Glen Ackerman, Glenious Alien Landscape

by Jeff Becker

Five DELIGHTFUL Stars! Glen Ackerman composer, arranger, electric and double bassist’s latest release,  Glenious Alien Landscape, on Blue Bamboo Music, reveals the unique and personal sound and concept of his playing and composing.   The set consists of jazz-rock numbers, blues inspired selections, ballads, two reggae-ish tunes, several hip and respectful jazz fusion inspired tracks, and straight ahead blazing swingers. The interaction of the various ensemble players and the bassist produces a distinctive sound that is unique to the Glenious Alien sound, such as on the short and full of “Funcraft.” Elsewhere, Ackerman leave lots of room for saxophonist Woody Witt to solo and bring his invention, driven and hard hitting sound, that creates absolute musical energy.  Ackerman, often solos in a guitar-like manner in the upper range of his bass in an impactful manner as exhibited on, “Dead Moon Falls,” “Tyranotron” and “Funcraft Reprise.”

The “Flamethrower” begins with a stately on-the-beat drum machine figure with Ackerman playing solo bass with a wah-wah effect that leads to a reggae inspired groove.  “Pure Distance” then shifts to the hip hard-swinger that boppers would relish.  Ackerman’s lovely “Young Boy Daydreams…” is built on an infectious motif that is played as solo piano piece by pianist Matija Dedic. The group is interlocked in a tight six feel for “… On The Way Home” with Dedic playing an amazing solo followed by Witt’s extended soprano saxophone blow; sounding great as always. 

Elaborate compositions that effortlessly unfold with both familiar and surprising sounds are at the heart of this project, but the scorching guitar solos by Paul Chester and Witt’s flying notes of excitement really take this release to the realm of something special.  Get this project, even if you’re a hard core bopper expanding your collection – Glenious Alien Landscape will lead to many splendid musical discoveries. Highly Recommended! Five DISTINCTIVE Stars!

Bachelder and Bruns, Cherry Avenue

by Jeff Becker

Newport Beach vocalist Kevin Bachelder possess a soft focused tenor voice that is able to convey numerous emotions and convincing melodies from many idioms, from straight-ahead, blues, Latin, and pop.  Teaming up with drummer Jason Lee Bruns the two pull from a wide artistic range that is reflected on their new release, Cherry Avenue. Bachelder builds on Jon Hendricks' and Eddie Jefferson's scatting – styles. Bachelder embraces and illuminates John Lennon’s “Dear Prudence,” giving the melody a distinctive jazz inflection.  A rhythmically adventurous "Send in the Clowns," and the rarely-exulted cover of "Ain’t No Sunshine." Bachelder is able to sing to the heart of each song with many embellishments that always comes off as a perfect reference to the original melody.  The title track certainly is a testament to his skill as a vocalist! Highly recommended.

Keith Davis, Still

Keith Davis, Still
by Jeff Becker

Keith Davis has performed in the Southeastern region for over 30 years, in various jazz ensembles as a leader and first call sideman. Davis has toured with the Glenn Miller Orchestra, the Artie Shaw Orchestra.  Davis has also performed with such great musicians as David “Fathead” Newman, Ben Riley, Mike Mainieri, Pat LaBarbera, and Frank Foster. He has been featured at the Savannah Jazz Festival, the Atlanta Jazz Festival, the Jacksonville Jazz Festival, and more. Keith studies have ranged from formal training with Atlanta jazz instructor, Ted Howe, as well as with classical pianist Steve Hall.  Davis also attended the Berklee College of Music in Boston, where he studied with renowned saxophonist Jerry Bergonzi.  Davis’ participation in the 1985 Banff Summer Jazz Workshop in Banff, Alberta, Canada included intensive study with such faculty members as Dave Liebman, Dave Holland, John Abercrombie, Don Thompson, and Cecil Taylor. Currently, residing in Greenville, SC, he serves as Adjunct Instructor of Jazz Piano at Furman University.

Still marks the first release by the Keith Davis Trio, which features fellow southeastern musicians Ron Brendle on bass and Justin Watt on drums, this muscular jazz trio showcases and textural journey of introspective complexities and modern jazz harmonies all wrapped up into a nice package of original works by Davis that truly swings and fits nicely into the jazz moniker.  The release is a reflection of his many years of playing and composing, while pointing out a direction for future development.

Highlights include “Lieb” written for saxist Dave Liebman, with whom Davis had the opportunity to study with at the Banff Jazz Workshop in 1985; Davis attributes his inspiration for this cut to his mentor. “New Beginning” is sleek cut that showcases Davis’ agility and finesse, while sporting harmonic interest and complexity.   “Taiji Camp” is a playfully lilting cut that showcases drummer Justin Watt and Ron Brendle’s symbiosis as the rhythm section.  Davis glides atop the pulsing rhythms with no hesitation, his fluidity soars.  “Tadjimon” written for Davis’ oldest son, Tadji is a grooving bluesy cut that is playful and offers the listener a relaxed listen that cooks along.  “Tadji’s Groove” is a barn burner, with fiery playing from all.  Brendle offers a driving bass that is spot on, and his solo is commanding and skilled.  Watts, keeps the groove tight, yet relaxed which keeps the cut on the edge just enough to add vigor to the cut.

Overall, Still is a cornucopia of moods that has one anchoring factor a swinging trio that locks tightly and features great piano chops, the trio listens and interacts well with each other.  A wonderful first outing and one I hope will not be the last from this Southeastern trio. 

Shan Kenner, The Behavior of Vibration

Shan Kenner, The Behavior of Vibration
by Jeff Becker

Modern jazz tends to have a very muscular sound that is focused on rhythms and textures, at times some modern jazz recordings can leave the melody along the roadside, left behind for the adventure. Kenner

remembers the value of strong lyrical melodies and incorporates the muscularity of modern jazz; while keeping to the sensibilities of the tune, skillfully blending the two needed elements to create a powerful sound that engages the listener.

A prime example of this premise is exhibited in “Thumbprints,” the flamenco stylings of single lines, gives Kenner an added ability that creates a depth to the experience, the acoustic nylon steel-string choice adds a nice foil to the overall group sound.  Pianist, Albert Marques exhibits a balance of attack, complexity and expressiveness that propels the track to fervor.  The arrangement sports cascading 6/8 anthems between linear straight eight sections, which gives drummer Darrel Green a vehicle to shine.

In contrast “Seventh Trine” is a swinging traditional cut inspired by Gerry Mulligan. The use of descending 7^th chords blended with bright major seventh harmonies provides a blend of traditional swing, coupled with today’s language of modern jazz for a nice blending of yesterday and today’s sound.  Kenner’s lines are bold and clear, which elevates the listeners experience and proves that Kenner is a sound voice in the jazz fabric, definitely one to watch.

Overall, The Behavior of Vibration is a solid calling card for Kenner and the ensemble he has chosen to round out his ideas is a stellar example of a group sound that is focused.  This recording never sounded like a group playing down charts, it is a true team effort through and through and each player sounded invested, which lends itself to a wonderful journey from beginning to end.