. Look around, browse the jazz and support the artists by visiting their shows and hearing their CDs, and first and foremost, just enjoy!