Jazz Sensibilities

Two Guitars, A Refreshing Approach

2011-03-02T12:12:00.000-08:00

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

2011-01-26T18:39:00.000-08:00

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

2010-12-17T13:10:00.000-08:00

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

2010-10-04T18:11:00.000-07:00

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.

Pecolia Fitts Serves Up a Goodie Bag of Treats

2010-08-22T06:35:00.000-07:00

PECOLIA FITTS

Review By: Jeff Becker

Self-Released

Pecolia Fitts was born in Kenly, North Carolina but grew up in New York City. Her interest in music began in the first grade when a music teacher heard her sing. Recognizing Pecolia’s innate abilities, she soon had Pecolia singing in all the school plays and concerts throughout her elementary years. Her support and belief in Pecolia’s talents encouraged Pecolia to enter into singing contests and as a result she won contest after contest, which further cemented her interest in performance.

Her journey towards becoming a professional singer included training at Star Time Studios with a vocal coach who had trained vocalist Connie Frances. Like most musicians it was time for Pecolia to pay her dues, so her real-life training began by joining a band and performing in local nightclubs and jobs in and around Queens. Eventually she became a solo act performing in clubs and at concerts. She had the esteemed pleasure of being the opening act for the Chi-Lites and for Blue Magic at the Manhattan Center. These performances led to an invitation to France where she performed at countless French venues.

I will warn you in advance, when you take a listen to Lots of Little Goodies, you will either adore it, or hate it completely. A utterly eclectic listen all the way through, covering R&B, soul, jazz, and hip hop, the only message that is weaved throughout the disc, is hope, and the desire to rise above. Even the titles of the songs will take you aback.

Today we will explore a couple of those quirky songs; “Sexy Homeless Lady” brings to the disc a song of independence and longing combined with a bouillabaisse of drum and bass beats. Fitts sings her song of R-E-S-P-E-C-T. I might additionally add that Fitts is obviously in the latter half of her career, and sports a vocal quality of Macy Gray and or Billie Holiday, but I have to give her Kudos for still desiring to shake and stir it up a bit. “Pink Beautiful Whisky Bottle” is a jazzy ballad that addresses the heart-ache that love, at times can bring. Though the cut is somber in nature, Pecolia offers the listener a glimmer of hope lyrically.

So in closing, if you enjoy Macy Gray or are a big Billie Holiday fan, this might be a quirky addition to your collection for times when you need an Andy Warhol moment.

Beat Kaestli Sends Out His Invitation

2010-08-22T05:55:00.000-07:00

The Great American Songbook is the “Bible” for jazz vocalists, regardless of origin or birthplace. Vocalist Beat Kaestli was born in Switzerland, but he made New York his home after arriving to attend the Manhattan School of Music in the early 1990s. Since that time, his music has touched on everything from gospel and R&B to musical theater, but he has really narrowed his focus to jazz since his exploration of standards on Happy, Sad and Satisfied (B&B Productions, 2005). The follow-up, Far From Home (B&B Productions, 2009), touched on European songwriters, but Invitation brings him back to standards territory.

This is Kaestli's debut for Chesky Records, while Chesky might be marketing to audiophiles—SACD Multichannel Hybrid Disc—the technology is superb, but once you arrive at Kaestli's voice that is when the presentation starts to crumble. Though his presentation is unpretentious and organic, something I do enjoy, its lack of depth and many moments of “pitchiness” is the factor that sours the presentation overall.

Let’s explore “It Could Happen to You.” I have to say I was immediately tainted by the well known version stuck in my head, performed by Karrin Allyson on her album Collage. Kaestli’s version had certain formulaic similarities, but the tempo was a major distraction, which was actually the theme of his entire album, with songs ranging from tranquil to extremely slow.

The tune that best suited Kasteli was “Day in Day Out”; overall this was the highlight of the CD, until the slightly out of sync ending which again was a distraction from the momentum I had hoped the CD would have offered. Especially since this was not Kaestli’s debut release.

Track listing: Day In Day Out; It Could Happen To You; Invitation; My Foolish Heart; The Island; My Romance; The Nearness Of You; Moonlight In Vermont; I've Got You Under My Skin.

Personnel: Beat Kaestli: vocals; Billy Drummond: drums; Jay Leonhart: bass; Paul Meyers: guitar; Joel Frahm: saxophone; Kenny Rampton: trumpet.

Antoinette Montague, Behind the Smile

2010-08-22T05:21:00.000-07:00

Antointte Montague
Review By: Jeff Becker

In the Groove Records

Vocalist Antoinette Montague explores a 13 song collection of songs that all thematically embrace the concept of a smile and the story behind it.

A native of Newark, New Jersey, Montague has performed at a variety of venues, including Jazz at Lincoln Center's Dizzy's Club Coca-Cola, Jazzmobile's Summer Breeze concert series and the Zebra Room in Harlem's Lenox Lounge. Accompanying her on this effort are woodwind player Bill Easley, pianist Mulgrew Miller, bassist Peter Washington and drummer Kenny Washington.

So let us explore the title rack from her latest CD Behind the Smile.

"Behind the Smile," penned by Montague with musical notation by Bertha Hope, is a blues-flavored selection as many of the cuts on this release are. Saxophonist Bill Easley lays down a solid solo followed by Miller—who follows with a solo only Mulgrew Miller can deliver. The lyrics "I love your style; you stole my heart," Montague sings, with a weathered horn like sound, my only complaint is she doesn’t quite dig down deep for the low notes, though he blue notes create interest her lack of reaching completely to the bottom is what you desire to hear in a jazz/blues cut.

Now in her defense the lineup she has assembled is top notch, which can at times bare the indiscretions on tape with a blaring light. Another recent recording that demonstrates my point is the recent recording put out by

saxophonist Paul Carr on his own label. His CD, Straight Ahead Soul, features guitarist Bobby Broom, pianist Allyn Johnson, bassist Michael Bowie and drummer Lewis Nash, which completely over shadows Carr as a player, exposing his rhythmic issues.

Behind the SmileTrack listing: Behind the Smile; I Hadn't Anyone Till You; Give Your Mama One Smile; Ever Since the One I Love's Been Gone; What's Going On; The Song Is You; I'd Rather Have a Memory Than a Dream; Lost in Meditation; Get Ready; Summer Song; Somewhere in the Night; Meet Me at No Special Place; 23rd Psalm.

Behind the Smile Personnel: Antoinette Montague: vocals; Bill Easley: saxophone, flute, clarinet; Mulgrew Miller: piano; Peter Washington: bass; Kenny Washington: drums.

Fred Fried and Core 3.0 Expanding the Sonic Palette

2010-07-26T16:08:00.000-07:00

Fred Fried, Expanding the standard of “Six!”

Core 3.0
Review By: Jeff Becker
Year 2010

Purchase Link: http://www.cdbaby.com/cd/FredFriedAndCore

Personnel: Fred Fried (8 string guitar), Michael Lavoie (Bass), and Miki Matsuki (drums).

Fred Fried has augmented the standard 6-string guitar’s sonic palette by adding two additional strings and a world of new colors. The nylon 8-string guitar gives CORE a recognizable sound and texture. The trio always keeps “what’s best for the tune” in mind as they explore nine Fried originals.

“Leanne’s Number” is today’s focus. Beginning with the clear tones of two beautifully voiced chords, then Matsuki enters with a light straight eight figure, followed by Lavoie holding down double stops to add to the suspense. The tension is released by a fast unison figure that falls into the next statement. Fried masterfully develops the motif through this section, with ever evolving harmony and a play on notes, the listener flows through various feel changes and then the form is repeated. However, Fried surprises us with a flawless transition into a mid-up swing at the end of the form for the solos.

Fried’s solo is full of energy and motifs. His tone is warm and clear. His solo builds via single lines, building energy and interest. Fried keeps the melody in mind compositionally, with the rhythmic figure of the last bars of the melody being used during the solo section as well. Fried’s solo continues to build as he employs the use of quick moving chordal colors to finish his musical statement.

The chordal theme is continued during an interlude that Matsuki fills with musical patterns and colors from his set. CORE returns to the original melody one time and than over the opening two chords Lavoie provides upper register melodic commentary.

Ken Greves, A Passionate Interpreter of the Great American Songbook

2010-03-09T06:21:00.000-08:00

The Face of My Love

Review By: Jeff Becker

Year 2009

Purchase Link: CD Baby
Personnel: Ken Greves (vocals), Wells hanley (piano), Tom Hubbard (bass), Jacob Melchior (drums)

Specializing in the music of Harold Arlen, influenced by Judy Garland and raised by musician parents, who quickly discovered their son's fascination with music, theater and dance, it was only natural for Ken to pursue a career in adult standards.

Today we will focus on a Harold Arlen and Len Robin composition, from the new Greves CD, The Face of My Love. Ken Greves brings out in his interpretation of “It Was Written In The Stars," an emotional cry that takes us through the full course of the relationship stages. Ken's voice is soft, yet masculine in delivery. You can hear the passion for Arlen's music deep in Ken's soul. Pianist Wells Hanley, weaves a fabric on lyrical canvas for bassist Tom Hubbard and drummer, Jacob Melchior to create and lifting pad for Ken's voice to delicately lay upon. Ken's interpretation is befitting the composer, though he makes the cut truly his own, he does honor the composer's original concepts.

Hiatus is Over

2010-03-09T06:17:00.001-08:00

I have been busy with family, school and travel. The Olympic's were great! I have finally gotten back in the swing of things and you will be seeing many new reviews coming soon.

It feels great to be back, and I am looking forward to the piles of music on my desk.

Jeff Becker

Mark Moultrup, Dar Cho

2009-11-17T06:36:00.000-08:00

Mark Moultrup, Dar Cho
Review By: Jeff Becker
Year: 2009
Purchase Link: iTunes
Personnel: Moltrup (piano), Rodney Whitaker (bass), George Fludas (drums), and John Wojciechowski (sax), Kurt Sweitz (arco bass #8), Michael Levin (flute #5), Ernie Adams (percussion #5)

Dar Cho is a collection of 10 original compositions and three well chosen standards that create and well blended offering of new and classic sounds. The core ensemble consists of Moltrup (piano), Rodney Whitaker (bass), George Fludas (drums), and John Wojciechowski (sax) with “Good Will in the Wind” augmented by percussionist Ernie Adams and flautist Michael Levin. Also there is a nice addition of Arco bass by Kurt Sweitz on “Of a Dream.”

The first cut “When Then Was Now” is a bristling cut that is developed on a classical intro then evolves into a hard hitting palette of modern harmony and complex rhythms.

Whitaker and Moultrup’s interaction during the solo is telepathic. Whitaker intuitively follows Moultrups adventurous harmonic travels, building the solo to a surprising tutti interlude. The pulse segues to swing for Wojciechowski’s sax solo; he develops a 4 note motif that continues to build over the swing rhythms, leading to a new interlude theme that introduces bassist Whitaker’s solo. Whitaker exhibits a warm tone, nice upper register playing and inventive harmonic ideas. This is a perfect example of Moultrup’s compositional style, he employ’s interludes, textural changes, and complex improvisational colors.

“Corcovado” features Moultrup in an additional role as a vocalist. He again shows his versatility by giving this classic Jobim standard a new voice. The intro starts with solo piano with classical-esque color; Moultrup employs space, beautiful voicings and twisting lines on piano that finally lead to a familiar subtle bossa melody. Moultrup adorns the cut with relaxed organic vocals that calm the senses and invite the listener to bask in the beauty of the track. His diction is unaffected and clear and his delivery is on target. After the solos Moultrup uniquely states the melody before embarking on a vocal scat outro where he vocalizes in unison with the piano, displaying his keen ability add additional interest to a standard bossa.

Dar Cho is sprinkled with odd time signatures, complex harmonic structures, extended compositions and endless examples of Moultrup’s commanding dexterity on piano. His multi-disciplined abilities add depth and interest to Dar Cho as a complete work. Examples are continuously portrayed by the multi-genres contained within Dar Cho and Moultrup’s uncanny aptitude to deliver styles of jazz with authenticity and innovation; this key element catapults Moultrup and Dar Cho to its higher principle.

Holiday Cheer and Good Tidings

2009-10-21T07:37:00.000-07:00

It's Christmas Time with Sylvia Bennett

Review By: Jeff Becker
Year: 2009
Purchase Link: CD Baby
Personnel: Long List - SEE LINK:

The Holiday’s are upon us, and who better to serve up new Holiday classic than the classic songstress herself, Sylvia Bennett. A long time vocalist for Lionel Hampton, Bennett’s strong distinctive voice is now available to perk up the Holiday cheer.

It’s Christmastime with Sylvia Bennett offers a fresh new look at classic holiday nuggets such as; “Silver Bells,” Winter Wonderland,” Silent Night,” “Let it Snow,” “The Christmas Song” and of course on of my children’s all time favorites, “Santa Claus is Coming to Town.” However, the wonderful spice in this holiday brew is the original Christmas songs destined to be the next Christmas classics.

The first track, “A Rainbow Christmas,” is a grand opening to this warm and fuzzy CD. Bennett’s clear and inviting vocals instantly draw you in and you are transported directly to the land of holiday cheer. During the holidays we all hearken back to our childhoods, these are the feelings that make the holidays so special. We all look forward to finding those special moments that make the season bright. This CD is about celebrating: life, family, friends, love, and good cheer. “A Rainbow Christmas” is just the track to keep the celebration in full gear.

“It’s Christmas Time” is filled with heartfelt lyrics and was truly my favorite cut on the CD. The harmony used within this cut creates a bright color change, perfect for the holiday sound. Bennett’s versatile voice easily sustains the long notes of the melody; time has not changed this stellar vocalist, only enhanced the beauty.

It’s Christmas Time with Sylvia Bennett is truly a perfect addition to any Christmas collection, not only for the updated classics, but also for the brilliantly composed originals. This CD is highly recommended to stamp out the bah-humbug in anyone.

Ukiah's Lullaby, Truly Delightful

2009-10-07T04:44:00.000-07:00

Ukiah's Lullaby

Review By: Jeff Becker
Year: 2009
Purchase Link: CD Baby
Personnel: Anson Wright (guitar)

Tim Gilson (bass)

More so than any other type of ensemble a duet is about chemistry, communication and nuances, Anson Wright and Tim Gilson create a fabric of beauty, vivid colorations and intimate, intuitive offerings through each composition on Ukiah’s Lullaby.

Wright’s tone is full, round and inviting, the type of tone that is only created by years spent with an instrument. Wright’s ability to balance technical prowess with beauty is truly the pearl within this timeless recording. Gilson’s sensitivity to Wright is clearly evident within each composition; the duet has created a sound that is large, textural and conversational.

I could endlessly banter on about the technical competence of this recording and analyze which cut might be more outstanding than the next, but truthfully Ukiah’s Lullaby is a thoughtful intelligent collection of well conceived, powerful, yet relaxed originals sure to please even the most discerning connoisseur, and to pick one cut over the other would lessen the overall message of this complete offering. Wright and Gilson demonstrate a mature confidence, a keenly honed kinship and a thoroughly musical experience, a disc well worth any price to add to your collection of jazz favorites.

Rented Mule - "F"

2009-08-19T19:18:00.000-07:00

Rented Mule "X"
Reviewed By: Jeff Becker
Year: 2009

Personnel: D.A. Jones (drums), Marcell Bellinger (trumpet), Jason O'Mara (saxophones), Camille G. Brown, (keyboards, Pete McRae (guitar), Napoleon Black (percussion), Dan Greenberg (bass)

Rented Mule “X” is the sophomore effort by this group that has a sound reminiscent of the early fusion meets R&B, sound of late 70’s. While conceptually a great idea the release didn’t really have a fresh approach, it was honestly a dated sound performed by an ensemble who reminded me of a club group, instead of recording artists.

Overall the highlight on this disc is Don ‘D.A.’ Jones (drummer) and Dan Greenberg (bassist) unfortunately the rest of the ensemble sounds very young which creates even more focus on the weak points of the CD.

Additionally there is a sonic problem within the recording. The bass doesn’t resonate clearly throughout the recording, which especially in this type musical presentation it is imperative to feel the thump of the bass along with crisp clarity of sound for the true enjoyment this genre has to offer. Overall, the lack of clarity adds to distaste for the recording. It almost felt like a jam session instead of a national release.

Kat Walker's "Jazz Skat Gumbo"

2009-08-19T18:28:00.000-07:00

Kat Walker, Jazz Skat Gumbo
Review By: Jeff Becker
Year: 2009
Purchase Link: CD Baby
Personnel: Personnel: Kat Walker: vocals; Bart Ramsey: piano; Dominick Grillo: saxophone; Spike Perkins: bass; Dennis O'Toole: drums.

Greasy, spicy and delicious, no I am not talking about food; I am talking about the debut CD from Kat Walker Jazz Skat Gumbo. Hmmm, Hmmm, Hmmm this is hot New Orleans swing and Walker serves it up with authenticity.

At first listen you could mistake this CD as one of the many vocal jazz albums with countless renditions of well-worn standards, which would be an oversight; this CD is rich with the southern red clay and double fisted barrel house piano of juke joints.

For this review we will focus on “It Don’t Mean A Thing, (If It Ain’t Got That Swing)” The band leads off with a full form setting up this swingin’ rendition, pianist Bart Ramsey’s “stride-ish” left hand counterpoint creates a nice pad under Walker’s vocals. You can almost hear Kat smile when she comes in, her vocals are bouncing, fun and in the pocket. Her voice is whiskey soaked and like a fine weathered horn. The first solo is embarked on by Ramsey; he uses chromaticism to turn up the heat to a boil. Reedman, Dominick Grillo heads straight to the kitchen ala Sam Butera style and adds his spice to the gumbo. Bassist, Spike Perkins and drummer Dennis O’ Toole take their turn in the sous chef seat and add in their zesty creole into the mix. To tie up the meal Kat Walker sprinkles in a bit of “vocal scat” making this dish a tangy delight.

Infectious, fun and just enough zing to make it swing. A nice calling card for a debut CD, Jazz Skat Gumbo will leave you satisfied.

Who is this man???

2009-08-14T11:04:00.000-07:00

Roger Cairns - Let's...
Year: 2009
Review By: Jeff Becker
Purchase Link: CD Baby
Personnel: Roger Cairns (vocals), Larry Koonse, (guitar; 1, 7, 8 & 13), Darek Oles ( bass; 1, 7, 8, 10 & 13), Roy McCurdy (drums; 1, 7, 8, 10 & 13), Matt Otto (tenor sax; 2, 4, 6, 7, 9, 11 & 12), Gary Fukushima (piano; 2-6, 9-16), Ryan McGillicuddy (bass; 2, 4, 6, 9, 11 & 12), Jason Harnell (drums; 4, 6, 9, 11 & 12), Michael Shapiro (percussion; 2, 6, 9 & 12), Nolan Shaheed (trumpet; 3), Javier Vergara (tenor sax; 3, 5, 14-16), Damon Zick (tenor sax, bass clarinet, flute; 3, 15 & 16), Ryan Seward (guitar; 5, 14-16), J.P. Maramba (bass; 3, 5, 14-16), Ryan Doyle (drums; 3, 5, 14-16), Bobby Wilmore (percussion; 3, 5, 14-16).

Who is this man; a blues singer, a jazz singer, John Laine?... If there is one common theme everyone can agree on it is that Roger Cairns can tackle all of these genres with focused ease. He can move seamlessly between styles and genres, between blues, jazz, ballads and swing, between musical eras, like the show tunes of the 30s and 40s, through the lush ballads of the 50s and early 60s, to the revived rhythm & blues of the 60s and the fusion of the 70s.

His sophomore effort Let’s...began as a compilation of some of the most popular tunes from his concerts and developed from there. His objective was for this collection of songs to have a wider appeal than, perhaps those on his freshman CD A Scot In L.A., which tended to be more focused. He did not title the CD Let’s Fall in Love because it’s not exclusively a love album; hence the abbreviation to Let’s...

“Let’s Fall In Love” has a great new arrangement from pianist Gary Fukushima; from the unison intro lines of guitar and piano punctuated with hits, one gets the idea that this is going to be a good listen. The unison lines are again heard at the end of each section that Cairns sings the melody, giving the arrangement a nice flow and cohesive balance. An interlude is added at the end of the form which finds Cairns relaxed voice teamed up with guitarist Larry Koonse in a series of rhythmic hits that segues nicely into the guitar solo portion of the arrangement. Koonse delivers a swinging solo over the two A sections followed by Cairns finishing the form. That brings us to the real treat of this arrangement, a beautifully composed vocal ease in which Cairns masterfully executes streams of complex rhythmic and intervallic lines in unison with guitar, bass, and piano. This is a great arrangement of this well known standard.

A Dream Team Effort!

2009-08-05T07:46:00.000-07:00

RAMM/MORETTI/CUNLIFFE - FOUNDATIONS
Label: Foundations Jazz Records
Year: 2009
Review By: Jeff Becker
Purchase Link: CD Baby
Personnel: Curt Ramm (trumpet), Dan Moretti (tenor sax), Bill Cunliffe (piano, Hammond B3, Fender Rhodes), Marty Ballou (acoustic and electric basses), Marty Richards (drums).

What do you get when you mix a fiery horn section with tasty piano lines and one of the tightest rhythm sections in the Northeast? The debut release from Foundations Records entitled, Foundations. Now, who am I referring to, Curt Ramm, Dan Moretti, Bill Cunliffe, Marty Richards and Marty Ballou.

All of these musicians have versatility from years on the bandstand performing with fellow master musicians, particularly (Moretti), Aretha Franklin, The Temptations, Mike Stern, Dave Liebman. Not bad, what about (Ramm), Elton John, Patti LaBelle, Bruce Springsteen and let us not forget (Cunliffe), Buddy Rich, Frank Sinatra, Freddie Hubband as well as winning the Thelonious Monk International Jazz Piano Award, in addition to receiving a Grammy nomination in 2008, for “Best Instrumental Recording.” If you think all that looks good on paper, just wait until you hear them!

On Foundations, six of the pieces were co-written by Ramm and Cunliffe, while Moretti contributed the other five compositions. Each of the cuts are uniquely original in nature, and showcases the sheer technique, musicality and stellar writing this offering has within. However, for the purposes of our review, we are going to focus on one track in hopes you will get online and support the musicians by purchasing the CD, listening to it and then come back and put your comments here on our blog about your thoughts and emotions about Foundations. It is not just my lone opinion that counts; it is the power of the people’s collective thoughts and what we feel is consequential. So let me get you started and you take it from there.

For this review we will focus on the cut “Going Nowhere, Fast” a driving piece that cannot help but get your blood pumping, if you are not feeling motivated after hearing this cut, then you might need to have someone check your pulse! The horn lines are powerful and completely in sync with each other, it is evident that Ramm and Moretti have a powerful chemistry. Listen to the musical manner in which the horns play the counterpoint, each line is uniquely phrased, but blend together perfectly as Ramm sears in his upper register, while Moretti holds down the lower register complementing Ramm’s lines with supple support. The pulsing lines created by pianist Cunliffe and bassist Marty Ballou help frenzy the piece into cutting edge modern jazz. Drummer Marty Richards creates a solid focused foundation that stays within the pocket, but with just enough push to skillfully keep the band on edge, to give this piece the energy needed to keep the band driving to its limits.

Ramm’s solo is flawless and tonally what you would hope from a master trumpeter, with a crisp tone Ramm dips and soars into each note with ease. Saxophonist Moretti enters with dark moody tones that come across robust and round with muscular delivery. This is truly a team effort with all players skillfully playing their parts to create a commanding sound, a true “dream team” effort.

2009-06-07T16:48:00.000-07:00

Artist: Matt Criscuolo
CD Title: Melancholia
Label: Self-Releases

Personnel: Matt Criscuolo: alto saxophone; Larry Willis: piano, string arrangements; Billy Drummond: drums; Phil Bowler: bass; Dave Teggar: cello; Rachel Golub: violin; Whitney LaGrange: violin; Julie Goodale: viola.

Reviewed By: Jeff Becker
Purchase Link: CDBaby.com

Melancholia, Matt Criscuolo’s third CD embraces the jazz genre sprinkled with contemporary seasonings. Criscuolo self-titles it as top shelf progressive, but I would have to disagree. The CD is way too subdued and introspective for the progressive entitlement.

His credits include work with David Murray, and Etta James, and he counts among his influences Murray, Charlie Parker and Ornette Coleman. For Melancholia, named for a Billy Eckstine composition covered here, Criscuolo is accompanied by pianist Larry Willis, bassist Phil Bowler and drummer Billy Drummond. A small string ensemble joins the quartet on a few selections.
"Pensivity" is one of two Criscuolo originals. The rhythm section creates a subtle backdrop for the altoist to lay his subtle unobtrusive tone over. Criscuolo’s strong suit is pensive pieces, hence why this original cut portrays his understated style so eloquently. His tone is smooth, crisp and cuts through the track. There are brief moments where he reaches for low tones, but overall he keeps it in a comfortable range. Pianist, Larry Willis takes an extended solo, supported by bassist Phil Bowler and punctuated by the cymbals and rim shots of Billy Drummond. Even though the sax wails freely at the end of the cut, Criscuolo never really digs in the way you would hope this free moment would allow him too.

"Ethiopia," a Willis original, is a place where Criscuolo shines the brightest, his melancholy tone suits this cut and creates an ominous quality; the addition of strings gives the piece an almost symphonic overtone. In general, this seems to be the best suited cut for Criscuolo, his ability to shape a note and color it with beautiful tones is truly his strong point as an altoist.
Overall, I sit on the fence about this CD, I have heard other recordings by Criscuolo and while he certainly is improving with each release, I wasn’t sold on the strings and I would love to hear a real up-tempo burner come out of Criscuolo maybe even two. This CD is suited for a dinner party setting and will not offend in anyway for a background concept.

A Teardrop of Sun Creates a Bright Light

2009-06-07T14:27:00.001-07:00

Artist: L'Tanya Mari
CD Title: A Teardrop of Sun
Label: Falconeye Records
Personnel: L'Tanya Mari (vocals), Harry Appelman (piano), David Jernigan (bass), Tony Martucci (drums), Alejandro Lucini (drums/percurssion), Paul Wingo (guitar), Lyle Link (tenor, soprano sax).

Reviewed By: Jeff Becker
Purchase Link: iTunes and CDBaby.com

With a plethora of jazz vocalist CDs being released everyday especially lately, how does one go about choosing a worthwhile CD to add to their collection. This brings me to my introduction of a Virginia based vocalist by the name of L’Tanya Mari’. You know so many times there is an assumption that because a vocalist is on a major label that somehow that CD will be head and shoulders above the rest of the pack. That is completely not the case in many circumstances and especially not lately. The major labels keep throwing CDs out to the industry and seeing what sticks and what doesn’t. Well, this lady sticks, so much so, you will find her sticking to each rib like a satisfying meal that you have waited for all day for, while it was cooking in the kitchen.

The meal begins with a classic Bill Evans cut “Very Early.” L’Tanya’s vocal command is demonstrated clearly in her beautiful negotiation of the two-octave melody, easily navigating over the multiple keyed harmonic platform.

My next favorite course was “I Gotta Right to Sing the Blues” a show piece for L’Tanya’s wide vocal range and rhythmic command. Her command is in full display as she never losses the sultry blues feeling through-out the 5:27 minute steamy selection.

The meal ends with a perfect dessert. The rapport between guitarist Paul Wingo and L’Tanya is evident in “You Go to My Head.” The two make this duet setting breath with life, L’Tanya’s falsetto notes are always richly supported by Wingo’s thoughtful voicings. It is a treat to hear L’Tanya’s voice exposed so that one can appreciate the clear warm tones she is able to invoke from her sweet voice, her vibrato on this selection is very reminiscent of the great Billy Holliday.

Mari studied with the celebrated drummer-singer Grady Tate who influences (the artist’s bio states) inclined her phrasing, urging her to always connect with an audience by really feeling the lyrics.

A Teardrop of Sun may only be a debut release but it comes across as a Junior outing the minute you pop it into the player. A disc worth adding to your jazz collection by any means but, be sure it has its own special place not thrown in with the rest of the vocal CDs on your shelf being pumped into the market lately. Place it by Vaughn or Holiday and it will truly be among its piers.

Leslie Lewis Boppin in the OC

2008-11-10T06:27:00.000-08:00

Review By: Jeff Becker
CD: Of Two Minds
Artists: Leslie Lewis (vocals), Gerard Hagen (piano), Domenic Genova (bass), Jerry Kalaf (drums/percussion), Gary Foster (alto sax/alto flute), Rob Lockart (tenor sax), Ron Stout (trumpet), Larry Koonse (guitar).
Style: Be-bop Vocals
Label: Surfcove Jazz
Avaialble At: http://www.surfcovejazz.com/

If you had to use two words to describe Leslie Lewis and her debut CD Of Two Minds it would have to be authentic and articulate. If you could use more than two words the list would be so vast that it would take days to read. Some of those descriptive words would be lush, like a fine weathered horn, in the pocket, burning, swinging hard, and ala Carmen McRae. Not to say she is a complete cop of McRae, by no means. Lewis is her own stylistic vocalist, but what I do mean is she has certainly soaked in her fore-sisters and taken the painstaking, time consuming, commitment it actually takes to become fluent in the language of be-bop.

Lewis is joined by the Gerard Hagen Trio, (Gerard Hagen; piano, Domenic Genovea; bass, Jerry Kalaf; drums) who also could be described as fluent, cohesive and absolutely swingin’. Now, let us not forget that Hagen and crew are also brilliantly accompanying Lewis with nice interaction and the maturity not to step all over the vocals. This disc also includes guest artists Gary Foster (alto sax/alto flute), Rob Lockart (tenor sax), Ron Stout (trumpet) and Larry Koonse (guitar). The entire ensemble is a well oiled machine backing Lewis who absolutely holds her own in the group. The vocals are strong, out front and in command when in the spotlight.

The arrangements of these classic gems; In Walked Bud; I Got it Bad and That Ain’t Good; Nature Boy; Honeysuckle Rose’ ‘Round Midnight; Well You Needn’t; How Deep is the Ocean; Hello Young Lovers; But Beautiful are all arranged by pianist Gerard Hagen. This CD also touts all Los Angeles, California musicians a true insight to what the state has to offer. If this is what you can see and hear in the clubs, then L.A. and Orange Counties are truly fortunate. Leslie Lewis and the Gerard Hagen Trio are the epitome of be-bop vocal jazz and convey the language of these standards with true artistry. My advice; pick up a copy today for your jazz collection, it would be a true addition!!

DYAD - A dyad is something that consists of two parts.

2008-06-02T07:28:00.000-07:00

David Thorne Scott - Voice
Mark Shilansky - Piano
Self Released - 2007

Tracks: The Song is You; Fall into You; Boulder to Birmingham; Night's Affair with Day; Deciding Where to Land; Grow; Agitated; Rocky Mountain High; When I Fall In Love; A Simple Song

David Thorne Scott is currently an Associate Professor of Voice at Berklee College of Music. David received a B.A., Magna Cum Laude in English and music from Drew University (Madison, NJ), an A.A.A. in Professional Music from the School for Music Vocations (Creston, IA), and a M.M. in Jazz Vocal Performance from the University of Miami (Coral Gables, FL). He studied jazz under Phil Mattson and Larry Lapin, and currently studies voice with Mark Baxter.

Scott’s latest adventure is an intimate duet setting that features piano great Mark Shilansky, whose ability to comp and convey a rich frame work of sound, is the cornerstone that allows Scott to lift DYAD to new heights. Scott and Shilansky weave an intricate tapestry of beauty and harmonic colors that create a unique storyline from track to track. Each track shows a different side of Scott’s voice and Shilansky’s playing.

The CD begins with an Oscar Hammerstein classic, “The Song is You.” Scott’s voice is very different than most male vocalists. His crystalline tone and sprite attack of notes give the listener and clear and joyful experience into the most intimate setting where no vocal “sin” can be hidden by supporting instruments. Shilansky creates another layer of intricacy and command with active lines and colorful expressions within each space. A brief scat section showcases another aspect of Scott’s voice with rhythmic minutiae.

“Fall into You,” a Scott original, begins with a commanding piano and vocal entrance…Timber…Thunder….Scott articulately navigates through a wordy lyric with ease and grace, while Shilansky creates a moody canvas for him with complete left and right hand individual command. Sweeping vocals and poignant moments make this an inviting cut.

A Hal Galper and David Scott cut “Night’s Affair with Day” showcases quick and short stabbing Latin passages with masterful vocal control. Again, Scott highlights his ability to scat with ease, breathing life into the Galper/Scott original.

“Grow,” in my opinion, is a shining moment on this vocal and piano duet affair. Written by Scott, this cut truly showcases the best qualities in Scott’s voice. Clear diction, warm tones and stellar vocal control over each note, no excuses….strong delivery and fabulous lyrics. Scott truly emphasizes his true strengths in this cut.

DYAD is a journey of textures and colors not for the occasional listener of vocal jazz. This is cerebral vocal jazz that demands you to listen, think and pay attention. Scott and Shilansky have created an opportunity for a unique addition to any jazz collection, a true jazz vocal excursion worth finding!!

Back in the Saddle

2008-06-02T07:25:00.001-07:00

I have been traveling abroad and have many new reviews to post upcoming. Sorry for the silence since January, but I have to say; I have had a blast and will share all the new CDs I have picked up through my travels.

Jeff Becker

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

2008-01-28T13:48:00.000-08:00

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

2008-01-28T12:53:00.000-08:00

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

2008-01-13T09:02:00.000-08:00

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

2008-01-13T07:32:00.000-08:00

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"

2008-01-08T07:12:00.000-08:00

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

2008-01-08T07:05:00.000-08:00

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!