Of the many magazines that I contribute to, the
Jazz Archivist reissue column in Jazz Times,
occasional CD and DVD reviews for Jazziz, the All
Music Guide website (allmusic.com), Coda and
others, the only publication that is not on line is
the Los Angeles Jazz Scene. To partly rectify the
situation, my most recent Jazz Around Town
columns plus my CD reviews are on this page and
will be regularly updated for those of you who are
outside of the Los Angeles area.
To contact the Los Angeles Jazz Scene for
subscriptions and information, call Myrna Daniels
at 818-293-0584 or send a note to: Los Angeles
Jazz Scene, 8721 Sunland Blvd, Sun Valley, CA
91352
For Links that will let you go to the other pages on
this site, check the bottom of this column. And to
find specific reviews, use the Find feature on your
tool bar, typing in the name of the artist who
interests you.
Additional Los Angeles Jazz Scene reviews that
are over a year old are on another page, with its
link found at the end of this page.
UPCOMING REVIEWS
Dan Levinson & His Swing Wing
At The Codfish Ball
(Loup-Garous Productions)
Molly Ryan
Songbird In The Moonlight
(Loup-Garous Productions)
Dan Levinson’s Palomar Quartet
Four On The Floor
(Loup-Garous Productions)
Dan Levinson is perhaps best known as a
brilliant clarinetist and C-melody saxophonist who
has beautiful tones on his instruments and
specializes in 1920s jazz. Most of his recordings
display that side of his musical life, as do his
appearances at the Sweet & Hot Festival and
occasionally the Orange County Classic Jazz
Festival. But, as these three CDs from his Loup-
Garous Productions label (www.danlevinson.com)
point out, he is also an excellent swing soloist and
a fine tenor-saxophonist.
At The Codfish Ball has Levinson (heard on
four instruments including soprano) joined by
trumpeter Randy Reinhart, trombonist Jim Fryer,
pianist Mark Shane, guitarist Matt Munisteri,
bassist Mike Weatherly and drummer Kevin Dorn.
The title cut and a few of the other songs recall
Tommy Dorsey’s Clambake Seven but there is a
lot of variety on this set with the repertoire
ranging from the John Kirby Sextet to Sidney
Bechet. Levinson’s arrangements and
transcriptions give the band the feel of a mid-to-
late 1930s combo with arranged ensembles co-
existing with jammed passages and plenty of hot
concise solos. Levinson’s wife, Molly Ryan, does
a fine job singing on eight of the 18 selections
even if this version of “Ten Cents A Dance” is way
too happy.
Molly Ryan is in the spotlight on Songbird In
The Moonlight while joined by Levinson, Shane,
Dorn and (on three selections) trumpeter Jon-Erik
Kellso. Ms. Ryan is reminiscent of Helen Ward at
times, displaying a cheerful sound, infectious
phrasing and a joy to singing that Ella Fitzgerald
would have appreciated. She grows in power and
depth each year and is particularly appealing on
folk songs worthy of Maxine Sullivan and such
numbers as “Hooray For Love,” “You’re A
Heavenly Thing,” “All My Life” and two later pop
songs that fit very well into this format: “Around
TheWorld In 80 Days” and “Everybody Loves
Somebody Sometime.” Mark Shane’s Teddy
Wilson-inspired piano perfectly fits the small-
group swing style, as does Levinson’s clarinet
and tenor playing.
Dan Levinson has played many tributes to
Benny Goodman during the past couple of years,
including Goodman’s 1938 Carnegie Hall
program. His Palomar Quartet has the same
instrumentation as the BG Quartet with pianist
Mark Shane, vibraphonist Matt Hoffmann and
drummer Kevin Dorn. On its first recording, Four
On The Floor, the group performs eight
selections and, while most were played by
Goodman at one time or another, the repertoire
avoids his obvious hits. Levinson, who contributes
an original “Otolaryngology,” hints at Goodman
on such numbers as “In A Shanty In Old Shanty
Town,” “Fine And Dandy” and “Joseph, Joseph”
while playing in his own voice. The same can be
said for the other musicians. Molly Ryan
contributes three fine vocals (including the
obscure “Silhouetted In The Moonlight” and “Only
Another Boy And Girl”) and the results will
certainly please swing fans.
All three selections are easily recommended,
as are Dan Levinson’s 1920s-style recordings.
Scott Yanow
Halie Loren
They Oughta Write A Song
(White Moon Productions)
Halie Loren on They Oughta Write A Song
displays the rare ability of being able to make the
most familiar song sound fresh and relevant,
along with a talent at transforming unlikely
material into jazz. The Oregon-based singer had
previously recorded in several different idioms.
They Oughta Write A Song is her full-length jazz
set.
Accompanied by a fine rhythm section that
includes her longtime pianist Matt Treder with
occasional contributions from trumpeter Tim
McLaughlin, she performs a wide variety of music
that ranges from an intimate duet version of “As
Time Goes By” and a slightly funky “Blue Skies” to
“Sitting On The Dock Of The Bay” and Pete
Seeger’s “My Rainbow Race.” Haley has a
fetching voice that sometimes reveals a sensual
country twang (particularly on the title cut, one of
her three originals), occasionally hints slightly at
Nora Jones (on “A Whiter Shade Of Pale”) and
yet sounds pretty distinctive overall. She makes
“Autumn Leaves,” “Fever” and “Summertime”
sound like new songs and is particularly delightful
on “Perhaps, Perhaps, Perhaps.” While her
improvising is subtle, she brings out the often-
hidden beauty in these 13 selections.
They Oughta Write A Song is easily
recommended and available from www.halieloren.
com.
Scott Yanow
Gwen Scott
It’s All About Love
(GS)
Gwen Scott is a fine jazz singer who has a
very inviting and attractive voice. On It’s All About
Love, she brings new life to a variety of standards
and debuts two songs by veteran pianist Rob
Mullins.
For the enjoyable program, Ms. Scott is joined
by Mullins (who, in addition to piano and
keyboards, plays drums and arranged the 11
selections), bassist Larry Antonino, guitarist
Carmen Grillo and tenor-saxophonist Jimmy
Roberts. Roberts’ tenor is a strong asset, often
harmonizing and interacting with Gwen’s voice.
“Nature Boy” is given an unusual medium-
tempo cooking version, “On Green Dolphin
Street” is taken faster than usual, “When Sunny
Gets Blue” swings hard, and “When I Fall In Love”
is infused with plenty of feeling by the singer. Of
the originals, “Love Doctor” gives Gwen an
opportunity to dig into a lowdown blues while the
rollicking “Hide Out Underground” has Gwen
overdubbing her voice to form a spirited vocal
group.
All in all, this is an impressive effort by Gwen
Scott, a singer with strong potential for the future.
It’s All About Love is available from www.
gwenscottmusic.com.
Scott Yanow
Rick Reynolds
Color Theory
(Venue Records)
In his productive career, guitarist Rick Reynolds
has played rock, pop, funk and commercial studio
work. However his first and strongest love is for
jazz. He has previously recorded with his
advanced jazz trio Lucky Henry. On Color Theory
he uses a quartet/quintet to offer his fresh take
on jazz and fusion that he calls “post bop funk
pop.”
Reynolds is joined by keyboardist Chris
Gardner, bassist Greg Roth, drummer Bomani
and occasionally saxophonist Jim Andrews for a
set of his diverse originals. In general, the
guitarist’s music is melodic even during its most
passionate and intense stretches. Color Theory
begins with the upbeat “Better Than Ever.” The
picturesque “The Commute” has Reynolds
utilizing a trumpet sound on his guitar synth that
hints at Pat Metheny. “Free Space” is inspired by
the way Donald Fagen and Walter Becker of
Steely Dan use space during their grooves while
“Controlled Burn” is a straightahead tune with
walking bass and passionate guitar that recalls
Mike Stern and John Scofield.
“Tootsie Popsie,” which has Reynolds
displaying a harmonica sound on his guitar synth
that hints at Toots Thielemans, is a little
reminiscent during its beginning section of
“Birdland.” “GTO” is intense fusion, “Food” is
mellower, “Getting Shorter In Jaco City” mixes
together a hyper bass line with a minimal melody
played by Andrews, and “The Player” has a
menacing feel while being based on a five-note
line played forwards and backwards by the
guitarist. The playful “Sesame Seeds” (which
includes some unexpected scat singing by
Reynolds) and “Passing Day” conclude the
colorful program.
Color Theory shows that there is a lot of life still
to be found in fusion and guitar-driven jazz that
grooves, and that Rick Reynolds is an important
voice of the jazz guitar.
Scott Yanow
Reviews That Have Run In Recent Issues of the
Los Angeles Jazz Scene
Steve Myerson
In Your Absence
(Jazz Excursion)
Pianist Steve Myerson’s debut recording as a
leader is a fine effort. He performs seven of his
originals along with the pop song “Nobody Does It
Better” and two numbers from his mentor pianist
Andy LaVerne. Throughout, his close musical
communication with bassist Steve LaSpina and
drummer Anthony Pinciotti results in a set of
thoughtful, melodic and lyrical jazz. Although the
music is far from a copy, and shows influences
from the likes of McCoy Tyner, Vince Guaraldi
and George Winston, those who love the Bill
Evans Trio will particularly enjoy this program.
A four-part suite dedicated to pianist Abdullah
Ibrahim explores a variety of moods. Other
selections include “Waltz For James Williams,” a
song dedicated to Michel Camilo (“One Note
Songo”) and an Andy LaVerne original called
“Kind Of Blue.” While the emphasis is on ballads,
Steve Myerson is also adept at medium-tempo
numbers and shows plenty of subtle creativity
throughout the program, showing talent both as a
pianist and as a songwriter.
In Your Absence, which is available from www.
jazzexcursionrecords.com, is easily recommended
to fans of the modern mainstream jazz piano.
Scott Yanow
Loretta McNair
Intimate Portrait
(LM)
Loretta McNair is a very skilled singer-
songwriter who has a beautiful voice and a real
knack for writing lyrics that offer fresh viewpoints
about love and relationships. She wrote music
from the age of 12 and always sang but was really
inspired to focus on her music career when her
friend Herbie Hancock encouraged her. She has
since appeared in clubs and coffee houses
throughout Southern California.
Previously she has recorded a pair of hard-
driving blues-oriented CDs (Loretta McNair And
Blues Of the World and Deeper Than Indigo) but
Intimate Portrait is acoustic and the strongest
representation of her songwriting abilities. With
backing from a few overlapping combos that
include her main co-writer Ian Francisco on piano,
organ, guitar and strings and often the
sympathetic saxophone, clarinet and flute playing
of Dave Burnett, she introduces several
selections that could catch on as future
standards. Of these, “The One That Got Away,”
“That’s What I’m Here For” (a song that jazz
singers should check out), the heartbreaking
“Everybody Lies,” “Someone Who’ll Stay” and “I
Don’t Need Your Love” are most memorable.
The originals and performances mix together
aspects of folk, country and pop in addition to
jazz. It is difficult to categorize as anything but
fresh new music by the talented Loretta McNair.
Intimate Portrait is available from www.
lorettamcnair.com
Scott Yanow
David Ginsberg
Inner Spaces
(David Jazz Trumpet)
David Ginsberg is proof that, no matter how
closely one follows the jazz scene, there is always
more talent to be discovered. A brilliant trumpeter,
Ginsberg had opportunities along the way to play
with Dexter Gordon, Art Blakey, Jessica Williams,
Otis Rush and Boz Scaggs among others, spent
some time out of music, and came back a few
years ago. Based in New Jersey, he is a new
name to me.
On Inner Spaces, he is joined by the fine
pianist Ed Alstrom (who has worked as the
organist at Yankee Stadium), bassist Ed Howard
and drummer Don Guinta. The trumpeter
performs six of his originals (including tributes to
Freddie Hubbard and Booker Little), “My Shining
Hour” and “For All We Know,” taking a heartfelt
vocal on the latter. Ginsberg, who has a beautiful
tone, sounds equally skilled at uptempo material
and lyrical ballads. While he is part of the
bebop/hard bop tradition, he has his own sound
and his often-fiery solos are full of color and
unpredictability.
David Ginsberg may not be famous but he is
well worth checking out. This consistently exciting
release is available from davidjazztrumpet@yahoo.
com.
Scott Yanow
Lew Woodall Quartet
Simply Cooking
(Philology)
Guitarist Lew Woodall’s recent CD, Simply
Cooking, could also be called Having Great Fun.
Originally a rock and blues guitarist, Woodall has
during the past seven years been exclusively
playing swinging jazz. For this easily enjoyable
CD, he matches ideas and wits with the great
bebop pianist Hod O’Brien, bassist Tom Harbeck
and drummer Joel Lubliner, all of whom (like the
guitarist) live in Virginia.
While Wes Montgomery (when he is playing
octaves) and the single-note lines of Grant Green
are influences, Lew Woodall has his own sound.
Tender and lyrical on ballads, he cooks with as
much passion as O’Brien during uptempo
renditions of “Tangerine,” “Softly, As In A Morning
Sunrise” and his own “Simply Cooking.” On seven
standards and three originals based on famous
chord changes, Lew Woodall comes up with fresh
ideas, swings hard and simply cooks. This is a
difficult CD for any straightahead jazz fan to
resist. It is available from www.philologyjazz.it.
Scott Yanow
Loose Wig
Velvet Coup
(Loose Wig)
Loose Wig
Live At The Jazz School
(Jazz School Records)
Loose Wig is a quartet of adventurous jazz
musicians who are based in the San Francisco
area. Their frontline is formed by tenor-
saxophonist Ben Fajen and guitarist Mike
Abraham while bassist Sam Bevan and drummer
Bryan Bowman have very active roles, making the
group into a true musical democracy. The
episodic tunes and the intuitive but logical
improvisations inspiring each of them to stay very
alert.
On Velvet Coup, Loose Wig performs 11 group
originals; eight by Bevan, two from Bowman and
one by Abraham. The music could be called
modern post bop jazz in that, while the improvising
is chordal-based, the compositions, structures
and rhythmic accents are complex and fresh.
These are not the type of tunes that are heard at
typical jam sessions! The music swings in its own
way, with the saxophonist and the guitarist often
playing the tricky melodies in unison. The opening
“Ann Uncompromised” has Fajen and Abraham
trading and echoing each others ideas almost
instantly. The interplay between the musicians
(they all have big ears) is apparent throughout
this set, whether it is the jazz waltz “Sweetback,”
the ominous-sounding “Revencers” (which has a
pattern in 5/4 stated by bassist Bevan), the
spooky ensemble ballad “A Faint Glimmer In
Remembrance,” or the post bop swinging of “The
Sound Of Midnight.” Fajen’s cool tone and
Abraham’s versatility, along with the tight rhythm
section, make even the most complex music on
Velvet Coup seem accessible.
Live At The Jazz School features the quartet
performing nine originals at Berkeley’s Jazz
School. The individual solos are consistently
outstanding. Bassist Bevan has a strong spot on
“Presque Vu,” guitarist Abraham’s statements are
constantly full of surprises, Fajen puts plenty of
feeling into the melancholy jazz waltz “Now’s Not
The Time” (hinting a bit at Warne Marsh’s tone),
and Bowman’s understated drumming should not
be overlooked. The musicians have plenty of
opportunities to stretch out, particularly on the ten-
minute “Blues (In 5)” which, quite typically, is not a
blues. All of the chord changes on their programs
are original
Lovers of creative modern jazz are strongly
advised to give Loose Wig a close listen. Both
sets are available from www.loosewig.com.
Scott Yanow
Eddie Condon
Rare & Unissued Items 1929-1968
(Italian Jazz Institute)
Eddie Condon was a unique figure in jazz
history. A guitarist (and originally a banjoist) who
never took solos and stuck to playing chords
rhythmically, Condon was a major force in
dixieland and small-group swing as a bandleader
and organizer of events. He had the knack for
setting the perfect tempo, for putting together
remarkable all-star bands (managing somehow to
feature everyone), and for making historic events
happen.
This collectors’ CD, available from www.
italianjazzinstitute.com, lives up to its title. The 22
performances, programmed in chronological
order, cover a 39 year period and are taken from
a wide variety of sources. Included is the
soundtrack of a 1929 Red Nichols short (which
includes a couple of very rare Condon vocals), a
version of “At The Jazz Band Ball” from an early
experimental television broadcast in 1938, some
previously unissued live performances, and a
1968 TV show led by pianist Art Hodes. Among
the key soloists are clarinetists Pee Wee Russell,
Edmond Hall and Tony Parenti, trombonists Miff
Mole and Lou McGarity, trumpeters/cornetists
Bobby Hackett, Billy Butterfield, Muggsy Spanier,
and Wild Bill Davison, and pianist Ralph Sutton.
Eddie Condon fans who think they have all of
his many recordings are advised to get this one
too for it contains plenty of enjoyable hot jazz.
Scott Yanow
Roger Kellaway/Dick Hyman
Two Pianos At The Jazz Bakery
(Jazz Bakery Records)
In late 1999, Roger Kellaway and Dick Hyman
teamed up for a few nights of duet piano
performances at the Jazz Bakery. The teaming
was a bit unlikely. Hyman, who can play brilliantly
in any jazz style, has mostly focused on stride,
swing and pre-bop idioms while Kellaway is a
more modern and explosive player. I remember
attending one of the evenings and being a little
frustrated that Hyman had to play continually on
Kellaway’s turf, and that the latter dominated the
music.
However that is not so true on the nine
performances picked for this debut release from
the new Jazz Bakery label. While the playing is
generally quite modern (other than moments of
“Three Little Words”), and there is not much
striding, the two pianists perform as equals. They
both sound inspired on extensive explorations of
“Autumn Leaves” and an abstract “Chopsticks,”
contributing two originals apiece (including
Kellaway’s “Remembering You” from “All In The
Family,” and Hyman’s “Theme From The Purple
Rose Of Cairo.” Much of the time it is difficult to
guess who is playing what, which is a clear sign
that they were listening closely to each other,
reacting quickly and building on each other’s
ideas.
Two Pianos At The Jazz Bakery is both unique
and easily recommended. Hopefully there will be
many more releases on this label (www.jazzbakery.
org) in the future.
Scott Yanow
The Clayton Bros.
Brother To Brother
(ArtistShare)
Everyone loves the Clayton Brothers. John
Clayton, a brilliant bassist, arranger and
bandleader, is one of the nicest people in the
music business. The same can be said for his
sibling, altoist Jeff Clayton. Add in John’s son
pianist Gerald Clayton (who grows in power and
depth each year), the always exciting trumpeter
Terell Stafford and the up-and-coming drummer
Obed Calvaire, and it is not surprising that this
quintet plays such rewarding music on their latest
release, Brother To Brother (available from either
www.johnclaytonjazz.com or www.jeffclaytonjazz.
com)..
Two selections apiece pay tribute to the Jones
Brothers (Thad, Hank and Elvin) while three
others (“Still More Work,” a modernized “Jive
Samba” and “Big Daddy Adderleys”) are homages
to Cannonball and Nat Adderley. Since
Cannonball has always been a strong influence
on Jeff Clayton and Stafford can sound close to
Nat Adderley, those tributes are particularly
successful. Of the other selections, most unique
is a remake of “Walking Bass” which has John
Clayton telling the humorous tale of going out
drinking with his dear friend, his bass.
The Claytons have always stood for swinging
and lively jazz, and they achieve their goals on
this highly enjoyable and fun release.
Scott Yanow
Terrence Brewer
Groovin’ Wes
(Strong Brew Music)
An excellent guitarist from the San Francisco
Bay area, Terrence Brewer has released a series
of fine jazz CDs on his label (strongbrewmusic.
com). Groovin’ Wes is one of the more successful
tributes to Wes Montgomery put out in recent
years.
Brewer has a tone similar to Montgomery’s and
he can play Wes’ trademark octaves but he also
has an original style of his own in the jazz
mainstream. For this trio set, he is joined by
organist Wil Blades and drummer Micah McClain.
Most of the songs are closely associated with
Montgomery including “Bumpin’ On Sunset,”
“Road Song” and “Here’s That Rainy Day,” and
there are times when one would swear that Wes
was playing. However the music does not sound
dated at all and Brewer also includes some ideas
of his own that build upon Montgomery’s style.
Blades’ organ recalls Melvin Rhyne and McClain
is solid in support.
Throughout, Terrence Brewer plays with subtle
creativity. He deserves to be better known.
Groovin’ Wes is recommended.
Scott Yanow
Monk Hazel
& His New Orleans Jazz Kings
(GHB)
Don Albert/Punch Miller/Kid Howard
Echoes Of New Orleans
(GHB)
Duke Heitger’s New Orleans Wanderers
What Is This Thing Called Love?
(Jazzology)
George Buck’s labels, which include GHB and
Jazzology, have been steadily putting out New
Orleans jazz, dixieland, swing, blues and vocal
albums for decades. His enormous catalog is full
of classic music. Three recent releases are
covered in this article.
Among the many smaller record companies
acquired by Buck through the years is Joe Mares’
Southland label. Monk Hazel & His New Orleans
Jazz Kings has music from two separate projects.
The first five selections are of particularly strong
historic interest for they team together trumpeter
Al Hirt and clarinetist Pete Fountain early in their
careers. Featured in a septet headed by drummer
Hazel and also including trombonist Jack Delaney
and pianist Roy Zimmerman (with two vocals by
Rita St. Claire), Hirt and Fountain swing hard on
such numbers as “Panama,” “I Used To Love
You” and a previously unreleased “Gypsy Love
Song.” The other eight selections, four of which
were previously unreleased, has Hazel in 1957
heading a sextet featuring Delaney, trumpeter
Dutch Andrus and clarinetist Harry Shields. While
not quite as explosive, this music, which includes
“Angry,” “Let Me Call You Sweetheart” and “When
You’re Smiling,” swings just as hard and will be
enjoyed by New Orleans jazz fans.
Three separate sessions are grouped together
on Echoes Of New Orleans, including two
previously unreleased songs. The legendary if
relatively little-recorded trumpeter Don Albert is
heard in prime form with clarinetist Louis Cottrell
in a septet in 1962, taking vocals on “Roses Of
Picardy” and “Breeze.” In a rare teaming,
trumpeters Kid Howard and Punch Miller add fire
to a band also including Cottrell and trombonist
Jim Robinson. And trombonist Bill Matthews heads
a sextet in 1955 that is reminiscent of Oscar
“Papa” Celestin’s group of a few years earlier,
particularly on “Oh Didn’t He Ramble” and “Bill
Bailey.” The pianists of these bands, Jeanette
Kimball, Lester Santiago and Octave Crosby, are
by themselves strong reasons to acquire this CD.
Moving to more recent times, trumpeter Duke
Heitger teams up with veteran trombonist Bob
Havens and clarinetist Evan Christopher on What
Is This Thing Called Love, a continuously colorful
set of trad and swing. Each of the 13 selections
contain special moments and creative solos, with
some of the more memorable selections including
spirited versions of “What Can I Say After I Say I’
m Sorry,” “King Porter Stomp,” Christopher’s
arrangement of “Orange Blossom Rag” and
“Blues My Naughty Sweetie Gives To Me.” What Is
This Thing Called Love serves as evidence that
there is still plenty of life to be found in classic jazz.
All three CDs are available from www.jazzology.
com.
Scott Yanow
The Red Rock Hot Club
Gypsy Daydream
(RRHC)
55 years after his death, the music and style of
Django Reinhardt are as popular as ever. During
the past 20 years, “gypsy jazz” has caught on big
in Europe and in certain areas of the United
States. The combination of an acoustic guitar
soloist, violin, a rhythm guitar or two and a bass
performing swing standards is still an irresistible
idea, often augmented by other instruments and
original tunes in the style.
One would not necessarily think of Salt Lake
City as a hotbed of gypsy swing, but that is where
The Red Rock Hot Club is based. The group,
consisting of guitarists Rick D’Aigle and Pat Terry,
violinist Dan Salini, clarinetist John Flanders and
bassist Scott Terry, was founded by D’Aigle in
1999. On Gypsy Daydream, they perform five
vintage standards, six Django songs, two originals
by D’Aigle and the haunting “J’Attendrai.” The
latter was featured on the only full-length sound
film of Reinhardt with the Quintet of the Hot Club
of France.
While Dan Salini and Rick D’Aigle naturally hint
at Stephane Grappelli and Django Reinhardt,
they are creative within the style and not merely
copying the past. Their versions of such numbers
as “After You’ve Gone,” “Blues For Ike,” “Swing
48,” “When You’re Smiling” and the classic
“Tears” are fresh and alive rather than just
museum pieces, showing off the vitality of the
band.
Django would have enjoyed this CD, and would
certainly have loved to sit in with the Red Rock
Hot Club. Gypsy Daydream is available from www.
redrockhotclub.com.
Scott Yanow
Mike Bernard
The Rag Time King Of The World
Superbatone
Although 1899-1915 was the ragtime era, very
few solo pianists were recorded during that time.
Scott Joplin and James Scott did not make any
records and Joseph Lamb (the other member of
ragtime’s big three) did not make his only
recordings until 1959. Rags were recorded by
bands (including that of John Phillip Sousa) and
banjoists, but recording technicians felt that it was
too difficult to record the piano. On many early
jazz recordings of 1917-20, it is difficult to even
hear the piano.
Fortunately Mike Bernard was seen as an
exception. Born in 1886, he was a piano virtuoso
who, after winning contests, was billed as “The
Rag Time King Of The World.” He recorded 13
piano solos during 1912-13 and two others in
1918. All but one very rare title from the earlier
dates are on this valuable CD, compiled by Brad
Kay (himself an impressive pianist) for his
Superbatone label. Information on Superbatone’s
releases can be found at www.squidoo.
com/superbatone or by sending an E-mail to
suprbatone@aol.com.
The music, some of which was recorded over
four years before the first official jazz record, is
fascinating to hear. Bernard’s technique is very
impressive. He interprets classical melodies,
creates a musical depiction of the “Battle Of San
Juan Hill,” performs medleys of Ted Snyder and
Irving Berlin songs, and plays music that could be
considered ragtime or at least a direct
predecessor to the novelty ragtime of the 1920s.
Among the highpoints are such selections as
“Everybody Two Step,” “That Peculiar Rag,”
“Maori” (which hints at “The Charleston” a few
years before it was written) and “1915 Rag,” not
to mention Bernard’s “Tantalizing Tingles” and
“Blaze Away.”
Mike Bernard lived until his early death in 1936
at the age of 50 but he did not record after 1918,
a real pity. One wonders what he thought of jazz,
James P. Johnson, Fats Waller and Art Tatum.
Largely forgotten today, Mike Bernard preceded
all of the jazz greats and deserves his place in
history as the first of the piano giants to record.
Scott Yanow
Colleen McNabb
Don’t Go To Strangers
(Zucca)
At this point in time, Colleen McNabb is best
known for her association with Joey DeFrancesco,
often performing with his trio. She has also
recorded with George Coleman, Buddy
Montgomery and Joe Chambers. Don’t Go To
Strangers is her debut CD as a leader.
Throughout this CD, one is impressed by the
high quality of the standards repertoire, Colleen’s
subtle creativity, and the very attractive sound of
her voice. She puts new life and fresh variations
into such tunes as “Cheek To Cheek,” “I’m In The
Mood For Love,” “Canadian Sunset” and “For All
We Know.” While “Waltz For Debby” is taken a
little too fast (decreasing the emotional value of
Gene Lees’ lyrics), each of the 13 selections has
much to offer. Most of the time the singer is joined
by DeFrancesco’s trio with guitarist Jake Langley
and drummer Byron Landham but there are also
appearances by DeFrancesco on piano, bassist
Tony Banda, drummers Ramon Banda and Steve
Gadd, tenor-saxophonist Paul Anderson and (on
“For All We Know”) pianist Buddy Montgomery. In
addition, there are two numbers on which Ms.
McNabb is just accompanied by pianist Tommy
Muellner.
Colleen McNabb excels in each setting and
comes up with something fresh to say on every
selection. This is an impressive debut, available
from www.zuccarecords.com.
Scott Yanow
Ran Blake
Driftwoods
(Tompkins Square)
Ran Blake has always been in his own musical
category. The veteran pianist and educator often
emphasizes the melodies of standards while
greatly altering or dispensing with their chord
structures. He contrasts unexpected sounds with
dramatic silences, has his own chord voicings
(which sometimes include a few unexpected
added notes), and his improvising is utterly
unpredictable although ultimately logical.
Two of Blake’s great loves are movies
(particularly of the film noir period) and singers.
Both are paid tribute to throughout this wide
ranging solo set. The singers he salutes include
Billie Holiday, Sarah Vaughan (“Dancing In The
Dark”), Hank Williams (“Lost Highway”), Nat King
Cole, Mahalia Jackson, Sheila Jordan (“You Are
My Sunshine”) and his longtime favorite Chris
Connor. Several of the songs on this CD are from
films including Quincy Jones’ “Pawnbroker.” But
even some of the better-known standards are
given unique treatments for no one sounds quite
like Ran Blake. Although an introverted player, he
is capable of great emotional outbursts,
sometimes shattering introspective moods with
unexpected explosions of dissonance. The results
are consistently fascinating.
This consistently intriguing set is available
from www.tompkinssquare.com.
Scott Yanow
Francesco Crosara
Notes
(Crosara Creative)
Francesco Crosara is a very talented pianist
who jazz followers should know about. The son of
the fine singer Lillian Terry, he was born in Italy,
attended USC in the 1980s, and lived in Hawaii for
several years, often working in altoist Gabe
Baltazar’s quartet. Crosara also spent a period
performing in Chicago with the likes of Von
Freeman and Ira Sullivan. Along the way he
recorded three relatively little-known albums as a
leader.
Notes is his fourth. A set of unaccompanied
piano improvisations, this program finds Crosara
performing thoughtful solos that are sometimes
out-of-tempo while in other spots swing hard. He
is a bit funky on Herbie Hancock’s “Cantaloupe
Island,” does a fairly rare version of Chick Corea’s
“Mirror Mirror,” and on “Passion” is reminiscent of
Keith Jarrett in his bluesier moments. Other
highlights include an emotional version of “You
Must Believe In Spring,” a happy rendition of
Thelonious Monk’s “Hackensack,” and several
inventive originals, most notably the nostalgic and
emotional “Colors” and the catchy “Together.”
While one sometimes wishes that more of the
tunes were uptempo, “Someday My Prince Will
Come” is full of joyful swing.
Notes is a thought-provoking solo recital that
lets one know that Francesco Crosara is one of
today’s unsung jazz greats. It is available from
www.francescojazz.com.
Scott Yanow
Sarah DeLeo
I’m In Heaven Tonight
(Sweet Sassy Music)
Born and raised in Connecticut, Sarah DeLeo
gained her most important jazz education by
singing in New York City jazz clubs after her
college years. She studied privately with Lina
Koutrakos, Jay Clayton, Dena DeRose, Giacomo
Gates and Kirk Nurock, and learned early on that
it was important to develop her own voice rather
than copying her predecessors. 2005’s The
Nearness Of You was her excellent debut while I’
m In Heaven Tonight is an equally impressive
follow-up.
Ms. DeLeo’s tone and happy sound sometimes
hint at early Peggy Lee, but otherwise she has
her own style. She sounds at her best on such
standards as “I Feel Pretty,” “No Moon At All,”
Sometimes I’m Happy” and “You’re Getting To Be
A Habit With Me.” More unusual choices include
Patricia Barber’s “Let It Rain,” an adaptation of
the rock song “In The Cold, Cold Night and the
title cut. Her only misstep is singing “Stolen
Moments,” a repetitive melody that should only be
performed as an instrumental. Most of the songs
have her joined by either pianist David Cook or
organist Brian Charette. Bassist Gary Wang is on
the piano numbers, percussionist Mark Brodenet
is a constant, and various selections add guitarist
Chris Bergson, saxophonist Jay Collins and/or
trumpeter Fabio Morgera.
All in all, this is a fine effort by a promising
young singer. I’m In Heaven Tonight is available
from www.sarahdeleo.com.
Scott Yanow
Greg Reitan
Some Other Time
(Sunnyside)
In his career thus far, pianist Greg Reitan is
best known for having written scores for
television, films and commercials. Born in Seattle,
he moved to L.A. in 1991, attended USC, worked
in New York during 1995-2001, and has been
back in Los Angeles since 2002. Some Other
Time is his debut recording as a leader and
shows that he is also an inventive pianist.
On the opening “All Of You,” Reitan (in a trio
with bassist Jack Daro and drummer Dean Koba)
sounds a bit like Bill Evans. While Evans, Keith
Jarrett and Denny Zeitlin are influences, Reitan
also has his own thoughtful musical personality.
He works closely with his sidemen (who often
speak in a single voice), creates sophisticated
chord voicings and, in addition to his reworking of
some standards (including “Giant Steps”), revives
obscurities by Vince Guaraldi, Pat Metheny and
the Beatles (“Dear Prudence”). Reitan also
contributes five of his originals which fit into the
modern mainstream while offering fresh ideas. He
is particularly effective on quiet and harmonically
sophisticated ballads and one can think of his
style as similar to Marian McPartland’s at her most
modern. His music reveals new insights with each
listen.
Some Other Time is an excellent start to Greg
Reitan’s jazz recording career. It is available from
sunnysiderecords.com.
Scott Yanow
Darius Brubeck
Lydia And The Lion
(GF)
Of all of Dave Brubeck’s four musical sons, each
of whom has had important solo careers, Darius
Brubeck has recorded with his father the least.
The two reasons are logical, for Darius is also a
pianist and he has spent much of his life teaching
music in South Africa.
Darius Brubeck has long had his own voice on
the piano and as a writer. His playing fits into jazz’
s modern mainstream while his originals and
arrangements are personal, generally a bit witty,
and fun for musicians to use as springboards for
their improvisations.
For Lydia And The Lion has Brubeck joined by
tenor and soprano saxophonist Mike Rossi,
bassist Matt Ridley and drummer Wesley
Gibbens. The music includes Abdullah Ibrahim’s
catchy blues “Tsakwe,” a couple of likable feel-
good pieces (“Baby I Don’t Know” and “For
Lydia”) and the spirited medium-up blues “The
Lion At The Bar” which inspires some wailing
tenor from Rossi. “Blowin’ In The Wind” is
reharmonized and played in 5/4 time, Brubeck’s
“Monkey’s Wedding” is a catchy strut that
features some fine soprano playing from Rossi,
and the closing “I’ll Be Seeing You” is taken faster
than usual and is bookened by hints of
Thelonious Monk’s “Misterioso.”
Darius Brubeck’s music is melodic and
accessible yet unpredictable enough to stand out.
This set, available from info@brubeckmusic.com,
is easily recommended.
Scott Yanow
John Temmerman
Live In Evanston; John’s Mixed Bag
(JFT)
John Temmerman is a tenor and soprano-
saxophonist based in the Chicago area.
Temmerman has a raspy tone on tenor that is at
times a little reminiscent of latter-day Sonny
Rollins. John’s Mixed Bag, his third CD, features
his “Jazz Obsession Quartet” which also includes
guitarist Neal Alger, bassist Steven Hashimoto,
and either Rusty Jones or Steve Magnone on
drums. Trumpeter Steve Thomas has guest
appearances on “Sister Sadie” and “Blue Moon.”
The music is straightahead jazz, consisting of
four of the leader’s originals, the obscure
“Spooky,” “Norwegian Wood” and five jazz
standards. The performances are taken from the
group’s appearances at the 2007 and 2008
editions of Custer’s Last Stand Festival of the Arts
which took place in Evanston, Ilinois. The
interplay between Temmerman and Alger is
always impressive, the rhythm section keeps the
momentum flowing, and close attention is paid to
varying tempos and moods. Among the highpoints
are “Sister Sadie” (which makes one wish that the
trumpeter was on more of the seletions), the
blues “Sooner Or Later,” “Stolen Moments” and a
heartfelt “Just A Closer Walk With Thee.”
This fine set is available from www.
jazzobsession.com.
Scott Yanow
Mark Sonksen
Alba
(MS)
It is difficult not to be impressed by bassist Mark
Sonksen’s Alba CD. The 11 performances, which
utilize a variety of different instrumentations, are
consistenly colorful and some of the originals
(most notably “Green Hills” and “Cancion
Portena”) could possibly become standards in the
future if they are heard by enough musicians.
Based in Chicago, Sonksen utilizes such
colorful musicians as Mark Tuttle on tenor and
soprano, trumpeter Ron Ruvio, flutist Willie
Garcia, violinist Zach Brock and Don Stille on
accordion for various numbers along with his fine
rhythm section. While these players are not
household names, they add a great deal of color
and creativity to the music. Seven of the 11
selections are originals by the bassist (who
arranged all of the music), ranging from Afro-
Cuban jazz and tangos to ballads. In addition, the
group performs numbers by Charlie Haden
(“Silence”), Richie Beirach (“Leaving”), Hilton Ruiz
(“New Arrival”) and Leonard Bernstein
(“Somewhere”).
There is not a throwaway track among the 11
and this music grows in interest with each listen.
Alba is highly recommended and available from
www.marksonksen.com and CD Baby.
Scott Yanow
Rick Gallagher
Sugar Shack
(Ridgetone)
Bill Howland
Moon Rays
(Graycat Productions)
Chris Glik
Tropical Jazz For The Soul, Vol. 2
(Glik Music)
Ted Perry
New Ways Forward
(TP)
These four CDs feature pianists who deserve to
be much better known.
A regular in the Pittsburgh jazz scene, Rick
Gallagher is a fine pianist with a distinctive style of
his own within the mainstream of jazz. On Sugar
Shack he mostly performs his own originals and
shows a real knack for creating and playing jazz
waltzes. A melodic pianist who lists among his
influences Red Garland, Vince Guaraldi, Bill
Evans and Wynton Kelly, Gallagher has a relaxed
style and builds his solos gradually and
thoughtfully while always swinging lightly. Joined
by bassist Paul Thompson, drummer Thomas
Wendt and, on two songs, percussionist George
Jones, Rick Gallagher has created an appealing
and very friendly set of original music that is very
easy to enjoy. It is available from www.
rickgallagher.com.
Pianist Bill Howland is based in Charleston,
South Carolina. Moon Rays (information is at
howlandonline.com), his second release for his
Greycat Productions label, features him playing
solo on ten standards and his original title cut.
Howland has a basic melodic style which is often
punctuated by the rhythmic patterns that he plays
with his left hand. His concise interpretations of
the mostly-vintage melodies (only three
performances are over four minutes and only “My
Foolish Heart” is longer than five) get to the point
quickly and succeed both as background music
(he plays at a lot of restaurants) and for close
listening. To his credit, Howland does not sound
like any of his predecessors. Most of the
selections (which include “The Girl From
Ipanema,” “Stella By Starlight” and “Manha De
Carnival”) have been performed a countless
number of times before but chances are that
these are among the songs that are most
requested. In any case, Bill Howland gives the
tunes some fresh life and performs with taste and
a light solid swing.
Pianist Chris Glik’s Tropical Jazz For The Soul,
Vol. 2 is a fine example of easy-listening jazz. The
music grooves nicely, the improvising is melodic,
and the tones by the various players, especially
tenor-saxophonist Dave Victorino (who hints a bit
at Stan Getz), are West Coast cool and pleasing.
Three standards are performed by Glik in a trio
with bassist Larry Muradian and drummer Steve
Sykes while his eight originals are interpreted in a
quintet also including bassist Mike Flick, drummer
Kenny Park, guitarist Lenny Coltun and Victorino
on tenor and flute. The music ranges from hard
bop to light fusion and, while no new paths are
blazed, the results are quite accessible and very
easy-to-take. It is available from www.glikmusic.
com.
The most energetic of these four CDs is New
Ways Forward, a particularly well-conceived trio
project featuring pianist Ted Perry, bassist Ryan
Kotler and drummer Allan Ward. Starting off with
some New Orleans parade rhythms during a
combination of “Love For Sale” and Geoff Keezer’
s “Proclamation,” this set also includes an
emotional version of Charlie Haden’s “First Song”
(which is on its way to becoming a standard), an
exploration of Thelonious Monk’s “Epistrophy,”
tunes by Jobim and Rodgers & Hart (an abstract
version of “Have You Met Miss Jones”), an
intriguing Perry original and the traditional “Hush-
A-Bye.” The trio is quite tight with Kotler having a
major role while Tad Perry displays his own
modern mainstream style. Each performance has
much to offer and repeated listenings reveal
plenty of subtle surprises. Be sure to get this one
(www.tedperrymusic.com).
Scott Yanow
Carolyn Lee Jones
Bon Appetit!
(CLJ)
Marky Quayle
One December Day
(Triple M Productions)
Deborah Latz
Lifeline
(June Moon Productions)
Born in Nebraska, Carolyn Lee Jones was a
retail buyer living in Dallas when she decided that
she really wanted to sing. Fortunately she has a
strong voice along with the will power and, after
gaining a lot of experience singing in Dallas, on
the East Coast and in Paris, she has come out
with her debut recording, Bon Appetit.
Accompanied by pianist Wells Hanley, bassist
Saadi Zain and drummer Jacob Melechior, she
performs standards (highlighted by “Come Fly
With Me,” “Get Out Of Town” and “Blue Skies”),
obscurities and three Bob Dorough songs.
Dorough appears as a special guest on “Devil
May Care” and “Sunshine Morning,” almost
stealing the show. Ms. Jones is particularly
effective on medium-tempo material and there is
an infectious longing in her voice on some of the
selections. Bon Appetit is a solid start for what will
hopefully be a productive career; it is available
from www.carolynleejones.com.
Marky Quayle grew up loving standards but as
an adult found that she could not make a living
singing vintage material. Instead she spent 30
years in the business world until 2004 when she
began to sing in public again. For One December
Day, Wesla Whitfield wrote the liner notes and it is
not at all surprising that she has plenty of praise
for the singer. Marky Quayle is a little reminiscent
of Whitfield in that she lets the lyrics of each song
speak for itself, singing beautifully while keeping
her improvising to a minimum. It is up to her San
Francisco rhythm section (pianist Dave Austin,
bassist Chuck Bennett and drummer Bob
Blankenship) to keep the music swinging and
mildly boppish. Fortunately Ms. Quayle has very
good taste in material (which includes “Then I’ll Be
Tired Of You,” “Moonlight In Vermont,” “Like
Someone In Love” and “Learnin’ The Blues”) and
she is particularly skilled on ballads, so one
enjoys hearing her bring out the warmth and
timelessness of each song. This fine set is
available from www.markyquayle.com.
When it comes to singing at very slow tempos,
few are in Deborah Latz’s league. She has the
rare ability to take a song at the speed of a dirge
and yet not sound like she is dragging or losing
the beat; she just knows how to take her time. Not
all of the songs on Lifeline are quite that slow, but
the most haunting performances are. Fortunately
pianist Daniela Schachter also has that ability
while bassist Bob Bowen and drummer Elisabeth
Keledjian are both subtle and supportive. Tenor-
saxophonist Joel Frahm has several good spots
and his tone matches very well with the singer’s
voice. Highlights include a very slow “I Get Along
Without You Very Well,” a combination of “Tea
For Two” and “Day In And Day Out” that works
surprisingly well, “I Wish You Love” (sung in
French), a fresh version of “My Favorite Things”
and “How Deep Is The Ocean.” Deborah Latz is
excellent at picking out the right note for the right
moment, and her reshaping of some of the
melodies improves the songs. Lifeline, available
from www.deborahlatz.com, is a gem well worth
hearing several times.
Scott Yanow
Nobuki Takamen
From Now On
(What’s New Records)
Nobuki Takamen is a skilled guitarist from
Japan who is a fine improviser. Influenced by Wes
Montgomery and the other bop-oriented
guitarists, Takamen has a consistently mellow
tone and a style that ranges from relaxed to fiery.
On From Now On, Takamen performs ten of his
originals with pianist Hitoshi Kanda, bassist
Toshiyuki Tanahashi and drummer Makoto
Kikuchi. Tenor-saxophonist Bryan Beninghove is
a major asset on three of the songs, playing with
great intensity, particularly on the opening “C.M.
G.”
The performances all swing with “Nebergall
Loop” being more classical in nature. Many of the
tunes have friendly melodies and original chord
changes within jazz’s modern mainstream, and
both Takamen and Kanda are quite fluent and
creative while playing straightahead jazz. They
serve as proof (as if it is still needed) that jazz has
long been an international language and that
there are great jazz musicians all over the globe.
From Now On, which is available from www.
nobukitakamen.com, will satisfy fans of the bop
guitar.
Scott Yanow
Ken Hatfield
Etudes For Solo Guitar In 24 Keys
(Arthur Circle Music)
Ken Hatfield, an excellent guitarist and an
increasingly influential educator from the East
Coast, recently composed 24 Etudes for his new
instructional book. The accompanying CD, which
has the same title as the book, has one original
theme apiece by Hatfield in the 12 major and 12
minor keys.
The two dozen performances are all quite
concise, with only two pieces exceeding three
minutes. Hatfield on acoustic guitar, simply states
each of the melodies, some of which are complex
and/or catchy. While many are classical-oriented,
one could easily imagine Hatfield and others
extending the melodies and stretching out over
the chord changes. Hopefully in the future he will.
Guitar students and listeners who enjoy the
sound of the acoustic guitar will find this CD of
strong interest. It is available from www.
kenhatfield.com.
Scott Yanow
Jim Hall & Bill Frisell
Hemispheres
(ArtistShare)
Although they are from different generations,
guitarists Jim Hall and Bill Frisell always make for
a perfect match. Hall, who came to his initial fame
back in the 1950s with the Chico Hamilton Quintet
and the Jimmy Giuffre 3, has a quiet sound and a
thoughtful style that is very open to the most
advanced ideas. Bill Frisell, a sound innovator
who can play anything from avant-garde jazz to
country music, is a bit of a musical chameleon
(although without losing his own personality) and
a big fan of Hall.
This double-CD, a fan-funded project from
ArtistShare (available from www.jimhallmusic.
com), has a disc of guitar duets and a CD with a
quartet that also includes bassist Scott Colley and
drummer Jeff Baron. Laidback free improvisations
alternate with fresh versions of standards. The
duet disc mostly has the former along with
“Beijiing Blues” and “Bags Groove.” Hall and
Frisell are so complementary to each other in
their interactions that it is difficult at times to know
who is playing what. The quartet portion of this
release also has some freer explorations along
with swinging versions of “I’ll Remember April,” the
witty “Owed To Freddie Green,” an uptempo “My
Funny Valentine” (perhaps the only way to save
that song) and “Sonnymoon For Two.”
When Jim Hall and Bill Frisell play together, it is
never a competition to see who is playing best,
but a musical partnership that results in subtle but
remarkable new music along with some more
conventional bop jams. Hemispheres is one of the
many highpoints in both of their busy careers.
Scott Yanow
Matt Otto/Jamie Rosenn/Jason Harnell
Joe-Less Shoe
(Joe-Less Shoe)
Three excellent local musicians have teamed
together as “Joe-Less Shoe.” With the
instrumentation of Matt Otto on tenor, guitarist
Jamie Rosenn (who occasionally switches to
bass), and drummer Jason Harnell, the music is
sparse yet flexible.
Performing ten originals, the cool-toned Joe-Less
Shoe often recalls 1950s West Coast jazz (such
as the Gerry Mulligan Quartet), early Ornette
Coleman, 1970’s ECM music, and the Paul Motian
Trio. The ensembles have plenty of space,
particularly when there is not a bass. The
interplay between Otto and Rosenn as equal
melodic voices is consistently impressive while
Harnell offers subtle support and worthy
commentary. The musicians can play as free as
they want in this setting but they do not neglect
melodic development, keeping a steady rhythm
(even if it is not always stated), and reacting to
each other’s ideas.
The result are fascinating and well worth
several listens. Maybe more groups should forego
relying so heavily on a bass to keep time. This
fine and colorful disc is available from www.
myspace.com/joelessshoe.
Scott Yanow
Marty Sheller
Why Deny
(PVR Records)
Marty Sheller gained fame as trumpeter,
arranger and musical director for Mongo
Santamaria during 1963-68, a period when
Santamaria became very popular. Sheller had
embouchure problems by the late 1960s and had
to give up playing trumpet but he stayed busy as
an arranger-composer, not only for Santamaria
but with many of the top salsa and Afro-Cuban
jazz groups of the past 40 years.
Sheller had always wanted to lead a modern
jazz album, and on Why Deny he finally achieves
that goal. While he does not neglect his Latin
roots, utilizing percussionist Steve Berrios, altoist
Bobby Porcelli and pianist Oscar Hernandez in his
nonet, the emphasis is on advanced hard bop.
Sheller’s arrangements of three of his originals,
Porcelli’s “Why Deny,” Wayne Shorter’s
“Mahjong,” and the standard “Sweet And Lovely”
are masterful jazz statements. Also quite
outstanding are the soloists, who include Porcelli
(showcased on “Sweet And Lovely”), tenor-
saxophonist Bob Franceschini, trombonist Sam
Burtis, and trumpeters Joe Magnarelli and Chris
Rogers. Bassist Ruben Rodriguez and drummer
Vince Cherico, along with the other musicians, are
versatile enough to give the performances the
flavor of Latin jazz while actually playing hard bop.
Everything on Why Deny works well, making
this a memorable outing that can be acquired by
writing to martysheller@mac.com.
Scott Yanow
Chuck Berghofer
The Film Music Of Ralph Rainger: Thanks For
The Memory
(Fresh Sound)
When one thinks of the major composers who
contributed a countless number of gems to the
Great American Songbook, such names as Irving
Berlin, George Gershwin, Cole Porter, Harold
Arlen, Duke Ellington, Jerome Kern, Richard
Rodgers, Hoagy Carmichael, Fats Waller and
Harry Warren come immediately to mind. But does
anyone remember Ralph Rainger?
Fortunately producer Dick Bank does, so he
organized this important record date to pay tribute
to many of the songs that Rainger wrote for films.
Such melodies as “Easy Living,” “If I Should Lose
You,” “Moanin’ Low,” “I Wished On The Moon,”
and “Thanks For The Memory” are still played
regularly, and Bing Crosby recorded 13 Rainger
songs including “Please,” “Blue Hawaii,” “June In
January” and “Here Lies Love.” Ralph Rainger’s
death at the age of 41 in a 1942 plane crash cut
short his life and career. Unlike Gershwin, his
early demise has resulted in him being almost
completely forgotten.
Dick Bank, who had already produced 28 high-
quality CDs, came out of his brief retirement for
this CD. Although it is bassist Chuck Berghofer’s
date and he takes many fine solos, the great
Swedish pianist Jan Lundgren is often in the
spotlight while drummer Joe LaBarbera is his
usual very tasteful and swinging self. Sue Raney
takes guest vocals on “If I Should Lose You” and
“Thanks For The Memory,” singing the words of
Leo Robin who was Rainger’s most frequent
writing partner. And a wonderful touch is added
by having the program conclude with a 1937
interview of Ralph Rainger and two performances
of him playing piano on “Love In Bloom,” one with
Robin taking the vocal.
The CD’s 32-page booklet has extensive liner
notes by Mark Gardner, Alyn Morgan and Dick
Bank, several pages of photos, and historic
articles by Robin and Rainger. All in all, this is a
classy set (available from www.freshsound.com
and amazon.com) that is a perfect tribute to the
very talented Ralph Rainger.
Scott Yanow
Matthew Shipp
Harmonic Disorder
(Thirsty Ear)
One of the major pianists and improvisers in the
more adventurous areas of jazz, Matthew Shipp
(like Jason Moran, a younger pianist who must
have been inspired by his example) creates music
that is frequently very dissonant but has its own
abstract ties to the jazz tradition.
On Harmonic Disorder, a trio outing with bassist
Joe Morris and drummer Whit Dickey, Shipp
performs mostly fairly brief pieces that each seem
to have its own point. To cite a few, the opening
“Gng” has Shipp hinting at Thelonious Monk while
his version of “There Will Never Be Another You”
sounds like a pair of overdubbed Lennie
Tristanos. “Harmonic Disorder” is menacing while
the following piece, after some adventurous
interplay, concludes with the melody of “Someday
My Prince Will Come” which seems to appear out
of nowhere. Each of the other selections also has
its story to tell.
Close attention is paid throughout to varying
moods, dynamics, and tempos. Joe Morris in
particular proves to be quite versatile, sometimes
swinging wildly while at other times engaging in
sound explorations or close interplay with Shipp.
All in all, this is a consistently intriguing recording;
an excellent place to start in exploring Matthew
Shipp’s innovative music. Harmonic Disorder is
available from www.thirstyear.com.
Scott Yanow
Terry Silverlight
Diamond In The Riff
(Terry Silverlight)
Drummer-arranger-composer Terry Silverlight
has had a wide-ranging career. Since making his
first recording at age 14 when he played on an
album by his brother pianist Barry Miles, he has
worked in the studios, with pop groups, and with
such notables as George Benson, Mel Torme,
Phil Woods and the Manhattan Jazz Orchestra.
Diamonds In The Riff is a colorful fusion-
oriented CD containing 15 originals penned by
Silverlight. The music is more unpredictable than
one might expect. There is creative fusion that
features Silverlight not only on drums but
keyboards along with bassist Will Lee and the
acoustic piano of Barry Miles. Most selections
also have fine solos from David Mann and/or
Aaron Heick on tenors and sopranos. “For The
Rest Of My Life” features an energetic r&bish
vocal by Tabitha Fair. One tune, “Nothing Like
Today,” has a humorous vocal by Silverlight and
heated tradeoffs by trumpeter Lew Soloff, tenor-
saxophonist Bob Malach and trombonist Larry
Farrell.
But in addition, there are some swinging postbop
pieces, particularly during the second half of the
program. “Do It” is a heated piano-drums duet by
Miles (who often sounds influenced by Chick
Corea) and Silverlight. “Earth Blues” is an
augmented straightahead blues while “PT” has
some freer tenor playing by David Mann that hints
at Joe Henderson and Ernie Watts.
Throughout these selections, the musicianship
is impeccable, the playing and writing is creative
and there are plenty of surprises. Diamonds In
the Riff is a highly recommended set for those
who do not mind the sound of electric keyboards;
available from www.terrysilverlight.com.
Scott Yanow
Eli Yamin
You Can’t Buy Swing
(Eli Yamin)
Eli Yamin, made the semifinals of the
Thelonious Monk International Piano Competition
in 1987, worked with the Illinois Jacquet Big Band,
and has been an educator in the New York area
for years, producing and writing five jazz plays for
students. He recently toured China with his trio.
The influence of Monk can be heard on some of
the selections on You Can’t Buy Swing, including
tributes to Thelonious on “I Want To Be A
Teacher” (based on “Let’s Cool One”) and “Well
You Better Not,” plus the songtitles (if not the
music) of “In Walked Barry” and the charming
“Waltz On The Hudson.” All 11 selections are
Yamin originals, some of which use fresh chord
changes while others are blues or based on other
tunes. Yamin’s group features Chris Byars on
tenor, soprano, alto and flute, occasionally his
former student Lakecia Benjamin (generally on
alto), bassist Ari Roland and drummer Alvin
Atkinson.
Despite the Monk connection in some spots,
Yamin displays an original modern mainstream
piano style. Byars is consistently inventive in his
solos, Benjamin fares quite well, Roland
contributes some colorful bowed bass choruses,
and Atkinson is swinging in his support of the lead
voices.
Overal the music is upbeat, swings at all tempos,
and is melodic while containing plenty of subtle
creativity. You Can’t Buy Swing (the title was a
saying by the late drummer Walter Perkins) is an
easy jazz date to enjoy, and it is available from
www.eliyamin.com.
Scott Yanow
Various Artists
The Big Broadcast, Vol. 3
(Rivermont)
Since 1973, Rich Conaty has been a fixture in
New York radio, hosting “The Big Broadcast,”
mostly on WFUV. His shows feature hot jazz,
dance music and pop singers from the 1920s and
‘30s. For the Rivermont label (www.
rivermontrecords.com) he has thus far compiled
three CDs of rarities that are of great interest.
Vol. 3, as with the first two CDs, spans an
impressive range stylistically. While some
selections are more common than others, most
are rare. Dating from 1922-37, the program
includes performances from pianist Roy Bargy
(“Pianoflage”), The Golden Gate Orchestra (“The
Flapper Wife”), Al Goering’s Collegians, Frankie
Masters’ orchestra, Jack Pettis, Irene Beasley,
The Brooklyn Broadcasters, Russell Brown’s
orchestra, the Imperial Dance Orchestra, the
Carolina Club Orchestra, Singin’ Sam, Eliot
Everett’s orchestra, Paul Whiteman (“I’ll Follow
You”), Owen Fallon’s Californians, the Victor
Arden-Phil Ohman Orchestra, Claude Hopkins (an
unissued test pressing of “Ain’t Misbehavin’”),
Ramona, Hal Kemp, Anson Weeks, Isham Jones,
Ozzie Nelson, George Scott Wood, Joe Sanders,
Barney Rapp and Abe Lyman (a previously
unreleased radio recording). While only a few
major soloists make appearances such as
trumpeters Phil Napoleon and Hot Lips Page,
cornetist Red Nichols and singer Red McKenzie,
the ensemble work by these orchestras are
spirited, the concise solos work well and most of
the vocalists are easy to take. Singin’ Sam, who is
featured on “Goodbye Blues,” is a particularly
talented if long-forgotten singer
Fans of early jazz can consider this series to be
essential.
Scott Yanow
Alt Tal
Open The Gates!
(Aural Imaging)
Alt Tal is a San Francisco-based trio comprised
of David Alt on soprano and alto, bassist Kenny
Annis and drummer Andrew Ryan. Open The
Gates features 11 of Alt’s originals which range
from blues to freer material.
David Alt’s playing sometimes recalls that of
Steve Lacy and (tone wise on alto) Anthony
Braxton but his ideas are fresh and unpredictable.
His thoughtful improvisations are consistently
relaxed, even in the more heated sections, and
have their own logic. To an extent he has created
his own musical vocabulary. Kenny Annis
alternates between setting accompanying
patterns and interacting directly with the
saxophonist while Andrew Ryan is mostly in a
supportive if stimulating role behind the lead
voices.
The music is well played, colorful, and well worth
exploring. Open The Gates is available from www.
alttal.com.
Scott Yanow
Bill Cunliffe
The Blues And The Abstract Truth, Take 2
(Resonance)
Oliver Nelson’s The Blues And The Abstract
Truth is a classic album from 1961. Perhaps best
remembered for having the most famous version
of “Stolen Moments” (which actually received its
debut recording a few months earlier from tenor-
saxophonist Eddie “Lockjaw” Davis as “The Stolen
Moment”), the album features a variety of blues-
oriented originals. With solos from Nelson on
tenor, altoist Eric Dolphy, trumpeter Freddie
Hubbard and pianist Bill Evans, it is not surprising
that the recording has many memorable moments.
Bill Cunliffe, in remaking the material, adds his
own touches to the arrangements while retaining
the spirit of the earlier performances. The
updated charts give the music fresh life (although
the melody of the whimsical “Hoe Down” now
sounds a bit too busy) and should lead to other
musicians reviving such tunes as “Cascades,”
“Yearnin” and “Butch And Butch.” In addition, the
pianist adds two excellent originals of his own
(“Port Authority” and “Mary Lou’s Blues”) that fit
well with the program.
There is no attempt by the players, which include
trumpeters Larry Lunetta, trombonist Andy Martin,
altoist Brian Scanlon, and Bob Sheppard on tenor
and soprano, to recreate the original solos.
Trumpeter Terell Stafford and altoist Jeff Clayton
are very welcome guests on a few numbers and
often steal the show although each of the horn
players has their spots. Fine support is provided
by bassist Tom Warrington and drummer Mark
Ferber.
For “Take 2” of The Blues And The Abstract
Truth, Bill Cunliffe has created a very welcome
CD that is not so much a remake as it is a
reinvention of Oliver Nelson’s original vision. It is
available from www.resonancerecords.org.
Scott Yanow
Gregory Rivkin
Soft Colors
(Eroica)
Gregory Rivkin is a new name to me but he
deserves to be well known in the jazz world. The
trumpeter, whose playing is in the tradition of
Woody Shaw, Freddie Hubbard and Lee Morgan,
would in another era be a member of Art Blakey’s
Jazz Messengers. His tone is quite attractive, his
solos are full of surprises, and he plays with
consistent passion and creativity within the hard
bop and post bop tradition.
On Soft Colors, Rivkin is featured with two
different quartets. One group has Chris Bacas on
tenor and soprano, organist Jesse Chandler and
veteran drummer Bill Goodwin while the other unit
includes pianist David Berkmann, bassist Dmitry
Kolesnik and drummer Jeff Brillinger. The other
musicians play very well but Rivkin is the main
star throughout two of his originals, Bacas’
“Harridence,” Benny Golson’s “Stablemates,”
Wayne Shorter’s “El-Gaucho” and two numbers
by Woody Shaw.
Rivkin’s fiery and forward-looking playing will
with luck make him one of the pacesetters of the
jazz trumpet in future years. His debut, Soft
Colors, is highly recommended and available from
www.eroica.com.
Scott Yanow
Buford Powers
Eclectic
(BBP)
Buford Powers has a deep baritone voice that is
at times reminiscent of Johnny Hartman. On
Eclectic, he keeps true to the album’s title by
performing a couple of jazz standards along with
blues, ballads, some r&bish tunes, a spiritual, and
four of his originals. He excels in every idiom.
Whether it is “Blue 4 Eyes,” which features his
speaking as well as singing voice, “Betcha By
Golly Wow,” the ironic “Room With A View Of The
Blues,” “N’awlins Shuffle (The Katrina Story),” or a
lightly funky “Dreamsville,” Powers displays
warmth, a solid sense of swing, and versatility. He
takes a bit of a chance by performing “Lush Life”
(leading to an obvious comparison with Johnny
Hartman) but infuses the song with enough of his
own personality to succeed.
Ron Moton’s “Mo-Bop Eclectic Orchestra”
provides most of the accompaniment other than
guitarist Bill Erickson and, on “Lush Life,” pianist
Jason Martineau. In the future it would be fun to
hear Buford Powers with a truly live band
although it works on this CD. Eclectic, which is
available from www.bufordpowers.com, is an
impressive effort and well worth acquiring.
Scott Yanow
Russ Phillips
One Morning In May
(Big Foot Jazz)
Russ Phillips is best known to Southern
Californians for his playing at the annual Sweet
and Hot Music Festival over Labor Day weekend.
A fine trombonist with a warm tone that is closer to
Jack Teagarden and Dan Barrett than to Kid Ory
or the more percussive players, Phillips is a
natural to be leading a small combo.
On One Morning In May, Phillips is joined by
guitarist Andy Brown, bassist Stewart Miller, and
either pianist Bradley Williams or drummer Phil
Gratteau. His aim was to bring back the loose yet
tight and swinging feel of the Nat King Cole Trio
with his trombone added as a solo voice. Phillips’
warm tone and melodic style work very well during
the set of superior swing standards and he takes
effective vocals on “The Lady’s In Love With You”
and Dave Frishberg’s “A Little Taste.”
This is a fun modern swing CD that does not
need in-depth analysis other than to say that all
11 performances are highly enjoyable and
excellent showcases for the musical talents of
Russ Phillips. It is available from www.bigfootjazz.
com.
Scott Yanow
Hip Pocket
Blue Circle
(Hip Pocket)
Hip Pocket was originally a saxophone quartet
from a community college near Redlands,
California. Over time it became a professional
nonet comprised of four saxophones, trumpet,
trombone and three rhythm that performs the
compositions and arrangements of its pianist
Sandy Megas.
On Blue Circle, Hip Pocket often sounds like a
swinging big band. Megas’ music is usually
forward-looking hard bop and includes such
humorous song titles as “I Got It Thad And That
Ain’t Good” (which does sound like a Thad Jones
arrangement), “Legalize Van Nuys,” “You Ain’t
The First,” and “A Total Waste Of Time And
Effort.” The wit and color of the titles can also be
heard in the music. While the band members are
not famous names, every musician gets a chance
to solo and shows that both their musicianship
and solo abilities are impressive. Joe Bagg sits in
with the band on the funky “Chicken Fat.”
Hip Pocket is definitely a band that has a lot of
fun when it plays although the musicians also take
the music quite seriously. Blue Circle is a
swinging, accessible and creative outing that
makes one want to see the band live. Their CD is
available from arrmegas.net/hippocket.htm.
Scott Yanow
Jamie Baum
Solace
(Sunnyside)
Jamie Baum has long been one of the most
impressive flute improvisers based in New York.
While she plays quite brilliantly throughout
Solace, perhaps most noteworthy on this project
is her writing. Utilizing a nine-piece group
consisting of two trumpets, two French horns,
Douglas Yates on alto sax and bass clarinet, her
own flute, a rhythm section and occasionally the
voice of Kyoko Kitamura, Ms. Baum has written
music that is rich in tone colors, original ideas and
complex yet accessible ideas.
Centerpiece of this program is the four-part half-
hour “Ives Suite” which was inspired by Charles
Ives’ Fourth Symphony. Of the other six pieces,
none of which are throwaways, the most
memorable is “Wheeler Of Fortune,” a tribute to
trumpeter Kenny Wheeler that recalls both
Wheeler’s playing and writing.
While there are many fine individual solos heard
throughout this set, particularly from the leader, it
is the rich ensembles and the original writing
(which at times hints a little at Charles Mingus)
that make Solace particularly special. This gem is
available from
www.jamiebaum.com or directly from Sunnyside.
Scott Yanow
K. Anderson Matthews
Ode To The Past
(Kathleen Anderson Matthews)
A fine singer based in Detroit, K. Anderson
Matthews has an attractive sound, is very good at
placing notes, and shows impeccable taste in
picking out songs. While Ode To The Past mostly
consists of older tunes (other than her own “All I
Ever Wanted” which is heard both as a vocal and
an instrumental piece), there are no warhorses
among the numbers.
Any program that includes “Crazy He Calls Me,”
“Baby Get Lost,” “Detour Ahead” and “Now Or
Never” makes one think of Billie Holiday but K.
does not emulate her predecessor and instead
swings and phrases in her own way. Other
highlights include “Down With Love,” “Not While I’
m Around” (one of the few Stephen Sondheim
songs to catch on as a jazz standard) and
“Someone To Light Up My Life.” In addition to the
leader’s vocals, the solos of pianist Scott Gwinnell
(who contributed the arrangements) and
saxophonists Carl Cafagna, James Hughes and
Wally Fitz add to the date’s variety. Violinist Molly
Hughes is a major asset on some numbers where
she adds a lush background.
All in all, this is a strong outing from K. Anderson
Matthews, a vocalist who deserves to be much
better known. The CD is available from the singer’
s My Space website and CD Baby.
Scott Yanow
The Ray Reed Hollywood Bebop Quintet
Plays Ray Reed
(Rhombus)
Ray Reed, who passed away in 2008, is best
remembered as an altoist who played with the
Stan Kenton Orchestra and Supersax. In his
career he also played tenor, soprano, clarinet,
flute and piccolo and was heard in many settings
including with Louis Bellson, Frank Zappa, Gerald
Wilson, Shorty Rogers, Marty Paich and Bill
Holman. After 2002 when ill health forced his
retirement from active playing, he continued in
music as a composer and an author of saxophone
instruction books.
Shortly after his death, eight of Ray Reed’s later
originals were recorded by an all-star quintet for
this CD. Don Menza, normally a major tenor-
saxophonist, switched to alto for the occasion and
performed on Reed’s saxophone. Also featured
are trumpeter Ron Stout, pianist Tom Garvin,
drummer Roy McCurdy, and either Putter Smith or
Jim Hughart on bass.
None of Ray Reed’s songs have thus far
become standards, but there are several
contenders on this CD including “Pretty Special,”
“Carl’s Bad Tavern,” “Twisted For A Waltz” and
“Ray-Diation.” The melodies are logical, the chord
changes stimulating and, with heated solos
contributed by Menza, Stout and Garvin, this is a
fresh set of new hard bop that straightahead jazz
collectors will want. This excellent Ray Reed
tribute is available from www.rhombus-records.
com.
Scott Yanow
Beat Kaestli
Happy, Sad And Satisfied
B&B Productions
Singer Beat Kaestli has definitely a diverse
career thus far. Born in Switzerland, he moved to
the United States when he was 20. After attending
the Manhattan School Of Music, he sang with the
Glenn Miller Orchestra but also with dance music
groups and in musicals. Happy, Sad And Satisfied
is his tribute to the American popular song.
Joined by a top-notch combo filled with New
York-based musicians including keyboardist Ben
Stivers, trumpeter Kenny Rampton and tenors
Joel Frahm and Lance Murphy, Kaestli manages
the impossible and breathes new life into
“Summertime” and “My Funny Valentine.” His
arrangements are inventive as is his singing. The
repertoire on Happy, Sad And Satisfied includes
three unexpected medleys including one of “Blue”
and “’Round Midnight.” Other songs that benefit
from Kaestli’s treatments include “So In Love,”
“Tenderly” and “You’d Be So Nice To Come Home
To.”
Beat Kaestli’s voice is as distinctive as his name
and he displays a real feeling for singing jazz
while showing respect for lyrics. Happy, Sad And
Satisfied, available from www.beatkaestli.com is a
CD well worth discovering.
Scott Yanow
Craig Ferguson
Nobody But The Moon And Me
(Craig Ferguson Music)
In his career, guitarist Craig Ferguson has
played with the modern bluegrass band Cliff
Wagner & The Old #7 and in a wide variety of
settings in the studios, not only on guitar but
dobro, mandolin and steel guitar. Nobody But The
Moon And Me is quite a bit different. This set of
solo guitar music has aspects of swing, blues and
vintage country music but it is comprised
exclusively of Ferguson’s original songs.
The performances are consistently relaxed and
taken at slow tempos, so they are quite suitable
as background music. However a close listen
reveals sophisticated chords, logical melodic
development, and high musicianship. Craig
Ferguson makes everything sound easy, but one
should not be fooled into thinking that it really is!
Although the inclusion of some hotter
performances would have added to the set’s
variety, the results are lyrical, peaceful, heartfelt
and enjoyable. Nobody But The Moon And Me is
available from www.craigfergusonmusic.com.
Scott Yanow
Glenn White
Sacred Machines
(OA2)
Glenn White is a tenor-saxophonist whose
playing and writing styles are difficult to describe.
Like Wayne Shorter, his music has its own logic,
swinging in an original way. While not being
unconnected to past stylists, White sounds unlike
anyone else. His playing is relaxed even in the
most heated circumstances, his compositions are
as unpredictable as his solos, and while not quite
avant-garde, he is much further advanced than
musicians who play hard bop.
On Sacred Machines, he heads a sextet that
also features prominent roles for pianist-
keyboardist Roberta Piket and flutist Jamie Baum.
The six White originals (plus Baum’s “Aftermath”)
are unpredictable while displaying a forward
momentum and stimulating chord structures for
the soloists. While none of the songs are
memorable by themselves, the playing is first-
rate, the ensembles are exciting and the music is
an example of 21st century jazz.
Sacred Machines is a CD that grows in interest
with each listen. It is available from www.
oa2records.com.
Scott Yanow
CD Reviews in Recent Issues Of The Los Angeles
Jazz Scene
Jane Drake
Brand New Woman
(JD)
Laura Wolfe
Also Dances
(Too Tall Productions)
Rachael Price
The Good Hours
(Claire Vision)
Belinda Underwood
Greenspace
(Cosmik Muse)
One of the main problems that today’s jazz and
cabaret singers face is their repertoire. While
there were a remarkable number of gems written
between 1920-60, most of the best songs have
been recorded a countless number of times
through the years. Since only a handful of current
songs from the pop world are easily transferable
to jazz, vocalists constantly have to deal with
dated lyrics and overly familiar material unless
they are songwriters themselves. The four singers
in this review all manage to overcome that
obstacle on their recordings.
On Brand New Woman (recorded in Birmingham,
Alabama), Jane Drake often hints at Anita O’Day
in her phrasing and choice of syllables while at
other times she sounds closer to Sheila Jordan
But those influences do not dominate her
interpretations and she has her own voice and
approach to dealing with standards. Joined by a
fine rhythm section (pianist J. Hatch, bassist Chris
Wendle, drummer Sonny Harris and occasionally
percussionist Steve Ramos), she manages to
bring new life to “Summertime” (taken as
straightahead jazz rather than r&b), “Frim Fram
Sauce” (which at its conclusion becomes a Nat
King Cole tribute) and “Secret Love.” Combining
together “’Round Midnight” and “Black Coffee”
somehow works and, even if she cannot
completely save “My Funny Valentine” (nobody
can at this point), it is a noble effort. In her
improvising, placement of notes, occasional
changes to the melodies, words, tempos and
chords, and subtle creativity, Ms. Drake makes
even the warhorses sound relevant and fresh.
She also contributes two originals including the
rollicking “Brand New Woman Blues.” This
enjoyable set is available from www.
janedrakemusic.com.
Laura Wolfe is a cabaret singer who is jazz-
oriented. She often acts out the words of the
songs she interprets, sounding worn down by the
heat on “It’s Too Darn Hot,” a bit giddy on “Let’s
Misbehave,” and joyful during the many verses to
“Too Marvelous For Words.” Her improvising is
generally slight, but she brings new life to the
vintage lyrics, conveys a wide variety of emotions
while remaining cool, and is clearly inspired on
her CD by the Los Angeles quartet (pianist Karen
Hernandez, bassist Lou Shoch, drummer Jack
LeCompte and tenor-saxophonist Damon Zick).
Most of the songs on her CD Also Dances
(subtitled “a tribute to the great dancers on film”)
are familiar other than “A Man Chases A Girl Until
She Catches Him,” an obscurity from the 1950s
originally sung by Donald O’Connor. But as with
Jane Drake’s recording, these versions are
standouts and a bit different than one might
expect. (available from www.laurawolfe.net).
Born in Australia but raised in Nashville, 23-year
old Rachael Price on The Good Hours displays a
haunting and distinctive voice that grows in
interest and appeal with each listen. Inventive
arrangements, the inclusion of some little-known
verses, and her own interpretative skills make her
program of consistently strong interest. With
sympathetic and stimulating accompaniment by
pianist Warren Wolf (who occasionally plays
vibes), bassist Erik Privert and drummer David
Brophy, Rachael Price makes “That Old Black
Magic,” “The Trolley Song,” “Serenade In Blue”
and “Mood Indigo” come alive again and sound as
if they were written recently for her generation.
Recommended and available from www.
rachaelprice.net
It is perhaps a measure of Belinda Underwood’s
confidence that the opening selection (as well as
the closer) on her Greenspace CD does not
feature her voice but that of Nancy King. Ms.
Underwood, who also plays bass and oud, shows
throughout this disc that Esperanza Spaulding is
not the only talented new bassist-singer. In
addition to colorful reinterpretations of “No Moon
At All,” a heartfelt “Blue Gardenia,” and “Estate,”
Ms. Underwood contributes several originals,
including the humorous “Odd Meter Blues.” Some
of her songs could become future standards if
this set is heard by other singers. Joined by the
great pianist Benny Green along with bassist Phil
Baker, drummer Martin Zarzar and occasionally
saxophonist Melissa Underwood, she digs deep
into the sentiments behind the lyrics while always
lightly swinging. (available from www.
belindaunderwood.com)
While Jane Drake, Laura Wolfe, Rachael Price
and Belinda Underwood may not be household
names in the jazz world at this moment, they
certainly deserve to be discovered, heard and
enjoyed.
Scott Yanow
Amina Figarova
Above The Clouds
(Munich Records)
Although many love to call jazz “America’s
indigenous art form,” it has long been true that
rewarding and creative performances are far from
uncommon in Europe. Amina Figarova, who was
born in Azerbaijan, is a talented pianist-composer
who is based in the Netherlands. She has visited
the United States occasionally, attended the
Berklee College Of Music, and worked with Dmitri
Mathany in the San Francisco Bay area but she
has mostly performed in Europe.
Above The Clouds features her playing and
writing with a medium-size group that ranges from
a sextet to a tentet. Some of the atmospheric
pieces (which feature the flute of her husband
Bart Platteau) are a little reminiscent of Herbie
Hancock’s Speak Like A Child album from the
1960s but they also have their own personalities.
Starting off with a medium-tempo blues called “A”
Dance,” the program also includes pieces that are
cinematic, complex post-bop works and brooding
ballads. The writing is mostly quite original and
Ms. Figarova’s piano sounds unlike anyone else.
Above The Clouds is a CD well worth several
close listens and it is a strong display of Amina
Figarova’s musical talents. It is available from www.
aminafigarova.com.
Scott Yanow
Byron Vannoy
Meridian
(Bioticmusic)
Byron Vannoy is a drummer and an educator
based in Seattle. He has worked with Herbie
Hancock, Julian Priester, Randy Brecker, Tom
Scott, Ernestine Anderson, Leo Smith and Vinny
Golia to name a few, being a very versatile and
musical drummer.
For his recording debut as a leader, Bryan
Vannoy heads an impressive modern quintet that
also includes Eric Barber on saxophones (most
distinctive on his moody tenor), keyboardist
Kacey Evans, guitarist Chris Spencer and bassist
Chris Symer. With the exception of John Lennon’s
“Beautiful Boy,” all of the music was composed by
Vannoy. Five of the briefer pieces are drum solos
that act as interludes between many of the
pieces. The other postbop originals act as viable
vehicles for the musicians, with the ballad
“Fathoms” being one of the highpoints.
This is modern jazz that falls beyond any obvious
category. It conveys a wide range of complex
emotions, is expertly performed, and sticks in one’
s mind long after the CD is finished. Meridian is
recommended and available from www.myspace.
com/byronvannoy
Scott Yanow
Steve Pistorius
Rags And Stomps
(Solo Art)
Stephanie Trick
Heart That Rhythm!
(Stephanie Trick)
Jerry Ashford/Beth McNamara/Joe Ross
Moonglow
(Zephyr)
Independence Hall Jazz Band
Favorites
(Stomp Off)
The four CDs in this review feature current-day
musicians coming up with fresh statements (rather
than merely copying the past) on vintage material
from the 1910s, 1920s, ‘30s and ‘40s.
A fine ragtime and classic jazz pianist, Steve
Pistorius involuntarily took some time to complete
Rags And Stomps, a project that was interrupted
by Hurricane Katrina. Despite the tragedy, the
resulting music is consistently joyful and the
program is well-conceived. Ten of the selections
are unaccompanied piano solos, clarinetist Tim
Laughlin joins up on Scott Joplin’s “Bethena,”
clarinetist Evan Christopher is a strong asset on
“Russian Rag” and Pistorius’ “One For Kevin,”
and trumpeter Duke Heitger adds fire to four
selections including a heated “Ole Miss” and
Eubie Blake’s catchy “Chevy Chase.” The piano
solos include rags (highlighted by “Mississippi
Rag,” Tom Turpin’s “Harlem Rag” and Joseph
Lamb’s “American Beauty”), numbers by Jelly Roll
Morton and Lucky Roberts, and two of Artie
Matthews’ “Pastime Rags.” Throughout, Steve
Pistorius brings this classic material to life,
effectively using tempo changes on some of the
rags. The results are fun, often lively, and filled
with subtle creativity. Rags And Stomps is easily
recommended and available from www.jazzology.
com.
Stephanie Trick is a new name on the trad jazz
circuit. A college student at the University Of
Chicago, she loves ragtime and has won the
Friends of Scott Joplin Ragtime Competition three
years in a row. Her CD Hear That Rhythm
consists of 13 piano solos. While many of the
songs are familiar, she includes contemporary
rags from Robin French (including “Space
Shuffle”) and John Novacek plus an Art Tatum-
inspired version of “Sweet Lorraine.” While Fats
Waller’s original and rather tame recorded
version of “Ain’t Misbehavin’” probably did not
need to be revived, Ms. Trick does an excellent
job interpreting music in a variety of classic styles,
ranging from Scott Joplin to James P. Johnson.
Clearly she has a great future and will continue
growing and evolving. Hear That Rhythm
(available from www.stephanietrick.com) is an
excellent start.
Combine together a string quartet/quintet
consisting of guitar, mandolin, violin, bass and
occasional steel guitar with a vocal trio and one
has Moonglow, a band that performs both country-
oriented Western Swing, swinging versions of
standards and warm ballads. Actually the singers
(bassist Beth McNamara, guitarist Jerry Ashford
and mandolinist Joe Ross) are also the musicians.
Their repertoire is ballad-oriented with occasional
medium-tempo material, going from the swing of
“Everybody Loves My Baby” to the early country
music of “Miles Of Texas,” from Honeysuckle
Rose” to “Time Changes Everything.” Most of the
selections were commonly heard in the early
1940s and the style of that era was similar to what
is heard here. The nostalgic, tasteful and often
easy-listening treatments are quite musical and
pleasing, making this CD (available from amazon.
com) easy to enjoy.
Trombonist Doug Finke’s Independence Hall Jazz
Band is a three-horn four-rhythm septet that plays
hot jazz from.the 1920s and early ‘30s. The
version of the group heard on Favorites contains
more than its usual share of all-stars including
trumpeter Jon-Erik Kellson, Dan Levinson on
clarinet and C-melody, pianist Paul Asaro, and
Chris Tyle on drums (with occasional
appearances on clarinet and cornet). In addition
to banjoist Scott Anthony and tuba player Pete
Reichlin, this CD has two guest appearances by
Dan Barrett on cornet (rather than his usual
trombone). Each of the musicians had
opportunities to pick out a few favorite songs that
they hoped to record and most made the cut. The
emphasis is on obscurities although a few
standards (including “Fidgety Feet” and “The
Chant”) also made it in spirited versions. With
Kellso in particularly rewarding form, the
highlights include “Stevedore Stomp,” “I’m Sorry I
Made You Cry,” “My Sweet” and “Some Sweet
Day.” Favorites is another gem from the Stomp
Off label (www.stompoffrecords.com).
Scott Yanow
Nick Manson
Mercator
(Manasus Music)
Keyboardist Nick Manson has spent a large
portion of his career performing and recording
music for studio productions, films, television and
commercials. However he has always played jazz
and during the past few years has dedicated
himself to performing creative music.
On Mercator, he teams up with the brilliant
bassist John Patitucci, drummer Ian Froman and
tenor and soprano-saxophonist Andy Suzuki.
They perform five of Manson’s originals plus a
song apiece by Suzuki and Patitucci. Alternating
between piano and Fender Rhodes (sounding
particularly individual on the latter), Manson leads
the ensembles, plays stimulating backup behind
Suzuki, and takes excellent solos.
The music is impossible to classify as anything
but modern jazz, not fitting into a historical style
but swinging in its own way, even when the
structures are complex. Suzuki is in top form,
Patitucci’s playing is always full of surprises, and
Froman is stimulating in support. This is 21st
century jazz, more difficult to describe than to
simply savor.
Scott Yanow
Scott Martin
Organic Voodoo Juice
(SCM)
The CD cover of this infectious CD describes the
music of Scott Martin’s Latin Soul Band as “An
Intoxicating Blend of Latin, Soul, Jazz, Blues.” The
description is close to the truth for the music is on
the boundary lines of soul jazz, hard bop and
1960s Latin jazz. Think the Jazz Crusaders meet
Jimmy McGriff.
Not that a historical comparison is needed to
enjoy the music, which actually includes eight
originals among the dozen selections. The band,
which has a four-piece rhythm section driven by
organist Joe Bagg and drummer Ramon Banda,
also features the three Martin brothers (tenor-
saxophonist Scott Martin, trumpeter Stan and
trombonist Andy), Scott’s son Tyler Martin on
baritone, and occasional vocals by guitarist Rick
White and singer Derek Bordeaux. The latter’s
feature on the closing “Soul With A Capital S” is
closer to James Brown and Tower Of Power than
to jazz but it fits into the mix.
The music of Scott Martin’s Latin Soul Band is
swinging, usually danceable and full of catchy
grooves. The horns each get opportunities to
solo, the vocals are easy to take, and the rhythm
section (which also includes bassist Rene
Camacho and percussionist Joey DeLeon) never
lets up. A highpoint of the program is Scott Martin’
s feature on the emotional ballad “All Things
Pass.”
This is fun music, available from www.latinsouljazz.
com.
Scott Yanow
Dewey Erney
I Remember You, Johnny Mercer
(Dewsong Music)
Back in 1986, singer Dewey Erney recorded 20 of
Johnny Mercer’s finest lyrics in a set with guitarist
Ron Eschete, Tom Rainier (on piano, keyboard,
tenor and clarinet), bassist Luther Hughes and
drummer John Perett. Erney has always
considered this one of his best recordings, but
unfortunately it went unreleased when the project
ran out of money. Just recently, he was able to
purchase the performances and now it is being
put out for the first time.
Johnny Mercer wrote consistently superb lyrics
for a 40-year period. Erney, whose voice is just a
little higher on these recordings than it is today
but is otherwise quite recognizable, proves to be
a very compatible and logical interpreter. One can
always understand the words he sings, he gives
the right amount of feeling to the lyrics, and his
voice is always in tune. The arrangements, mostly
by either Ranier or Eschete, give variety to the
program, Ron Eschete is in his usual high-quality
form in his solos and accompaniment, and it is a
treat hearing Tom Ranier’s tenor and clarinet.
Dewey Erney should work with horns more often.
While “I Remember You” is taken surprisingly fast,
“Namely You” is a tasteful duet with Eschete, and
Erney puts plenty of emotion into “Come Rain Or
Come Shine.”
All in all, this is a satisfying, tasteful and swinging
effort that is easily recommended and available
from www.deweyerney.com.
Scott Yanow
Laurie Dameron
I Can’t Wait to See You Again
(Windchime Productions)
A fine singer-guitarist based in Colorado, Laurie
Dameron is a sophisticated musician who has an
appealing and bluesy approach to singing.
The title cut, the lone original on this set, opens
the set and is a sensitive ballad. Other highlights
include “Everyday I Have The Blues,” a medley of
“Blue Moon” and “I’m Beginning To See The
Light,” “How Insensitive.,” “On The Sunny Side Of
The Street” and Louis Jordan’s “Choo Choo Ch’
Boogie.” One suspects that these are the songs
most requested of her for performances.
Joined by an excellent local rhythm section and
occasional guest horns (Bob Rebholz’s flute is
impressive on “How Insensitive”), Ms. Dameron
contributes cheerful and soulful vocals along with
well-conceived guitar solos. This enjoyable outing
is available from www.lauriedameron.com.
Scott Yanow
Holly Yarbrough
Mister Rogers Swings!
(Vintage Discs)
Jeannie Lambert & Judy Roberts
Alone With The Blues
(Big Foot Jazz)
Tish Oney
Dear Peg
(Rhombus)
Cynthia Jones
& The West Coast Nightlights
(Cynthia Jones Music)
Four very different vocal CDs showcase a
quartet of talented jazz singers.
Television’s Mister Rogers never made a secret
of his love for jazz. Fred Rogers had a music
degree and, in each of the programs of Mister
Rogers’ Neighborhood (which ran from 1968-
2001), jazz was heard, with pianist Johnny Costa
often being featured. Holly Yarbrough, an
excellent up-and-coming singer, pays tribute to
Mister Rogers by performing 16 songs from his
shows including “Won’t You Be My Neighbor,”
“Many Ways To Say I Love You,” “I Like To Be
Told” and “It’s Such A Good Feeling.” While many
of the lyrics have lessons and morals originally
directed at children, the music is sophisticated
bop-oriented jazz, some of which could have
dated from the late 1940s. With the assistance of
guitarist Richard Smith, a trio led by pianist Lori
Mechem, violin, cello, and three horn players
(including tenorman Boots Randolph on one of
his final recordings), Holly Yarbrough (the
daughter of Glenn Yarbrough) is heard
throughout sounding inspired, joyful and
infectious. She has a natural feeling for jazz, an
attractive voice, and really gets into the material.
This CD is recommended and available from www.
vintagediscs.com.
On Alone With The Blues, singer Jeannie
Lambert pulls off an impressive feat. It is difficult
to record a full album of slow thoughtful ballads
while accompanied only by a sympathetic pianist
and fully hold onto the attention of listeners. The
singer has to have lived life enough to completely
understand and feel the lyrics, she has to be
skilled at perfectly placing each note, and her
lived-in voice has to be expressive without ever
quite going over the top. Ms. Lambert manages
all of that. With pianist Judy Roberts (herself a
fine singer) providing tasteful accompaniment that
follows Jeannie Lambert even when the vocalist
purposely goes out of tempo, this is a haunting,
atmospheric and very musical outing. Whether it
is “In Love In Vain,” “Detour Ahead,” “These
Foolish Things” or “Guess I’ll Hang My Tears Out
To Dry,” each of the selections are given
memorable interpretations that put the emphasis
on the lyrics, the melodies, and honest mature
feelings. Alone With The Blues is available from
www.bigfootjazz.com.
Tish Oney is an impressive singer with a subtle
style within the jazz mainstream. Although she
sometimes hints at Peggy Lee’s singing during
Dear Peg, (particularly on “He’s A Tramp”), the
CD is actually a tribute to Ms. Lee’s writing
talents. All 14 songs were written or co-written by
Peggy Lee. While “It’s A Good Day,” “I Don’t Know
Enough About You” “I’m Gonna Go Fishin’” and “I
Love Being Here With You” are all well known,
some of the other songs are much more obscure.
“Burn It Slow” has Ms. Oney’s music to Peggy Lee’
s words and some of the later selections
(including a duet with bassist Hamilton on “Happy
With The Blues”) are in a more modern style than
usually associated with Lee. Joined by the happily
well-featured guitarist John Chiodini (two of the
numbers that he co-wrote with Lee are included),
bassist Joel Hamilton, drummer Kendall Kay,
vibraphonist Bob Leatherbarrow and the great
trombonist Bill Watrous, Tish Oney digs deep into
the song and shows that she is one of the more
rewarding jazz singers currently based in the Los
Angeles area, sounding at her most appealing on
“Where Can I Go Without You?” Dear Peg is
highly recommended and available from www.
rhombus-records.com.
Cynthia Jones won the 2008 Chuck Niles Jazz
Singer competition at the Temucula International
Jazz Festival. She originally started out her career
singing with pop/rock and blues groups before
switching to jazz in 2001. She has since
developed a warm and sensuous style. Her debut
jazz recording displays her melodic and sulty
singing on vintage jazz and blues (such as “If I
Had You” and “You’d Be So Nice to Come Home
To”) plus more contemporary songs by Bryan
Ferry, Jimi Hendrix (“Up From The Skies”) and
Lyle Lovett. Accompanied by a rhythm section
that features pianist Karen Hammack and spots
for trumpeter-arranger Lee Thornberg and tenor-
saxophonist Tom Peterson, the music is soulful,
swinging and a perfect forum for Cynthia Jones’
powerful and memorable voice. She clearly has a
great future. Her first CD is available from www.
cynthiajonesmusic.com.
Scott Yanow
Nicki Parrott
& Her Jazz Pirates
(Arizona Classic Jazz Festival)
Bassist and singer Nicki Parrott, who is from
Australia, first gained some fame in the American
jazz world for her work with Les Paul. During the
past few years she has been playing at classic
jazz festivals and parties where she is always an
asset. Bassists who enjoy playing swing and
dixieland are not that common, and her joyful
singing is always a valuable attraction.
This particular CD documents a jam session-
flavored set from the 2007 Arizona Classic Jazz
Festival held in Chandler, Arizona. The octet also
features clarinetist Allan Vache, trumpeter Rob
Schulz, trombonist Jim Fryer, vibraphonist John
Cocuzzi, pianist Jeff Barnhart, guitarist Jerry
Krahn and drummer Danny Coots. While Ms.
Parrott is the leader, she does not dominate the
music and, other than some bass solos and a few
vocals, she mostly plays a supportive if swinging
role.
Schulz and Vache are in particularly strong form
during a program comprised of familiar standards
including “Slow Boat To China,” “Basin St. Blues”
and a lengthy “In A Mellotone.” One of the hottest
performances is a frequently-explosive version of
“Waltzing Matilda.” The leader’s best vocals are
on “Say It Isn’t So” and “Makin’ Whoopee,”
sharing the latter with Schulz.
The spontaneous music is quite fun and
available from www.azclassicjazz.org.
Scott Yanow
Rhythm Club All-Stars
Introducing
(Rhythm Club)
At the recent Sweet & Hot Music Festival, one of
the most promising of the new groups was the
Rhythm Club All-Stars. Led by Daniel Glass (the
drummer with Royal Crown Revue), the quartet
also features guitarist-singer John Reynolds,
Corey Gemme on cornet and trombone and
bassist John Hatton.
While all of the musicians are well versed in
1920s jazz, the Rhythm Club All-Stars actually
emphasizes small-group swing. Their debut CD
(available from myspace.com/rhythmcluballstars)
in its 15 selections gives one a strong selection
from the group’s repertoire. After starting with
Stuff Smith’s “Old Joe’s Hittin’ The Jug,” the group
mostly creates fresh and lively version of swing
era standards including “Caravan,” “Flying
Home,” “Dinah,” “St. Louis Blues” (hinting at
Glenn Miller’s “St. Louis Blues March”) and
“Jeepers Creepers.” The up-and-coming cornetist
Corey Gemme contributes many concise and hot
solos, some of which recall Bunny Berigan, John
Reynolds’ singing is delightful while his guitar and
banjo solos revive rarely heard styles, bassist
John Hatton keeps the music driving, and Daniel
Glass swings hard and takes some explosive
drum breaks.
It all works quite well, making one look forward to
this group’s future projects and, hopefully, its
revival of more obscure vintage material.
Scott Yanow
Shaynee Rainbolt
Sings Russell Garcia – Charmed Life
(Shaynee Rainbolt)
Shaynee Rainbolt, a warm and swinging jazz
singer with a versatile style, was intrigued after
she discovered the song “Go Slow.” One of the
composers was Russ Garcia, so she tracked him
down. Garcia, now 92, lives in New Zealand with
his wife but they spend their summers in the Los
Angeles area. After they met with the singer, it
was arranged that Ms. Rainbolt would record a full
set of Russ Garcia compositions. Garcia not only
contributed the 16 songs but wrote the
arrangements for the four trombones, string
quartet and rhythm section that accompanied her.
Garcia, who has been a major arranger since
1939 when he began working in radio, has had
overlapping careers as a writer for films and as an
arranger-composer for jazz projects, most notably
for the Bethlehem label in the 1950s. In 1966 he
left the United States, eventually settling with his
wife in New Zealand in 1971, but has remained
active as a writer in the years since.
This happy collaboration features Shaynee
Rainbolt (who had recorded two previous CDs) in
inspired form performing with the unusual band.
The repertoire includes a few of Garcia’s older
pieces and some selections from films (including
the theme song for “The Time Machine”) but also
more recent songs including seven on which Gina
Garcia wrote the lyrics and “I Remember,” which
has words co-written by Shaynee Rainbolt and
Russ Garcia. The music includes lush ballads,
some fine scat-singing on the hotter tracks and
an excellent variety of moods and tempos.
Singers who wish to find fresh material would be
advised to check out this CD, along with those of
us who want to hear the magical combination of
Shaynee Rainbolt and Russ Garcia. (available
from www.shayneerainbolt.com.)
Scott Yanow
Soprano Summit
In 1975 And More
(Arbors)
In the mid-1970s, when fusion and the avant-
garde were dominating modern jazz while many of
the survivors of the 1920s and ‘30s were
declining and passing away, small group jazz
began to be revived. While younger players such
as Scott Hamilton and Warren Vache would start
the revival in their generation, other musicians
who had swum against the modern jazz current of
the 1950s were being documented, often playing
in inspired situations.
One of the great groups of the era was Soprano
Summit, a band co-led by Bob Wilber and Kenny
Davern who were heard on clarinets and soprano-
saxophones. This double-CD contains music from
concerts put on by the New Jersey Jazz Society
that was never released before. The first disc
features Soprano Summit at a date in 1975 when
the quintet also included rhythm guitarist Marty
Grosz, bassist George Duvivier and drummer
Connie Kay. While the selections featuring Grosz’
s vocals have been left in the vaults because he
could barely be heard, the ten performances that
are included are well recorded and feature
Davern and Wilber sounding competitive and
inspired by each other’s presence. Highlights
include “Oh Sister, Ain’t That Hot,” “The Mooche,”
“Panama” and a lengthy “Linger Awhile.”
The second disc starts out with the same group
plus pianist Dick Hyman, performing five Jelly Roll
Morton songs. Four selections by The Blue
Three, a one-time band that recorded a lone
album during the era and consists of Davern,
pianist Dick Wellstood and drummer Bobby
Rosengarden, is at its hottest on “Fidgety Feet”
and “Shim-Me-Sha Wabble.” The twofer
concludes with five swing standards played by
Wilber, cornetist Ruby Braff, guitarist Wayne
Wright, George Duvivier and drummer Fred Stoll.
There are no weak spots to this towfer which
features some of the greatest small-group swing
soloists not only of the 1970s but of all time. For
those who miss Davern, Braff and Wellstood, and
wish we could see Wilber, Grosz, and Hyman
more often, this set is essential. It is highly
recommended and available from www.
arborsrecords.com.
Scott Yanow
Ralph Lalama Quartet
Energy Fields
(Mighty Quinn)
A powerful tenor-saxophonist who at times
recalls Sonny Rollins and Joe Henderson, Ralph
Lalama had never led an American record date of
his own before Energy Fields.despite having an
active career. Lalama caresses the melodies of
ballads but can play postbop jazz with the best, as
he shows on the opening number of Energy
Fields, Woody Shaw’s “The Moontrane.”
Assisted by guitarist John Hart, bassist Rick
Petrone and drummer Joe Corsello, Lalama digs
into such tunes as Charlie Parker’s blues “Buzzy,”
“Like Someone In Love,” Wayne Shorter’s
“United” and his own “Nonchalant.” He is quite
warm on “Indian Summer” and Alec Wilder’s
“Blackberry Winter.” In addition to Lalama, the
other players have their solo spots, particularly
the cool-toned John Hart, but the underrated
tenorman is the main star and the reason to
acquire this worthy and swinging CD. Available
from www.mighty-quinn.net.
Scott Yanow
Mort Weiss
All Too Soon
(SMS Jazz)
Seven years ago when clarinetist Mort Weiss
seemed to emerge out of nowhere after a 40-year
“vacation,” he was a 66-year old musician who
returned to the scene with a boppish style, an
attractive sound, and a swinging approach to
playing jazz standards. His first album was a set of
duets with guitarist Ron Eschete.
Now, Mort Weiss has moved from Orange County
to Austin, Texas. At 73 he still practices three
hours a day and, if anything, he has grown
stronger as a clarinetist during the past few years.
But his removal from the Southern California jazz
scene is a loss to us although hopefully he will
return now and then for gigs.
On All Too Soon, the clarinetist returns to the
original format, performing a dozen duets with
Ron Eschete. Since Eschete plays a seven-string
guitar, basslines are often heard behind Weiss’
solos. Duets can be among the most difficult
settings in jazz because there is nowhere to hide
and the two players must have strong musical
communication in order to react to each other
quickly and coherently. Weiss and Eschete have
worked together many times and, despite some
hair raising moments when they really challenge
each other, this combination works well. While
there are few surprises in a repertoire that
includes among his highpoints “Scrapple From
The Apple,” “Be My Love,” “O Grande Amor,”
“Afternoon In Paris” and “No More Blues,” the two
musicians never take it easy and they constantly
push each other to play at their best. All of the
music is first takes and no rehearsal was held
before the CD was recorded.
Mort Weiss considers All Too Soon to be his
finest recording so far, and I cannot say that I
disagree. It is available from www.smsjazz.com.
Scott Yanow
Ava Logan
So Many Stars
(Diva Vet Music)
Ava Logan is a highly appealing singer born in
Washington D.C. who is based in Chicago. Her
day job is as a veterinarian (thus the name of her
label) while at night she works as a singer and as
an actress. She has portrayed Ella Fitzgerald and
Nancy Wilson, both of whom are influences on her
singing, on stage.
So Many Stars is Ava Logan’s recording debut
and she is fine form. Joined by guitarist Henry
Johnson (who is the CD’s producer), pianist Larry
Novak, bassist Larry Gray and drummer Leon
Joyce, Ms. Logan gives a lot of spirit and swing to
a set of veteran standards. While one wishes that
she was exploring fresher material (the definitive
versions of “Day In, Day Out,’ “Too Close For
Comfort,” “Detour Ahead,” “At Last” and “I Love
Being Here With You” were recorded years ago),
this is a common problem for many of today’s jazz
singers. However she comes up with subtle ways
to make the songs come alive, and the sound of
her voice is very attractive.
So Many Stars is a fine start to Ava Logan’s
recording career. It is available from
www.avalogan.com.
Scott Yanow
Joe Beck/Laura Theodore
Golden Earrings
(Bearcat)
Singer Peggy Lee and her first husband guitarist
Dave Barbour made for a strong musical team
during the period of their marriage. In addition to
performing together, they co-wrote quite a few
songs. Laura Theodore, an excellent singer from
today, called up her friend guitarist Joe Beck and
suggested that they record a set of Lee-Barbour
songs plus a few other tunes that Peggy Lee had
made her own through the years. Sadly, the
project from 2006-2007 would be one of Joe Beck’
s last recordings for he passed away from lung
cancer this past July 22.
Peggy Lee and Dave Barbour never actually
recorded a full set of duets. Laura Theodore,
while purposely hinting at Lee in spots, has a
more sensual delivery while Joe Beck was much
more of a virtuoso than Barbour. Beck was a
master at creating sound and being an orchestra
by himself. He provides a perfect backdrop
throughout this project, both accompanying and
interacting with the singer.
Eight of the 15 songs on Golden Earrings are
Lee-Barbour compositions including “I Don’t Know
Enough About You,” “Manana” and “What More
Can A Woman Do?” Also featured are such Lee
signature tunes as “Golden Earrings,” “Fever”
and “Why Don’t You Do Right.”
Due to the different sounds and tones of Beck
and Theodore, this tribute set is not a mere
recreation, and instead gives listeners a new and
sometimes offbeat look into these vintage songs
Laura Theodore is heard at her best, Joe Beck
exits on top, and Peggy Lee would have enjoyed
it. (Available from www.lauratheodore.com).
Scott Yanow
Fraser MacPherson
Live At Puccini’s 1977
(Cellar Live)
Fraser MacPherson was one of Canada’s top
tenor-saxophonists from the 1960s until his death
in 1993. A cool-toned stylist whose playing was
reminiscent of the Four Brothers sound of Stan
Getz and Zoot Sims, MacPherson was also
distinctive, consistently swinging, and inventive
within the swing-to-bop range.
While MacPherson’s Concord recordings are his
best known recordings in the U.S., it has been
quite a while since anything “new” has been
released of his playing. This fine set from Cellar
Live teams MacPherson with his longtime musical
partner guitarist Oliver Gannon and bassist Wyatt
Ruther. Some of the tempos are faster than one
might expect from MacPherson but he glides
effortlessly over the chord changes and throws in
many impressive doubletime runs. While the
repertoire is mostly filled with swing standards,
there are also some dixieland tunes (such as
“Someday You’ll Be Sorry” and “Struttin’ with
Some BBQ”) and, surprisingly, Fletcher
Henderson’s “Goose Pimples” from the 1920s.
Everything works.
Live At Puccini’s 1977, which has plenty of close
interplay between the three musicians in the
drumless trio, serves as a reminder to listeners
just how skillful, tasteful and inventive Fraser
MacPherson was night after night. It is available
from www.cellarlive.com.
Scott Yanow
Tamir Hendelman
Playground
(Swingbros.)
Tamir Hendelman, one of Los Angeles’ finest jazz
pianists, is a virtuoso capable of playing stunning
solos that could compete with those of the late
Oscar Peterson. However, he also knows the
value of space, self-restraint and making every
note count.
On Playground, a CD that is thus far mostly
available in Japan, Hendelman is joined by bassist
John Clayton and drummer Jeff Hamilton. The
three musicians, who form the rhythm section of
the Clayton-Hamilton Jazz Orchestra, are all very
familiar with each other’s playing and, on this CD,
they often think as one. The music swings hard
when the tempos are rapid, but the improvising
always sounds relaxed. Some tunes are taken
quite slow (particularly a surprising version of
“Singin’ In The Rain”), there are plenty of bass
solos (both bowed and plucked) from Clayton,
and Hamilton is his usual tasteful self.
While there are a few standards among the 13
selections, ranging from Horace Silver’s “The
Cape Verdean Blues” to “Do Nothin’ Till You Hear
From Me,” they are given subtle creativity that
keeps one guessing. In addition, Hendelman
contributed five originals, a few of which could
catch on if given enough exposure.
In summary, Playground is as worthy a CD as one
would expect from this all-star trio, easily
recommended and available from www.
tamirhendelman.com.
Scott Yanow
Jimmy Dorsey
Dorseyland Jazz Band – More!
(Jazz Crusade)
Jimmy Dorsey was a significant jazz clarinetist and
altoist for over 30 years. He emerged in the
1920s as one of the top reedmen in jazz. Dorsey
often teamed up with his younger brother Tommy
in the studios during the early years of the
Depression and they co-led the Dorsey Brothers
Orchestra during 1934-35. The “battling Dorseys”
could not stay peaceful for long and a spat over
the tempo of a song resulted in Tommy Dorsey
departing and forming his own very successful big
band. Jimmy Dorsey took longer to gain
commercial success, finally catching on big in the
early 1940s with recordings that co-starred
singers Helen O’Connell and Bob Eberly.
Jimmy Dorsey led his orchestra until 1952. By
then times were very tough for big bands, so the
Dorseys joined forces again and led a successful
nostalgia orchestra until their deaths during 1956-
57.
During 1949-50, Jimmy Dorsey often performed
with a small combo taken from his big band.
Called “The Original Dorseyland Jazz Band,” his
septet featured hot music performed by JD and
trumpeter Charlie Teagarden with fine supportive
players. It gave Dorsey an opportunity to stretch
out and explore his roots.
A follow-up to an earlier CD from Big Bill
Bissonette’s Jazz Crusade label (Jimmy Dorsey
And His Dorseyland Jazz Band), this set of very
rare music is taken from broadcasts made for the
Marine Corps in Dec. 1950. Dorsey, Teagarden,
either Frank Rehak or Bud Hackman on
trombone, tenor-saxophonist Art Lyons, pianist
Bob Carter, bassist Bill Lolatte and drummer Karl
Kiffe perform high-quality and very enthusiastic
dixieland. Since many of the song titles have to do
with states or cities, this CD is subtitled “A Musical
Tour Of The U.S.A.”
It is a pleasure getting to hear Dorsey jamming
happily with clarinet and alto, and Teagarden is in
particularly fine form. Dixieland fans will want this
one, available from www.jazzcrusade.com.
Scott Yanow
Benn Clatworthy
The Decider
(BCM)
Long a fixture in the Los Angeles area, Benn
Clatworthy is sometimes overlooked when one
thinks of the top local talent. If there is any justice,
The Decider will change that situation.
Joined by bassist Chris Colangelo and drummer
Ryan Doyle, Benn Clatworthy really gets to
stretch out on this CD. Mostly sticking to tenor
(with appearances on flute and soprano),
Clatworthy digs into four of his originals, two
Colangelo pieces, and five standards. On the
opener, John Lewis’ “Afternoon In Paris,”
Clatworthy sounds a little like Sonny Rollins in his
playfulness and ability to improvise endlessly off a
melody. During some of the other selections, such
as “This Is New,” he displays his own version of
John Coltrane’s “sheets of sound.” But in general,
Clatworthy has long had his own sound within
post bop jazz.
A piano or guitar is not missed for the playing of
Chris Colangelo (who occasionally plays bowed)
and Ryan Doyle keeps the momentum flowing.
Not that Clatworthy seemed to need inspiration,
for he plays one brilliant solo after another. While
the performances are concise (only one number
tops seven minutes), there is a great deal of
music to be heard on this rewarding disc, one of
Benn Clatworthy’s finest to date. It is available
from www.bennclatworthy.com.
Scott Yanow
Andrea Brachfeld
Into The World: A Musical Offering
(Shaneye)
A professional flutist since the 1970s, Andrea
Brachfeld is equally at home with swinging jazz as
she is with Afro-Cuban and Latin music. She
recently released her fourth CD as a leader and
is on the verge of breaking through to greater
recognition, having always been widely respected
in the New York area.
Into The World: A Musical Offering has 16
selections that range from Cha Cha Cha rhythms,
bossa-novas and a samba to light fusion, a jazz
waltz (“Passing Friends”) dedicated to the many
Latin jazz musicians who have passed in recent
times, and ballads.
Ms. Brachfeld uses several different rhythm
sections along the way, with the biggest names
being pianist Mike Longo and bassist Paul West.
Chembo Corniel is a strong asset on percussion,
two or three vocalists join in on two numbers and
trumpeter Brian Lynch guests on the closing
“Descarga del Mundo.”
But the main star throughout is Andrea
Brachfeld, whose fluent and versatile flute is
consistently impressive. She deserves to be much
better known. (available from www.
andreabrachfeld.com)
Scott Yanow
Andy Martin-Jan Lundgren Quartet
How About You?
(Fresh Sound)
This is a particularly easy CD to review. Andy
Martin, who gained important experience during a
long period with Les Brown’s orchestra (1984-98)
before graduating to Bill Holman, is one of the
major trombonists in jazz today. His fluent solos,
warm sound, and ability to think fast have made
him in great demand, particularly during the past
decade. He never seems to play an unworthy
note.
Jan Lundgren, a top bop-based pianist from
Sweden, has been well documented in recent
years and uplifts every session on which he
appears. It is not surprising that Lundgren and
Martin hit it off so well when they first met in a
recording studio in 2001 for their styles are quite
compatible.
How About You teams the co-leaders with bassist
Chuck Berghofer and drummer Joe La Barbera in
early 2006. While they split the arranging chores,
the material is mostly quite familiar, being a dozen
standards dating from 1930-43 with the exception
of the least-known song, 1954’s “A New Town Is A
Blue Town.” The solos of Martin and Lundgren
are predictably excellent, their interplay recalls
the Chet Baker/Russ Freeman group of 1954,
and the support given by Berghofer and La
Barbera would be difficult to top.
Accompanied by a colorful and very informative
32-page booklet (a trademark of producer Dick
Bank), How About You? is available from www.
freshsoundrecords.com. Little more need be said;
get this one!
Scott Yanow
Cosmic Dust
Step Right Up!
(Jim Templeton)
Fusion has long had a bad rap, being blamed for
the dullness of smooth and being castigated by
the acoustic players who rose to prominence in
the 1980s. Actually the combination of jazz
improvisation with the sound, rhythms and power
of rock (which was fusion’s original meaning)
remains a viable if often-underground idiom.
Keyboardist Jim Templeton on Step Right Up! not
only revives the original concept but shows that
fusion can have variety, wit and its own brand of
swing.
Joined by guitarist Chris Mosley, John Nastos on
reeds, bassist Dave Turner and drummer Charlie
Doggett, Templeton contributed all eight originals
along with his colorful keyboards. The music
encompasses a classical influence in spots, some
straightahead sections, catchy rhythms, and
plenty of melodic improvising. Absent are the
overly virtuosic solos that hurt fusion in the mid-
1970s along with any “dumbing down” of the
music. Templeton’s group Cosmic Dust succeeds
on its own terms..
Overall, Step Right Up! is a fun set, available from
worldjazzscene.com/jim-templeton.html.
Scott Yanow
Joe Baione
Oh Yeah!
(JB)
Joe Baione is a fine vibraphonist most influenced
by Milt Jackson and, to a lesser extent, Bobby
Hutcherson. His Oh Yeah! CD is a no-nonsense
set of straightahead jazz that matches his vibes
with pianist Toru Dodd, bassist Corcoran Holt,
drummer Jerome Jennings, and occasionally
tenor-saxophonist Jorge Castro and trombonist
Andrae Murchison.
Of the nine selections, five are blues including
the augmented “All Blues,” “Bags’ Groove” and
two versions of “Oh Yeah” which open and close
the set. Of the other selections, while “J Bossa” is
similar to “Blue Bossa,” the exotic vamp original
“The Stranger” is haunting and a highlight.
All of the musicians play well on this tasteful set,
documented in New York City in 2007. While the
players may not be individually famous, they
improvise on the same high level as many of their
better-known contemporaries. Bop fans will
definitely enjoy Oh Yeah, which is available from
www.joebaione.com.
Scott Yanow
Lisa Hearns
I Got It Bad And That Ain't Good
(LH)
A fine swing singer who has a clear tone,
excellent phrasing, and puts honest feeling into
the words she interprets, Lisa Hearns is based in
the New York area. On I Got It Bad, she is joined
by a group of notables: pianist Keith Ingham,
bassist Kelly Friesen (who wrote the
arrangements), drummer Arnold Wise and, on
four of the ten selections, guitarist Howard Alden.
Her repertoire includes a few typical standards
like “Cheek To Cheek” and “Love For Sale” but
also such offbeat material as “I Heard It Through
the Grapevine,” “Plus Je T’Embrasse” and Horace
Silver’s “Lonely Woman.” An uptempo version of
“Easy Living” (which is usually a ballad) is an
added surprise and practically every one of the
performances has a few unexpected moments.
Hearns is a subtle improviser who sounds quite
comfortable with the musicians and these songs.
With any luck, Lisa Hearns should have a bright
future in jazz. I Got It Bad And That Ain’t Good is a
solid start and available from www.lisahearns.com.
Scott Yanow
Paul Carr
Musically Yours
(PCJ Music)
Paul Carr is both a modern-day descendant of
the Tough Texas Tenor tradition and an educator
in the Washington D.C. area. Musically Yours is
his third recording as a leader and it is a heartfelt
tribute to the late great tenor-saxophonist Joe
Henderson.
In addition to having his own sound, Joe
Henderson could play both inside or outside,
stretching the boundaries of hard bop in the
1960s and remaining a vital force for 30 years.
Although Carr has a slightly different tone, he
also has the ability to sound like Henderson when
he wants. There are times throughout this well-
conceived homage when one would swear that
Henderson was the one playing.
For the project, Carr formed a quintet with
trumpeter Terell Stafford and three musicians who
had played regularly with Henderson: pianist
Mulgrew Miller, bassist Michael Bowie and
drummer Lewis Nash. They perform five
Henderson originals which range from obscurities
to “Black Narcissus,” plus a pair of Carr originals
in Henderson’s style, Louis Scherr’s “Zsa Zsa,”
“Night And Day” and, for a close, a brief
unaccompanied tenor solo on “If You Could See
Me Now.” On a whole, the program comes across
very much like a Joe Henderson session from the
1960s or ‘70s, with Stafford recalling Lee Morgan
and Freddie Hubbard in spots.
Musically Yours is highly recommended
(particularly to Joe Henderson fans) and available
from www.paulcarrjazz.com.
Scott Yanow
Eileen Howard
Street Of Dreams
(EH)
Eileen Howard is a singer and actress based in
Ohio. She spent time living and singing pop and
jazz in a variety of exotic places including Paris,
Caracas and Sydney, Australia in the 1980s. Very
active in the Toledo and Columbus areas during
the past 15 years, her first jazz CD, All Kinds Of
Weather, was released in 2002.
Street Of Dreams has Ms. Howard joined by
pianist Richard Lopez, bassist Roger Hines,
drummer Matt Wagner and saxophonist Michael
Cox, all of whom are top-notch players. The
singer’s wide range, attractive voice and ability to
interpret a wide variety of material make this a
highly enjoyable listen. In addition to joyfully
singing standards that range from “A Kiss To
Build A Dream On” to “A Night In Tunisia,” she
contributes two thoughtful originals and the lyrics
to another song. Not everyone can sing both
Mose Allison’s “Everybody’s Cryin’ Mercy” and
Chick Corea’s “Open Your Eyes You Can Fly” but
Eileen Howard creates equally effective versions
back-to-back.
This is a singer well worth discovering. Street Of
Dreams is available from www.singouteileen.com.
Scott Yanow
Chip White
Double Dedication
(Dark Colors)
Since 1970 Chip White has played drums with a
long list of jazz greats including Carmen McRae,
Jaki Byard, John Faddis, Chet Baker, Junior
Cook, Dave Liebman, James Moody, Jimmy
McGriff, Gary Bartz, Al Grey and Teddy Edwards.
He was also a member of the Houston Person-
Etta Jones for nine years. A solid and swinging
drummer, White always gives the soloists
stimulating support.
On the two-CD Double Dedication, White leads a
superior all-star group consisting of trumpeter
Randy Brecker, trombonist Wycliffe Gordon,
altoist Steve Wilson, pianist Kenny Barron and
bassist Ray Drummond. On the first CD, they
perform White’s tributes to 13 major and inspiring
musicians: Lester Young, Duke Ellington, Charlie
Parker, Dizzy Gillespie, Billy Strayhorn, Lee
Morgan, Etta Jones, Paul Chambers, Thelonious
Monk, Art Blakey, John Coltrane, Max Roach and
Charles Mingus. The drummer proves to be a
skilled composer, for each of these numbers
brings back the spirit and style of one of the
musicians. While a few (such as “Bird In The
Yard”) are based closely on an earlier tune
(“Confirmation”), most are more original, and also
convey the personality of its subject. Gail Allen
sings White’s lyrics to four of the pieces and each
of the musicians has their solo spots with Wycliffe
Gordon’s exuberant outbursts often stealing the
show.
The second disc, which totals just under 14
minutes, has White reciting a short poem for each
of the 13 musicians over an excerpt of the music.
Chip White manages to sum up each musician’s
life in just a few words, showing that he is as
skilled at words as he is at music.
This very good set is available from www.
chipwhitejazz.com.
Scott Yanow
Dr. Michael White
Blue Crescent
(Basin Street)
Dr. Michael White has kept the legacy of New
Orleans clarinet a la Johnny Dodds and Jimmie
Noone, alive for years. After having suffered
major losses due to Hurricane Katrina, White has
emerged with Blue Crescent, a set of a dozen
original songs plus “St. Louis Blues” and the
Carter Family’s “Will The Circle Be Unbroken.”
White is in top form throughout this CD. His
intonation has never sounded better and his flow
of creative ideas within the classic New Orleans
tradition is impressive. While a few of the numbers
(particularly “Dark Sunshine,” “Algeria” and
“Katrina”) hint at the tragedy, much of the music is
more optimistic about New Orleans’ future. White
contributes new blues, hymns, ballads, dance hall
numbers, rags, dirges and stomps. The band,
which at times includes trumpeter Nicholas
Payton, Gregory Stafford (who sings on “Sunday
Morning” and “King Of The Second Line”),
trombonist Lucien Barbarin, pianist Steven
Pistorius and sometimes drummer Jason Marsalis,
is perfect for this style of music and it is a
particular joy hearing Payton in this setting.
Dr. Michael White, who is at his most fluent on his
showcase, “London Canal Breakdown,” has
recorded his definitive and possibly most
significant CD. Blue Crescent is a gem that will
delight fans of traditional New Orleans jazz. It is
available from www.basinstreetrecords.com.
Scott Yanow
Various Artists
Rare Cuts – Well Done #13
(Jazz Crusade)
Big Bill Bissonette on his Jazz Crusade label
usually records the type of no-nonsense hard-
driving New Orleans jazz that he loves.
Occasionally he reissues obscure material,
particularly in his Rare Cuts – Well Done series
which now numbers 13 CDs.
This CD begins with a very rare and historic
performance. On Jan. 29, 1971, Louis Armstrong
made what would be his next-to-last gig, five
months before he died. He appeared at the U.S.
Press Club with his longtime trombonist Tyree
Glenn and a pickup group that might have
included some members of his last All-Stars. What
is unusual is that Armstrong plays trumpet on two
numbers. While he is very much in the
background of “When It’s Sleepy Time Down
South,” on “Hello Dolly” he leads a spirited
ensemble chorus and sounds good. Considering
that he had to stop playing trumpet in 1968 due to
his worsening health, this final bit from his trumpet
is unexpected. He also is frank and in fine vocal
form on the autobiographical “Boy From New
Orleans” (which uses the chord changes of “The
Saints”).
A year later, Tyree Glenn returned to the U.S.
Press Club to pay tribute to Satch on a few
numbers, playing trombone, singing and telling
stories. Four of the performances are on this CD.
In addition, two selections made for the
soundtrack of the 1959 film The Gene Krupa
Story but never used are here (featuring Krupa)
and there are a pair of numbers from Wilbur and
Sidney DeParis in 1961 on which their band
accompanies the vocals of Hoagy Carmichael and
Mae Barnes for a television show. Rare Cuts Well
Done #13 concludes with seven tunes from a
1950 radio broadcast featuring New Orleans
trumpeter Sharkey Bonano’s spirited dixieland
band.
The Armstrong and Bonano selections, along with
the heartwarming performance by Tyree Glenn,
makes this CD a must for collectors of New
Orleans jazz. It is available from www.jazzcrusade.
com.
Scott Yanow
Larry McDonough Quartet
Simple Gifts
(LM Jazz)
Larry McDonough is an inventive pianist and an
occasional singer based in Minnesota. On Simple
Gifts he displays the desire and the talent to
recast familiar songs in odd time signatures and
make them work.
Imagine hearing “Red River Valley” in 7/4 time,
Steely Dan’s “Aja” in 5/4 and “My Favorite Things”
(inspired by John Coltrane’s famous versions) in
5/4. But there are other surprises to be heard
throughout this quartet disc. “Ode To Joy” sounds
like a Bill Evans arrangement, “They Can’t Take
That Away From Me” is sung with the rarely-heard
verse which gives the tunes’ words a completely
different and a much more downbeat meaning,
and a new Billie Holiday tribute piece (“Lady Day”)
is introduced. In addition, McDonough
occasionally tosses in the most unlikely song
quotes, but it is done tastefully and adds to the
date’s good feelings.
Saxophonist Richard Terrill (mostly heard on
tenor but also very good on soprano), bassist
Craig Matarrese and drummer Chad Draper make
for a tight but adventurous quartet with
McDonough. The highly enjoyable is music is
recommended and available from www.
larrymcdonoughjazz.homestead.com.
Scott Yanow
Michael Royal Trio
Transition
(MR)
Based in Florida, pianist Michael Royal has
performed in Europe, Asia and throughout the U.
S. He has worked with the likes of Red Rodney,
Mel Lewis, Clifford Jordan, George Garzone,
Larry Coryell, Emily Remler, Ira Sullivan, and Mark
Murphy in addition to his own groups through the
years.
Transition features Royal with bassist Richard
Drexler and drummer Steve Davis. The trio had
played together regularly at a weekly gig in
Sarasota, Florida for five months, so this CD
came together very fast, being recorded in a total
of four hours.
All seven selections are well worth hearing,
particularly the opening ballad (“Some Other
Time”), a swinging “For Heaven’s Sake” and the
heated original “Cracklehut.” The trio is
particularly rewarding on ballads, thinking as one.
Closing the excellent outing is a 14 1/2
exploration of Wayne Shorter’s “Footprints” that
progresses logically and never loses one’s
interest.
Transition is a CD worth going out of one’s way
for, an intriguing listen from start to finish. It is
available from www.michaelroyal.com.
Scott Yanow
Mike Gellar/Christiana Drapkin
Got The World On A String
(Mike’s)
Paulette Dozier
Over & Over Again
(PDF)
Allison Adams Tucker
Come With Me
(Allegato Music)
Rachel Lauren
Away From The Crowd
(Moody Doll Music)
There is certainly no shortage of female jazz
singers. Although occasional jokes are made
about the excessive number of vocalists, and it
seems at times as if there are five new ones every
week, the remarkable fact is that most of the
singers are quite good and they add worthwhile
recordings to the jazz scene even if they have to
fight to get attention.
Christiana Drapkin was born in Germany and has
lived in the New York area since the 1980s. She
has a real feeling for standards, for scatting and
for swinging, along with a highly appealing voice.
Guitarist Mike Gellar, who lives in Maryland, co-
leads Got The World On A String and is a fine
bop player, touched by Wes Montgomery and Jim
Hall but having a sound of his own. With bassist
Bob Shann, drummer Dominic Smith and
occasionally trumpeter Chris Battistone (who is an
asset during the five songs on which he appears),
the musicianship is high. The repertoire includes
swing standards, a pair of vocal-guitar duets
(“The Nearness Of You” and “You Stepped Out
Of A Dream”), Lanny Morgan’s wordless “Friends
Again” (which features Ms. Drapkin’s scatting),
“The Peacocks,” an effective “Tennessee Waltz”
and a pair of instrumentals (“Laverne Walk” and
“The Way You Look Tonight”). This is an easy
date to recommend, available from www.
christianadrapkin.com.
Paulette Dozier has had a wide-ranging career.
She has always sung and in high school also
played alto sax. She spent time working in
Venezuela as a recording artist, a dancer and the
head of a modeling and talent school She also
spent a period in Italy working as a singer. Back in
the U.S. since 1991, she has kept busy not only
as a jazz singer but as an actress, model and
voiceover artist. Over Again is her second CD
and it features her warm voice joined by pianist
Mark Levine, bassist Jamie Ousley, drummer
Sammy Levine and usually one guest on each
song including tenor-saxophonist Ed Calle, Ira
Sullivan on flugelhorn or guitarist Daniel Warner.
Paulette Dozier has a very good feel for jazz
(even making “All Of Me” sound fresh) while
having an interest in stretching the usual
repertoire. Her set includes two songs associated
with Chicago (“Does Anybody Really Know What
Time It Is,” and “Saturday In The Park”), Al Green’
s “Let’s Stay Together” and a pair of originals that
she co-wrote with Levine. Paulette Dozier sounds
quite comfortable on the material and with the jazz
quartets; her second recording is a winner,
available from www.paulettedozier.com.
Allison Adams Tucker has an enthusiastic voice
that displays her great interest in the many
cultures and languages of the world. She spent
four years living in Japan and sings in seven
languages including French, Portuguese and
Japanese. On Come With Me, she starts off as if
this will be a typical standards date with such
songs as “I’ve Got The World On A String,” “Blue
Skies” and “I’ll Be Seeing You” along with “La Vie
En Rose.” However after introducing her original
“You Got Me,” she sings “The Sea” in French and
interprets “Volver” and “O Barquinho,” showing
that one should expect the unexpected when
listening to her. Her distinctive voice blends in well
with the backup musicians who change from track
to track but often include guitarist Peter Sprague,
pianist Kamau Kenyatta, Reiko Obato on koto,
violinist Ray Suen and/or trumpeter Derek
Cannon. Since she is based in San Diego, it
would be rewarding if someone would book Allison
Adams Tucker in Los Angeles for she has a great
deal to offer. Her CD is available from www.
allisonadamstucker.com.
Rachel Lauren is at the beginning of her career
but already has a mature voice, sensitivity to
lyrics and the ability to make vintage standards
sound worth hearing again. She made her stage
debut in musical theater when she was five,
appeared in a couple of dozen shows, and
discovered jazz when she was 14. Now 21, the
USC student has her debut recording out on her
own new label. Joined by guitarist Ross Grant,
bassist Daniel Fabricant, drummer Brian Carmody
and tenor-saxophonist Kirk Hamilton, Ms. Lauren
performs ten familiar standards including “You
Stepped Out Of A Dream,” “Solitude,” “The
Shadow Of Your Smile” and “Caravan.” She has a
very attractive voice and improvises well,
particularly for her age. The material could be
fresher but this is an excellent start and she
certainly has plenty of potential. She clearly has a
lot of talent and Away From The Crowd (available
from www.rachellauren.com) is a very good first
step for Rachel Lauren.
Scott Yanow
CD REVIEWS PUBLISHED IN THE LOS ANGELES
JAZZ SCENE (through the July 2008 issue)
Jack Nimitz
Yesterday And Today
(Fresh Sound)
One of the last survivors of the West Coast jazz
era (he moved to Los Angeles in 1960) and still
one of the top baritone-saxophonists around,
Jack Nimitz has appeared on a countless number
of sessions through the years. He has rarely led
albums (though there was an excellent CD for
Fresh Sound in 1995), making the two dates
combined on this logical and highly enjoyable CD
pretty essential.
The first nine selections, recorded in March,
1957, were never out before. Nimitz, who had
already played extensively with Woody Herman
and toured with Stan Kenton, was set to make his
debut as a leader with an album for ABC-
Paramount. After the music was recorded, his wife
became ill, he took her home to Washington D.C.,
and he lost contact with the album’s producer,
Creed Taylor. 50 years passed but now the music
has miraculously appeared.
Nimitz is teamed with the great trombonist Bill
Harris, a guitarist (either Kenny Burrell, Jimmy
Raney or Chuck Wayne), a bassist, a drummer
and five strings on nine selections, some of which
were arranged by Bob Zieff. While a few of the
songs are ballads, the strings do not hinder the
musicians and there are a few romps along the
way, most notably “Shine.” Nimitz, who sometimes
recalls Gerry Mulligan a little on this set, is in
excellent form, and any new Bill Harris solos are
always very welcome.
The second half of this CD is the “Today” part.
From 2007, Nimitz teams up with fellow baritonist
Adam Schroeder on eight selections that also
include pianist John Campbell, bassist Dave
Carpenter and drummer Joe La Barbera. Nimitz’s
tone is deeper and more distinctive than earlier,
Schroeder proves to be quite competitive and an
inspiring match, and the rhythm section is as
excellent as it sounds. The style of music is
similar, still boppish with the emphasis on
standards or originals based on vintage tunes.
It is to Jack Nimitz’s credit that he sounds equally
rewarding on both sessions despite the passing
of a half-century. This is a well-conceived release
(one suspects that Dick Bank, listed as providing
“studio supervision,” had a great deal to do with
it) that is highly recommended, definitive of the
baritonist’s career and available from www.
freshsoundrecords.com.
` Scott Yanow
Louis Mazetier
Tributes, Portraits and Other Stories
(Arbors)
Attendees of the Orange County Classic Jazz
Festival, which this year takes place August 7-10
in Costa Mesa (check out www.oc-classicjazz.org
for further information), can look forward to once
again seeing the brilliant stride pianist Louis
Mazetier, both as a soloist and with Paris
Washboard. With the deaths of Ralph Sutton and
Dick Wellstood, there are only a few truly major
stride pianists left, including Dick Hyman, Neville
Dickie (who is also at the festival) and Judy
Carmichael. Mazetier, a radiologist from France,
ranks with the very best, somehow always
sounding relaxed even at blazing tempos.
Tributes, Portraits and Other Stories is a set of
solo piano that has quite a bit of diversity.
Mazetier contributes seven songs of his own
(including “Tango Seville,” a Duke Ellington
tribute called “Portrait Of A Portraitist” and the
four-part “Significant Ladies Suite”) in addition to
bringing new life to James P. Johnson’s “You’ve
Got To Be Modernistic,” “The Pearls,” “Anitra’s
Dance,” “Just You, Just Me,” Willie “The Lion”
Smith’s “Sneakaway” and “Keep Off The Grass.”
Mazetier gives one the impression that he never
makes a mistake or sweats, even as he makes
the impossible sound effortless. He has had
several solo recordings out. His Arbors release
(www.arborsrecords.com) is a perfect place to
start in exploring his tasteful yet miraculous
playing. And be sure to catch him in Costa Mesa!
Scott Yanow
Mamiko Watanabe
Origin/Jewel
(MW)
A fairly new name in jazz, Japanese pianist
Mamiko Watanabe displays a great deal of talent
on her double-CD The first disc has Ms.
Watanabe featured on six originals that are often
quite rhythmic, either being a little funky or Latin-
oriented although never all that predictable. For
this CD, the fluent pianist is heard in a
quintet/sextet with trumpeter Maurice Brown and
saxophonist Karel Ruzicka, Jr. The second disc
has Watanabe in a classic piano-bass-drums trio
(one number adds a percussionist), playing six
more of her tunes plus “Beautiful Love” and “Here’
s That Rainy Day.”
While one can hear bits of the influence of other
pianists, particularly Chick Corea and Herbie
Hancock, Ms. Watanabe already has a sound of
her own plus impressive technique. Her creativity
is impressive throughout these modern
mainstream performances and she is a skilled
songwriter.
While it will be interesting to follow Mamiko
Watanabe’s career and see where she goes from
here, her playing on Origin/Jewel shows that she
has already arrived as a fine jazz pianist. This
twofer is available from www.mamikowatanabe.
com.
Scott Yanow
Ron Kalina and Jim Self
The Odd Couple
(Basset Hound)
It is fair to say that frontlines consisting of
harmonica and tuba are not a common
occurrence. Ron Kalina and Jim Self in 1983
collaborated on the album Children At Play. More
than 25 years later, they have had a reunion for
The Odd Couple.
It may seem like an odd sound initially, but
harmonica and tuba actually blend together quite
well, particularly when played on the level of these
two musicians, both of whom are constantly busy
in the studios. With fine support from guitarist
Larry Koonse, bassist Tom Warrington and
drummer Joe LaBarbera, Kalina’s chromatic
harmonica and Self’s tuba (he switches to the
fluba, a mixture of the tuba with a flugelhorn, on
three numbers) make for a perfect match. It helps
that Self is a virtuoso on his instrument (no mere
oom-pah rhythms from his tuba) and that Kalina
could compete with Toots Thielemans.
On such numbers as the “I Got Rhythm”-based
“No More Mr. Nice Guy,” Lanny Morgan’s “Friends
Again,” “Confirmation,” “Someone To Light Up My
Life,” and of course “The Odd Couple,” Kalina
and Self perform catchy ensembles and joyful
solos that should lead some to re-evaluate the
potential of the harmonica and the tuba.
This happy set is easily recommended and
available from www.bassethoundmusic.com.
Scott Yanow
Irvin Mayfield and Ellis Marsalis
Love Songs, Ballads And Standards
(Basin Street)
Irvin Mayfield is a powerful trumpeter who is
capable of rousing solos while Ellis Marsalis, a
father figure to many younger New Orleans
players (not to mention his four musical sons), is
a lyrical and melodic pianist. On duets, quartets
(with bassist Neal Caine and drummer Jaz
Sawyer) and a few numbers that have backing by
the Louisiana Philharmonic Orchestra, Mayfield
and Marsalis mostly essay a wide-ranging set of
ballads. 10 of the 14 selections were recorded in
2004 and would have been lost altogether due to
Hurricane Katrina if Mayfield did not also have the
music on his I-Pod. The other four numbers are
from 2007.
The repertoire ranges from “Yesterday,”
“Yesterdays” and “My One And Only Love” to
Norah Jones’ “Don’t Know Why,” “Mo’ Better
Blues” and “A House Is Not A Home.” Mayfield,
playing with his former teacher, is quite
restrained, mostly sticking to melodic variations
and letting Marsalis have much of the spotlight.
Although this CD would have been more exciting
with the inclusion of some uptempo material that
could have challenged Marsalis, the overall
results are pleasing, mellow, a bit somber and
heartfelt. Love Songs, Ballads And Standards is
recommended and available from www.
basinstreetrecords.com.
Scott Yanow
Diane Linscott
Once Upon A Summertime
(Klarity Multimedia)
Diane Linscott, who has a clear and attractive
voice, swings easily and is expert at placing her
notes, took quite a while before beginning her
singing career. However on Once Upon A
Summertime, she makes up for lost time by
performing appealing versions of an eclectic set
of tunes.
Assisted by a rhythm section led by pianist Bob
Alberti with plenty of guest appearances from
cornetist Warren Vache and tenor-saxophonist
Harry Allen, Ms. Linscott interprets such offbeat
items as “When The Red, Red Robin Comes Bob,
Bob, Bobbin’ Along,” “You Hit The Spot,” Joe
Mooney’s “Nowhere” and her own “Just Another
Sunday.” Vache contributes a so-so vocal on
“And We Were Lovers” but his cornet is a major
asset throughout.
Diane Linscott sounds quite comfortable and
relaxed on the swing tunes and ballads, making
one look forward to her future projects. This fine
effort is available from www.dianelinscott.com.
Scott Yanow
George Girard
With Rosemary Clooney
(GHB)
George Girard was one of the most promising of
the young trad musicians based in New Orleans
during the 1950s. He worked with Phil Zito’s group
and alongside Pete Fountain in the Basin Street
Six before forming his own band in 1954. An
excellent trumpeter and a personable singer,
Girard contracted cancer and died in early 1957
when he was only 26.
In addition to two live albums for the Vik label
(both recorded on June 12, 1956), Girard led
eight record sessions in his truncated career.
Four are on this CD plus four previously
unreleased numbers made on a 1952 date led by
pianist Armand Hug. Rosemary Clooney, who had
recently left Tony Pastor’s band, takes vocals on
each of the Hug cuts, sounding quite comfortable
even though this might have been the only time
that she ever recorded with a New Orleans jazz
band. She is particularly joyful on “Bourbon Street
Parade.”
Otherwise Girard is mostly in the spotlight and
joined by Raymond Burke, Harold Cooper or
Harry Shields on clarinet and Jack Delaney, Joe
Rotis or Bob Havens on trombone. Girard, who
takes five vocals, is heard in excellent form on
such numbers as “I’m Sitting On Top Of The
World,” “Roses Of Picardy,” “Sweethearts On
Parade” and “Doctor Jazz.” While the infectious
style can be considered standard 1950s
dixieland, the playing of Girard makes the music
something special.
Whether George Girard would have become a big
name in the 1960s (as Al Hirt did) or faded away
will never be known. This GHB set (available from
www.jazzology.com) is valuable for it contains a
good portion of Girard’s musical legacy and
shows today’s listeners what was tragically lost.
Scott Yanow
Connie Crothers/Bill Payne
Conversations
(New Artists)
Pianist Connie Crothers, one of the most
successful former students of Lennie Tristano,
long ago extended the Tristano tradition while
developing her own individual voice. Clarinetist
Bill Payne has mostly worked outside of jazz and
even music during the past two decades,
although he worked for years with circus bands
and also participated in some avant-garde
sessions in New York.
The program of clarinet-piano duets on
Conversations consists of 14 fairly concise free
improvisations. A dozen of the songs are simply
titled “Conversation” with a number afterwards
while the opener is “The Desert & The City” and
the closer is “To Be Continued.”
Rather than a high-energy blowout, these
collaborations leave space, are generally
thoughtful and feature close communication
between the two musicians, whether they are
echoing each other’s thoughts or offering a pair
of contrasting voices. Sounding very much like
“conversations,” the improvisations give Crothers
and Payne opportunities to create new melodies
and thoughts on the spot, and it often makes for
an intriguing listen. It is obvious that they have
played together many times before and have a
familiarity with each other’s playing even as they
continually surprise each other.
This colorful set is available from www.
newartistsrecords.com.
Scott Yanow
Odean Pope
Serenity
(CIMP)
This CD is a bit unusual in a few ways. Tenor-
saxophonist Odean Pope is a superb post bop
musician probably best known for his long tenure
with the Max Roach Quartet. On this particular
outing, Pope performs 14 unaccompanied tenor-
sax solos with most of the selections being
spirituals. Rather than record in a studio, Pope is
heard playing outside in a large field, often
walking around. Making things more confusing is
that it was raining part of the time (one can
actually hear a bit of thunder in spots). Producer
Robert Rusch shielded most of Pope and all of his
saxophone with an umbrella while the recording
engineer Marc Rusch carried the recording
equipment with him (along with an umbrella) as
Pope roamed. It is a pity that the event was not
filmed too!
Despite what must have been a few hectic
moments, the music is relaxed, thoughtful, mostly
restrained and quite spiritual. Pope stretches out
on such numbers as “Wade In The Water,”
“Where We’ll Never Grow Old,” “I Shall Not Be
Moved,” “Go Down Moses” and even a brief “The
Star Spangled Banner.” Easily the longest
improvisation is the 13 1/2 minute “Variations On
Ellington’s Come Sunday.”
Without sacrificing his own individuality or ability
to improvise both inside and outside, Odean Pope
is very respectful to the rich melodies, displaying
a warm tone, a real affection for the melodies and
the ability to come up with continually fresh
variations.
Highly recommended, Serenity is one of scores of
rewarding recordings available from CIMP (www.
cimprecords.com).
Scott Yanow
Keith England
Standards, New & Used
(Swing Set Music)
Keith England has spent much of his career as a
background singer in rock settings (including with
the Allman Brothers) and performing on
soundtracks. While he had not previously sung
jazz very much in public, he has long loved the
singing of Frank Sinatra, Tony Bennett and other
vocalists whose music is jazz-inspired.
On Standards, New & Used, he teams up with
pianist Mike Melvoin, bassist Tony Dumas and
drummer Ralph Penland on vintage standards
and some newer pieces. While England does not
improvise much, he is expert at interpreting lyrics,
giving the words just the right balance of
extroverted emotion and introverted detachment.
The seven standards are all familiar and,
although I cringed at the inclusion of “All Blues”
(isn’t it about time that that overplayed warhorse
be retired?), England’s version comes up with
some fresh ideas. The same is true of the other
tunes which include “Embraceable You,” “I Should
Care” and an effective “I Left My Heart In San
Francisco.”
But it is the other seven songs that are of
greatest interest for they were all written or co-
composed by Melvoin. The melodies are fresh
and the lyrics are frequently memorable, including
“Living Without You,” “It’s Always You” and “I
Think You Know.” Singers looking for fresh
material are advised to explore some of these
songs.
And listeners wanting to discover an easy-to-take
middle-of-the-road singer will find much of value
in Keith England’s decision to sing both new and
ancient songs in an older style. Standards, New &
Used is available from www.keithengland.com.
Scott Yanow
Scott Oakley
Cancion Para Mi Amor
(Invisible Music)
Scott Oakley, a skilled jazz pianist who had led
several previous trio albums, has in recent times
been very attracted to Afro-Cuban jazz. He is
working towards his Masters of Music at Cal State
L.A., studying in the Afro-Latin music program
that has been largely designed by Dr. Paul De
Castro. In the meantime, he has written quite a
few Cuban jazz originals, 13 of which make up his
Cancion Para Mi Amor CD.
For this set, Oakley is featured in a quintet that
includes Robert Fernandez (who is on the faculty
at Cal State LA) on congas, tenor-saxophonist
and flutist James King, bassist Rigoberto Lopez
and drummer Raul Pineda. The musicians listen
closely to each other and blend together
extremely well. The bass-drums team is difficult to
beat while King has attractive tones and fluent
styles on both tenor and flute.
Oakley has learned his lessons well and sounds
very comfortable in this setting. His originals are
both melodic and modern, with the melodies
matching the clave rhythms, the solos being a
logical extension of the themes and the bass,
drums and congas being given prominent roles.
Both the leader’s accompanying and his
improvisations are quite rhythmic without being
predictable. The music is “in the tradition” while
also being fresh and original.
The infectious group (called Scott Oakley Y Sus
Incomparables) will be appearing at the Jazz
Bakery on Sunday May 11. Their CD is available
from www.invisiblemusicrecords.com.
Scott Yanow
Nik Payton
In The Spirit Of Swing
(Nik)
Nik Payton, no relation to the trumpeter, is a
British saxophonist who now lives in Brazil. On In
The Spirit Of Swing, he teams up with a group of
his fellow Englishmen (guitarist Andy Kue, pianist
Richard Busiakiewicz, bassist Dave Green and
either John Sutton or Steve Brown on drums) to
play a set of nine of his originals plus six jazz
standards. The odd part is that the music is not
post bop but modern swing. Payton pays tribute
to some of his musical idols not by merely
recreating the past but by building upon its
innovations.
Payton is heard on tenor-sax, alto and clarinet,
displaying big tones on each of his instruments.
Among his originals are tributes to Don Byas
(“Byased”), Coleman Hawkins (“Bean Bag”),
Johnny Hodges (“Love Once Known”) and a
bossa-nova for his wife, “Martinha.” He romps on
“Cottontail,” revives Duke Ellington’s rarely-played
“The Single Petal Of A Rose” and is playful on
clarinet during “Izzy Whizzy.” Pianist Busiakiewicz
and guitarist Kue also have fine solos while the
rhythm section keeps the music swinging, but Nik
Payton is the main star.
Swing did not end with the finish of the swing era;
nor do swing musicians have to endlessly bring
back the same 30 songs. Several of Nik Payton’s
tunes deserve to be covered and jammed by
others. In The Spirit Of Swing is well worth
searching for, and available from www.nikpayton.
com.
Scott Yanow
Renz, Paul
ReBop
(Gabwalk)
An educator from Minneapolis, Paul Renz is a
talented guitarist and composer. He has
developed a distinctive sound on guitar and on
ReBop is featured with a quintet comprised of
flutist Anders Bostrom (an old friend of Renz’s
who he had not seen in 20 years), organist Brian
Ziemniak (doubling on piano), bassist Eric
Graham and drummer Nathan Fryett.
From the listing of the instrumentation, one might
expect ReBop to be a soul jazz jam through blues
and basic material. However Renz contributed six
pieces that give the group its own sound. The
organ functions more like a piano, the ensembles
have some unusual tone colors, and the music is
unpredictable even when it is swinging hard. In
addition, Renz deconstructed Bud Powell’s “Un
Poco Loco” so it also sounds like a new tune.
Listening to this music, it is difficult not to be
impressed by Renz’s writing, the way he interacts
with Bostrom and the sound and style of Ziemniak
on organ. The results are quite intriguing and
enjoyable, available from www.paulrenz.com.
Scott Yanow
Neil Welch
Narmada
(Belle)
Neil Welch is a powerful tenor-saxophonist based
in Seattle. A graduate of the University of
Washington (where he earned a degree in Jazz
Studies), he has played locally with a variety of
groups and musicians including Marc Seales, the
Hal Sherman Big Band, the Seattle Repertory Jazz
Orchestra, Jay Thomas and the Jim Culter Big
Band. Fortunately he does not sound like the
typical jazz student who might have graduated
from college during the past few years, displayed
a tone similar to Michael Brecker’s, tangled
themselves up with endless chords, and sounded
as if their solos came out of an exercise book.
Instead Welch alternates between a mellow lyrical
sound and intense solos influenced by Pharoah
Sanders. While he screams a la Pharoah during
some sections of “Madness In Motion,” “Paranoid
Android” and a piece titled “The Search (for
Coltrane, Pharoah and Ayler), and on “Neptune”
he emulates late-period John Coltrane a bit, he
can also sound quite restrained and laidback,
knowing the value of dynamics and mood
variation.
On Narmada, his debut as a leader, Neil Welch is
joined by pianist Brian Kinsella, guitarist Cameron
Peace, bassist Luke Bergman, drummer Chris
Icasiano and Tor Dietrichson on tabla and conga,
all of whom play quite well and fit into Welch’s
conceptions. Debi Prasad Chatterjee plays sitar
on “Narmada” and a lengthy trio exploration with
Welch’s soprano sax and Dietrichson’s tabla on
“Rega Kirwani” that is in a much different mood
than the tenor showcases although no less
passionate.
There are no weak selections or performances on
this impressive outing. Neil Welch is a name worth
remembering. Narmada is highly recommended
and available from www.neilwelch.com.
Scott Yanow
Dave Askren
Trio Nuevo +
(DaWay Music)
The Dave Askren Trio consists of guitarist Dave
Askren, bassist Eddie Rosto and drummer-
percussionist Walter Rodriguez. Drummer Ramon
Banda makes guest appearances on three of the
nine selections. The key to the group is Askren,
who quite often sounds very close to the acoustic
chordal bossa-nova style of Charlie Byrd. In fact,
there are times on this CD when the group
sounds very much like The Charlie Byrd Trio.
In his career, Askren has performed with such
notables as Antonio Hart, Delfeayo Marsalis,
Bobby Shew and Gary Foster. Veteran bassist
Eddie Resto has played with most of the Afro-
Cuban jazz giants including Mongo Santamaria,
Eddie Palmieri, Tito Puente and Ray Barretto
while drummer Walter Rodriguez has worked in
the L.A. studios and with Arturo Sandoval.
Considering their experiences, it is no surprise
that these players sound effortless on the
material which includes two Askren originals and
such unusual choices for a Brazilian date as
“Naima,” Joe Henderson’s “Recordame,”
“Epistrophy” and Charles Mingus’ “Peggy’s Blue
Skylight.”
The musicians make those songs sound as if they
were written by neighbors of Antonio Carlos
Jobim. The gentle group sound is very appealing,
as is the subtle creativity and high musicianship.
The results are very likable, quite musical and
difficult to resist. Trio Nuevo + is available from
www.daveaskren.com.
Scott Yanow
Rick Wald’s 16/NYC
Play That Thing
(Glowbow)
Rick Wald, a saxophonist who studied at Berklee,
has been part of the New York jazz scene since
1971. Along the way he has performed with such
groups as Clark Terry’s big band, Gerry Mulligan
Concert Jazz Band, Tito Puente, the Lee Konitz
Nonet and Benny Carter plus his own quartet.
Wald put together his first big band in 1974 and
he has led a series of both big bands and small
groups ever since.
16/NYC (which received its name due to being a
16-piece big band) is a top-notch jazz orchestra
that performs Wald’s arrangements. 13 of the 16
musicians have an opportunity to solo on Play
That Thing (the big band’s second CD) and those
include such notables as pianist Ted Kooshian,
trumpeters John Eckert and Jack Walrath, altoists
Lou Marini and Loren Stillman, trombonist Art
Baron, and Adam Kolker and Ted Nash on tenors.
Wald, who otherwise does not play, takes a solo
on “Quascau,” one of his episodic and
unpredictable originals which, like “Play That
Thing” and “Dawn To Dawn In The City,” will keep
listeners guessing what is coming up next. While
three of the other numbers are standards and
“Maiden Voyage” receives a fairly conventional
version, Wayne Shorter’s “Prince Of Darkness” is
greatly slowed down and receives an exotic
interpretation while “Stompin’ At The Savoy” is
modernized and given an eccentric treatment..
Wald’s arrangements are constantly full of
surprises, particularly in their mood and tempo
changes, challenging the musicians who are quite
spirited in their ensemble work and solos.
Fans and collectors of modern big bands will find
both the arrangements and the solos on 16/NYC
to be equally rewarding reasons to acquire this
excellent CD, available from www.rickwald.net.
Scott Yanow
Gayle Bisesi
Child Eyes
(Bisesi Music)
Gayle Bisesi is an enthusiastic and sometimes
exuberant singer who displays a great deal of joy
in her singing. Her high voice is a little childlike at
times but her choice of notes is sophisticated and
she knows what her voice can do.
On Child Eyes, she stretches herself constantly.
Other than Charlie Parker’s “Another Hair-Do,”
“Speak Low” and “Skylark,” all of the music was
written by Gayle and her husband Nick Besisi with
lyrics by Ms. Bisesi. This is very much a jazz date
with the singer’s insightful, philosophical and
sometimes crazy lyrics (her words to “Another
Hair-Do” are both humorous and
autobiographical) perfectly matching the music.
Some of the other numbers deal with fighting
through life (“Day After Day”), looking for the
purpose of one’s existence (“Awaken”), a dead-
end job (“5 Ft. Under”) and youthful spirit (“Child
Eyes”). Background vocalists add to the
excitement on a few numbers, particularly
Awaken” and “I Am Grateful.” Nick Bisesi plays
tenor or flute on many of the songs (a major
asset) with the backup band also including
guitarist Neal Alger, organist Ben Lewis, bassist
Patrick Williams, drummer Eric Montzka and
sometimes Kara Kesselring on accordion.
Child Eyes is a delightful set of new music that
sounds both traditional and fresh. It is an
impressive and fun effort, available from www.
gaylebisesi.com.
Scott Yanow
Giacomo Gates
Luminosity
(Double Dave Music)
For the past decade, Giacomo Gates has been
an important if somewhat unheralded jazz singer.
Influenced by Eddie Jefferson, Jon Hendricks and
the other bop/scat/vocalese vocalists, Gates
extends the tradition. He not only revives some of
the warhorses but brings to life to worthy
obscurities.
Luminosity has two parts. There are 13 selections
on the CD featuring Gates with tenor-saxophonist
Bob Kindred, guitarist Tony Lombardozzi, pianist
John diMartino, bassist Ray Drummond and
drummer Greg Bandy. Among the selections are
“Me, Spelled M-E, Me” (which Babs Gonzales had
performed), Gates’ lyrics to Thelonious Monk’s
“Let’s Cool One” (renamed “Peace Of Mind”),
Bobby Troup’s “Hungry Man,” Joe Derise’s “The
Blues Are Out Of Town” and even Jimi Hendrix’’
“Up From The Skies.” Whether singing lyrics,
scatting or showing emotion on a ballad, Gates is
heard in top form throughout. Kindred helps out a
lot too, whether soloing or playing behind the
singer.
The second part of Luminosity is an enclosed
DVD that has Gates performing four numbers with
the accompaniment of pianist Larry Dunlap,
trombonist John Gove, bassist Aaron Germain
and drummer Jeff Mars. Gates looks and sounds
quite relaxed, giving viewers a pretty good idea
what it is like to see him perform in person. In
addition, a 22-minute interview with the singer is
included in which he discusses his beginnings,
inspirations and approach to jazz singing.
All in all, this is a satisfying release and easily
recommended to fans of bop singing. It is
available from www.doubledave.com.
Scott Yanow
Junior Mance
Live At Café Loup
(JM)
Pianist Junior Mance was in his late seventies
when he recorded this live set in 2007, but he
plays with the energy of a 30-year old. Mance has
had a long and productive career which includes
important periods playing with Gene Ammons
(1947-1949), Lester Young, Dinah Washington,
the first Cannonball Adderley Quintet, and Dizzy
Gillespie (1958-1960). Mance has led his own
trios pretty regularly since the early 1960s,
becoming best known for his blues playing
although he is actually a well-rounded swing and
bop pianist.
Teamed with bassist Hide Tanaka and drummer
Jackie Williams, Mance romps on “Broadway” and
his nearly-riotous “Happy Time,” digs into “Blue
Monk” and a slower-than-usual rendition of “For
Dancers Only,” and fully explores “What Is This
Thing Called Love.” In addition, Jose James does
an effective job singing “Georgia” and especially
“Going To Chicago,” coming up with some fresh
variations on the latter while also hinting at Joe
Williams.
It is a joy to hear Junior Mance playing so well
after all of these years. Live At Café Loup is the
first release in his own independent label, so it is
recommended and available from www.
juniormance.com.
Scott Yanow
Ladd McIntosh
Temptation
(L.E.M. Productions)
Ladd McIntosh
Ride The Night Beast
(L.E.M. Productions)
Ladd McIntosh has had a very productive career
as an arranger-composer, orchestrator for over
100 major Hollywood films, educator and
bandleader. His credits are pretty endless
including writing for his own college big band at
Ohio State which took first place at the American
College Music Festival in 1967, being a pioneer in
jazz education during his three years as the
Director of Jazz Studies at Westminster College
(followed by 19 at Cal State University at
Northridge and four for the Henry Mancini
Institute), and having a countless number of his
charts published during the past 40 years. He has
led the Ladd McIntosh Big Band since 1980.
McIntosh and his 17-18 piece big band recorded
all of the music for Temptation and Ride The
Night Beast during a three-day period in late-
2003. All but two of the musicians have solos
somewhere along the way and McIntosh’s writing
stretches the modern mainstream, being both
swinging and forward-looking.
Temptation consists of ten standards and the
obscure “Dansero.” Among the more notable
soloists are altoist Glen Garrett on “I’m Glad
There Is You,” trumpeter Sal Cracchiolo and
trombonist Eric Jorgensen during a torrid tradeoff
on “Temptation,” Jon Crosse’s clarinet feature on
“Ill Wind,” and several spots for veteran altoist
Fred Selden, an alumnus of the Don Ellis
Orchestra. The arrangements are mostly
extroverted and exciting including a Latin-flavored
“Temptation” and swinging versions of “Stompin’
At The Savoy” and “September Song.” Every
selection is rewarding and there are certainly no
throwaways.
As worthy as Temptation is, Ride The Night Beast
gets the edge. McIntosh wrote all of the pieces
including the four-part “The Last Suite Mesa” and
the three sectioned “Suite Mesa II.” Filled with
swinging passages, dramatic stretches and rich
melodies, Ride The Night Beast (which also
includes three briefer pieces) is filled with subtle
surprises and top-notch playing. While one could
point out some individual highpoints, the real
stars are Ladd McIntosh’s highly inventive
arrangements which challenge and inspire the
musicians. His work sounds distinctive, being
unlike anyone else’s writing.
Both of these CDs should greatly interest fans of
modern big bands and are available from www.
laddmcintosh.com.
Scott Yanow
Brent Canter Trio
Soundscape
(BC)
Guitarist Brent Canter, organist Eli Sundelson and
drummer Mark Banner are all in their early
twenties. Together on Soundscape they explore
five compositions (including three originals by the
guitarist) that have original chord changes, sound
fresh and new, and are a logical extension of hard
bop/soul jazz.
Canter has an extroverted and appealing sound
on the guitar, Sundelson hints a little at Larry
Goldings but mostly has his own voice, and
Banner keeps the music swinging hard. The
improvisations are logical, the interplay between
the musicians gives the set a strong unity and
purpose, and the group has its own sound within
the organ trio tradition. Even during the most
heated moments, the musicians sound relaxed,
showing a maturity beyond their years.
All three of these players clearly have great
futures. Soundscape, which is available from www.
brentcantertrio.com, is an important early step for
each of them.
Scott Yanow
Chuck Manning
Notes From The Real
(TCB)
Chuck Manning has been a fixture in the
Southern California jazz scene for the past 20
years. A versatile tenor-saxophonist with a cool
tone and a hard-driving style, Manning has finally
recorded his first solo CD.
Notes From The Real matches Manning with the
valuable if underrated pianist Jim Szilagyi, bassist
Isla Eckinger and drummer Tim Pleasant. While
Manning’s sound has often been compared with
that of Joe Henderson, on the opening “I Didn’t
Know What Time It Was” he recalls Warne Marsh
while on some of the other performances on this
CD he comes closer to early John Coltrane. But in
reality, he has a tone and style of his own, being
creative within the jazz tradition.
There are many highpoints to this fine project
including Victor Lewis’ complex “Hey, It’s You I’m
Talking To,” Isla Eckinger’s medium-tempo folk
song “The Spiritual,” an excellent reading of
Thelonious Monk’s “Eronel,” an outstanding
version of “I Believe In You” (which was originally
an early 1960s hit for Teri Thornton) and a rare
revival of Coltrane’s “Dear Lord.”
Actually all ten performances are rewarding.
Manning’s solos are both unpredictable and
ultimately logical, Szilagyi has a knack for
matching and extending the tenor’s ideas and
Eckinger and Pleasant are stimulating in support
of the lead voices.
Straightahead jazz fans will definitely want to pick
up a copy of Notes From The Real, Chuck
Manning’s long overdue debut as a leader. It is
available from www.tcbrecords.com.
Scott Yanow
Charlie Caranicas
Move Over
(Black Knight)
Trumpet-piano duets are fairly rare in jazz history,
particularly as full-length sets. It takes a great
deal of endurance from the trumpeter, while the
pianist has to function as the full rhythm section.
Oscar Peterson was able to record five albums in
a series with various trumpeters in the 1970s, but
that is a rare exception.
Charlie Caranicas is a superior swing trumpeter
who can play anything from 1920s classic jazz to
bop and Afro-Cuban jazz. Tom Roberts is a fine
stride/swing pianist who has no difficulty creating
unaccompanied solos. They team up throughout
Move Over, mostly exploring songs from the
1920s and ‘30s. While they hint now and then at
earlier recordings and stylists, both Caranicas
and Roberts sound original and creative within
the vintage genres.
There was no point in these two musicians merely
recreating the past, so their renditions of such
songs as Louis Armstrong’s “Yes, I’m In The
Barrel,” “I’m Comin’ Virginia,” “Wild Man Blues”
and Duke Ellington’s “Move Over” are unlike any
previous recordings.
Charlie Caranicas’ attractive tone and Tom
Roberts’ fluent yet subtle style are a perfect
match. Their collaborations throughout Move
Over are a joy, making this a highly
recommended set for fans of prebop jazz,
available from www.charliejazz.com.
Scott Yanow
Libby York
Here With You
(Libby York Music)
Libby York has a warm voice, a basic no-
nonsense delivery, and a real feel for vintage
lyrics. In some ways she is a throwback to June
Christy and Chris Connor although she does not
really sound like either of them except perhaps in
her phrasing. She swings but without altering the
words or message of the lyricists.
Here With You is a particularly well organized set.
Eight of the 11 selections feature Ms. York joined
by cornetist Warren Vache (who joins her on a
charming vocal duet version of “Walkin’ My Baby
Back Home”), guitarist Howard Alden, bassist Jon
Burr and (on five of the numbers) the subtle
drumming and percussion of Vanderlei Pereira.
Whether it be a joyful “I Love Being Here With
You,” a bossa-nova rendition of “The Day The
World Stopped Turning,” or a hopeful “Look For
The Silver Lining,” the singer’s cool tone is well
featured with the supporting musicians blending in
very well. Vache and Alden have many rewarding
solos along the way.
The other three selections, “For All We Know,” “A
Beautiful Friendship” and “Azure Te,” are vocal-
guitar duets with Russell Malone. Always a
tasteful player, Malone knows these songs quite
well and his playing behind the singer is
noteworthy.
All in all, this is a very tasteful, melodic and lightly
swinging set, a perfect introduction to the singing
of Libby York. (available from www.libbyyork.com)
Scott Yanow
Fern Lindzon
Moments Like These
(Iatros)
A very talented pianist and singer from Toronto,
Fern Lindzon has released a rather unusual
debut CD. She is featured in duets with either
guitarist Reg Schwager, bassist George Koller or
vibraphonist Don Thompson. Duets, even more
than solos, are particularly tricky because they
leave each player very exposed, and the two
musicians must work perfectly together or their
missteps will be obvious. There is nowhere to hide.
But with musicians of this caliber, there is no
reason for anyone to hide. Fern Lindzon, who
takes vocals on eight of the 11 duets, is not shy
to take chances yet she makes it all sound easy.
She sings her own lyrics to Wayne Shorter’s
“Infant Eyes” (which is retitled “To See Through
Infant Eyes”) and her vocalese to “Moments Like
These” which she uses as a prelude to her lyrics
to “Stolen Moments.” She turns the Jewish piece
“Re’i” into a haunting ballad, contributes the
playful “You Really Shouldn’t, But…” (a thinly
disguised “Well You Needn’t”), and takes “Where
Do You Start” as a solo piece. Everything works.
Clearly Fern Lindzon deserves to be better known
on this side of the Canadian border. Moments
Like These, which is available from www.
fernlindzon, is a keeper.
Scott Yanow
Fred Randolph
New Day
(Creative Spirit)
Bassist Fred Randolph is not only a fine
straightahead player but an excellent composer.
On New Day, his second CD as a leader, he
contributed all 12 selections. The originals range
from driving hard bop to relaxed ballads, with bits
of early fusion and soul jazz heard along the way.
Randolph’s core quintet features trumpeter Erik
Jakobson, tenor-saxophonist Rob Roth (doubling
on soprano), pianist Art Hirahara and drummer
Tim Bulkley. Some selections add percussionists,
flute, organ, trombone or guitar, with Sandy
Cressman taking a wordless vocal on the
Brazilian-flavored “Melodia Sem Fim.” Despite the
lack of “big” names (Hirahara is probably the best
known), the musicians are all world class.
Randolph’s songs mostly use fresh chord
changes (although “Soul Stuff” is similar to “Senor
Blues”), some have catchy melodies, and there is
plenty of material on New Day that is open to
being explored by other musicians who should be
tired of playing the same old standards.
This is a nice tasteful set of modern jazz that is
both traditional and forward-looking.
Recommended and available from www.
fredrandolph.com.
Scott Yanow
Jack Sheldon
It’s What I Do
(Butterfly)
When seen in clubs and concerts, Jack Sheldon
frequently sings (quite well) and ad-libs hilarious
monologues. It’s What I Do is quite a bit different
for this studio set with his California Cool Quartet
is comprised exclusively of instrumentals that put
the focus on Sheldon’s trumpet.
Jack Sheldon (along with Bud Shank and few
others) is one of the last significant survivors of
the West Coast cool jazz scene of the 1950s who
is still playing at his prime. Listening to him stretch
out on ten jazz standards, it is difficult to believe
that he is 76 for Sheldon has not declined in the
slightest. His tone remains strong, his range is
excellent, and he plays with plenty of confidence.
Assisted by his talented rhythm section (pianist
Joe Bagg, bassist Bruce Lett and drummer Dick
Weller), Sheldon not only stretches out on songs
by Charlie Parker, Miles Davis, Thelonious Monk
and Billy Strayhorn but John Coltrane’s
“Pursuance” and “Naima.” Sheldon comes up with
colorful and unpredictable ideas throughout these
jams, whether it is on “Seven Steps To Heaven”
or Bird’s “Steeplechase,” and he sounds quite
fearless. Joe Bagg is also in top form, making one
wish he would record a trio CD sometime, either
on piano or organ. Bruce Lett also takes a few
good solos while Dick Weller’s tradeoffs with
Sheldon and Bagg on “Steeplechase” are heated.
It’s What I Do is highly recommended and
available from www.butterflyrecords.com.
Scott Yanow
David Joel
Spiral Sky
(Turning Point)
David Joel is a versatile guitarist who uses the
sound breaking innovations of fusion in his
playing but is also quite capable of playing viable
straightahead jazz and blues too. He graduated
from Berklee in 1986, earned a Masters from the
New England Conservatory of Music, and has
been based in his native Philadelphia since 1996.
He has since taught extensively, performed in
plays, and led his own quartet on the East Coast.
On Spiral Sky, Joel teams up with the colorful
keyboardist John Stenger, bassist Paul Gehman,
and drummer Don Monaghan. The group
performs eight of Joel’s originals which range from
rockish pieces to the quieter “Little Bear,” from
major productions like “Spiral Sky” to the bluish
“The Star-Spangled Gospel.” While Gehman and
Monaghan are stimulating in support, Joel and
Stenger are the main solo voices, creating
unpredictable improvisations and a wide variety of
colors in the ensembles. The music is
“contemporary” without being smooth or pop; nor
is it limited to the style of 1970s fusion. It has the
“sound of surprise” of the best jazz yet crosses
several genres and can be best described as
modern electric music.
This varied and recommended set is available
from www.davidjoel.net.
Scott Yanow
Richard Allen Williams
The Doctor Is In!
(SP Records)
Dr. Richard Williams, who is a notable
cardiologist, has played trumpet all of his life on a
part-time basis. As a youth, he was mentored by
Clifford Brown. Brown, along with (to a lesser
extent) Miles Davis, are influences on his style.
On The Doctor Is In, Williams features his RAW
Sugar Quintet, an all-star group that includes
Justo Almario on tenor, flute and clarinet, pianist
Nate Morgan, bassist Henry Franklin and
drummer Fritz Wise. The quintet runs through
eight standards, with Williams offering some fine
straightahead hard bop trumpet. Almario, who
gets the closing “Jitterbug Waltz” as a clarinet
feature, is in excellent form as always. The rhythm
section is tight with Morgan taking consistently
rewarding solos.
A few of the numbers, such as “On The Trail” and
“Delilah,” include some fine interplay between the
two horns. While all of the tunes, which also
include “S’Wonderful, “Confirmation” and “Joy
Spring,” are somewhat familiar, these versions
each have their moments and the playing
throughout is excellent.
The Doctor Is In, which was dedicated to Clifford
Brown at the time of his 75th birthday, is available
from www.rawsugarjazz.com.
Scott Yanow
Alan Gresty/Brian White Ragtimers
Muggsy Remembered In Concert, Volumes One
And Two
(Jazzology)
Back in 1993, cornetist Alan Gresty and clarinetist
Brian White had their four-horn septet pay tribute
to Muggsy Spanier’s Ragtimers. Spanier, an
excellent New Orleans and dixieland cornetist for
40 years, led four record dates in 1939 that
resulted in 16 memorable titles. Spanier’s group
soon had to break up due to lack of work but its
recordings, which also featured trombonist
George Brunies, clarinetist Rod Cless, either Joe
Bushkin or George Zack on piano, and one of
three tenor players, served as an inspiration for
the dixieland revival movement of the 1940s.
The Gresty/White Ragtimers recorded three CDs
in 1993. The two discs that have been recently
released by Jazzology (which are available
separately) features the band live from around
the same period though the exact date is
unfortunately not given. While 11 of the 16
selections on these two CDs were recorded by
Spanier in 1939 and the newer group plays very
much in a similar style, there is generally no
attempt to merely copy the recordings. The
arrangements are sometimes similar and Gresty
closely emulates Spanier when he uses a plunger
mute, but the solos are spontaneous, the
ensembles are heated, and the spirit of the
Ragtimers is brought back rather than their exact
notes. Both volumes (Vol. 1 has “Mama’s Gone
Goodbye,” “Eccentric” and “Monday Date” while
Vol. 2 includes “At The Jazz Band Ball,” “Mandy
Make Up Your Mind,” “That Da-Da Strain” and “I
Wish I Could Shimmy Like My Sister Kate”) are
equally rewarding.
Both volumes of Muggsy Remembered In Concert
are highly recommended and available from www.
jazzology.com.
Scott Yanow
Sue Raney
A Tribute to Doris Day: Heart’s Desire
(Fresh Sound)
This is a very logical release. Doris Day, although
she probably could have sung jazz and she hinted
at it on a few dates on which she was
accompanied by just a rhythm section, always had
a great voice even when performing with
commercial orchestras and in movies. Sue Raney
has arguably the most beautiful voice in Los
Angeles and has since the 1960s. In addition,
Doris Day has long been her idol.
So with Alan Broadbent playing piano,
contributing arrangements and conducting an
orchestra, Sue Raney is heard performing 13
songs associated with Day plus the Alan
Broadbent/Dave Frishberg tune “Heart’s Desire.”
Strings and woodwinds are utilized on eight of the
selections while most of the others have more of a
big band feel. Raney sounds wonderful in both
settings although it is a pity that she is not heard
in a more intimate setting too with just the rhythm
section. A few of the ballads get a little saccharine
(particularly “Que Sera, Sera”) but in general the
music is quite enjoyable and swings in its own
way. Highlights include “I May Be Wrong,”
“Everybody Loves A Lover,” “Put ‘Em In A Box,
Tie ‘Em With A Ribbon” and “Lullaby Of
Broadway.”
Doris Day, wherever she is these days, would
be pleased with Heart’s Desire. It is available from
www.freshsounds.com.
Scott Yanow
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JACK PURVIS
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FESTIVAL REVIEWS
MORE LOS ANGELES JAZZ SCENE REVIEWS
JAZZ AROUND TOWN (May 2009)
by Scott Yanow
(there was no column in April)
It was one of the more remarkable
concerts of recent times. The Five Peace
Band, appearing at UCLA’s Royce Hall,
consists of Chick Corea on keyboards,
guitarist John McLaughlin, altoist Kenny
Garrett, Christian McBride (on both electric
and acoustic basses) and drummer Vinnie
Colaiuta. The playing of these five giants is at
such a high level that they should be wearing
Superman outfits! They certainly make nearly
every other musician sound mortal in
comparison.
On the first concert of their American
tour, 40 years after Corea and McLaughlin
participated on Miles Davis’ In A Silent Way,
the group mostly played originals with the
majority being by Corea. There were no
music stands on stage and the often-hyper
unison playing on some of the complex
melodies was flawless. “Raju” was hard-
driving fusion that had Garrett wailing and
using repetition with such intensity that he
sounded like Grover Washington Jr. on acid.
Corea as usual sounded quite distinctive on
electric keyboards while McLaughlin played
with remarkable speed and complexity yet, as
with Art Tatum, every note was clear. He
makes other guitar heroes sound like they
are merely jogging in comparison.
Other highlights included Corea’s largely
acoustic “The Disguise,” “New Blues Old
Bruise” (on which McLaughlin sounded as if
he was playing slide guitar), the lengthy,
avant-garde and episodic “Hymn To
Andromeda” (which had some really ferocious
Garrett and playing inside-the-piano by
Corea), and a rare chance to hear
McLaughlin jamming on a medium-tempo
blues,” “Dr. Jackle.” The encore was a medley
of “In A Silent” Way” and the catchy “It’s
About That Time.” Not to be overlooked were
the solos and passionate ensemble playing of
McBride and Colaiuta. All in all, this was a
night to remember from five of today’s musical
greats.
Vitello’s in Studio City is quickly
becoming a place where current and future
jazz greats get to play. A fine Italian
restaurant, Vitello’s has jazz upstairs on their
second floor each Thursday night, booked by
singer April Williams. The night I went
featured a special Friday night performance
by three groups from the Los Angeles Jazz
Collective. Trumpeter/flugelhornist Brian
Swartz and pianist Andy Langham played
creative duets. Half of the music consisted of
intriguing free improvisations full of color,
quick reactions, wit, and mood variations
including a quasi-military section and a
spontaneous ballad. The duo also performed
a pair of the trumpeter’s originals (“Hot &
Cold” and “Mis Suenos”) and a modernized
“Autumn Leaves.” Altoist Matt Zebley’s
quartet (with pianist Matt Politano, bassist J.P.
Maramba and drummer Dan Schelle) mostly
dug into originals along with Kenny Werner’s
“Compensation” and John Scofield’s funky
“Cherry.” The musicians all communicated
with each other quite well, they swung at
every tempo, and they essayed the often-
complex chord changes gracefully. While
Zebley sometimes hinted at late-period Art
Pepper, he displayed a mellow tone even
during the most passionate stretches.
Also that night at Vitello’s, Robby
Marshall’s group was particularly intriguing,
especially the playing of the leader (on tenor
and alto clarinet) and John Daversa on EVI.
Joined by guitarist Christian Wunderlich,
bassist J.P. Maramba and drummer Jens
Kuross, the two lead voices interacted in a
variety of settings including an
unaccompanied dixielandish section. While
Marshall mostly sounded laidback, Daversa
sometimes explored sounds and at other
times played quite boppish. This group
definitely kept one guessing.
The life of Ella Fitzgerald was depicted
quite wonderfully by Tina Fabrique during a
play presented at the Laguna Playhouse. Ms.
Fabrique was made up to look fairly close to
Ella circa 1966. While the plot had to do with
both her upcoming concert in Nice and her
reconciliation with her adopted son Ray
Brown Jr, it also covered her life story. The
actress sang just like Ella on 22 songs and
she told and acted out scenes from the singer’
s life. Her musicians (pianist George Caldwell,
bassist Clifton Kellem, drummer Rodney
Harper and trumpeter Thad Wilson) not only
appeared onstage, playing behind her and
taking occasional solos, but they had lines
and briefly played other roles including Chick
Webb, agent Moe Gale and Ray Brown. One
other actor, Harold Dixon, was in a few
scenes as producer Norman Granz. The
screenplay was so good and colorful that one
hates to point out any historical inaccuracies;
fortunately there were few. “Cow Cow Boogie”
was not from Ella’s time with Chick Webb
while the importance of “A-Tisket A-Tasket”
as her first hit was neglected by placing it in a
slightly later time period. But Tina Fabrique
was very believable as Ella and the two-hour
play had no slow moments. Hopefully it will
make it to Broadway someday.
Dan Hicks and the Hot Licks are always
great fun to see. At the beautiful El Rey
Theatre, Hicks and his Licks performed music
that ranged from gypsy swing to folk, from
Western swing to novelties and a couple of
his hits. Celebrating the release of his new
CD House Of Tangled Tales, Hicks (who
sings, plays rhythm guitar, gives humorous
commentary, and directs traffic) was joined by
violinist Richard Chon and guitarist Dave Bell
(both of whom are excellent soloists), the
versatile bassist Paul Smith, and Daria and
Roberta Donnay on vocals; the latter two are
very talented jazz singers. Paul Graham sat in
on keyboards during a few numbers while the
Diddley Boppers (a pair of singers whose
early country/swing/folk music opened for
Hicks) added background vocals on two
numbers. The wide-ranging repertoire
included “Topsy,” “Swing ’42,” “The Piano
Has Been Drinking,” “The Diplomat,” “The
Blues My Naughty Baby Gave To Me,” “I
Scare Myself” and even “Ragtime Cowboy
Joe.” Hicks’ dry wit was a joy throughout. After
one song was lightly received he said, “Thank
you for your polite applause.” 80 minutes into
his 90 minute set, he remarked that “We’re
winding down to our last 27 songs.”
At the Crown Plaza Hotel’s Brasserie, the
fine pianist Louis Durra performed in a trio
with bassist Larry Steen and drummer Jerry
Kalaf. Durra interpreted jazz standards and
also delighted in turning offbeat material into
jazz such as “Ticket To Ride.” He has his own
fresh chord voicings, created unpredictable
but logical solos, and uplifted such tunes as
Earl Zinders’ “How My Heart Sings,” “Blue
Monk” (hinting at Dave Brubeck), “Taking A
Chance On Love” (in an arrangement
originally for tapdancers), and Tomasz Stanko’
s “Six.” The trio was tight with excellent
soloing from both Steen and Kalaf. Singer
Janis Mann sat in on “You Don’t Know What
Love Is” and “I’ve Got The World On A
String,” singing beautifully with her usual
combination of expressiveness and wit, often
acting out the words.
It is difficult to believe that Lou
Donaldson is 82. At the Jazz Bakery, the
ageless altoist was in his usual exuberant and
soulful form. Joined by guitarist Randy
Johnston, organist Akiko Tsuruga, and a fine
drummer whose name I unfortunately missed,
Donaldson acted and played as if it were
1967. His repertoire, which included an
uptempo “Wee,” “Fine And Dandy,” his
humorous singing on “Whiskey Drinking
Woman,” his late 1960s hit “Alligator
Boogaloo,” and “Cherokee,” was solid if not
surprising but it was a real pleasure to hear
him still playing in his prime. Organist Akiko
Tsuruga was powerful, sometimes hinting at
her mentor (and predecessor in the group)
Dr. Lonnie Smith, while guitarist Randy
Johnston took many excellent solos.
Charmaine Clamor has found her niche
as one of the Philippine’s top jazz singers.
Although she has lived in Los Angeles since
she was 16, she occasionally returns to her
native country where her fame has grown
over time. She has never forgotten her
musical heritage and calls her music
Jazzipino, a mixture of jazz and musical
influences from the Philippines. At Catalina’s,
Ms. Clamor was joined by pianist Tateng
Katendig, bassist Dominic Thiroux and
drummer Abe Lagrimas Jr. for a very musical
show. While there were a few medium tempo
numbers including “Doodlin’” and “It Don’t
Mean A Thing,” the singer is at her best on
ballads where her dramatic use of space is
memorable. Vocalizing in English, Tagalog
and other native languages, Charmaine was
in top form on “Like A Lover,” her
“Unexpected Suite,” “Rocking The Cradle”
and “Because Of You.” On some pieces,
Lagrimas switched to ukulele including a duet
with Charmaine on “I’ll Be Loving You” that
was touching. A saucy version of “I Want A
Little Sugar In My Bowl” was another highlight
although Charmaine’s transformation of “My
Funny Valentine” into the assertive “My
Funny Brown Pinay” has never really worked
for me due to “My Funny Valentine” being
one of those overly done songs that should
be avoided. But all in all, it was an impressive
performance from a charming singer with
strong potential.
A press conference announced the
lineup for the Hollywood Bowl’s summer
season. Of the jazz concerts, the ones to
catch are on July 8 (Eddie Palmieri, Sergio
Mendes and Poncho Sanchez), Aug. 5 (a
tribute to the Miles Davis/Gil Evans
recordings), Aug. 12 (blues night with Buddy
Guy, James Cotton and Dr. John), Aug. 26
(the Dizzy Gillespie All-Star Big Band, the Roy
Hargrove Big Band and Gordon Goodwin’s
Big Phat Band), Sept. 2 (Chick Corea with
Stanley Clarke and Lenny White plus John
Scofield) and possibly July 15 (Natalie Cole
with the Hollywood Bowl Orchestra).
JAZZ AROUND TOWN (March 2009)
by Scott Yanow
Vibrato in Bel Air generally has excellent jazz
several times a week although it tends to be a
bit underpublicized. I had the occasion to visit
there twice in three nights, and the music was
quite worthy.
Mon David is one of the top jazz singers
who has emerged from the Phillipines. He has
lived in Los Angeles for the past two years
and is gradually developing a very strong
reputation. At Vibrato he was joined by pianist
Tateng Katendig, bassist Pat Senatore (who
books the room) and drummer Dean Koba.
Mon David has a warm and versatile voice.
He can scat in an eccentric manner a la Mark
Murphy (although not quite as crazy), jumping
between his falsetto and low baritone notes.
On ballads his tone is reminiscent of Tony
Bennett’s, but he also has his own personality
and is capable of singing credibly in several
styles. At Vibrato, the emphasis was on
swinging standards and ballads with the
highlights including “But Beautiful,” “Lullaby
Of Birdland” (which started with Mon David
singing the bridge out of tempo before
cooking with the trio), a heartfelt “More Than
You Know,” “My One And Only Love” (which
showcased his impressive falsetto), “Like A
Lover,” “Waltz For Debby,” “All My
Tomorrows,” ‘The Very Thought Of You” and
“Skylark.” Tateng’s piano playing (sometimes
hinting at Oscar Peterson) worked perfectly
with the singer and the crowd was pleased by
the fine performance.
Two days later, the great trombonist Dan
Barrett was at Vibrato. He was joined by
pianist Chris Dawson, Pat Senatore, drummer
Sinclair Lott and a fine acoustic rhythm
guitarist whose name I regretfully missed. The
music was based in swing and vintage
standards, looking both back to the 1920s
and ahead to bop. The combination of Barrett
(an important force in the comeback of small
group swing since the 1980s) and the Jess
Stacy/Teddy Wilson-inspired Dawson worked
very well. A fresh arrangement of “What Is
This Thing Called Love” (which in Barrett’s
arrangement had a mysterious
countermelody) was a highlight as were
“Crazy Rhythm,” a medium-tempo “If I Didn’t
Care,” Dawson’s playing on “Body And Soul,”
Barrett’s pretty trombone on “All Too Soon”
and “Besame Mucho.” An added plus was
Dan Barrett’s effective singing on ”Say It
Simple,” which was associated with Jack
Teagarden.
At the Hollywood Studio Bar & Grill, Diane
Hubka shared her gig with the visiting Leah
Kline. Ms. Kline, who was originally based in
Los Angeles, has lived for the past few years
in Amsterdam where she performs regularly
not only in clubs but on television and in
theaters and concert halls, singing jazz and
acting. Pianist Gaea Schell and bassist Chris
Colangelo both had plenty of solos and kept
the music swinging behind the vocalists.
Diane Hubka was at her best on “This Happy
Madness” (a song that perfectly fits her
voice), “Israel,” “Blue Isn’t Just A Color,”
Beverly Kenney’s “I Don’t Believe In Love”
and “Better than Anything.” Leah Kline sang a
version of “Don’t Be That Way” that was
inspired by Ella, “Orange Blossom” (which
has Curtis Lundy’s music and Kurt Elling’s
lyrics), a heated “The Song Is You,” her
words to Denny Zeitlin’s “Quiet Now,” her own
“Dig It,” and “You’re Getting To Be A Habit
With Me,” which started out with her singing in
Dutch. The two vocalists scatted together on
“Centerpiece,” shared the lyrics on “Peel Me
A Grape” (which worked surprisingly well)
and, with Diane supplying the guitar, dueted
on “One Note Samba.” It made for a happy
evening and plenty of good feelings.
Jean Michel Pilc, a brilliant virtuoso on the
piano, in recent times has co-led the
Hoenig/Pilc Project with drummer Ari Hoenig.
At the Jazz Bakery the group (which also
includes the impressive bassist Dan Lutz)
deconstructed “Footprints,” indulged in
spontaneous dialogues, and created music
that was consistently fascinating to watch
unfold. Sometimes Pilc sounded like late
1950s Cecil Taylor but then a familiar melody
would emerge, only to soon evaporate.
Hoenig took a solo on a blues with his mallets
that found the drums sounding very much like
a tuned instrument, covering more than an
octave in recognizable notes. Many emotions
and moods were explored by the trio before
they closed with an uptempo “There Is No
Greater Love.” Throughout the performance,
they listened closely to each other, reacted
immediately, and constantly took the music in
unexpected directions. It was a great deal of
fun to experience.
Bud Shank is, along with Jack Sheldon, just
about the last of the major 1950s West Coast
jazz greats to still be performing. The last time
I saw him, at one of Ken Poston’s legendary
jazz festivals, he was in a wheelchair. At the
Jazz Bakery, he sat down for the entire first
set, but surprised me at the performance’s
conclusion by walking off stage with
confidence! At 82 he is still very much in his
musical prime. Joined by pianist Bill Mays,
bassist Bob Magnusson and drummer Joe
LaBarbera, Shank was never shy to take
chances even though the group was making
a CD. Most of the standards that the quartet
played had surprising arrangements that
made them sound newer. “Night And Day”
was given a floating rhythm and the
improvising sometimes went a little outside.
“Over The Rainbow” had its abstract
moments, “Fascinating Rhythm” was turned
into a jazz waltz, “In Walked Bud” included all
kinds of odd accents, and Jobim’s “No More
Blues” was stripped of its bossa nova roots.
“Manteca” was heard in a rare small group
version, three songs were tied together as a
tribute to Bill Evans, and “Lover Man,” taken
as an alto-piano duet, was both witty and
sometimes a bit miraculous. While Shank
played with creativity, Bill Mays was a wonder.
He often echoed Shank’s ideas before
building a solo from them, his playing inside
the piano added to the color of the music,
and he seemed ready for anything. So did the
veteran altoist, who was clearly inspired by
Mays’ adventurous ideas. The night was full
of what Whitney Balliett called “the sound of
surprise.” One looks forward to the eventual
CD with anticipation.
JAZZ AROUND TOWN (February 2009
- I skipped the column in January)
by Scott Yanow
Banu Gibson, one of the top New Orleans
and swing singers of the past 30 years,
normally appears in Los Angeles at the Sweet
and Hot Jazz Festival over Labor Day
weekend, heading a three-horn septet. She
had a rare one-nighter recently at the Jazz
Bakery, and much of the evening was a
surprise. Her group included her regular
pianist-musical director David Boeddinghaus
but otherwise consisted of guitarist-singer
John Reynolds, cornetist Corey Gemme,
bassist-singer Westy Westenhofer and
drummer Hal Smith. The first number let one
know immediately that this was something
different than usual for it was a vocal trio
version of “Swing, Brother, Swing.” Banu had
performed with Reynolds and Westenhofer
early in her career when she sang regularly
at Disneyland, so this was both a happy
reunion and an opportunity to hear her sing
in a different setting.
The large crowd at the Jazz Bakery
enjoyed hearing Banu perform such numbers
as “Your Mother’s Son In Law,” “We’re In The
Money” (introduced as a “song for the new
Depression”), “Diga Diga Do,” “Dinah,” “Blue
Skies,” and “Ridin’ High.” Westy sang “At The
Codfish Ball,” Reynolds (who should be a big
star) whistled expertly on “I’ve Got A Feeling I’
m Falling,” Boeddinghaus was featured on
“Little Rock Getaway,” and the vocal trio was
showcased on “Moonglow” and “Dream”
Gemme took some heated solos, Hal Smith
played as if it were 1936, and everything
seemed to work that night despite being
pretty spontaneous in spots. In addition,
Josette Wiggan brought the house down twice
with her tap dancing on “Happy Feet” and
“Doin’ The New Lowdown.” The night was so
enjoyable that hopefully Banu Gibson will
record with this group of musical personalities
in the future.
Much less interesting was Wayne Shorter’s
performance at Disney Hall. The masterful
tenor and soprano-saxophonist led his
longtime quartet (with pianist Danilo Perez,
bassist John Patitucci and drummer Brian
Blade) but the material was extremely dull.
The evening began with the Imani Winds, a
classical quintet consisting of flute, oboe,
clarinet, French horn and bassoon. While
their playing was undeniably brilliant, their two
pieces made it difficult for one to stay awake.
Things should have improved when Shorter’s
quartet took over, but their long
improvisations would have fit perfectly on an
album titled Kind Of Dull. Shorter was in fiery
form, particularly on soprano, but the
performance overall sounded aimless, even
when the Imani Winds returned and the two
groups played together. It remained a
snoozefest.
Much more stimulating was guitarist John
Abercrombie’s all-star quartet with tenor-
saxophonist Jerry Bergonzi, organist Gary
Versace and drummer Adam Nussbaum.
Appearing at the Jazz Bakery, the group
played originals that sometimes swung
conventionally but on other occasions were
closer to the floating sound of ECM jazz.
Versace’s sparse style on organ left plenty of
space for Abercrombie and Bergonzi to
explore, whether it was on the tenor’s
“Shadowing” (using chords similar to “Alone
Together”), “What If” or “A Nice Idea.” Each of
the musicians displayed strong styles and the
engagement gave listeners a rare opportunity
to see Jerry Bergonzi playing in Los Angeles.
Pianist Marilyn Crispell also never seems to
play in L.A. She began her career strongly
influenced by Cecil Taylor and she gained
recognition for her work with Anthony Braxton
20 years ago. Since then, she has added
some standards to her repertoire and enjoys
displaying a love for lyrical and melodic
improvising while not neglecting her talents at
creating free jazz. During her mostly-
continuous set at the Jazz Bakery, she started
off with a thoughtful piece that recalled Keith
Jarrett, used repetition to build her solo up to
a ferocious level, showed how much creativity
could be utilized on a one-chord piece, and
surprised listeners by having tumultuous
stretches resolve into such songs as “Moment’
s Notice,” a touching version of “Spring Can
Really Hang You Up The Most,” and John
Coltrane’s “Dear Lord.” Even at her freest,
her music was quite coherent and fascinating
to watch develop. The one flaw to Marilyn
Crispell’s set was that she did not say a word
to the audience, just acknowledging the
applause with shyness. One would have liked
to have heard her talk a little bit about her
music.
Veteran tenor-saxophonist and arranger-
composer Benny Golson always talks to his
audiences, telling colorful stories that discuss
the origins of some of his most famous songs
along with his experiences with the likes of
Dizzy Gillespie, Art Blakey and Lee Morgan.
Joined by pianist John Campbell (always a
powerhouse), bassist Bob Magnusson and
drummer Roy McCurdy at the Jazz Bakery,
Golson played fresh versions of such
originals as “Rise And Shine,” “Along Came
Betty,” “Are You Ready” and “I Remember
Clifford.” Campbell was featured on Red
Mitchell’s “Wonderful” and the set closed with
“Take The ‘A’ Train.” At 79, Benny Golson is
still one of the giants of jazz.
The Hollywood Studio Bar & Grill features a
variety of jazz and vocalists two or three times
a week. Libbie Jo Snyder is a talented
veteran singer and flutist. Whether taking
expressive vocals or playing flute, alto flute,
bass flute or piccolo, she put on a witty and
entertaining show, with strong assistance
from pianist Jane Getz, bassist Bill Markus
and drummer Paul Cohen. Highlights included
“Latin Dancer,” “Footprints,” “You’re My
Everything” and “Do Wrong Shoes.” In
addition, Getz was showcased on “In Your
Own Sweet Way” and Cohen sang both the
chorus and obscure verse to “Nice Work If
You Can Get It.” Fun music.
Stanley Jordan has long been taken for
granted. The guitarist was considered a
sensation when he first came on the scene
because he is a master at tapping, but he has
been overlooked in recent years. A new CD
(State Of Nature) on Telarc is gaining him
attention again. At Catalina Bar & Grill,
Jordan showed that he really can do the
impossible. Not only did he play the guitar
one-handed when he was not creating two
completely different lines and functions at
once, but on some songs he played both
guitar and piano at the same time. He would
back his right hand with rhythm guitar, or take
a guitar solo while playing bass lines on the
piano with his left. Can anyone else do that
and sound like two very complete musicians?
Jordan was joined by bassist Vicente Archer
and drummer Kenwood Dennard. Skilled as
they are, they could not help being
overshadowed by the guitarist, who
performed both a Mozart concerto and a free
improvisation unaccompanied and jammed
with the trio on “All Blues,” an uptempo
“Autumn Leaves,” “How Insensitive” and “Billie’
s Bounce.” Although he has not won any
guitar polls lately, very few musicians are on
the level of Stanley Jordan.
JAZZ AROUND TOWN (Dec. 2008)
by Scott Yanow
At the age of nearly 88, Dave Brubeck does
not walk as fast as he used to and his voice
sometimes sounds a little weak. But when he
sits down at the piano, the decades drop
away and he is the adventurous improviser of
yore. At Disney Hall, he performed two very
musical and spirited sets with his quartet,
which for quite a few years now has generally
consisted of altoist and flutist Bobby Militello,
bassist Michael Moore and drummer Randy
Jones. Brubeck, who was greeted by the first
of many standing ovations, started with “On
The Sunny Side Of The Street.” Militello
hinted at Cannonball Adderley and the pianist
during his solo enjoyed playing polyrhythms,
at one point improvising in 3/4 time over the
doubletime 4/4 rhythm. It has always been
true that the closer one listens to Brubeck’s
playing, the more one discovers. On “Theme
For June,” he led the group through several
moods and, on a charming version of
“Margie” (a hit from 1920), he started off
playing the last part of “Melancholy Baby”
before stating the theme. Militello’s flute was
impressive during “Pocholinga.” On “Sleep,”
“Yesterdays” and “Travelin’ Blues,” it was
easy to forget how old Brubeck is for he
sounded like the youngest musician on stage.
“Take Five” featured some fairly free alto
playing by Militello and, as an encore, the
quartet romped briefly through “Take Me Out
To The Ballgame.” Dave Brubeck still travels
constantly so be sure to see him whenever
you can for he probably only has 20 more
years left in his musical prime.
Another great veteran, singer Ernestine
Anderson, is still a powerful force at the age
of 80. She knows her limitations, leaving a lot
of space in her interpretations and saving her
energy for the most dramatic moments.
Joined by pianist Ron Bishop, bassist Michael
Zisman and drummer Quentin Dennard at the
Jazz Bakery, she said at one point, “I’m so
glad that I’m still able to do this. This is my
love.” Though she sat down during the entire
set and her voice was a bit smaller than in her
earlier years, she still displayed a lot of power
and, at one point on “Falling In Love In Love,”
held onto a note for a remarkably long period
of time. She swung the heck out of “This Can’
t Be Love,” put a lot of feeling into “I Wonder
Why,” was touching on “Skylark,” and became
quite saucy on her trademark song “Don’t
Make Your Move Too Soon.” During the
closing vamps of songs, Ernestine Anderson
ad-libbed with wit and creativity, showing that
she is still one of the greats.
Roberta Gambarini is always a very
impressive and infectious singer. At Catalina
Bar & Grill, she made such songs as “Day In,
Day Out,” a slower than usual “Get Out Of
Town,” a very expressive version of “Poor
Butterfly,” an uptempo “Lover Come Back To
Me,” “Estate” and “If You Could See Me Now”
sound like they had been written for her.
Joined by pianist Eric Gunnison, bassist Neil
Swainson and drummer Montez Coleman, her
voice sounded beautiful and very flexible,
whether singing a Porgy And Bess medley or
vocalese to the Dizzy Gillespie version of “On
The Sunny Side Of The Street.”
Also seen at Catalina was the up-and-
coming singer Nicole Henry. One can always
hear her roots in r&b in the way she bends
notes and sings almost over the top at times.
But Ms. Henry, who has a strong voice and
very appealing stage presence, also swings
and, as the set progressed, she showed more
subtlety and was particularly effective on slow
ballads. She was best on “All Or Nothing At
All,” “The Nearness Of You” and “I’d Rather
Drink Muddy Water.”
A singer who I was not previously familiar
with, Kenny Washington Jr. was quite
impressive during his performance at the Jazz
Bakery. With stimulating backup by pianist
Jeff Colella, bassist Chris Colangelo and
drummer Steve Hass, Washington revealed a
wide range with a strong falsetto, the ability to
scat both fast and with creativity, and a very
humble personality. Sticking to standards, he
came up with fresh statements on “Four,”
“Angel Eyes,” “Do You Know What It Means
To Miss New Orleans,” “Rhythm-A-Ning,”
“That Old Devil Moon” and “Oleo.” The
audience loved him, and for good reason.
Kenny Washington, Jr. deserves to be much
better known.
Mikal Sandoval, known as “The San
Francisco Songbird,” is a fine singer who
specializes in 1920s jazz and pop tunes. She
acts as the mistress of ceremonies for a
colorful monthly show at the Talking Stick in
Venice. The night that I attended, there was a
large crowd. Pianist Brad Kay, the opening
act, has been working at saving and reviving
the score for the 1929 film Gold Diggers On
Broadway. The early sound film’s soundtrack
was recently reconstructed but only half of
the video still exists. While the movie
introduced “Tip Toe Through The Tulips,”
such formerly lost songs as “And Still They
Call It Love,” “Kepping The Wolf From The
Door” and “Mechanical Man” were performed
by a variety of singers with the stride pianist
including the always-exuberant Suzy Williams.
The main part of the show was two sets by
Dutch Newman’s Musical Melodians, a fine
sextet that featured Cory Gemme on cornet,
clarinet and C-melody sax, Dan Weinstein on
trombone, cornet and violin, pianist Bob
Mitchell, John Reynolds on guitar and banjo,
Dave Jones on bass and Newman on rhythm
guitar and vocals. In addition to performing
late 1920s hot jazz and dance band numbers,
the group also played some of its leader’s
originals (such as “I’ve Got What It Takes To
Be Your Man” and “If All My Dreams Were
Love Songs”) which are very much in the
idiom. Mikal Sandoval sang a few songs with
the band during each set, displaying a highly
appealing voice that fit into the era. She was
best on “Ten Cents A Dance” and “I Want To
Be Bad.” All in all, it made for a fun night. For
further information about future events, check
out www.musicalmelodians.com.
Pianist Eric Ekstrand, bassist Leslie Baker
and drummer Frank Wilson have been
playing at Columbo’s in Eagle Rock on a
regular basis for 6 1/2 years, certainly one of
the longest current gigs for any group in the L.
A. area. Their music, which is based in both
swing and bop, works perfectly in the friendly
atmosphere of the restaurant. The trio
performs each Sunday night and hosts a jam
session on Mondays. Guitarist Doug
MacDonald made the band a quartet during
the Sunday that I caught the group. Both
Ekstrand and Baker had several vocal
features, and one of the highpoints was when
they combined together “Smile” and “When
You’re Smiling.” MacDonald fit in perfectly
with the group and there were plenty of fine
solos all around on such numbers as “A
Foggy Day,” Ray Bryant’s “Gotta Travel On,”
“I Can’t Get Started” (which had Ekstrand
singing updated lyrics) and “In A Mellotone.”
During the second set, pianists Marty Harris
(excellent on “Take The ‘A’ Train”) and Nina
Beck and trumpeter Danny Bergen had
opportunities to sit in.
Although it is a cliché to say that “jazz doesn’
t sell,” that does not explain the overflow
crowds that Gordon Goodwin’s Big Phat Band
consistently draw. They market themselves
quite expertly without watering down their
music. The Jazz Bakery was packed on a
Monday night as scores of young people
came to see this modern jazz orchestra. One
would think that, due to their success at
drawing crowds, the band must play
commercial music. But, despite the inclusion
of popular altoist Eric Marienthal (who excels
in this setting), the music is hard bop and
post bop songs arranged and often
composed by pianist Goodwin. Celebrating
the release of their new CD Act Your Age, the
Big Phat Band performed such numbers as
“Chance Encounter” (a tribute to Oliver
Nelson), the theme song for “Attack Of The
Killer Tomatoes,” the stretched-out blues
“Back Row Politics,” and “Swinging For The
Fences.” Marienthal, tenor-saxophonist Jeff
Driscoll, trombonist Andy Martin, altoist Sal
Lozano and trumpeter Bob Summers were
among the many soloists in addition to the
leader. Goodwin had many funny tales to tell
about the band between songs. Gordon
Goodwin’s Big Phat Band is well worth seeing,
but get in your reservations early!
JAZZ AROUND TOWN (Nov. 2008)
by Scott Yanow
THE 2008 MONTEREY JAZZ FESTIVAL
Normally at Monterey, my goal each year is
to see every single group. That can be a
difficult accomplishment when there are five
bands playing at once at different venues but
usually I can achieve the goal by being
constantly on the move. This year
unfortunately I was a bit ill (having a terrible
cough for four weeks) and had to miss
Sunday’s music altogether including Kurt
Elling, Wayne Shorter, Herbie Hancock,
Barbara Dennerlein and Jamie Cullum. I did
manage to catch many of the highlights from
Friday and Saturday, and can report that
Monterey’s 51st annual marathon had
enough great moments to almost reach the
heights of the previous year’s 50th festival.
Veteran saxophonist George Young began
the festival with an inspired tribute set to Billy
Strayhorn. Joined by a rhythm section that
included pianist Bobby Phillips, Young came
up with fresh solos on “Satin Doll,”
“Raincheck,” “Lush Life,” “Just A Sittin’ And A
Rockin’” and Take The ‘A’ Train.”
Up-and-coming vocalist Spencer Day started
out singing soulful jazz on “Gotta Make You
Mine” and “Any Place I Hang My Hat Is Home”
before veering off into r&b. I veered off to see
Rudder, an intriguing group comprised of
saxophonist Chris Creek, keyboardist Henry
Hey, bassist Tim Lefebvre and drummer Keith
Carlock that at times was reminiscent of early
Weather Report in its most experimental
days. The results were creative electric jazz
that held one’s attention. Also impressive was
this year’s edition of the Berklee Latin All
Stars, a sextet that included the Freddie
Hubbard-inspired trumpeter Niv Toar, the
fluent flutist Enrique “Kalani” Trinidad, and
keyboardist Abrah Olivo who was showcased
on “Elektric,” a tribute to Chick Corea’s
Elektric Band.
Tenor-saxophonist Joshua Redman,
leading a pianoless trio with bassist Matt
Penman and drummer Brian Blade, had fun
stretching out on some Sonny Rollins-
associated material and songs from his own
Back East CD. Pianist Yaron Herman’s trio
with bassist Matt Brewer and drummer Gerald
Cleaver displayed plenty of energy on their
post-bop originals, some of which hinted at
the Latin side of Chick Corea. Drummer Matt
Wilson’s Arts & Crafts performed colorful and
eccentric versions of straightahead jazz,
featuring trumpeter Terell Stafford, Gary
Versace on piano, organ and accordion, and
bassist Martin Wind. Highlights included “The
Scenic Route” and Thelonious Monk’s “We
See.” Anat Cohen, the most impressive new
clarinetist to emerge in recent years, lived up
to her growing reputation, performing
unclassifiable originals that displayed her
Israeli heritage and the legacy of the clarinet
with assistance by the Jason Lindner Trio.
Cassandra Wilson, who mostly performed
standards, was in a particularly happy mood
and her versions of “Caravan,” “A Sleeping
Bee,” “Them There Eyes,” “Till There Was
You” and a Robert Johnson tune were
practically jubilant. She obviously enjoyed her
long overdue Monterey Jazz Festival debut
and was heard throughout at the peak of her
powers. Bassist Christian McBride was
featured in several settings throughout the
weekend including a versatile quintet that
ranged from straightahead to funk, featuring
tenor-saxophonist Walter Smith III. and
keyboardist Geoffrey Keezer. Friday night
ended with an encore set by Joshua Redman
in one of the indoor venues, taking a long
cadenza on “Angel Eyes.”
Saturday afternoon at Monterey has
traditionally been blues-oriented, but this year
there were relatively few blues to be heard.
Ledisi performed light r&b and, despite her
obvious abilities, seemed to be bragging
much of the time about her successes. Ryan
Shaw, who also sang at Playboy, showed that
he is a fine soul singer. Altoist Maceo Parker
was as funky as ever and seemed to have the
word “funk” in just about every song he
performed. Only Derek Trucks’ brand of
southern soul and blues rock captured the
spirit of the blues. Also heard during the very
miscellaneous afternoon was the powerful Air
Force big band The Falcolnaires, fine
Japanese musicians in pianist Junko Moriya’s
quartet (particularly alto and soprano-
saxophonist Kazuhiko Konda), and an out-of-
place if intriguing East European folk string
group called La Tuque Bleue.from Quebec.
Cassandra Wilson fared well at a Downbeat
blindfold test conducted by Dan Ouellette.
Nancy Wilson made a lot of interesting
statements while being interviewed onstage
by singer Clairdee although she would
contradict much of what she said during the
night’s performance. She talked about how
audiences are not interested in hearing about
an artist’s personal life and that they primarily
want to hear good music.
That night during a Cannonball Adderley
tribute, Nancy Wilson dominated the
proceedings, telling long rambling stories
about her life, using phrasing that can only be
described as theatrical, and purposely
cracking her voice excessively; it sounded
phony after awhile. Trumpeter Terence
Blanchard and altoist Tom Scott may have
been onstage but they were drastically
underutilized, mostly standing around while
Wilson talked about herself.
Much better that night was Scott’s tribute to
Adderley which found him playing brilliantly
(hinting at Cannonball while still sounding like
himself) in a quintet with trumpeter Gilbert
Castellanos, pianist Nat Adderley, Jr, bassist
Hamilton Price and drummer Gregg Field;
Paulette McWilliams provided a few vocals.
Terence Blanchard also had his own set with
his quintet, reprising some of the Hurricane
Katrina music that he had performed the
previous year; few trumpeters can play with
so much emotion.
The Maria Schneider Orchestra introduced
a lengthy work commissioned by the
Monterey Jazz Festival (“Willow Lake”). Tuck
& Patti performed their brand of folk jazz with
sensitivity and creativity. Pianist Rebeca
Mauleon’s Afro-Kuban Fusion played stirring
Afro-Cuban jazz. Drummer Antonio Sanchez’s
Migration reunited tenor-saxophonist David
Sanchez with altoist Miguel Zenon. And flutist
Orlando “Maraca” Valle’s octet (which also
included Sanchez and Zenon) teamed up with
the Monterey Jazz Festival Chamber
Orchestra for some brilliant and unclassifiable
music.
So even though I regretfully missed Sunday’
s events, there was certainly a great deal of
rewarding music to be experienced at
Monterey on Friday and Saturday.
DVDs TO LOOK FOR
Due to my illness, I did not get out to the
clubs during much of September or early
October. But my time was not completely
wasted for it gave me an opportunity to sit at
home and watch a series of rewarding jazz
DVDs. There is more jazz on film currently
available than at any time in the past century.
Many of the legends may no longer be with
us, but we can watch them perform whenever
we like.
The third batch of DVDs from the Jazz Icons
series is now out, and it contains a great deal
of timeless music. When I did research for my
Jazz On Film book a few years ago, several
collectors talked about how the archives of
European television stations were filled with
mostly unseen treasures. From the mid-
1950s at least into the mid-1970s, it was not
uncommon for a top American jazz artist to
appear for an hour on European television,
as opposed to perhaps having a three-minute
spot in the U.S. on the Merv Griffin show.
Generally after the program aired a few times,
it was safely put away in vaults and largely
forgotten.
David Peck, Phillip Galloway and Tom
Gulotta in their Reelin’ In The Years
Productions have legitimately gained access
to many of these performances, making sure
that all of the living musicians and/or the
estates are properly paid. With their third
release, there are now 23 DVDs available.
The third set, as with the second, has seven
DVDs that are available individually or as an
eight-DVD box set which has an extra “bonus
disc.”
The prize of the current lot is Sonny Rollins
Live In ’65 & ’68. The great tenor stretches
out with bassist Niels Pederson and drummer
Alan Dawson in 1965, connecting together
several songs while keeping the audience
and his sidemen guessing. This is a
particularly fascinating performance to watch.
Rollins also sounds brilliant in 1968,
stretching out on “On Green Dolphin Street,”
“St. Thomas” and “Four” with pianist Kenny
Drew, drummer Tootie Heath and Pederson.
To see Rollins this young playing with such
creativity is quite exciting.
The remarkable Rahsaan Roland Kirk did
not appear in that many films, but Live In ’63
&’67 gives one an opportunity to see him play
three saxophones at once, utilize circular
breathing, and range from bebop and current
pop tunes to moments that only he could
have created.
Cannonball Adderley’s Live In ’63 features
the altoist with arguably his finest group, his
sextet with cornetist Nat Adderley, Yusef
Lateef (well featured on tenor, flute and
oboe), pianist Joe Zawinul, bassist Sam Jones
and drummer Louis Hayes. “Jive Samba,”
“Work Song” and “Dizzy’s Business” are only
three of the many highlights.
Oscar Peterson’s Live In ’63, ’64 & ’65 and
Bill Evans’ Live ’64-’75 both have surprises.
While the trio of Peterson, bassist Ray Brown
and drummer Ed Thigpen is well featured
(including on an early version of “Hymn To
Freedom”) and they accompany a muted Roy
Eldridge on “But Not For Me,” best is when
Clark Terry, who recorded a classic album
with the trio in 1964, comes out. Terry’s
flugelhorn playing is in typically exuberant
form on “Mack The Knife,” “Blues For
Smedley” and “Misty” while “Mumbles” has
him at first befuddling and then amusing the
audience in Finland.
Most films of Bill Evans tend to feature his
1979-80 trio, so it is quite instructive to hear
him with four different groups during five
television appearances dating from 1964-75.
In addition to bassists Chuck Israels and
Eddie Gomez, Niels Pederson is somewhat
wondrous during a 1965 performance which,
on “My Melancholy Baby,” has altoist Lee
Konitz sitting in. Drummers Larry Bunker, Alan
Dawson, Marty Morrell and Eliot Zigmund also
fare well but one’s attention always ends up
on the innovative pianist.
The weakest DVD in the batch is Lionel
Hampton’s Live In ’58 for the vibraphonist’s
big band sounds overly loose, the material
(which includes a particularly weird history of
jazz medley) is erratic, and Hampton mostly
concentrates on trying to rile up the
audience. Nina Simone’s Live In ’65 & ’68 may
also be of lesser interest to jazz listeners
since she combined so many other idioms in
her unique music, especially folk singing,
social protests (much of it centered on the
civil rights movement) and her classical piano.
She was quite enthusiastic during the two
concerts on her DVD because the audiences
in Holland and England were listening closely
and responding to the words she is singing.
The bonus disc in this box includes three
additional numbers from Nina Simone, four
from Rahsaan Roland Kirk and, best of all, six
selections (and a short interview) from Sonny
Rollins in 1959 in trios with bassist Henry
Grimes and either Joe Harris or Pete LaRoca
on drums. Rollins’ ballad playing on “Love
Letters” is simply beautiful. The Jazz Icons are
available from www.jazzicons.com.
Three other recent DVDs deserve mention.
Louis Armstrong’s Live In Austria 1964
(available from www.euroarts.com) has an
hour-long set from Satch when his band
included trombonist Trummy Young,
clarinetist Joe Darensbourg (check out his
slap tonguing on “Sweet Georgia Brown”) and
singer Jewell Brown. While Armstrong’s range
had shrunk on the trumpet, he still plays quite
well when he stretches out (most noticeably
on “Basin Street Blues”) and his singing could
never be beat.
Play Your Own Thing (also available from
www.euroarts.com) explores the issue of
Europeans learning about jazz from
Americans and gradually developing their
own approaches and sounds. There are
many clips seen along the way (some rare)
from the likes of Louis Armstgrong, Miles
Davis, Duke Ellington, Dizzy Gillespie, Bud
Powell, Jan Garbarek, Martial Solal, the
Kenny Clarke/Francy Boland Orchestra, Attila
Zoller and many others. This wide-ranging
film is well organized in exploring the evolution
of European jazz.
Art Tatum – The Art Of Jazz Piano is a basic
documentary on the incredible pianist, using
interesting interviews of the likes of Les Paul,
Tiny Grimes, Dick Hyman, George Shearing,
Marian McPartland and Hank Jones. The
three film clips of Tatum (a number from The
Fabulous Dorseys, “Tiny’s Exercise” and
“Yesterdays” from a television appearance)
tie everything together during this worthy
DVD, which is available from www.screenedge.
com.
JAZZ AROUND TOWN (October 2008)
by Scott Yanow
THE 2008 SWEET AND HOT MUSIC
FESTIVAL
The Sweet and Hot Music Festival, under the
direction of Wally Holmes, has evolved
through the years from a dixieland-dominated
festival to one that features a wide variety of
vintage jazz including New Orleans, swing,
bop and West Coast cool jazz. With seven
venues going on at once much of the time
over the Labor Day weekend at the LAX
Marriott, this festival offers jazz fans a wide
smorgasbord of talent. In addition to over 37
hours of music during Friday, Saturday and
Sunday (not counting six hours on Monday)
there are late night jam sessions that last till 2
a.m. and beyond. There is quite a bit to
choose from and enjoy.
Unlike at the Monterey Jazz Festival, I did
not attempt to see every single group. The
Statesmen Of Jazz, featuring what cornetist
Warren Vache called “arrangements while
you wait,” teamed together Vache with
trumpeter Duke Heitger, trombonist John
Allred, pianist Tardo Hammer, bassist Nick
Parrott and drummer Leroy Williams. The
music included swing and bop, with Vache on
“Song For My Father” taking a solo worthy of
Freddie Hubbard, and Heitger hinting at Ruby
Braff on “Skylark.”
Marty Grosz made a welcome return to the
festival after too many years. He told
humorous stories, played chordal acoustic
guitar, and sang like Fats Waller while joined
by bassist Westy Westhofer.
Jack Sheldon played as great as always,
showing that he is truly ageless as a
trumpeter, singer and a risqué wisecracker.
He led a quartet through such songs as “Don’
t Get Around Much Anymore,” “Milestones”
and “The Shadow Of Your Smile,” and on
Sunday happily presented his explosive big
band.
Guitarist Jonathan Stout brought in his fine
swing big band for a Friday night dance,
featuring popular standards and the
appealing singing of Hilary Alexander. The
one criticism I have is that he should turn his
band loose more often, with extended solos
and heated riffing, but he did attract a large
dancing audience for his very musical show.
Dan Levinson has steadily solidified himself
as one of the finest reed soloists of his
generation. On clarinet he hints at Tony
Parenti and Jimmy Lytell in the 1920s, his C-
melody playing closely emulates Frank
Trumbauer and on tenor he can bring back
the spirit of Lester Young. But, truth is, he
has his own voice and ideas on each
instrument. During the weekend he kept busy,
playing duets with pianist Mark Allen Jones,
accompanying his wife singer Molly Ryan,
participating in an exciting clarinet battle with
Allan Vache, Bob Draga and Chuck Hedges,
performing with Banu Gibson and popping up
in other groups.
Another very busy player was cornetist
Corey Gemme, who was also heard along the
way on trombone, clarinet and C-melody sax.
He gigged with some of the big bands,
seemed to be on nearly every set (performing
with many different combos), and was one of
the stars of the late-night jams. On one
session with Dan Levinson, the two traded
four-bar phrases on an uptempo “Hindustan”
while switching rapidly between three
instruments apiece, something I have never
heard or seen before.
Banu Gibson and Rebecca Kilgore are
regulars at the festival, and for good reason.
Banu’s New Orleans Hot Jazz Orchestra is a
sextet (with Levinson, trumpeter Randy
Reinhart and trombonist David Sager) that
mostly performs superior songs from the
1930s. Although worried about Hurricane
Gustav at the time, Banu was in top form,
singing and swinging her way through
standards and obscurities. Rebecca Kilgore,
who performs with BED (a quartet with
trombonist Dan Barrett, guitarist-singer-
jokester Eric Erickson and bassist Joel
Forbes), always seems to sing the perfect
note for the perfect spot. The chemistry
between the musicians in BED results in
plenty of wit, solid swing and memorable
music.
West Coast jazz was represented by the
Dave Pell Octet (the perfect 1956 jazz band)
and Johnny Varro’s Swing 7. Unfortunately
both bands were scheduled during the same
hour slot; they both played on a high level.
Roger Neumann led a four-tenor jam with Gil
Bernal, John Bambridge and Dave Pell that
was so exciting (with spontaneous harmonies,
riffing and heated tradeoffs) that this septet
should be recorded as soon as possible.
The Rhythm Club All-Stars, a new group led
by drummer Daniel Glass (of Royal Crown
Revue), is a band with great potential.
Comprised of Corey Gemme, John Reynolds
on guitar, vocals and whistling, and bassist
Marc Caperone, the quartet performs swing
and jive tunes from the 1930s including “Old
Joe’s Hittin’ The Jug,” and “Flying Home,”
often punctuated by Glass’ Gene Krupa-
inspired drum breaks.
Also worth discovering is acoustic guitarist
Gonzalo Bergara, whose percussive and
almost-violent attack on some numbers hinted
at Django Reinhardt in the 1940s. His quartet
featured fine playing from rhythm guitarist
Keith Maples, clarinetist Rob Hardt and
bassist Pablo Motta on both standards and
originals, building on the legacy of “gypsy
jazz.”
Carl Sonny Leyland is one of the finest
boogie-woogie and blues pianists around
today. Joined by bassist Marty Eggers and
drummer Hal Smith (that rhythm section is
very difficult to beat), Leyland occasionally
sang and always swung hard on such
numbers as “St. Louis Blues,” “Music Hall
Stomp,” “Yancey Special” and “Honky Tonk
Train Blues.”
And that is not to mention the authentic
1920s dance music of Mora’s Modern
Rhythmists, the Hues Corporation, Ernie
Andrews, 96-year old Herb Jeffries, Vana’s
Big Band Alumni, Louis Thomas’ Pieces Of
Eight, Pianorama hosted by Yve Evans,
Marilyn King, and all-star jam session groups
featuring guitarist Howard Alden and Barry
Zweig, trumpeters Randy Reinhardt, Ed
Polcer and Tommy Saunders, trombonists
John Allred and Russ Phillips, the sopranos of
John Altman and Jim Galloway, pianists John
Sheridan, Eddie Higgins and Johnny Varro,
bassists Jennifer Leitham and Richard Simon,
drummers Jake Hanna, Dick Shanahan and
Hal Smith, and singers Polly Podewell, Dawn
Lambert and Pat Yankee.
The late-night jam sessions, led by pianists
Jerry Rothschild (always a powerful player),
Bob Mitchell and Andrew Barrett (Dan’s son),
were full of fun moments and capped off each
marathon day of hot music.
JAZZ FESTIVAL 2008 BRASIL
Through an invitation given by stride pianist
Judy Carmichael, I was able to attend a three-
day jazz festival in Brazil this September. Jazz
Festival Brasil is rather unusual in that it is a
traveling festival that visits seven cities within
a few weeks. The brainchild of trumpeter
Marcelo Costa, a Brazilian who loves New
Orleans jazz and swing, the festival debuted
in 2001 and has been an annual event since
2004. Costa (the artistic director) and
Carmichael (the artistic advisor) pick out the
groups and organize the well-attended
concerts. There was no actual Brazilian jazz
at the festival and the only Brazilian music
that I saw during my visit was an excellent
bossa nova singer, Vivi Limeira, who
performed in the lobby of the hotel in Sao
Paulo while accompanied by a pianist.
Brazil is of course primarily known in the jazz
world for bossa nova, Antonio Carlos Jobim,
Astrud and Joao Gilberto, and the styles that
evolved during the past few decades, so the
music heard at this festival is pretty hard to
find in Brazil. While in Brazil, I had the
opportunity to travel with Judy Carmichael’s
Septet, visiting Sao Paulo (loads of graffiti,
continuous traffic jams, and largely
undrinkable water), Brasilia (a well-planned if
somewhat antiseptic capital city) and Bela
Horizonte (much more charming despite the
co-existence of wealth with great poverty).
Portuguese is the dominant language with
English being very secondary.
I saw Judy Carmichael’s group at a nightclub
in Sao Paulo (the Bourbon Street Music Club)
and a concert hall in Brasilia (the JK
Memorial). The band consisted of Americans,
two Australians and tenor-saxophonist Nik
Payton who although from England, has
moved to Brazil. Trumpeter Charlie Caranicas
(who was recently at the Orange County
Classic Jazz Festival), trombonist Dan Barnett
(sometimes hinting at Dickie Wells), the
excellent tenor playing of Payton and veteran
altoist and baritonist Michael Hashim (who
was consistently witty and inventive) made for
a powerful, loose and spirited horn section.
Guitarist David Blackhorn hinted at times at
both Charlie Christian and Django Reinhardt
while drummer Ed Ornowski added fire and
drive to the group. Judy Carmichael, one of
the top stride pianists of the past 20 years,
made the inclusion of a bassist unnecessary
and was in top form, even taking a few vocals
along the way. They romped on such songs
as “I’ve Found A New Baby,” “Deed I Do,” a
variety of Fats Waller songs and “Christopher
Columbus.”
At Bela Horizonte’s Palacio das Artes, I saw
the four other groups of the festival, which
appeared two a night. Irakli and the Louis
Ambassadors is a group from France that
emulates the Louis Armstrong All-Stars of the
1950s. Trumpeter Irakli de Davrichewy often
plays solos that quotes Satch’s recordings
although his tone is different. Clarinetist Alain
Marquet (from Paris Washboard) was closer
to Sidney Bechet than to Barney Bigard and
was the co-star although the drum solos of
Sylvain Glevarec were the real crowd pleaser.
Some token modern jazz appeared during
the performance by the David Braid Sextet,
an excellent band from Canada. While much
of the music was from the Count Basie/Lester
Young songbook, the solos tended to be
more modern. Tenor-saxophonist Perry White
was impressive and pianist Braid contributed
the date’s highpoint, a creative and episodic
solo version of “Yesterdays” that was
dedicated to Oscar Peterson.
In contrast, it was difficult to know what to
think of Gunhild Carling. An entertainer from
Sweden, she straddled the line between jazz
and vaudeville, between swing and absurdity.
She often blasted out notes on her trombone
(always at the same volume) but also
sounded like Billie Holiday singing
“Moonglow,” played trumpet and scatted on
“Sheik Of Araby,” attempted to create a hot
solo on recorder during “Stardust,” tap
danced on “China Boy” while holding her
trombone (a performance thato had her
brother, clarinetist Max Garling, juggling),
played harmonica on a blues, ran out into the
audience along with the other horn players on
“The Hucklebuck” and, as an encore, playing
three trumpets at once during “The Beer
Barrel Polka.” One watched with amazement
part of the time as she worked hard to keep
on topping her last number. The band
included guitarist Chris Flory but was very
secondary to the antics of their leader.
Trumpeter-singer Leroy Jones wrapped up
the festival in each city. His band mostly
featured players from both New Orleans and
Finland. Jones captured the audience with
the joy of his music and ranged in his solos
from Clifford Brown to Louis Armstrong,
including a heartfelt version of “When It’s
Sleepy Time Down South.” The soulful singer
Trisha Boutte was featured during the second
half of a set that included Mardi Gras songs,
swing standards and a lengthy version of
“The Saints.”
Marcelo Costa (who played trumpet with
Gunhild Carling) and Judy Carmichael
succeeded in presenting high quality and
entertaining traditional jazz for Brazilian
audiences who otherwise rarely get to
experience the infectious music.
JAZZ AROUND TOWN (September 2008
issue)
by Scott Yanow
THE ORANGE COUNTY CLASSIC JAZZ
FESTIVAL
If there was an award for an annual Southern
California jazz festival that should be
discovered by jazz fans, the Orange County
Classic Jazz Festival would be the winner.
Held at the Hilton in Costa Mesa, this 2 1/2
day event has music in five places at once,
and occasionally at a sixth venue at the
Holiday Inn across the street. While the
emphasis is on 1920s and ‘30s styles, it
differs from the Sweet & Hot Festival in that it
mostly features organized groups as opposed
to jam sessions.
Every jazz fan should know about Paris
Washboard, Louis Mazetier and the Midiri
Brothers; otherwise your knowledge of the
current jazz scene is incomplete. Paris
Washboard consists of the Sidney Bechet-
inspired clarinetist Alain Marquet, the spirited
trombonist Daniel Barda, washboard wizard
Stephane Seva and the remarkable stride
pianist Louis Mazetier. All four of the players
are superb and colorful but Mazetier is a
wonder, a one-man rhythm section whose
mastery of stride puts him at the top of his
field, next to Dick Hyman and such giants of
the past as James P. Johnson, Fats Waller
and Ralph Sutton. His playing is that good.
Paris Washboard played many sets
throughout the weekend and, whether it was
“There’ll Be Some Changes Made,”
“Melancholy Baby,” a ridiculously rapid
version of “Hallelujah,” “The Mooche” or even
“Twelfth Street Rag,” the quartet always came
up with fresh ideas and exciting ensembles.
They have recorded eight or nine CDs for the
Stomp Off label, so there is plenty of
documented evidence of their brilliance, but it
is great fun to see just how spontaneous they
are live.
Louis Mazetier, who was tireless all weekend,
also teamed up on duo piano sets with Jeff
Barnhart and Neville Dickie, with all three
pianists humorously jumping between two
pianos during a boogie-woogie climax to their
Saturday concert. The festival was rich with
great pianists. Dickie, who is arguably the top
stride pianist from England, mostly performed
a variety of stride classics, swing standards
and boogie-woogie romps as a soloist
although on one set he was joined by
drummer Danny Coots from Titan Hot 7.
Jeff Barnhart, one of America’s finest stride
pianists, also seemed to be playing constantly
throughout the weekend. In addition to the
duet match ups, he performed with his wife,
classical flutist Anne Barnhart, in a trio with
Coots called Ivory & Gold, performed with
Coots and clarinetist Bob Draga in a combo
called We Three, and was extensively
featured with the frequently riotous Titan Hot
7. Barnhart is a superb pianist, a personable
singer, and a very funny jokester, which
makes for a rather infectious combination.
The Midiri Brothers, a sextet featuring
clarinetist Joe Midiri and his twin brother Paul
Midiri, start with Benny Goodman and Lionel
Hampton as role models but perform with their
own personalities, impressive technique and
high energy. Joe, in addition to taking lengthy
solos on uptempo pieces (he is always great
on “Air Mail Special”), also paid tribute to Artie
Shaw on “Stardust,” occasionally plays alto
like Johnny Hodges, and throws in a surprise
vocal or two that sound just like Louis
Armstrong. Paul Midiri, whose vibe playing
also hints at Red Norvo, is a talented
drummer (sets tend to end with a drum battle
on one drum set between Paul and Jim
Lawlor) and also plays trombone. The Midiri
Brothers, based in New Jersey, deserve to be
household names in the jazz world.
All of the other groups were also of high
quality. The New Wolverine Jazz Orchestra
displayed plenty of versatility, ranging from
Bix Beiderbecke pieces to swing and late
1940s jump jazz features a la Louis Jordan for
altoist Adrian Cunningham, from “Black
Bottom Stomp” to Horace Silver’s “The
Preacher” and occasional songs from their
native Australia. Le Jazz Hot, a quartet from
San Francisco consisting of violinist Evan
Price, solo guitarist Paul Mehling, rhythm
guitarist Jason Vanderform and bassist Clint
Baker (who occasionally played cornet), did
their interpretations of Django
Reinhardt/Stephane Grappelli classics along
with a few other swing tunes.
The Independence Hall Jazz Band, which
features cornetist Charlie Caranicas (who
sometimes hints at Ruby Braff) and clarinetist
Kim Cusack, showed that a tuba-banjo rhythm
section could have a light touch and subtlety.
Buck Creek and Jean Kittrell’s Rivermen were
both absent their leaders due to ill health.
While the Rivermen had some cornball
humor, pianist Rick Templin did a fine job of
filling in for Kittrell. Buck Creek sounded as
powerful as ever even with the absence of
trumpeter Jim Ritter (Al Smith was a very
good replacement) and they were particularly
skilled at building up ensembles. The High
Sierra Jazz Band, with the skilled clarinetist
Pieter Meijers, has a very solid frontline as
they showed on “The White Cliffs Of Dover”
and other relaxed but swinging pieces. Fulton
Street, with the legendary pianist Bob
Ringwald, saluted Louis Armstrong on “Blue
Turning Grey Over You” (trumpeter Bob
Sakoi sounded just like Satch), romped on
“That’s A Plenty,” and welcomed guest
guitarist Katie Cavera.
Mike Henebry led two large ensembles:
Crazy Rhythm Hot Society Orchestra (playing
hot dance music of the 1920s) and the Mike
Henebry Orchestra (which performed hits of
the swing era). As usual, one wishes Henebry
had better soloists who would be allowed to
cut loose, but he definitely brought back the
ensemble sound of both eras, to the delight
of the many dancers.
The popular singer-pianist Yve Evans played
standards and 1960s pop songs in
autobiographical medleys, holding a very nice
long note at the end of “When Sunny Gets
Blue.” The Club 7 Jazz Band, a young quartet
with clarinetist Michael Almich and pianist
Easton Stuard, played swing with both
sensitivity and enthusiasm. The Titanic Jazz
Band, with their hard-charging on-the-beat
rhythm section and cornetist Dan Comins
driving the ensembles, kept the music and
sound of Lu Watters and Turk Murphy alive.
The veteran Night Blooming Jazzmen, led by
cornetist Chet Jaeger, as usual mixed
together dixieland and humor quite effectively.
All in all, it made for a very enjoyable
weekend, one that jazz fans of all stylistic
interests should check out when it takes place
again next August.
3 HOLLYWOOD BOWL CONCERTS
While not every concert in the Hollywood
Bowl’s Wednesday night jazz series is jazz,
four of strong interest took place this summer,
with the Wynton Marsalis/Willie Nelson
concert having been covered last issue.
Swing Night had sets by Sophie Milman, the
Manhattan Transfer and Big Bad Voodoo
Daddy. The young singer Ms. Milman and her
quartet were in fine form on a swinging
“People Will Say We’re In Love,”
“Matchmaker, Matchmaker,” “It’s Not Easy
Bein’ Green” (which has become one of her
trademark songs) and “Like Someone In
Love.” The Manhattan Transfer, celebrating
their 35th year, still sounded fairly youthful
during their jazz-oriented set. They flew in
from Portugal just for this concert and would
be departing the following morning. Somehow
they did not sound tired on such numbers as
“That Cat Is High,” “Choo Choo Ch’Boogie,”
“Corner Pocket” and an a capella “Duke Of
Dubuque.” The four singers were joined by
the Ron King Big Band, with trumpeter King
getting a feature spot on “Hotter Than That.”
But the main stars of the night were Big Bad
Voodoo Daddy. Paying tribute to Cab
Calloway during his centennial year, the
group (consisting of five horns, a three-piece
rhythm section and singer-guitarist Scotty
Morris), put on a fast-moving and entertaining
show. A few numbers had four talented
dancing couples and the highlights overall
included “Calloway Boogie,” “Mr. Pin Stripe
Suit,” “Jumpin’ Jive,” “Reefer Man,” “The Old
Man Of The Mountain” and the group’s hit,
“You And Me And The Bottle Makes Three.”
Each of the horns had plenty of solo space
and Big Bad Voodoo Daddy showed that they
are one of the finest of all retro swing bands.
On another Wednesday, pianist Hank Jones
and bandleader-arranger Gerald Wilson were
paid tribute to since they were both on the
verge of turning 90. Roberta Gambarini sang
“Day In Day Out” and a beautiful medley of
“Porgy” and “I Loves You Porgy” with a trio
that included pianist Tamir Hendelman.
Otherwise Hank Jones was featured
throughout the first set with bassist George
Mraz, drummer Willie Jones III. and such
guests as guitarist Kenny Burrell, tenor-
saxophonist Joe Lovano and bassist Christian
McBride. As always, Jones played flawlessly,
taking “Alone Together” as an Art
Tatumesque piano solo. Gerald Wilson, who
has lived in Los Angeles for 67 years, happily
led his big band on the “Romance” section of
“Theme For Monterey,” “Viva Tirado” and a
few of his other famous charts. Burrell,
McBride, singer Ernie Andrews (featured on “I’
m Just A Lucky So And So”), vibraphonist
Bobby Hutcherson and trumpeter Jon Faddis
were guests. On Wilson’s vintage
arrangement of “Yard Dog Mazurka”
(originally written for Jimmy Lunceford’s
orchestra), Faddis surprised the bandleader
by recreating the trumpet solos of Wilson and
Snooky Young. Young beamed from the
trumpet section. Pianist Brian O’Rourke (who
should really emerge more often) took some
impressive solos and violinist Yvette
Devereaux stole the show on “Blues For The
Count.” In addition guitarist Anthony Wilson
(Gerald’s son) debuted “Virgo” in tribute to
his father.
Finally there was a very eclectic and
somewhat bizarre concert that featured
Elizabeth Shepherd, “A Christian McBride
Situation,” Jamie Cullum, and the Count Basie
Orchestra. Singer-pianist Shepherd
performed mostly original material with her
trio. Her piano playing was okay, she
displayed a nice voice, and had no shortage
of confidence. While the melodies of her
tunes were not memorable, she showed the
most talent as a lyricist with her music often
falling between jazz and current pop music.
“Parkdale” was the best of her songs but
Elizabeth Shepherd actually sounded at her
best on Abbey Lincoln’s “Long As You’re
Living.”
Christian McBride’s group consisted of his
bass, keyboardist Patrice Rushen, the fine
tenor-saxophonist Walter Smith III, singer
Maysa from Incognito, and two turntablists.
When McBride announced that the music
would be “1000% improvisational,” it seemed
to have a lot of potential. But the results
consisted of endlessly dull jams over one-
chord (except for one brief free section that
had no chords). Maysa (who has a warm
voice) showed that she should not scat, the
turntablists were content to imitate a drum
machine (they could have done so much
more), and the lack of variety in both the
music and the instrumentation made this a
very boring set. The music was unsuccessful
as both free jazz and funk. Where was the
creativity? Had the players been warned that
they would be charged money for each chord
they used?
Saving the night was Jamie Cullum. After the
Basie band played a pair of blues (James
Moody’s “Hey Jim” and “Who, Me?”), Cullum
came out and quickly won over the crowd. On
what was his 29th birthday, Cullum sang and
played with a great deal of energy,
enthusiasm and skill. After performing his
original “Get Your Way,” he swung hard on
“Old Devil Moon,” created a heartfelt
interpretation of “Blame It On My Youth,”
created an unusual version of “Singing In The
Rain,” took “Nature Boy” as a vocal-bass duet
with Christian McBride, updated “I Get A Kick
Out Of You,” and played his hit “Twenty
Something.” For the final number Cullum got
to take Count Basie’s place with the big band
on “Splanky.” Jamie Cullum is a charming and
masterful performer.
JAZZ AROUND TOWN (August 2008)
by Scott Yanow
It was a concert that no one should have
missed, and 7,000 audience members were
grateful that they were there. At Gibson
Auditorium (formerly the Universal
Amphitheatre), Return To Forever had their
long overdue reunion as part of an extensive
tour. While keyboardist Chick Corea, guitarist
Al DiMeola, bassist Stanley Clarke and
drummer Lenny White had had an
unrecorded reunion tour in 1982 (a mere 26
years ago), the group originally broke up six
years earlier. The second version of Return
To Forever (the first featured Flora Purim,
Airto and Joe Farrell while the third was a
short-lived big band) was one of the major
fusion bands, a highly influential force in
combining together jazz improvisation with the
power, sound and rhythms of rock during
1972-76.
Happily, in 2008 all four members of RTF are
still in their musical prime. After a brief tribute
on a screen to Miles Davis and Joe Zawinul
and an introduction by Kareem Abdul Jabbar,
the quartet was treated by the audience like
rock stars. The first set was electric while,
during the second set, the musicians stuck to
acoustic instruments except for their encore
version of “Spain.” They mixed together older
compositions with some newer pieces, each
of the players had an unaccompanied
feature, and the music was quite jazz-
oriented. It was fun setting Stanley Clarke and
Al DiMeola, who are usually leaders, looking
towards Corea for direction. And although
DiMeola is famous for taking remarkably rapid
solos, I had never seen Clarke soloing with
such speed before. Hopefully a new recording
will result from this musical magic.
Going from the past to the future, bassist-
singer Esperanza Spalding has been creating
a buzz in the jazz world during the past few
months. At 23 she is a powerful singer with an
inventive approach to scatting, in addition to
being a very fluent bassist; she often sings
and plays bass at the same time. At Catalina’
s, Spalding led a trio featuring guitarist
Ricardo Vogt and drummer Otis Brown III.,
both of whom were fine in their supporting
roles. From originals such as “I Adore You”
and “Sunlight” to a 5/4 transformation of
“Body And Soul,” Nina Simone’s “Wild Is the
Wind,” Milton Nascimento’s “Ponta De Areia”
and the poppish “Precious,” the
performances were entertaining, very musical
and full of surprises. Esperanza Spalding’s
witty talking to the audience, her ability to sing
very fast, and the huge sound of her bass are
three of the many reasons why she is poised
to become a major name in jazz.
One would not normally think of teaming
together Wynton Marsalis and Willie Nelson.
However it happened on a Blue Note
recording, and recently at the Hollywood
Bowl. Natalie Cole was scheduled to sing with
Marsalis and the Jazz At Lincoln Center Jazz
Orchestra. But when she became ill, Nelson
took her place on a few days notice. The
night began with a fine opening set by pianist
Eldar Djangirov who, after several years of
prominence, is still just 21. After taking “I
Should Care” unaccompanied, he performed
a short trio set with bassist Harish Raghavan
and drummer Justin Brown that was most
notable for his dramatic and dense “The
Exorcist,” a tasteful “Besame Mucho” and a
close impression of Oscar Peterson on “Place
St. Henri.”
The Jazz At Lincoln Center Jazz Orchestra
performed a wide-ranging and superior
repertoire that included Billy Strayhorn’s
arrangement of “Rhapsody In Blue,” Oliver
Nelson’s reworking of “Down By The
Riverside,” two sections of altoist Ted Nash’s
adventurous “Portrait In Seven Shades,” a
Sherman Irby feature on Benny Carter’s last
composition (the wistful ballad “Again And
Again”) and Marsalis’ “You’ve Got To Watch
The Holy Ghost.” The band was very
impressive and the trumpet section (with
Ryan Kisor, Marcus Printup and Sean Jones)
would be difficult to improve upon.
Willie Nelson fit in quite well with the jazz
musicians, taking a few swing guitar solos
along the way. His lived-in voice worked
perfectly on “Stardust,” “Bright Lights, Big
City” and a New Orleans jam on “My Bucket’s
Got A Hole In It.” Marsalis, who only took one
solo on the earlier numbers, was well featured
with Nelson and they clearly enjoyed each
other’s company. A fast “Caldonia” closed the
show, with the encore being a good-humored
version of Sister Rosetta Tharpe’s “That’s
All.” Everything worked!
The same could not be said of the
performances that I caught from Ken Poston
and the L.A. Jazz Institute’s most recent jazz
festival, The Stage Door Swings, although it
had its moments. The four-day event, held at
the Four Points Sheraton at LAX, featured
jazz arrangements (mostly from the 1950s
and early 1960s) of songs from Broadway
musicals along with a few tributes to the
songbooks of notable composers. Of the sets
that I saw, the Bill Mays Trio was outstanding
during a performance of the music from Pal
Joey, Bud Shank headed a big band through
a revival of the album Shorty Rogers Plays
Richard Rodgers, and Bobby Shew was the
leader of an all-star group performing Cole
Porter tunes. From the latter performance,
Shew and Carl Saunders jammed together on
“Night And Day,” Saunders sang “I Get A Kick
Out Of You” in his unusual fashion, and there
were strong solos from both Don Menza and
Pete Christlieb on tenors.
But while Pinky Winters sounded fine during
a set of Jerome Kern songs (including “Long
Ago And Far Away” and a very slow “A Sure
Thing”), when she filled in for an ill Mark
Murphy on a tribute to Cole Porter, the music
was, to put it lightly, excessively spontaneous.
And Helen Merrill’s performance of Irving
Berlin songs with a string orchestra was a
mess. She had laryngitis due to the air
conditioning on her plane ride, the
arrangements for the strings sounded
muzaky, some of the songs were in keys that
were too high for her voice, and on
“Remember” she became a bit lost. It was the
first time I recall someone forgetting
“Remember.”
The Friends of Jazz at UCLA in their David L.
Abell Memorial Jazz Salon presented the
great pianist Benny Green in a solo concert.
While Green is usually heard in a trio, he
sounded quite comfortable playing
unaccompanied solos, displaying a left hand
that was equal in dexterity to his right. Often
adding a bit of stride and sounding like a
swing pianist, he dug into such numbers as
“Time After Time,” “Tenderly,” an uptempo
“You’re Is My Heart Alone,” “Moment’s Notice”
and “Love You Madly.” Ken Poston
interviewed him onstage before the second
half and Green’s stories about his beginnings
and his periods with Betty Carter and Art
Blakey were both humorous and insightful.
A well-intentioned show held at the
Hollywood Studio Bar & Grill by the California
Pop & Jazz Council was called ERA. Featured
were four singers (Maryanne Reall, Ann
Mack, Sidno Garner and Vince Brocato),
narrator Ann Roberts, and a jazz quintet. It
was billed as a musical/spoken word
presentation dealing with the history and
music of the ‘30s & ‘40s. Among the problems
was that the narrative was confusing (jumping
around between decades) and occasionally
inaccurate, much of the music was from a
later period than the stories, and most of the
performers did not even attempt to play or
sing in the swing style. When Frank Sinatra’s
1943 breakthrough at the Paramount Theater
is followed by a version of “Fly Me To The
Moon” (which was not written until 1954 nor
recorded by Sinatra until 1964) and a
mention of the closing of New Orleans’
Storyville district in 1917 becomes 1946’s “Do
You Know What It Means To Miss New
Orleans,” it becomes apparent that a history
lesson is in order. Of the musicians, Billy Kerr
fared best when playing alto while the
trumpeter was clearly lost on a few numbers
(particularly “Where Or When”). Mary Ann
Reall (charming on “East Of The Sun” and “I’
m Gonna Sit Right Down And Write Myself A
Letter” despite the incoherent horns on the
latter) and the powerful Ann Mack
(outstanding on “Ruby My Dear” and “In
Walked Bud”) emerged as the stars. There is
potential here but a complete rewrite is in
order.
Arturo Sandoval at Catalina’s showed once
again that he is one of the world’s great
trumpeters. Leading a sextet that included
tenor-saxophonist Felipe Lamoglia and
pianist Manuel Varela, Sandoval was full of
energy, switching between trumpet,
keyboards and timbales. He began the night
backed by Varela on a beautiful duet version
of “My Foolish Heart,” grooved on keyboards
on a minor blues (sounding a bit like Chick
Corea), traded exciting choruses with
Lamoglia on an uptempo blues, purposely
emulated Miles Davis on “Tutu,” was
outstanding during a piano feature, and
showed off some of his virtuosic scat singing
when he was not screaming high notes on
trumpet. There is no one in Arturo Sandoval’s
category.
This column closes with three great jazz
singers, all of whom appeared recently at
Catalina’s. Karrin Allyson’s current CD is
comprised of Brazilian music and she started
off her performance with several Brazilian
ballads. But fortunately she chose to feature
more variety during the night, including Nat
Adderley’s “Never Say Yes,” “Double
Rainbow,” “Happy Madness” and “Say It Over
And Over Again.” The backup trio (guitarist
Larry Koonse, bassist Tom Warrington and
drummer Todd Strait) was perfect for Ms.
Allyson and her piano playing on several
songs (which included a few solos) showed
that she is evolving and growing as a pianist
while remaining one of jazz’s most important
vocalists.
Kurt Elling, who was accompanied by the
Laurence Hopgood Trio, was lyrical on “My
Foolish Heart,” revived Grover Washington Jr.’
s “Winelight,” displayed his gradually
widening range on a duet with his bassist,
and related a lengthy, colorful and joyfully
bizarre story. Tenor-saxophonist Bob
Sheppard joined the group on a few numbers
(including “You Are Too Beautiful”) while the
highpoint of the night was Kurt Elling’s lengthy
vocalese rendering of a Dexter Gordon solo
on “Body And Soul.”
A very talented singer from the San
Francisco Bay area, Sony Holland has a
warm deep voice and a very clear tone. One
can always understand the words she is
singing yet she is not shy to improvise. She
was joined for a record release party at
Catalina’s for Swing, Bossas, Ballads And
Blues by pianist John Proulx, bassist Chuck
Berghofer, drummer Kendall Kay and the
underrated and tasteful guitarist Mitch Holder.
Among the songs performed in her wide-
ranging set were “Just In Time,” “I Only Have
Eyes For You,” Elton John’s “Honky Cat”
(which somehow worked in this setting), “Sans
Souci,” Paul Simon’s “50 Ways To Leave
Your Lover,” “The Nearness Of You,” a slow
ballad duet with Holder on “My Romance,” a
powerhouse version of “At Last,” and several
songs by her husband Jerry Holland which
boast intelligent lyrics including “It’s An
Understatement,” “I Remember Paris” and
“Take You As You Are.” Very few singers can
do an effective version of “First Time I Ever
Saw Your Face” but it proved to be perfect for
Sony Holland’s voice and interpretive skills.
JAZZ AROUND TOWN (July 2008 issue)
by Scott Yanow
Since the Playboy Jazz Festival fills up this
column, my reviews of Return To Forever,
Esperanza Spalding and other groups heard
in June will be covered next month.
THE 2008 PLAYBOY JAZZ FESTIVAL
The 30th annual Playboy Jazz Festival was
better than usual, with a strong jazz-oriented
lineup along with bits of World Music, blues
and r&b. As usual the June weekend at the
Hollywood Bowl was a big party with jazz,
rather than a jazz party, with the music
serving as mere background ambiance for
many of the partiers. But despite the crowd
noise, there were many strong musical
moments.
The marathon, a pair of 8 1/2 hour concerts,
began with the Hamilton High School
Academy Of Music Jazz Ensemble “A” which
was directed by Dan Taguchi. The 19-piece
high school band fared quite well particularly
on the opening “Claxtography” which had fine
solos from Thaddeus Brown on tenor and
trumpeter Marcus Paul. Pity that the
orchestra, which featured their excellent
saxophone section on “Blues And The
Abscessed Tooth,” was only given 20 minutes.
Pianist Robert Glasper did fine playing with
his trio, but his comments to the audience
were actually more memorable than his
playing (although the witty “Silly Rabbit” was a
highlight). At the end of his opening number
which was met by decent applause, he said,
“All of you weren’t listening, so don’t clap now.
If you were listening, then you can clap.”
Knowing that many of the 18,000 in the
audience did not know who he was, he said
humorously, “Thanks all of you for coming out
to see me. I wasn’t expecting all this.”
Each year the emcee Bill Cosby leads a “Cos
Of Good Music” all-star group, which gives
him an excuse to play percussion and display
a silly conducting style. This year he let the
group play and the results were rewarding.
After organist Jerry Peters and guitarist David
T. Walker had a feature, a quintet featuring
tenor-saxophonist Billy Harper, the up-and-
coming trumpeter Ambrose Akinmusire and
pianist Benny Green performed John Coltrane’
s “Dear Lord,” the swing standard “Marie” and
“Moanin’” with spirit; Harper in particular
sounded great.
The main star of Saturday was pianist Hiromi,
a really outstanding player who has great
showmanship and apparently limitless energy.
While some of her set was funky or fusionish,
featuring guitarist David Fiuczynki, the
repertoire was wide-ranging, from an
inventive reworking of “Caravan,” to Debussy’
s “Clare De Lune.” On an unaccompanied “I
Got Rhythm,” Hiromi took six remarkable
choruses in which she sounded like George
Gershwin at triple the speed. At other times,
she used her elbow on the piano to punctuate
chords, played both piano and Fender
Rhodes simultaneously, and showed that she
is as adept with her left hand as with her right.
Veteran tenor-saxophonist James Moody
proved that at 83, he remains quite ageless.
He led a quintet featuring trumpeter Terence
Blanchard and pianist Renee Rosnes (who
could not help sounding sober and polite
after Hiromi) on such numbers as “Last Train
From Overbrook,” “Bebop,” “St. Thomas” and
of course “Moody’s Mood For Love.” Guest
singer Roberta Gambarini did her vocalese
version of “On The Sunny Side Of The
Street” but she would have fared better with
the audience (which was under the barrage of
30 beach balls) if she had sung a lowdown
blues instead.
The all-female big band Diva, which was
driven by its leader drummer Sherri Maricle,
performed a well-rounded set that included
Janelle Richman swinging on clarinet a la
Benny Goodman on “Rachel’s Dream,” a
tribute to Slam Stewart on “Slambo” (with
some outstanding bass playing by Jennifer
Leitham), a high-powered version of Leonard
Bernstein’s “America” with Maricle in the
forefront, and “Three Sisters And A Cousin”
(which was inspired by “Four Brothers”).
Looking at Hugh Hefner in the audience,
Sherri Maricle said, “If you ever decide to do
an all-woman big band issue for Playboy, we’
d like to be the centerfold!”
After six straight rewarding sets, it was time
for the music to become much more erratic. R
n R teamed together trumpeter Rick Braun
and tenor-saxophonist Richard Elliot. While
they played well on their first number (giving it
everything they had) and were okay on
“Down And Dirty,” the music soon became
much more predictable; smooth without soul,
funky without any creativity. The audience
was hungry to dance and stole the show,
relegating the band to background music for
their dance party.
Dr. John kept the spirit going, playing one
funk number after another during a set that
climaxed with “Right Place But The Wrong
Time” although he also scored some points
with the plea “My People Need A Second
Line.” If Dr. John had cut his horns loose and
extended his final number, he would have
really gotten the crowd.
Poncho Sanchez had no trouble keeping the
audience’s attention with his brand of
accessible Latin jazz. Trumpeter Ron Blake
often took solo honors. Two numbers were
change of paces that featured the veteran
soul singer Eddie Boyd: “Knock On Wood”
and “Raise Your Hand.”
Easily the strangest set of the weekend was
performed by Al Jarreau. Although Jarreau’s
voice sounded as strong as ever, his verbal
monologues between songs were so aimless,
meandering and overly dramatic that they
sounded like outtakes from a bad Broadway
show. He even ranted that Dave Brubeck
should give him royalties because he
recorded “Take Five,” not apparently realizing
that Paul Desmond wrote the song, that it has
been a giant hit since 1960, and that the
royalties go to the Red Cross. Jarreau’s
version of “My Funny Valentine” was corny,
his use of a mediocre female singer on many
of the numbers was distracting, and his
scatting was eccentric to say the least. Al
Jarreau needs to rethink his career. His set
bombed, leading one to speculate, “If only his
great talents could be used for the good of
mankind.”
Closing the night was Tower Of Power. While
having no real connection to jazz, Tower Of
Power put on a great show. Their five-piece
horn section was very tight, musical and
soulful, singer Larry Braggs was charismatic,
and the program moved fast, including “We
Came To Play,” “Get Your Feet Back On The
Ground,” “I Still Be Digging On James Brown,”
and of course “What Is Hip?”
Sunday began with the View Park Prep Jazz
Ensemble. Directed by Fernando Pullum, the
19-piece outfit was most notable for having a
seven-piece saxophone section and for
performing music that was reminiscent of
Oliver Nelson in the 1960s.
Drummer Ben Riley’s Monk Legacy Septet is
a fine pianoless group that features trumpeter
Don Sickler (who was probably responsible
for most of the arrangements and
transcriptions), altoist Bruce Williams, Wayne
Escoffery on tenor and baritonist Jay
Branford. They sounded excellent on such
Monk songs as “Brake’s Sake,” “Bemsha
Swing” “Bright Mississippi” and a lengthy
chart on “Rhythm-A-Ning” although no real
surprises occurred.
Soul singer Ryan Shaw has a strong voice
and really dug into such numbers as “Try A
Little Tenderness” (which was not too tender),
“Let It Be” and “We’ve Got Love.” He sounded
at his best on the quiet “I’ve Got Many Rivers
To Cross” although he was very much out of
place at a jazz festival.
Brazilian composer, vocalist and keyboardist
Ivan Lins put on a jazz-oriented program that
included “Velas Sails,” strong saxophone
playing (particularly on soprano) by Marcelo
Martins, and memorable guest appearances
by guitarist-singer Oscar Castro-Neves on
“The Waters Of March” and “Dindi.”
My favorite set of Sunday was by the Roy
Hargrove Big Band. Although Hargrove did
not say a word to the audience (other than a
perfunctory introduction of guest Roberta
Gambarini), he sang quite effectively on
“September In The Rain,” displayed a range
on trumpet that has widened in recent years
(he now hits impressive high notes), and
looked quite happy with his orchestra’s
performance. He provided most of the
arrangements which included boppish pieces,
some that were more reminiscent of John
Coltrane’s “Africa” project, and a few dramatic
numbers. Gambarini was fine on two numbers
(including “Something Happens”) but she
deserves to be more extensively showcased.
The trumpet section (Ambrose Akinmusire,
Greg Gisbert, Frank Greene and Darren
Barrett) was featured during the exciting
closer.
Dee Dee Bridgewater’s most recent Red
Earth project is a tribute to Mali and Africa in
general. Joined by a strong rhythm section
that included the great pianist Edsel Gomez,
Mamdou Cherif Swoumano on kora, and
several other singers, Dee Dee combined
together African music with her scat singing,
often dancing happily. The colorful set
included “Afro Blue,” “The Breeze,”
“Compared To What” and some recent
originals.
Unfortunately I missed the performance by
Plena Libre, a Puerto Rican group that mixes
together plena rhythms with dance grooves
and is dominated by vocalists, trombonists
and percussion.
Keb’ Mo’, a longtime Playboy Festival favorite,
inspired a lot of dancing with his mixture of
blues ballads, catchy r&b grooves and an
occasional blues. “Give Me What You Got”
particularly excited the audience.
One of the most interesting sets of the
weekend was put on by Herbie Hancock, who
switched between piano and electric
keyboards while being joined by a great deal
of talent. His quintet included tenor-
saxophonist Chris Potter, guitarist Lionel
Loueke (who can apparently play in any
style), Dave Holland (sticking to electric bass)
and drummer Vinnie Colaiuta. After they
played “Actual Proof,” they were joined by
singers Amy Keys and Sonya Kitchell for
songs from Hancock’s award-winning River
CD. Keys impressed everyone even if most of
the music was outside of jazz. The musicians
performed “Watermelon Man” in 17/4 time
and really excited the crowd with a lengthy
“Chameleon.” Wayne Shorter was a surprise
guest, adding his soprano to two numbers
although he was underutilized. As a climax,
electric bassist Marcus Miller, C-Minus on
turntables and 41 young dancers from the
Debbie Allen Dance Academy joined in for a
spectacular and rather wild version of “Rock
It.”
Although they tried their best, Guitar & Saxes
was anti-climatic as the 20th and closing
group of the Playboy Jazz Festival.
Keyboardist Jeff Lorber played well, altoist
Gerald Albright showed once again that he
should be playing more adventurous music
since he is quite talented, and guitarist Peter
White was in fine form. On the minus side,
saxophonist Jessy J. made one wonder if she
knew how to do anything but stick to the
melody (her posing got annoying) and
guitarist Jeff Golub seemed to think he was at
a rock show. But Guitar & Saxes served its
purpose, clearing the place so the traffic jam
leaving the Bowl was not quite as bad as it
usually is.
All in all, 2008 was one of the best Playboy
Jazz Festivals in recent memory.
JAZZ AROUND TOWN (June 2008 issue)
by Scott Yanow
THE DALLAS JAZZ SCENE
Having had a few opportunities in recent
months to visit Dallas, I’ve seen several
aspects of the local scene. As with most major
cities, Dallas is the home to a variety of top-
notch jazz musicians, many of whom are not
household names beyond the city limits
despite their talents.
At Pearl At Commerce, a large bar that
doubles as a blues club, jazz is occasionally
featured. Trumpeter Freddie Jones, a
versatile player with a wide range who hits
high notes easily, was seen performing a
funky style of jazz that ranged from “Mercy,
Mercy, Mercy” and Al Green’s “Let’s Stay
Together” to “Tutu” and “Don’t You Worry
‘Bout A Thing.” At the Balcony Club, an
informal and relaxed jazz bar, Arthur Riddles
and his quartet (with bass, drums and
congas) played such standards as “Nardis,”
“Lester Leaps In” and a Latinized “Body And
Soul.”
On a Sunday afternoon at the Maple Point, a
friendly neighborhood bar-restaurant, pianist
Dave Zoller led Daybreak Express. While the
group’s repertoire is comprised exclusively of
Duke Ellington and Billy Strayhorn songs, the
arrangements by Zoller are fresh and the
musicians do not attempt to emulate their
predecessors. Shelley Carrol, a major name
on the Dallas jazz scene who also plays with
the current Duke Ellington Orchestra, is a
great tenor-saxophonist with a huge tone and
a versatile style who is also heard on flute
and soprano. Also in the band are trumpeter
Jack Evans, trombonist Tony Baker, bassist
Jonathan Fisher and drummer Alan Green. In
addition, Genie Grant contributes occasional
vocals that are full of spirit, joy and swing.
The repertoire includes plenty of obscurities
including Johnny Hodges’ “Wanderlust,” “The
Ricky-Tick” and “You Dirty Dog,” along with
unusual arrangements of such familiar pieces
as “Satin Doll” (taken in 6/4 time) and “Take
The ‘A’ Train.”
Most Tuesday nights at the artist’s loft of
Darryl Thomas at the Sandaga Market, a jazz
jam session is held that features some of the
top Dallas talents. The night that I attended
featured the great veteran pianist Bernard
Wright (who works with Marcus Miller and has
been in Miles Davis’ group), a powerful young
tenor named Quamon Fowler, guitarist Todd
Parsnow, bassist Yuj Yeshimine and drummer
Jamal Byrom. The solos of Fowler (who
sometimes hinted at Sonny Rollins) and his
interplay with Wright were quite impressive.
The second set added Doug Berry on second
guitar and Jason Davis, whose tenor playing
was both avant-garde and purposely
humorous.
The Sammons Center in Dallas is the home
for a dozen arts organizations, including
Sammons Jazz. I attended the closing concert
for this season. A large crowd gathered to
enjoy two sets. The first featured pianist
Arlington Jones, tenor-saxophonist Keith
Loftis, bassist James Gilyard and drummer
Andrew Griffith, mostly playing originals plus a
recently discovered Duke Ellington
composition, “Full Moon,” that had been
definitively recorded by Shelly Carrol. Jones
proved to be a very talented pianist and Loftis
was also in excellent form while Gilyard and
the colorful Griffith offered stimulating
support. Simone Jackson-Rogers sang “Take
The ‘A’ Train” and “Ruby, My Dear,”
(displaying the influence of Sarah Vaughan).
The set’s finale had Jackson-Rogers singing
“Every Day I Have The Blues” and the second
set’s star, the great trombonist Wycliffe
Gordon, sitting in and stealing the show.
Gordon was in the spotlight throughout much
of the night’s second half though he gave his
sidemen their share of solo space. A brilliant
player who featured his expertise with the
plunger mute on “It Don’t Mean A Thing,”
Gordon also contributed some goodtime
vocals that were a little reminiscent of Ray
Nance. Among the tunes that he jammed with
the quartet were “Cotton Tail,” “On The
Sunny Side Of The Street,” an emotional
“Stars Fell On Alabama,” and “C Jam Blues.”
He also led a humorous call & response with
the audience that led into the closing “Down
By The Riverside.”
Other Dallas jazz greats who I did not get a
chance to see this time around include
trumpeters Ira Bassett and Rodney Booth,
saxophonists Ron Jones and Wayne Delano,
pianists Scott Bucklin, Brian Piper and Kelly
Durbin, guitarist and bassist Fred Hamilton,
bassists John Adams, Lynn Seaton and Paul
Unger, drummers Ed Soph and Lumark
Gulley, and singer Rosanna Eckert. So
although Dallas may not be currently thought
of as one of jazz’s main centers, there is
plenty of worthwhile jazz to be discovered in
that city.
THE GREAT AMERICAN SONGBOOK
PRESERVATION SOCIETY
The Great American Songbook Preservation
Society seeks to help keep the music of the
Great American Songbook alive in several
ways including through education and
concerts. On Mother’s Day, they held a
special concert at a private home, featuring
15 different Southern California-based
singers on two songs apiece. Lasting four
hours, the concert gave listeners an
opportunity to enjoy such vocalists as Ron
Kaplan (the organization’s executive director),
Cathy Segal-Garcia (“Some Other Time”),
Gina Eckstine, Dini Clarke (who swung hard
during “Just In Time” and was touching on
“Moment To Moment”), Kevyn Lettau (a
welcome addition to this style of music), Jack
Wood, Cheryl Barnes (quite expressive on
“That Old Black Magic”), Mark Winkler (who
was humorous on Bobby Troup’s “Hungry
Man”), Pinky Winters (very effective on “Nice
And Easy”), Dewey Erney, Ann Mack, Bill
Redd, Cat Conner (joyful on “In A Mellotone”),
Denise Donatelli (classy as always) and
Jimmer Bolden (who swung happily on
“Honeysuckle Rose”). One wishes this
organization well; it is certainly a worthy cause.
5 OTHER EVENTS
In what was called the First Annual
Planetmullins Awards Ceremony And Concert,
pianist Rob Mullins gave out awards to many
of his top students during the first part of a
show at Pierre’s Fine Pianos. An inspiring
teacher, Mullins showed a great deal of
pleasure at recognizing the strong potential of
his students. During the second part, he
joined together with bassist Larry Antonio,
drummer Tiki Pasillas, and backing
keyboardist Louis Schwartz to perform music
from his new and highly rated Storyteller CD.
Such pieces as “Prime Time,” “Escher’s
Etude,” “Back In The Day” (a salute to 1980s
jazz), the mostly improvised and cinematic
“Tears For America” and the catchy “In The
Sun” show that not only is Mullins a colorful
performer and a creative improviser but he is
a skilled and versatile composer too.
The masterful electric bassist Marcus Miller
led his current band at Catalina’s, celebrating
the release of his recent Marcus CD. Miller’s
music, while mostly being funk-oriented, is
also very intelligent and consistently creative.
He clearly enjoys directing his band,
spontaneously picking out the right soloist for
the right moment and trading fours with his
sidemen. With trumpeter Michael “Patches”
Stewart, tenor and alto-saxophonist Keith
Anderson and harmonica wizard Gregoire
Monet forming the frontline, and keyboardist
Bobby Sparks and drummer Poogie Bell
joining Miller in the rhythm section, this is a
colorful and very versatile group. Since Miller
often functioned as the lead instrument,
Sparks did a fine job of covering the bass
lines. Most of the selections that the group
played was from the recent CD and they
ranged from a Mid Eeastern melody and
Stevie Wonder’s “Higher Ground” to Miles
Davis’ “Jean-Pierre,” (which gave Patches an
opportunity to bring back Miles’ late-period
style) and Tower Of Power’s “What Is Hip.” On
an atmospheric “When I Fall In Love,” Miller
switched to bass clarinet and serenaded the
crowd from the audience. All in all, a fun and
spirited show.
Pianist-composer Scott Oakley marked the
release of his recent CD Cancion Para Mi
Amor at the Jazz Bakery by having the same
impressive group perform music from the
album. While the style is essentially Cuban
jazz, the fresh repertoire and the close
interplay by the musicians made the results
something special. Joined by tenor-
saxophonist and flutist James King, bassist
Rogoberto Lopez, drummer Raul Pineda and
percussionist Bob Fernandez, Oakley
performed such spirited tunes as “Mi Perucin
Descarga #2,”, “Pupi Pedroso,” “Para Pui”
and “Descarga #1,” helping to revitalize the
Afro-Cuban jazz tradition.
Diane Schuur has been one of the world’s top
jazz singers for the past 25 years. Although
some of her projects have been more pop or
r&b-oriented, her most recent Concord CD
Some Other Time features her beautiful voice
on ballads and vintage jazz standards. At
Catalina Bar & Grill with her working group
(pianist Randy Porter, guitarist Dan Barlow,
bassist Scott Steed and drummer Reggie
Jackson), Schuur’s voice was heard at its
prime and on a few instances, particularly
near the end of “My Favorite Things,” she
held notes for a remarkably long period of
time. With Porter contributing the
arrangements and playing with plenty of
inventive ideas, Schuur only doubled on
piano during two selections: “So What” (in
which she scatted along with the keyboard)
and “It’s Magic.” Other highpoints included
“Taking A Chance On Love,” “They Say That
Falling In Love Is Wonderful” (one of the
finest versions since Johnny Hartman), “I’ve
Got Beginner’s Luck,” “My One And Only
Love” and “Some Other Time.” Diane Schuur
should not be taken for granted.
A venue worth discovering is the Pasadena
Jazz Institute. Located on the second floor or
an outside shopping area (260 E. Colorado
Blvd.), the Institute currently presents jazz
three or four times a week. Although a bit
underpublicized, the attractive venue was
filled for a special show by trumpeter Brian
Lynch. Lynch’s quintet, with tenor-
saxophonist Craig Handy, pianist John
Beasley, bassist Sid Minaie and drummer
Jimmy Branly, was consistently outstanding.
Branly’s playing gave a Latin feel to many of
the selections as did Beasley’s solos. Craig
Handy is one of the unsung greats of jazz,
having a huge tone, complete control of his
horn, and never seeming to run out of ideas.
As for Lynch, he makes it all look so easy,
taking fiery solos and utilizing impressive high
notes as a logical part of his style. Lynch
mostly played originals that ranged in style
from Horace Silver to Eddie Palmieri. For the
closer, an uptempo version of “Byrdlike,”
hometown trumpeter Brian Swartz fared well
sitting in with Lynch.
JAZZ AROUND TOWN (May 2008 issue)
by Scott Yanow
Upcoming: There is often so much going on in
the Los Angeles area that it is easy to miss
some of the lesser-known but rewarding
groups that have so much to offer. Pianist
Scott Oakley recently recorded a superb
Cuban jazz album titled Cancion Para Mi
Amor with a quintet also including James King
on tenor and flute, bassist Rigoberto Lopez,
drummer-percussionist Raul Pineda and
Robert Fernandez on congas. Rather than
perform the usual Latin jazz repertoire, the
group debuted 13 Oakley originals that pay
tribute to the tradition while also looking
ahead. The same group will be performing at
the Jazz Bakery on Sunday May 11 and is not
to be missed.
Imagine a trio comprised of singer Bobby
McFerrin, pianist Chick Corea and drummer
Jack DeJohnette performing free
improvisations with the only limitations being
the musicians’ imaginations. At Disney Hall,
the unique group performed for 90 minutes
straight with only two brief pauses. Their
interplay was full of wild ideas, lots of variety
and plenty of wit. Many of the jams were
basically one-chord vamps, there were no dull
moments or stretches of predictability. While
a complete play-by-play would be impossible,
there were quite a few memorable moments.
McFerrin at one point sat next to Corea on
the piano bench as they played some
eccentric stride piano, constantly switching
places. Corea and DeJohnette had a “duel”
with their drum sticks and then switched
instruments, with Corea’s drumming backing
DeJohnette’s effective piano playing.
McFerrin jammed while both DeJohnette and
Corea played drums. He also challenged the
audience to join him in crazy nonsensical
singalongs that were often hilarious. While
there were unaccompanied solos and duets,
it was when all three of the musicians were
inspiring each other to stretch themselves
that the most musical magic took place. The
90 minutes went fast and could have been
twice as long without any complaints.
One wishes that the SF Jazz Collective had
been as spontaneous. Quite an all-star
group, the SF Jazz Collective is currently an
octet comprised of trumpeter Dave Douglas,
altoist Miguel Zenon, tenor-saxophonist Joe
Lovano, trombonist Robin Eubanks,
vibraphonist Stefan Harris, pianist Renee
Rosnes, bassist Matt Penman and drummer
Eric Harland. At Royce Hall they performed
several Wayne Shorter compositions which
they had rearranged including “Go,” “Infant
Eyes” and “Footprints,” plus several originals
including ones by Zenon and Eubanks.
Although each musician played quite well,
with Harris, Rosnes and Zenon making the
biggest impressions, the results were
excessively democratic, as if each musician
was purposely given two opportunities to star
and one chance to talk to the audience
throughout the night. By alternating Wayne
Shorter songs with originals, it watered down
the concept of the group (the Shorter pieces
should have been performed consecutively).
The overall results sounded a bit too safe,
clinical and a bit frustrating because there
was not enough spontaneous interplay
between the musicians considering the great
talents.
A pair of singers appeared at Catalina’s two
days apart and were in ways complete
opposites. Sylvia Brooks is an actress who
enjoys singing mostly vintage standards and
show tunes. She has an attractive voice, a
wide range and employs a little too much
vibrato at times but puts on a good show. Ms.
Brooks was joined by a fine sextet that had
Tom Garvin as her musical director and
included altoist-flutist Kim Richmond. But
other than Garvin on a sensitive duet version
of “How Long Has This Been Going On,”
there was not a single solo given to any of
her sidemen until the eighth number. During
the second half of the set, things loosened up
a little and Richmond was outstanding on
“Harlem Nocturne,” but many of the
interpretations of such tune as “When The
Sun Comes Out,” “Stormy Weather,” “Blues In
The Night,” and “The Man That Got Away”
were much closer to cabaret than jazz. Since
Sylvia Brooks’ father was a jazz pianist, she is
familiar with jazz. She should work on
improvising a bit and having more of an
interaction with her sidemen for that would
make her a more versatile and exciting singer.
While Sylvia Brooks barely shared the
spotlight, Shea Breaux Wells did the complete
opposite. Joined by a very impressive quintet
(tenor-saxophonist Craig Handy, trumpeter
David Weiss, pianist George Cables, bassist
Dwayne Burno and drummer Roy McCurdy)
that a few days earlier had been part of a
Freddie Hubbard tribute band, Ms. Wells
usually took one chorus, allowed her sidemen
to have full-length solos, and then came back
to close the song. Rather than being the main
attraction, she mostly seemed to be acting as
an emcee so one did not get to hear enough
of her jazz singing and her warm voice. The
band was certainly outstanding, with Handy
showing that he is one of the giants of his
generation, and Cables sounding in his prime
despite his health problems of the past year.
Whether it was “Byrdlike,” “Baltimore Oriole,”
a blazing “Bye Bye Blackbird,” “Corcovado,”
or “A Night In Tunisia,” this was a hot
ensemble, made even stronger by the playing
of guest guitarist Robben Ford on two
numbers. But next time, we want to hear much
more Shea Breaux Wells.
Three other vocalists made strong
impressions. Janis Mann is one of the finest
jazz singers currently living in Southern
California. Her friendly voice, large range,
superior phrasing, ability to swing at every
tempo, creative scatting and humorous patter
between songs makes her a joy to see live. At
Catalina’s she led a great rhythm section
(pianist Tamir Hendelman, bassist Chuck
Berghofer and drummer Joe LaBarbera)
through colorful versions of such numbers as
“The End Of A Beautiful Friendship,” a
medium-tempo “All My Tomorrows,” “Summer
Night,” a funny “Sometimes I’m Happy,”
“Someone To Light Up My Life,” “Just In Time”
and “Young And Foolish.” It made for a fun
evening.
J.D. Walter at the Jazz Bakery showed that he
is a highly original singer. Joined by pianist-
keyboardist Orrin Evans and a very good 17-
year old drummer named Justin Faulkner,
Walter performed abstract renditions of a few
standards, often using electronics to form an
unusual choir with his long tones. Certainly
his versions of “It Never Entered My Mind,” “If
I Should Love You” and “Never Let Me Go”
were complete surprises. A bit like Bobby
McFerrin, Walter has the ability to jump
effortlessly between registers although he
has his own style and conception. His set was
consistently fascinating with no slow
moments, and he deserves to be ranked in
the top five of today’s jazz singers.
Also deserving of a high ranking is Judy
Niemack, a top American jazz singer who
spends much of her time living with her
husband guitarist Jeanfrançois Prins in Berlin
where she teaches and performs regularly. At
the Jazz Bakery before an audience filled with
singers, Ms. Niemack was joined by Prins,
bassist Putter Smith and drummer Paul
Kreibich. Blessed with the ability to hit every
note she desires and an imagination that
keeps her stretching herself, Judy Niemack
sang “Bluesette” in 4/4, her lyrics to
Thelonious Monk’s “Misterioso” and “Minority”
(which was renamed “It’s Up To You”), “In A
Sentimental Mood,” “Autumn Leaves” (in
French) and “A Night In Tunisia.” Judy
Niemack’s scatting was purposeful, her voice
sounded beautiful, and both Prins and Smith
took advanced and inventive solos while
Kreibich was solid and tasteful in support.
Two veteran saxophonists recently visited Los
Angeles. Charles Lloyd did a one-nighter at
Catalina’s with his new group which consists
of pianist Jason Moran, bassist Reuben
Rogers and drummer Eric Harland. Lloyd,
who stuck exclusively to tenor during the set,
proved to still be in prime form whether
playing a heartfelt “Come Sunday,” some
original ballads or a high-powered free piece.
Actually Moran stole the show on “Come
Sunday” with his powerful playing but
otherwise he was a bit underutilized. In fact,
considering the packed house on a Sunday, it
was unfortunate that the performance was
relatively brief and calls for an encore were
ignored but what was played was certainly
worth hearing.
Pharoah Sanders seemed in a happy mood
as he performed at the Jazz Bakery with
pianist William Henderson, bassist Nat
Reeves and drummer Willie Jones III. While
he started out played songs associated with
John Coltrane, including “My Favorite Things”
and “Naima,” Sanders’ solos were less tied to
Trane’s than usual and he unleashed some
shrieks and roars of his own for contrast with
his lyrical ideas. Henderson, who can sound
like McCoy Tyner, also displayed plenty of his
own ideas, particularly on a cooking blues
that kept on changing keys. Near the end of
an intense “Ole,” Sanders humorously yelled
“Ole” into the microphone on a few occasions
and shook two giant tambourines. He also
showed off some dance steps on a brief “The
Creator Has A Master Plan” that concluded
the spirited set.
e is no lack of spirit heard on the other songs.
Draga, cornetist Charles Bond and trombonist
Jim Fryer form a strong frontline while the
four-piece rhythm section never lets up. Their
repertoire includes “I’ll See You In My
Dreams,” “High Society,” “Romance Without
Finance” and hard-charging versions of
“Royal Garden Blues” and “Tiger Rag.”