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.
CD REVIEWS PUBLISHED IN THE LOS ANGELES JAZZ
SCENE (many more to come)
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
Phil Kelly
My Museum
(Origin)
Arranger Phil Kelly made a strong impression with his
previous recording with a big band of mostly Washington
State jazz players that he called The Northwest Prevailing
Winds. For My Museum, Kelly ventured to Los Angeles
where he led the Southwest Santa Ana Winds for his follow-
up CD. Gathering together some of Los Angeles’ top
musicians in a band with an occasional string section, Kelly
and his players did not have an opportunity to rehearse
prior to entering the recording studio but, due to the very
high musicianship, that is not the slightest bit obvious
throughout this program.
Among the key musicians are lead trumpeter Wayne
Bergeron, Bob Summers and Jay Thomas on solo
trumpets, trombonist Andy Martin, altoists Lanny Morgan
and Gary Foster, Pete Christlieb on tenor, pianist Bill
Cunliffe and guitarist Grant Geissman. The group
interprets four standards arranged by Kelly (“Jeannine,”
“Daydream,” “Body & Soul” which features baritonist Bill
Ramsay, and “Lazy Afternoon”) plus five of the leader’s
swinging but unpredictable originals. Guest singer Greta
Matassa is featured on “My Museum.”
While the individual heroics are enjoyable, it is Phil Kelly’s
colorful and original writing that gives My Museum its own
musical and often-witty personality. Fans of big bands and
of L.A.’s best jazz players will certainly enjoy this fine effort,
available from www.origin-records.com.
Scott Yanow
Various Artists
Boogie Woogie And Blues Piano
(Mosaic Select)
One of the more beloved and easiest jazz styles to play
(badly), boogie-woogie is essentially a repeated eight-to-
the-bar pattern played by the left hand on the piano,
usually on blues. Though Clay Custer was the first to
record an at least partial boogie-woogie blues (“The
Rocks”) in 1923, the style first became popular later in the
1920s. Meade Lux Lewis recorded his famous “Honky
Tonk Train Blues” in 1927 and the short-lived Pinetop
Smith was one of boogie-woogie’s more popular
practitioners.
The onset of the Depression drove boogie-woogie
underground for a time. The young record producer John
Hammond went to Chicago in 1935 and found Meade Lux
Lewis, getting him back into the recording studio. At his
From Spirituals To Swing Carnegie Hall concert in 1938,
Hammond presented not just Lewis but Albert Ammons
and Pete Johnson along with Big Joe Turner. Thanks to
the publicity, Lewis, Ammons and Johnson were soon
recording regularly and staking their claims to being the
top boogie woogie pianists of all time, along with the
quieter and more subtle Jimmy Yancey.
The three-CD Mosaic Select box called Boogie Woogie
And Blues Piano does not have the complete output of
those four pianists from the period covered (1935-41) but
it does have a generous sampling and is “complete” within
its restrictions. Released are the pianist’s recordings made
for labels later owned by RCA Victor and Columbia,
leaving out their work for Decca, Blue Note or Solo Art.
Actually it is quite an interesting grab-bag. There are three
piano solos by Meade Lux Lewis (including the third
version of “Honky Tonk Train Blues”), two Albert Ammons
solos, one by Pete Johnson, two songs by Johnson with
Big Joe Turner, a Johnson combo date with Turner, eight
Johnson-Ammons piano duets and romps by the three
pianists playing together on “Café Society Rag” and an
extended “Boogie Woogie Prayer.” In addition, there is an
explosive date in which the young Harry James plays his
trumpet with rhythm sections on four hot numbers (plus
two alternates) that have either Johnson or Ammons on
piano.
But that’s not at all. Other selections feature pianists Joe
Sullivan, Freddie Slack, Billy Maxted, Teddy Wilson, Lionel
Hampton’s two-fingered piano, Nat King Cole, Sir Charles
Thompson, Ken Kersey (with Henry “Red” Allen), Mary Lou
Williams and Cripple Clarence Lofton. There is also a
Benny Carter date featuring Big Joe Turner and 17
numbers that showcase Jimmy Yancey.
Due to space limitations, big band boogie-woogie
arrangements from the period are left out, but the essence
is here. Fans of boogie-woogie will certainly not feel
deprived and this box (available from www.mosaicrecords.
com) is an easy way to acquire most of the classics. But
beware, this is a limited edition set, so get it soon.
Scott Yanow
Caravan Gypsy Swing Ensemble
(Hot String Swing)
During the past 30 years, the “gypsy swing” that was
founded by guitarist Django Reinhardt and violinist
Stephane Grappelli in the 1930s has made a comeback,
particularly in Europe but also as an underground
movement in the U.S. “Gypsy swing” is swing music played
by string groups (the Quintet of the Hot Club of France
that featured Django and Grappelli had one violin, three
acoustic guitars and a bass), usually including standards,
a few Reinhardt tunes and newer originals.
The Caravan Gypsy Swing Ensemble, which is based in
Wisconsin, is an excellent exponent of this music.
Particularly impressive are acoustic guitarists Chris
Ruppenthal and Ed Fila. Fine backup and swing is
provided by bassist Kevin Tipple and drummer Jim Huwe
while clarinetist Timm Gould (who is a little erratic in spots)
and violinist Chris Waggoner give the group additional
variety. They perform some swing standards (including
“Honeysuckle Rose” and “Blue Drag”), five Reinhardt
songs, a couple of obscurities and three originals by
Ruppenthal including a tango and “Swing ’03.”
None of the music is a radical departure from that
performed by Django Reinhardt but it also is not a mere
imitation of past recordings. There is enough
unpredictability and chance taking to make this a CD well
worth searching for. (available from www.gypsyswing.com).
Scott Yanow
The Happy Pals
With Brian Carrick
(New Orleans North)
Trumpeter Cliff “Kid” Bastien was a fixture in Toronto for
decades, leading his Happy Pals through a rough and
rambunctious version of New Orleans jazz. The popular
trumpeter died suddenly in 2003 of a heart attack. His
band and friends played emotionally and with a great deal
of spirit at his wake. After time off, the Happy Pals
regrouped. Memories of the wake persisted and it was
decided to have an annual party that would recapture that
day.
At what was billed as “The Fourth Annual Kid Bastien
Forever Kick-Ass New Orleans Jazz Party 2007,” the music
was recorded. The Happy Pals, a septet that includes
trumpeter Patrick Tevlin, altoist Toby Hughes and
trombonist Roberta Tevlin, was joined by the British
clarinetist and tenor-saxophonist Brian Carrick. The
resulting music is full of fire and passion, sometimes quite
ragged but never without personality.
Tevlin’s trumpet recalls Kid Bastien and Kid Thomas
Valentine in spots while Carrick hints at George Lewis on
clarinet and Emanuel Paul on tenor. Four of the musicians
take brief good-time vocals and such tunes as “My Blue
Heaven,” “Bugle Boy March,” “Over The Waves” and “High
Society” are given hard-swinging treatments.
This music, available from www.happypals.ca, is difficult
to resist.
Scott Yanow
Sisters Of Sheynville
Sheynville Express
(SOS)
This is a most unusual group. The Sisters of Sheynville
brings back to life “Yiddish Swing.” Founded by singers
Isabel Fryszberg and Lenka Lichtenberg in 2004, the
Toronto-based group includes pianist-singer-arranger
Fern Lindzon, clarinetist Kinneret Sagee, bassist Rachel
Melas and drummer Lorie Wolf. There are also guest
appearances from tenor-saxophonist Jane Fair and
trombonist Rachel Lemisch.
With vocals in Yiddish and English, the sound of the
Sisters is sometimes close to that of the Andrews Sisters
although purposely more ethnic. There is the hint of
klezmer (particularly with the inclusion of a clarinet) and
bits of modern jazz, but the music overall brings back a
very different look at the swing era. While the humor in this
version of “I’m An Old Cow Hand” gets tired quickly, the
singing on “Blues, Stay Away From Me” shows that they
understand the swing idiom well and could go in the
direction of the Boswell Sisters if that were their interest.
Although definitely for selective tastes, Sheynville
Express should interest fans of Jewish music and swing
era vocal groups. It is a strong debut for this intriguing
group, available from www.sistersofsheynville.ca.
Scott Yanow
Mundell Lowe & Jim Ferguson
Haunted Heart
(Lily’s Dad’s Music)
Mundell Lowe and Jim Ferguson make for a perfectly
compatible team. Lowe, who is now 85, has been a major
jazz guitarist since at least the 1950s, having a tasteful
sound, a sophisticated swing/bop style and his own fresh
chord voicings. Jim Ferguson has had a dual career as a
bassist and a singer, able to swing hard on bass while
being a sensitive and occasionally witty singer with a tenor
voice.
Haunted Heart has two instrumentals (“There’s A Small
Hotel” and Lowe’s “Big Star, Little Star”) and nine vocals.
Ferguson’s singing does not dominate for there are guitar
solos on nearly every number along with spots for his
bass, but his vocalizing is quite pleasing and adds to the
value of this fine effort. Highpoints include “Gone With The
Wind,” “Detour Ahead,” “Mean To Me” and “Waltz For
Debby.”
A couple of years ago, the Lowe-Ferguson duo
performed at the Jazz Bakery. Hopefully that will happen
again for this matchup (available from www.
jimfergusonmusic.com or www.mundelllowe.com) works
very well.
Scott Yanow
Mel Martin/Benny Carter Quintet
Just Friends
(Jazzed Media)
Ever since he met Benny Carter in 1987 and up until
Carter’s death at the age of 95 in 2002, Mel Martin was a
good friend. Martin, a very talented saxophonist based in
the San Francisco Bay area, has paid tribute to many
musicians through the years with his Bebop And Beyond
group and had Dizzy Gillespie as a guest artist around the
time that he met Carter.
Just Friends is a set of previously unreleased
performances from 1994 that feature Martin on tenor with
Carter, pianist Roger Kellaway, bassist Jeff Chambers and
drummer Harold Jones during one night at Yoshi’s in
Oakland. Benny Carter at 87 sounds as ageless as ever
during “Perdido,” “Secret Love,” Elegy In Blue” and “Just
Friends,” happily interacting with Martin and probably
chuckling to himself during some of Kellaway’s more
outlandish musical moments. Martin, who stretches from
swing and bop to Coltrane and slightly outside, is featured
with the quartet on his own “Spritely” and on Carter’s
“People Time,” taking the latter on flute.
This well-recorded music adds to the large discography
of Benny Carter and contains some of Mel Martin’s most
inspired solos. It is highly recommended and available
from www.jazzedmedia.com.
Scott Yanow
John Gross/Dave Frishberg/Charlie Doggett
Strange Feeling
(Diatic)
When Dave Frishberg’s name appears on a CD, it is
usually a safe bet to guess that the music will feature his
witty and incisive lyrics and vocals. However this CD is
quite different. Frishberg is heard strictly as a pianist in a
trio with tenor-saxophonist John Gross and drummer
Charlie Doggett.
Strange Feeling CD could have been accurately titled
“Good Tunes” for the trio explores a variety of offbeat but
superior items. A trio of Billy Strayhorn tunes (“Star
Crossed Lovers,” “Chelsea Bridge” and “Johnny Come
Lately”), Thelonious Monk’s “Ask Me Now” and
“Milestones” may not be all that unusual. But when was the
last time that Al Cohn’s “Mr. George,” Jack Sheldon’s
“Bodega Bay,” Bob Brookmeyer’s “Dirty Man” and “This
Strange Feeling” (co-written by Strayhorn and Duke
Ellington) were performed, much less recorded?
Gross’ distinctive tone fits in well with the music and
Doggett keeps the proceedings swinging. The glue holding
the trio together is Frishberg. A two-handed pianist whose
style falls between swing and bop, he has an active left
hand that fills in for the absence of a string bass. His wit
comes through in his solos along with his sly personality,
and he reminds listeners how strong a pianist he is.
Although it has the feeling of being informal get-together
among friends, this set (available from www.diatic.com)
contains more than its share of memorable music.
Scott Yanow
Ted Des Plantes’ Washboard Wizards
Feelin’ Good
(Stomp Off)
For nearly 30 years, Bob Erdos’ Stomp Off label has
been (along with George Buck’s GHB and Jazzology
labels) the most significant jazz record company in
documenting trad and classic jazz. Rather than reissuing
recordings from the 1920s or emphasizing dixieland
warhorses, Stomp Off has always put the accent on
forgotten but worthy obscurities from 1900-30. Most of the
musicians who have recorded for Stomp Off are not that
well known beyond the small vintage jazz circuit (other than
someone like pianist Dick Hyman) but are well deserving of
being recorded. Whether it be ragtime ensembles, solo
pianists or hot jazz groups from the Midwest, Japan or
Sweden, Stomp Off has done an admirable job of covering
the underground scene.
In a more just world, pianist Ted Des Plantes would be
well known among jazz fans. His playing fits perfectly into
the classic jazz world and he has led a series of enjoyable
and very musical CDs. Feelin’ Good features Des Plantes
leading and contributing arrangements for an octet on
selections that were “left over” and not previously released
on several his prior albums. Dating from 1997-2006, the
music is on the same level as his previous CDs and
despite the lack of a specific theme, holds together quite
well as a unified set.
Featured along with the leader are cornetist Leon
Oakley, John Otto on alto and clarinet, either Larry Wright
or Matthias Seuffert on reeds, trombonist Clint Baker, John
Gill doubling on banjo and guitar, Ray Cadd or Mike
Walbridge on tuba and Hal Smith on washboard and
drums along with Des Plantes. Oakley and Otto in
particular make strong impressions. The music includes
revivals of songs associated with Clarence Williams’
washboard groups of the 1920s, Fats Waller’s “The Minor
Drag,” “Papa De-Da-Da,” “The Spell Of The Blues” and “I’
m Feeling Devilish.” There is not a standard to be heard
but there are many songs that trad bands should seriously
consider adding to their repertoire. And the skilled
musicians are creative within the boundaries of the idiom
rather than merely copying the past.
Feelin’ Good is available along with hundreds of
rewarding Stomp Off releases from www.stompoffrecords.
com.
Scott Yanow
Mark Randall
At The Café Royal
(Markrandallnotes)
Back in the 1980s, Mark Randall was the house pianist
at Philadelphia’s Café Royal, a restaurant that was part of
the Palace Hotel. The hotel’s manager enjoyed Randall’s
playing so much that he produced an Lp of his music.
The restaurant and hotel are long gone but Mark Randall
is still around and playing in the Philadelphia area. At The
Café Royal is a reissue of the 1984 album and it still
sounds good today.
Randall has a style reminiscent of that of Teddy Wilson
along with other swing pianists. He enjoys playing swing
standards along with a few later tunes from Broadway
shows, and his solo piano always keeps the melody close
by. His subtle variations and clear voicings keep the music
from being overly predictable yet his versions of these
selections would have pleased the composers. Such tunes
as “S’Wonderful,” “I’ve Grown Accustomed To Her Face,”
“You Took Advantage Of me” and “You’re The Top”
benefit from Mark Randall’s tasteful and swinging
approach. At The Café Royal is available from www.
markrandallnotes.com.
Scott Yanow
Carl Sonny Leyland
The Carl Sonny Leyland Trio
(Komodo)
One of the great boogie-woogie and blues pianists
around today, Carl Sonny Leyland often appears at classic
jazz festivals and is always a hit. It is difficult to resist the
forward momentum of his music which is always rocking,
even when played at slower tempos. Leyland is also a
personable singer whose voice sounds like a 1930s blues-
singing pianist.
Leyland’s current trio features bassist Marty Eggers (who
also switches occasionally to tuba) and drummer Hal
Smith. Eggers has occasional solos and Smith is always
perfect for this type of setting, sounding like Dave Tough
or George Wettling circa 1937-38. With the exception of
“Three Little Words,” which is turned into boogie-woogie a
la Albert Ammons, “Hindustan” and “Annie Laurie,” all of
the music is either Leyland originals or very obscure. But
despite the lack of very many recognizable themes,
listeners will have little difficulty really enjoying this music.
There is so much spirit, along with excellent musicianship,
that even those who claim to not like jazz will feel
compelled to dance, or at least tap their foot.
Carl Sonny Leyland deserves to be much better known
for he keeps vintage boogie-woogie and blues alive while
adding his own personality to the music. This
recommended set is available from www.carlsonnyleyland.
com.
Scott Yanow
Lionel Hampton
The Complete Lionel Hampton Victor Sessions 1937-1941
(Mosaic)
Back in 1976, the RCA label compiled a six-Lp set that
contained all of Lionel Hampton’s recordings as a leader
from 1937-41. Although the great vibraphonist was a
member of the Benny Goodman Quartet and Sextet during
1936-40, like pianist Teddy Wilson, he was given an
opportunity to lead a series of all-star combo dates utilizing
top musicians from not only Goodman’s orchestra but
other big bands.
Domestically, this valuable music has only been
available in piecemeal fashion during the past 30 years
since the RCA box, until now. Mosaic has just released a
five-CD set that contains all of the performances plus ten
additional alternate takes. While not every rendition is a
classic and at times there are a few too many Hampton
vocals (his singing voice was rather limited), there are
scores of great moments. Along the way one can hear
some of the best solos of the era from trumpeters Ziggy
Elman, Cootie Williams, Jonah Jones, Harry James, Rex
Stewart (actually on cornet) and Henry “Red Allen,” altoists
Johnny Hodges and Benny Carter, tenors Herschel Evans,
Chu Berry, Coleman Hawkins and Ben Webster, and even
the King Cole Trio. A 22-year old Dizzy Gillespie has a solo
on “Hot Mallets.” The final sessions feature Hampton in the
early days of putting together what would be a very
popular big band.
Lionel Hampton, whether playing vibes, drums or his
speedy two-fingered piano, is enthusiastic, exciting and full
of energy throughout each of the 107 performances.
Swing collectors can rejoice at the release of this box but,
be warned, it is a limited edition. (available from www.
mosaicrecords.com)
Scott Yanow
Elaine Lucia
A Sonny Day
(Songflower)
Barbara Knight
Angel Eyes
(BK)
Abigail Riccards
When The Night Is New
(Jazz Excursion)
Dawn Lambeth
Let’s Get Lost
(Spanish Shawl Music)
It seems as if every week brings the discovery of a few
more female jazz singers. Although their numbers are
large, a high percentage of these vocalists are at least
excellent, including the four covered in this article.
Elaine Lucia was originally from upstate New York, and
chose jazz over potential careers in musical theatre and
classical music. A fixture on the San Francisco Bay area
scene, she has a very attractive voice, hitting high notes
with little apparent effort. A Sonny Day is dedicated to her
late father Frank “Sonny” Lucia. From the start of the
opener, Duke Ellington’s “I Like The Sunrise,” it is obvious
that Ms. Lucia has a warm and distinctive voice. Her
repertoire is intelligent and eclectic, reflecting aspects of
her father’s life. Included are Chick Corea’s “Sea Journey,”
The Warren-Dubin song “I Only Have Eyes For You,” her
own “I Call You Sonny” and Dave Frishberg’s “You Are
There.” Joined by a local rhythm section and a few guests
(including saxophonist Jeff Kashiwa), Elaine Lucia not only
performs a heartfelt tribute but shows listeners what she
can do. Hopefully she will be booked in Southern California
in the near future for she is quite talented and has a joyful
spirit. (available from www.elainelucia.com)
Having not heard Barbara Knight before, I was very
surprised by her creativity, maturity, warm voice and
excellent improvising skills. Based in Cleveland where she
sings with the Cleveland Jazz Orchestra and is often
known as a big band singer, on Angel Eyes she is joined
by her quintet. Along the way Ms. Knight takes a duet with
each of her sidemen including drummer Jim Rapp (“Secret
Love”), pianist Russell Schmidt (“A Nightingale Sang In
Berkeley Square”), bassist Dave Morgan (“Lullaby Of
Birdland”) and flugelhornist Jack Schantz (“Skylark”).
Vibraphonist Ron Busch and Howie Smith (on alto and
soprano) also make appearances. Dave Morgan and the
singer are responsible for the colorful arrangements. Such
songs as “You Go To My Head,” “You Don’t Know What
Love Is” and “Old Devil Moon” are given fresh treatments
full of subtle surprises, making this a CD a perfect
introduction to Barbara Knight, a singer who takes
chances and has the technique and abilities to constantly
succeed. The CD is available from www.barbaraknight.net.
Abigail Riccards, a graduate of the University of
Massachusetts who moved to Brooklyn in 2003, makes her
recording debut on When The Night Is New. Her voice is
attractive and she sounds best on “Left Alone,” where she
is joined just by trumpeter Ron Horton and bassist Ben
Allison. Whenever Ms. Riccards is called upon to hit an
unusual note, she nails it. On the other hand, she often
plays it safe, taking closing melody statements that differ
little from the opening choruses. It can be difficult, when
singing a set of vintage standards (all of the tunes but
Sting’s “I Was Brought To My Sense” are at least a half-
century old) to make the songs sound like your own. Some
of pianist David Berkman’s arrangements attempt to
modernize the standards but they do not really fit her voice
that well, particularly a lightly funky 7/4 version of “It Might
As Well Be Spring.” Since she has such a nice sound,
Abigail Riccards would probably sound best on lesser-
known material in sparser settings where the emotions in
her voice can really shine through. But for a start, When
The Night Is New has enough bright moments to make it
recommended. (available from www.jazzexcursionrecords.
com)
Dawn Lambeth, who earlier this year appeared at the
Derby with an all-star group of swing and classic jazz
players, is a cheerful 1920s/30s jazz singer. Her style is
conversational and friendly, a bit like that of Maxine
Sullivan. When she improvises notes or words, it sounds
like a logical part of the song, an “improvement” that
works. On Let’s Get Lost, she is assisted by a notable
octet (clarinetist Bob Reitmeier, John Smith on alto and
soprano, cornetist Marc Caparone, trombonist Dave
Caparone, pianist Chris Dawson, guitarist John Reynolds,
bassist Clint Baker and drummer Jeff Hamilton) that often
makes the performances reminiscent of the early Billie
Holiday records with Teddy Wilson. That connection is
reinforced by Chris Dawson, who on this date generally
sounds similar to Wilson, the relatively brief performances
(no song lasts longer than 5:07), and the repertoire. While
Lady Day never sang “Let’s Get Lost” or nearly half of the
18 songs, the style and frameworks are similar and just as
rewarding. Historic models aside, Dawn Lambeth has her
own approach to interpreting swing standards, she often
includes the verses, and she clearly believes in the words
and the timeless spirit of the music. (available from www.
dawnlambeth.com)
Scott Yanow
Dave Tofani
Nights At The Inn
(Solo Winds)
Dave Tofani is a tenor-saxophonist with an extroverted
sound, a mastery of straightahead jazz and plenty of
enthusiasm. Nights At The Inn consists of one joyful romp
after another.
Tofani is accompanied by a top-notch rhythm section
consisting of pianist Jesse Green, bassist Evan Gregor
(replaced by Steve LaSpina on two numbers) and
drummer Ronnie Zito with guitarist Jack Wilkins guesting
on two other selections. While several of the songs have
had recorded versions made famous by John Coltrane
(Duke Ellington’s “Angelica,” “In A Sentimental Mood,” “I
Hear A Rhapsody” and “Violets for Your Furs”), and early
Coltrane is an influence on Tofani, one can also hear
Sonny Rollins in the mixture along with a lot of Dave
Tofani. The opening calypso “Angelica” gets the program
off to a jubilant start and the momentum never slows down,
even during ballads. Tofani contributed three swinging
originals, rips into “All The things You Are” and is sensitive
on the ballads without lowering the passion and happy
intensity.
This highly recommended release, which is impossible not
to enjoy, is available from www.solowinds.com.
Scott Yanow
Emilio Teubal
La Balteuband
(Not Yet Records)
One of the healthiest trends in jazz of the past 20 years
are the many projects that involve mixing together the
improvisation of jazz with the folk melodies, rhythms and
aspects of other musical cultures. Although the band La
Balteuband is based in New York, it reflects leader
keyboardist Emilio Teubal’s Argentinean culture.
While there are hints of tango rhythms in spots, Teubal’s
episodic originals also utilize other types of rhythms from
Argentina along with a great deal of jazz improvising. The
arrangements for the quintet, which also includes Felipe
Salles on tenor and soprano, Kobi Salomon on clarinet
and soprano, electric bassist Moto Fukushima and
drummer Franco Pinna plus two appearances by flutist
Mariano Gil, are sometimes classical-oriented and
occasionally hint at Spain, which is where Teubal was
actually born, plus fusion, post-bop and a variety of
modern jazz styles. The group is very international since
Pinna is from Argentina, Fukushima was born in Japan,
Salles hails from Brazil and Solomon is from Israel.
However La Balteuband is primarily Emilio Teubal’s
musical vision. He wrote and arranged all but one of the
originals, the arrangements are often complex yet
flawlessly played, and his piano and Fender Rhodes direct
traffic during the improvised sections.
La Balteuband creates thought-provoking and utterly
unpredictable music that is consistently intriguing. It is
available from www.emilioteubal.com.
Scott Yanow
Les DeMerle
Cookin’ At The Corner, Volume One
(Origin)
Les DeMerle is probably best known as a big band leader
and drummer but, as can be heard on Cookin’ At The
Corner, Volume One, he is quite at home in a small group
too. Joined by pianist Mike Levine and bassist Ricky
Ravelo, DeMerle drives his group through a well-balanced
live show, recorded at the Jazz Corner In Hilton Head,
South Carolina.
The trio often recalls the groups of Oscar Peterson and
Ray Brown although it also has its own flavor. After starting
off with two instrumentals, DeMerle sings the humorous
“Bennie’s From Heaven” (which these days is most
identified with James Moody) and rips through the drum
breaks on “Cute.” Bonnie Eisele (Mrs. Les DeMerle) sings
on most of the rest of the program, displaying a warm
voice, sensitivity to the lyrics and a swinging style. Among
the better selections that she performs are a spirited
“Aqua De Beber,” “Lullaby Of Birdland,” “Star Dust,” “The
Shadow Of Your Smile” and “What A Difference A Day
Made.” In addition, she and Les perform an occasional
vocal duet, most memorably on “Smack Dab In The
Middle” and “The More I See You.”
All in all, this is a fun and fast moving show, one that will be
continued on the upcoming Cooking At The Corner,
Volume Two. This is well worth picking up and it is
available from www.origin-records.com.
Scott Yanow
Alexei Zoubov
Rejuvenation
(AZ)
Alexei Zoubov was born in Russia 71 years ago. In his
career he worked with the Oleg Lundstrem big band, spent
seven years with Vadim Ludvikovsky’s Radio and
Television big band, was employed as a studio musician
and led his own jazz combos. He was considered one of
the major names of jazz in Russia, an occupation that had
its dangerous aspects during the Soviet Union years.
Zoubov settled in Los Angeles in 1984 and has continued
being quite busy, playing with everyone from Chick Corea
to Milcho Leviev. Zoubov’s large tone on tenor is at times
reminiscent of both Coleman Hawkins in the early 1960s
and Archie Shepp without sounding like a copy of either of
them. He also doubles on soprano.
For Rejuvenation, a set of his originals, Zoubov heads a
quartet that features three musicians in their twenties:
pianist Brian Friedland, bassist Hamilton Price and
drummer Jens Kuross. To his great credit, the saxophonist
sounds like the youngest musician on the date. His music
includes both warm melodies and free-form blowing
sections, often drawing its inspiration from Russian folk
melodies including on his three-part “Russian Suite.”
There are humorous stretches, particularly during “Pink
March,” “Radical Tango” and “Polka Beams And Moon
Dots,” all of which are part of his thus-far incomplete “Anti-
Social Studies” suite. With Friedland contributing lyrical
solos that would not be out of place on a Keith Jarrett
record and consistently subtle contributions from Price and
Kuross, Zoubov has the perfect group for his colorful and
unique compositions, some of which were written over 40
years ago, and for his high-energy solos.
Rejuvenation is the type of recording that grows in interest
with each listening for there is much to discover. It is not a
conventional jazz project, not with those quirky melodies,
the episodic nature of the frameworks, and Zoubov’s
sound in general. This intriguing and rewarding effort is
available from www.alexeiz.com.
Scott Yanow
Leslie Pintchik
Quartets
(Ambient 008)
Leslie Pintchik, who originally planned to become an
English professor, instead became a jazz pianist, taking
lessons from Bruce Barth. Her style is impressionistic,
thoughtful and sometimes introspective. Her close
interplay with bassist Scott Hardy (her husband) hints at
Bill Evans and Keith Jarrett in his quieter moments but she
basically has her own sound within the modern mainstream.
On Quartets, Ms. Pintchik is heard on five songs with
Hardy, drummer Mark Dodge and percussionist Satoshi
Takeishi while the other four numbers have Hardy, Dodge
and Steve Wilson on alto and soprano. While the former
group mostly plays quiet music at slower tempos, including
a moody version of “Happy Days Are Here Again” and
“Too Close For Comfort,” the four Pintchik originals
performed by the quartet with Wilson are a bit more
passionate and generally swinging.
Throughout Quartets, one is consistently impressed by
Leslie Pintchik’s subtle creativity, the way each piece
logically leads to the next one, and the tightness of the
groups. Quartets is available from www.lesliepintchik.com.
Scott Yanow
DJ Sweeney
DJ Sweeney
(DJ)
DJ Sweeney is a fine singer who has a straightforward
delivery, swings lightly, and mostly sticks to the words and
melody of the songs that she interprets. She was in Los
Angeles for a time but has since relocated to Kansas City.
For her self-titled debut, she is joined by a top-notch
quartet that includes guitarist Danny Embrey and pianist
Paul Smith.
Sweeney adds joy and life to a variety of older standards
including “I’m Gonna Lock My Heart And Throw Away The
Key,” “You Turned The Tables On Me” and “I Can’t Give
You Anything But Love.” Other than “My Love Is,” all of the
songs are at least several decades old but she makes
them sound relevant, fairly modern and fun.
The music is never complex or complicated, so a long
analysis is unnecessary. Simply put, DJ Sweeney sings
some of her favorite songs in a likable and accessible
fashion while joined by some of Kansas City’s top
musicians. The only fault to this set (which is available
from cdbaby.com) is its brief length (around 36 minutes)
but it is easy to enjoy and a strong debut effort.
Scott Yanow
Reginald R. Robinson
Man Out Of Time
(88PM)
The classic ragtime era was between 1900-15. During this
period of time, sheet music sales boomed, a large
percentage of American families owned a piano, and rags
were performed not only by solo pianists but by many
concert bands. However with the rise of the 32-bar
American popular song, the death of Scott Joplin in 1917,
and the replacement of ragtime with jazz, ragtime became
largely extinct for decades. “Maple Leaf Rag” had life as a
jazz standard but otherwise the music was largely lost.
There were a few minor revivals through the years, but it
was not until Joplin’s music was used as the soundtrack for
the early 1970s film The Sting that the music made a little
bit of a comeback. Marvin Hamlisch’s version of “The
Entertainer” actually made it to the pop charts. Since that
time, ragtime has been a little bit healthier than before,
with regular ragtime festivals and occasional recordings,
but it is still largely underground music.
Reginald R. Robinson definitely stands out in the music
field. He is fairly young and a skilled pianist who has
dedicated himself to ragtime. But rather than just reviving
the past, Robinson is also a major rag composer. On Man
Out Of Time, he performs 20 of his own works. While a few
are more blues-oriented or feature a bit of stride piano,
most are classic rags not that different in framework and
style than that of Scott Joplin. Robinson does not attempt
to “modernize” the form, instead choosing to be creative
within the older style with his own fresh melodies, musical
personality and inventive ideas. Such pieces as “Man out
Of Time,” “Lightning Strikes Twice,” the romantic “Head
Over Heels, Over You,” “A Ragtime Jamboree” and the
classical-inspired “Four Horsemen Of The Apocalypse” are
among the many highlights.
Throughout Man Out Of Time, Reginald Robinson shows
that there is still plenty of life to be found in ragtime, even
90 years after Joplin’s death. This delightful set is
available from www.reginaldrobinson.com.
Scott Yanow
Salty Dogs
1958
(Yestertunes)
In 1947 at Purdue, the Peerless Jazz Band was formed.
Two years later the college band was renamed the Salty
Dogs. They existed at Purdue University through 1967,
with constant turnover due to band members graduating.
In 1960, a group of alumni put together the Original Salty
Dogs, a band that is still around on a part-time basis, 60
years after the original group was formed. Few jazz bands
have lasted half as long. According to the liner notes of
this CD, the many versions of the Salty Dogs have now
had 88 different musicians.
The 1958 version of the Salty Dogs consisted of
trombonist Jim Snyder, cornetist Lew Green, Jr, clarinetist
Russ Dagon, pianist John Cooper, banjoist Jim Jones, Jim
Williams on tuba and drummer Joel Jensen. Snyder and
Green became the best-known of these musicians (Dagon
spent much of his life playing classical music) but most had
lengthy careers in jazz.
All 15 selections recorded by the band on May 11, 1958
(some of which were not on the original Lp) are reissued
for the CD. While the Salty Dogs were originally based on
the George Lewis style of New Orleans jazz, by 1958 they
were leaning much more towards Lu Watters and Turk
Murphy while not copying the pacesetting San Francisco
jazz groups. The concise solos are melodic and colorful
but the Salty Dogs really shine during the ensembles.
They play lively versions of such tunes as their theme
song “That’s A Plenty,” “Dippermouth Blues,’ “After You’ve
Gone,” “China Boy” and other trad favorites. It is also a
pleasure to hear the rarely performed verse of “Bill Bailey”
during a particularly rowdy rendition.
The excellent packaging along with the enthusiastic and
very musical playing are two more reasons that all
dixieland, New Orleans jazz and trad collectors are advised
to pick up this joyful and historic set, available from www.
yestertunes.com.
Scott Yanow
Gota River Jazzmen
Lillies Of The Valley
(GRJ)
New Orleans jazz and spirituals have a lot in common,
particularly in their chord changes, singable themes and
sincere simplicity. It is not unusual for a New Orleans jazz
group to record a CD of religious hymns, but Gota River
Jazzmen is a bit different for this septet is from Sweden!
Also unusual is that many of the 17 selections on Lillies Of
The Valley are obscure, at least to jazz fans. How often
does one hear “The Light From The Lighthouse,” “Pass
Me Now,” “The King And I” and “When My Journey Is
Ended?” Many of these spirituals have melodies that seem
familiar even though one would probably not be able to
identify them by name.
The Gota River Jazzmen is based in the style of George
Lewis, with clarinetist Sverker Nystrom (who takes
occasional vocals) sounding close to Lewis at times.
Cornetist Esbjorn Olsson provides a sparse melodic lead,
trombonist Lars Ehnstrom harmonizes well and each of the
horns plus pianist Ingemar Wagerman solo quite ably
within the vintage style.
The music is fun, the songs are fresh and this is a very
successful project, available from www.jazzbymail.com.
Scott Yanow
Quartet Equinox
Flamenco Jazz
(DIP)
During the past 40 years, there have been a countless
number of “fusions” between different styles of music, most
notably fusion itself which mixes together jazz and rock.
Quartet Equinox tries something very different, combining
together the improvising of jazz with the rhythms of
flamenco music. Dirk K.’s acoustic flamenco guitar
matches very well with the reeds (tenor, soprano, flute and
bass clarinet) of Andy Suzuki, bassist Dean Taba and the
percussion and vibes of Brad Dutz.
There are times when Quartet Equinox resembles Oregon
slightly, particularly due to the similar instrumentation.
However rather than playing “folk jazz,” Quartet Equinox
performs advanced hard bop, moody sound explorations
and exotic rhythms from Europe, and the result is a very
new sound, one that sounds natural. Dirk K, who
composed all eight selections (which include “Is That You,’
“Palos Verdes” and “Woodstock To Hollywood In 15”)
deserves a lot of the credit, both for his writing and for his
fluent and intriguing guitar work.
This new “fusion” is well worth several close listens.
Flamenco Jazz is available from www.quartetequinox.com.
Scott Yanow
Bradford Hayes
The Jazz Life
(Intensity Music)
Bradford Hayes is an altoist whose tone recalls Phil Woods
and Richie Cole but also the intensity of Jackie McLean.
Although a fixture on the New York and Northeastern U.S.
jazz scenes for two decades, both as a musician and as an
educator (performing with Olantunji, Jimmy Heath, Al Grey,
Cecil Payne, Ray Bryant and Dr. Lonnie Smith), Hayes
deserves much more recognition. His hard bop style looks
back towards 1960s jazz while also containing enough
surprises to be looking forward at the same time.
On The Jazz Life, Hayes heads a sextet that also includes
trumpeter Duane Eubanks, trombonist Cornell McGhee,
pianist Michael Cochran, bassist Calvin Jones and
drummer Greg Searvance. Hayes and his musicians
perform seven of his diverse originals, a tune apiece by
Cochran, Searvance, Grachan Moncur III. and Wayne
Shorter plus “Whisper Not” and a beautiful melody reading
of “The Nearness Of You.” The music always swings, it is
never predictable and there is plenty of spirited solo space
for the horns and pianist Cochran. Even the closing
“Holistic Invention,” an attempt at playing “smooth jazz,” is
creative and lyrical. Fans of Art Blakey’s Jazz Messengers
will certainly enjoy the music overall and yet it is not a copy
of the past but a strong example of hard bop for the 21st
century.
The Jazz Life is easily recommended and available from
www.bradfordhayes.com.
Scott Yanow
Champian Fulton/David Berger & The Sultans Of Swing
Champian
(Such Sweet Thunder)
During the past few years, arranger-conductor David
Berger has been leading one of the top Duke Ellington-
inspired swing orchestras in New York, the Sultans Of
Swing. Since 2006, Champian Fulton has been the band’s
regular vocalist and she is showcased throughout this
winning CD.
Ms. Fulton has a warm voice, an easy swing style and an
understanding of the lyrics she is interpreting. She also
plays piano, and doubles in that capacity on “You Turned
The Tables On Me” and the brief “Never-the-Less.” Her
phrasing works well with this music and the arrangements
are perfectly attuned to her voice. Hopefully in the future
Champian Fulton (who sometimes hints at early Billie
Holiday) will take more chances in her improvising, but this
is a solid start.
While the 15-piece orchestra is mostly cast in a supportive
role, there is room for many short solos in Berger’s
arrangements.
Such obscurities as “I Didn’t Mean A Word I Said” and “He
Ain’t Got Rhythm” are revived and even the more well-
known standards (such as “I Can’t Give You Anything But
Love” which has a vocal trio backing the singer and a
surprisingly cooking version of “They Didn’t Believe Me”)
sound brand new.
David Berger’s arrangements, which are creative within the
swing style, make the Sultans Of Swing sound like a high-
quality band of the 1930s and ‘40s, with hints of 1950s
Count Basie. Swing fans will definitely want this set and will
enjoy discovering Champian Fulton. (available from www.
sultansofswing.com)
Scott Yanow
Harry Pickens
Live at The Annenberg Theater, Palm Springs
(T & N Productions)
Harry Pickens is a veteran pianist with an accessible style
who at various times recalls Gerald Wiggins, Erroll Garner
and Oscar Peterson. One can always hear the melody in
his playing yet he stretches the boundaries of melodic bop
and infuses standards with his own brand of soul.
On this live set from 2005, the recording quality is decent if
not flawless, but it contains some of Pickens’ finest playing
on record. Accompanied by bassist Marshall Hawkins and
drummer Harold Mason, Pickens puts plenty of emotion
into such standards as “They Can’t Take That Away From
Me,” a slow interpretation of “Lady Be Good” and “If I Were
A Bell.” He welcomes guest singer Yve Evans to “The Very
Thought Of You” and a brief “Ca, C’est L’Armour,” but
otherwise the focus is entirely on the pianist.
The audience is justifiably enthusiastic as Pickens comes
up with fresh and catchy variations to familiar songs.
Pickens, who has worked with many top jazz artists
including Johnny Griffin, the late Eddie “Lockjaw” Davis
and the group Out Of The Blue, is definitely a crowd
pleaser. Listeners will find his grooving set, available from
www.harrypickens.com, quite easy to enjoy.
Scott Yanow
Henry “The Skipper” Franklin
If We Should Meet Again
(Skipper Productions)
Henry Franklin has long been a familiar performer in the
Los Angeles area, adding his bass to a countless number
of settings and leading fine groups of his own. On If We
Should Meet Again, he welcomes tenor-saxophonist Azar
Lawrence, pianist Theo Saunders, drummer Carl Burnett
and percussionist Ramadan Mu Min.
The solos of Azar Lawrence (which are strongly influenced
by John Coltrane) and Theo Saunders (heard here
displaying his variations of the style of McCoy Tyner) are
consistently impressive, explorative and stirring. Franklin
also takes some excellent improvisations and, with Burnett
and Min, forms a very solid rhythm section.
The biggest surprise to the date is that, in addition to the
standards “A Weaver Of Dreams,” “If We Should Meet
Again” and “My One And Only Love,” the quintet performs
six originals; three apiece by Lawrence and Saunders. The
new material generally has chord changes, themes and a
feel that clearly inspires the musicians.
If We Should Meet Again is a stimulating set from start to
finish, with no slow moments. It is available from www.
henryfranklin.com.
Scott Yanow
Cynthia Sayer
Attractions
(Plunk)
Best known as one of the few prominent banjo soloists
around today and for her participation in classic jazz
settings, Cynthia Sayer emerges on Attractions as a
personable and versatile singer and a skilled arranger.
She is joined by an all-star group, which includes
trumpeter Randy Sandke, trombonist Jim Fryer, Scott
Robinson on reeds, guitarist Bucky Pizzarelli, bassist Greg
Cohen, drummer Joe Ascione and occasionally violinist
Sara Caswell.
The vocalist-banjoist and her band performs a few unusual
versions of standards (including “Shakin’ The Blues Away,”
‘Romance Without Finance” and “You Are My Sunshine”),
revives some forgotten pieces (Sidney Bechet’s “Viper
Mad” which is given a sensuous vocal, Hank Williams’ “Half
As Much” and the novelty “Aba Daba Honeymoon”),
perform a few instrumentals (including Django Reinhardt’s
“Swing De Paris,” “Dark Eyes” and Sayer’s “Banjo Tango”)
and tackle some newer material such as the banjoist’s
“The Gift.” The arrangements find the group changing
themes before repetition ever sets in, there are plenty of
changes of keys and each of the musicians has spots to
shine.
Although her banjo does not dominate the music, Cynthia
Sayer does not exactly neglect her ax, playing Franz Liszt’
s “Hungarian Rhapsody No. 2” as an unaccompanied
banjo.
Attractions has many bright moments. It is recommended
and available from www.cynthiasayer.com.
Scott Yanow
Becky Archibald
Mood Swing
(B&A Records)
Pianist Becky Archibald’s solo set is consistently intriguing.
Her melodic compositions, although obviously worked out
in advance to an extent, sound very spontaneous, lyrical
and logical. Her playing displays her classical technique
and one is occasionally reminded of Keith Jarrett, but Ms.
Archibald’s style and sound are quite original.
While some of the songs on Mood Swing are thoughtful
ballads and “Waltz” is a bit dreamy, Becky Archibald also
introduces “A Really Mean Boogie Woogie” and the
rollicking “Rocktober.” After performing 11 solo pieces, Ms.
Archibald is heard on alternate versions of three songs,
two taken as duets with and one as a trio.
The heartfelt playing throughout this passionate set is
haunting and memorable. Mood Swing is highly
recommended and available from www.beckyarchibald.
com. Becky Archibald deserves to be much better known
in the music world.
Scott Yanow
Wally Holmes
A Good Mix
(Jimi Lane)
Wally Holmes, the director of the Sweet & Hot Music
Festival, is also a fine trumpeter and entertainer. A Good
Mix is his long overdue debut CD and it has its surprising
moments.
Although Holmes is often heard in dixieland and swing
settings at the festival, A Good Mix has some novelty tunes
(including two versions of his 1974 hit “Rock The Boat”), a
few Holmes vocals, a bit of bebop and bossa-novas, a
touching love song for his wife (“No Question”), and some
of his unusual solfeggio singing. The latter has Holmes
singing “do,” “re,” “mi,” “fa,” “so” etc. for each of the notes
in the scale, often quite fast as he improvises solos. I have
never heard anyone else do this on that level.
Most of the selections showcase Wally Holmes with one of
two rhythm sections. Tenor-saxophonist Roger Neumann
helps out on two numbers including the riotous ensemble
piece “Gang Jam Blues,” a highpoint. While “Lester, Louis
& Bix” seems a bit frivolous in its lyrics, these versions of
“Jazzin’ Around,” (originally written by Holmes for the late
trumpeter Jackie Coon), “It Could Happen To You” and “I
Thought About You” are all quite worthy.
It is good to have Wally Holmes on CD. Hopefully next time
he will record with his fine regular band the Yankee
Wailers. (available from cdbaby.com)
Scott Yanow
Laurie Dameron
Looking Through The Blue
(Windchime Productions)
Laurie Dameron is a multi-talented individual. A fine
guitarist whose melodic style ranges from jazz and folk to
r&b, she also sings occasionally in a mellow voice,
composes songs (all dozen numbers on Looking Through
The Blue are hers) and writes lyrics. Based in Colorado,
Dameron has an echoey acoustic sound on her guitar that
is slightly reminiscent of Pat Metheny at times; she wrote
“Sunlight In A Sunstorm” with him in mind.
On Looking Through The Blue, Laurie Dameron is mostly
accompanied by bassist Michael Olsen and drummer Larry
Thompson with other musicians (including percussionist
Christian Teele) added to a few numbers. Three selections
have her vocals (best is “They’ll Play A Little Samba” which
also has a wailing tenor solo by Laura Newman) but the
emphasis is generally on her versatile guitar playing.
Laurie Dameron’s music is soothing, danceable (but with
subtle rhythms) and pleasing. Looking Through The Blue
(available from www.lauriedameron.com) is worth several
listens.
Scott Yanow
Ken Slavin
I’ll Take Romance
(KRS61)
During an era when male jazz singers are few and far
between, a new recording by Ken Slavin is a welcome
event. Although born in 1961, Slavin loves to sing songs
written long before he was born, standards from the 1930s
through the 50s. Based in San Antonio, he did not begin
singing professionally until 1990 but has since become
established as arguably the city’s top jazz crooner or
saloon singer.
On “I’ll Take Romance,” Ken Slavin sounds warm and
expressive on the ballads while cooking on the uptempo
tunes, most notably “Just You, Just Me.” He sticks to the
lyrics while his phrasing gives the music a strong jazz
feeling. Joined by pianist Morris Nelms’ trio, a few guest
soloists (including trumpeter Al Gomez) and occasionally
four violins, he swings his way through 16 standards
including “Tea For Two,” “I’ll Take Romance,” “Day By
Day” and “Summer Samba,” making the vintage material
sound fresh and lively.
This is a fun CD that is easily recommended to fans of the
small field of male jazz singers. It is available from www.
kenslavin.com.
Scott Yanow
Carmen Leggio
Carmen Leggio Quartet
(Mighty Quinn)
Veteran tenor-saxophonist Carmen Leggio has been a
talented improviser since the 1950s. He has worked in a
countless number of situations through the years including
with Gene Krupa, Woody Herman, Benny Goodman,
Maynard Ferguson, Buddy Rich, the Thad Jones-Mel
Lewis Orchestra and many combos. One of the last
exponents of the Four Brothers tenor sound, Leggio’s tone
is lived in, flexible and still full of enthusiasm.
On his quartet set, Leggio is teamed with guitarist Joe
Cohn, bassist Rick Petrone and drummer Joe Corsello.
Cohn has developed into the definitive cool jazz guitarist,
displaying a quiet but passionate sound along with a
thoughtful and consistently creative style. He blends in
very well with Leggio and sometimes takes solo honors.
With Petrone and Corsello offering tasteful support, the
group performs veteran standards and Leggio’s uptempo
blues “Lose One-Gain One.” Along the way there are
many duet passages and a tenor-drums duo performance
of “Sing, Sing, Sing.”
Since Carmen Leggio and Joe Cohn are both melodic and
lyrical soloists, their playing is very complimentary
throughout a set alternating between ballads and medium-
tempo pieces. Their collaboration is recommended and
available from the mighty-quinn.net.
Scott Yanow
Jamie Fox
When I Get Home
(Rare Cat)
Jamie Fox is a very original musician. His guitar tone is dry
but flexible, his writing contains unusual structures and a
mixture of light funk and straightahead sections, and he
stands out in a crowd. While his music at various times
recalls Keith Jarrett in the 1970s, Pat Metheny and
possible Kenny Wheeler and Ralph Towner, Fox has his
own fresh conception of jazz improvisation, using melodic
development in unexpected ways. His quiet solos and that
of his sidemen are natural extensions of his songs’ themes.
On When I Get Home, Fox performs ten of his originals
with such musicians as pianist Kenny Werner, saxophonist
Dan Willis, bassist Stephan Crump, drummer Michael Sarin
and occasionally Peck Almond (on saxophones and
trumpet). The tunes are upbeat and likable without every
being predictable. The little surprises keep one guessing
and, while Fox’s style is open to folk music, tangos and the
lyrical side of rock, the end results sound natural and
distinctive.
This is a subtle set that will grow in interest with each
listening, available from www.jamiefoxguitar.com.
Scott Yanow
Paul Bley
Solo In Mondsee
(ECM)
Paul Bley, who has been a significant pianist since at least
the late-1950s, has long offered an alternative approach
to playing free improvisations than Cecil Taylor. While
Taylor fills up his solos with emotional and often-violent
waves of sounds, often sounding like a thunderstorm, Bley
developed a way of playing freely utilizing space, lyrical
melodies and thoughtful ideas.
Solo In Mondsee, Bley’s first solo piano project in many
years, has ten free improvisations and its titles, (“I,” “II,” “III”
all the way to “X”) are rather anonymous, showing that
nothing was planned in advance. The music is actually
quite accessible for Bley constantly improvises melodies,
developing new themes in his spontaneous flights, allowing
one to hear him thinking aloud. Much of the music is taken
at a thoughtful and slightly out-of-tempo pace. Surprisingly
parts of the beginning of “IX” sound like “All God’s Children
Got Rhythm.” This is a relaxed set that reminds one of the
influence that Bley has had on Keith Jarrett although both
pianists have their own separate personalities.
Although Solo In Mondsee could function well as
background music, it is well worth listening to closely and
at a decent volume. Paul Bley’s constant creativity remains
intriguing and Solo In Mondsee (available from www.
ecmrecords.com) is a joy.
Scott Yanow
Bob Ringwald
Fulton Street Jazz Band
(Mountain Gold)
Bob Ringwald, who lived in the Los Angeles area during
1979-98 and for years had a highly-rated radio show on
KCSN, is a superior classic jazz pianist and a personable
and witty singer. He led the Fulton Street Jazz Band during
its early days (1971-79) and in 2005 became its leader
again. A hot jazz sextet also featuring trumpeter Bob
Sakoi, trombonist Bob Williams, Paul Edgerton on reeds,
bassist Darrell Fernandez and drummer Vince Bartels, the
Fulton Street Jazz Band plays colorful and spirited
versions of dixieland, trad and swing standards.
This highly enjoyable CD includes many highpoints
including the relatively obscure “Algiers Strut,” a Louis
Armstrong-inspired trumpet feature on “Blue, Turning Grey
Over You,” a joyous version of “Once In A While” (the
1920s tune, not the Tommy Dorsey hit), “From Monday
On,” Duke Ellington’s “Shout ‘Em Aunt Tillie” and “The
Curse Of An Aching Heart.” Bob Ringwald’s daughter, the
actress Molly Ringwald, takes effective guest vocals on “I’ll
Be Seeing You’ and “Oh Daddy” while her father also
sings on a few numbers.
What’s not to like? This recommended release is available
from www.ringwald.com.
Scott Yanow
Jules Broussard
With Strings Attached
(Darling & Kid Records)
Veteran altoist and tenor-saxophonist Jules Broussard has
been part of the San Francisco jazz scene for over 30
years, playing in jazz, pop, commercial and studio settings.
Sometimes he performs with Lavay Smith’s Red Hot Skillet
Lickers where his big tone and swinging style sound
perfectly at home.
With Strings Attached puts Broussard in the spotlight as
he is accompanied by two different rhythm sections, pianist
Larry Dunlap and a 10-piece string section. Unlike with
many jazz with strings dates, the emphasis is not
exclusively on ballads and the strings do not weigh down
the proceedings. Larry Dunlap’s arrangements for the
strings accentuate the music, with the violins, violas and
cellos helping to bring out the beauty in the songs, even
on the more medium-tempo pieces. In addition, violinist
Jeremy Cohen gets a couple of solos.
One could certainly imagine Jules Broussard exploring this
repertoire without using a string section, for the date
includes such swingers as “Topsy,” “Harlem Nocturne,”
“Tin Tin Deo,” “Do Nothing Till You Hear From Me” and
Arnett Cobb’s “Smooth Sailing.” The renditions are
concise, saying a lot in a relatively brief period of time with
Jules Broussard sounding inspired by the opportunity to
work with strings.
With Strings Attached is recommended and available from
www.broussard.com.
Scott Yanow
Anita Wardell
Noted
(Specific)
Born in England, raised in Australia and back in the United
Kingdom since 1989, Anita Wardell has been one of the
top bop-oriented jazz singers of the past 20 years despite
not being all that known in the United States. She has a
sweet, cheerful and flexible voice, is a superior scat singer
and, like Kurt Elling and just a few others, she writes new
vocalese lyrics rather than just merely repeating “Moody’s
Mood For Love” and “Twisted.”
On Noted, Ms. Wardell is joined by her regular rhythm
section (pianist Robin Aspland, bassist Jeremy Brown and
drummer Steve Brown) and, on six of the ten selections,
tenor-saxophonist Alex Garnett. It is difficult not to smile at
her recreation of Lee Morgan’s trumpet solo on “Moanin’”
(for which she wrote the words) and her revivals of McCoy
Tyner’s “Blues On The Corner,” Herbie Hancock’s obscure
“And What If I Don’t” and Lee Morgan’s “The Sidewinder.”
Although she sings Jon Hendricks’ words to “Doodlin’,”
most of the vocalese on Noted was composed by her.
Noted, available from www.anitawardell.com, will be
enjoyed by all fans of bop singing. Anita Wardell, with her
strong, versatile and very attractive voice, deserves to be
much better known for she is one of the best around today.
Scott Yanow
Clayton Wright
Jazz Voyages
(MMV Audiosphere)
Clayton Wright is an excellent pianist with a soft touch,
chord voicings that are all his own and a lyrical style. On
this program of originals, he is assisted by bassist Billy
Brockmann and either Andy Brockmann or Mark Miley on
drums.
Wright’s songs generally have intriguing chord changes
that are fresh and logical, almost playing themselves. His
performances are generally taken at medium to medium-
slow tempos and they utilize a variety of light rhythms
including swing, tango and Latin. Wright is not as strong at
writing melodies, and one will not come away from this CD
whistling any of his tunes.
But the overall music on Jazz Voyages (which is available
from www.cdbaby.com/wrightc5) is nostalgic, upbeat,
thoughtful and pleasing.
Scott Yanow
Rick Trolsen
Sunrise On Bourbon Street
(Lort)
New Orleans-style jazz recordings typically feature a
frontline of trumpet, trombone and clarinet, joined by
piano, bass, drums and occasionally banjo or guitar. Rick
Trolsen tries something different on Sunrise On Bourbon
Street. Most selections feature his trombone as the only
horn in a quartet except on occasions when bassist Tom
Saunders switches to bass sax. He utilizes a few different
rhythm sections, with either Steve Pistorius, Tom
McDermott or John Royen on piano.
Although he can play quite fast like a trumpet, Trolsen
never forgets that he plays a slide rather than valve
trombone and he constantly growls through his horn while
coming up with colorful tonal distortions. The repertoire,
other than his “Sunrise On Bourbon Street,” is comprised
mostly of dixieland warhorses (plus a few Cole Porter
songs), but these versions are full of life and vitality. While
most groups, when playing multi-theme New Orleans
pieces, tend to rush through the themes until they get to
the main blowing section, Trolsen’s frameworks thoroughly
explore each part of such tunes as “Milenburg Joys,”
“Grandpa’s Spells,” “Riverboat Shuffle” and “Panama” in
an unpredictable fashion. And in addition to his jubilant
and witty trombone solos, Rick Trolsen also takes an
occasional gravelly vocal, and on “Cocktails For Two”
switches to piano, dueting with tenor-saxophonist Eric
Traub.
This is a thoroughly enjoyable set from a trombonist who
deserves to be much better known. Rick Trolsen has
played Chicago blues, New Orleans r&b, avant-garde jazz
and Brazilian music, but he sounds like a real natural in
trad jazz, thoroughly understanding the music while
bringing in many surprising ideas. Sunrise On Bourbon
Street is available from www.neslort.com.
Scott Yanow
Ali Ryerson
Jammin’ At The Jazz Corner
(Sweet Jazz)
Ali Ryerson has long been one of jazz’s top flutists.
Normally she specializes in the alto flute, displaying a warm
and haunting tone along with fluent technique and a
creative imagination in coming up with consistently fresh
statements on standards.
On Jammin’ At The Jazz Corner, Ali actually plays the
conventional flute more than the deeper-toned alto flute,
sounding just as skillful. This live date showcases her in an
ideal setting, being joined by guitarist Howard Paul and
bassist George Sheck. While Paul and Sheck both play at
low volumes, there is a lot of heat to their solos and their
accompaniment of the flutist.
The close interplay, which is heard at its best during
sections of “Alone Together” where Sheck drops out and
Ryerson and Paul duet, and throughout a medium-tempo
“Body And Soul,” is one of the reasons that this CD is so
joyful. Although performing eight veteran standards, the
trio of musicians feels free to comment on and add to each
other’s ideas, resulting in lots of subtle surprises and
inspired interplay. On the closing “Just Friends,” Bob
Masteller, the owner of the Jazz Corner, sits in effectively
on flugelhorn.
Although she has yet to record an unworthy album,
Jammin’ At The Jazz Corner (available from www.
thejazzcorner.com) is arguably Ali Ryerson’s finest so far.
Scott Yanow
Max Perkoff
Infinite Search
(PGRO)
A fine trombonist with a warm tone, Max Perkoff also
doubles on piano. On Infinite Search he is mostly heard on
trombone with a group also including guitarist Randy
Vincent, bassist Sam Bevan and drummer Paul Van
Wageningen. Singer Cari Thompson guests on “Waiting.”
The music, which consists exclusively of Perkoff’s originals,
is mostly laidback and quiet, even when taken at faster
tempos. The sparse rhythm section does a beautiful job of
blending in with the fluent trombonist and there are
occasional guitar and bass solos. Perkoff, who is based in
the San Francisco Bay area, is influenced by J.J. Johnson
and is a chordal-based bop soloist at heart, but his
improvisations are unpredictable and are free of clichés.
He held his own with Roswell Rudd in his previous record
Monk’s Bones, and he excels with his modern mainstream
quartet.
Infinite Search, which is available from www.maxperkoff.
com, should result in Max Perkoff becoming better known
and rated high among modern jazz trombonists.
Scott Yanow
Tim Patrick
The Shadow Of Your Smile
(TP)
A high school teacher from Minnesota, Tim Patrick did not
begin his singing career until 2004. After recording his first
CD, mostly for his family, the recording found its way to
pianist Joanne Grauer who, in addition to playing jazz, has
worked as the pianist for Andy Williams, Michael Feinstein,
the Lennons Sisters and the Osmonds. She was
impressed by Patrick’s strong voice, clear articulation and
ability to always sing in-tune.
Grauer, along with bassist Gary Douglas and drummer Bill
Heise, serve as the rhythm section for Tim Patrick’s
second CD. The singer’s renditions of the ten familiar
standards are straightforward without deviating from the
words or the melody. The jazz content is supplied by
Grauer, who also utilizes a string synthesizer, which
unfortunately makes a few of the ensembles (particularly
on “My Way” a little sappy.
One can certainly argue that such songs as “Fly Me To
The Moon,” “Moon River” and “My Funny Valentine” did
not need to be revived yet again, but the joy and sincerity
heard in Patrick’s voice (especially on “On The Street
Where You Live”) compensates. His program could have
used a few more jazz-oriented pieces and a bit more
variation in its tempos, but Tim Patrick shows throughout
that he is a superior ballad singer. (available from www.
timpatrickmusic.com)
Scott Yanow
Teraesa Vinson
Next To You
(Amplified)
When one thinks of voice-guitar duos, the team of Tuck &
Patti comes immediately to mind and sets a very high
standard. Singer Teraesa Vinson and guitarist Tom
Dempsey have worked together as a duo and with larger
groups since 2003. The years of familiarity really show, for
throughout Next To You they often sound as if they are
one person, a singer-guitarist.
More consistently jazz-oriented than Tuck & Patti and at
the same high level of musicianship, Vinson & Dempsey
often phrase together and they constantly complement
each other’s ideas. While the singer is mostly in the
forefront, Dempsey’s chordal accompaniment is not to be
overlooked, being both tasteful and occasionally telepathic.
On such songs as “Nobody Else But Me” (which goes
through several key changes), Oscar Brown Jr.’s
“Opportunity Please Knock,” “Triste,” “You Taught My
Heart to Sing” and “Bein’ Green,” Teraesa Vinson displays
a beautiful and flexible voice, coming up with subtle
melodic variations and uplifting each piece with joy and
understanding of the lyrics. Overall this is a very enjoyable
and intimate outing, available from www.teraesavinson.com.
Scott Yanow
Daryl Johnson
From The Inside
(Zijazz Music)
The comeback of the Fender Rhodes electric piano during
the past decade has been an unexpected and welcome
event. Although closely associated with the 1970s when it
seemed as if practically every jazz pianist was being
pressured to switch to electric piano, the Fender Rhodes
sound works quite well in many settings, particularly when
the jazz is a little bit funky.
Daryl Johnson’s From The Inside features the leader on
both Fender Rhodes and acoustic piano, performing six
originals plus a thoughtful solo piano version of “You Don’t
Know What Love Is.” Most of the performances have
Johnson heading a trio that also includes bassist Lonnie
Plaxico and drummer Lionel Cordew. “The Wizard” is
catchy, “The Temple” has the group sounding quite
comfortable jamming in 5/4 time, and “Sage Walk” is a
moody jazz waltz. On the rhythmic “Griot,” Johnson leads a
spirited septet that includes tenor-saxophonist Andrew
Lamb and trombonist James Stowe, adding variety to the
program.
From The Inside (available from www.daryljohnson.com)
has Daryl Johnson displaying a great deal of potential.
Since it was recorded a few years ago, an encore is long
overdue.
Scott Yanow
Lennie’s Line
Intuition
(Altrisuoni)
The Out To Lunch Quintet
Live At The Artists’ Quarter
(Jazz Police)
These two otherwise unrelated projects both salute a
specific style from the past, paying tribute without resorting
to mere recreations.
Lennie’s Line is a quintet comprised of pianist-keyboardist
Michael Beck, altoist Phil Stockli, tenor-saxophonist
Domenic Landorf, bassist Andreas Zitz and drummer Elmar
Frey that looks back towards the Lennie Tristano groups
of the late 1940s/early ‘50s. While Stockli and Landorf
purposely sound a bit like Lee Konitz and Warne Marsh
(with Stockli also displaying the influence of Charlie
Parker), Beck surprisingly avoids sounding like Tristano.
The European group performs fresh and lively versions of
three Tristano pieces and two by Konitz along with two
complementary originals apiece from Beck and Stockli.
The use of electric piano on some of the pieces (including
“Lennie’s Pennies”) reminds listeners that Lennie’s Line is
most interested in extending the Tristano tradition of long
melodic lines, a quiet rhythm section and interplay
between two similar sounding saxophonists rather than just
copying the past. (available from www.altrisuoni.com)
The Out To Lunch Quintet brings back the music that Eric
Dolphy on his famous 1964 album, Out To Lunch. Dave
Milne is heard on the same three instruments as Dolphy
(alto, bass clarinet and flute), trumpeter Kelly Rossum
takes Freddie Hubbard’s place, and the roles of
vibraphonist Bobby Hutcherson, bassist Richard Davis and
drummer Tony Williams are filled by Dave Hagedorn, Tom
Lewis and Phil Hey.
At a live concert, the quintet not only performs the five
selections from the Out To Lunch Lp but a pair of
additional Dolphy songs (“Far Cry” and “The Prophet”)
plus Russum’s “Rush Hour.” Milne brings back Eric Dolphy’
s spirit and a little bit of his sound without the interval
jumps and the more radical elements of his improvisations.
Rossum is not on Hubbard’s very high level (very few ever
were) but he is an excellent post bop soloist with his own
personality. Vibraphonist Hagedorn, like Hutcherson on
the original date, ably assumes the role of a piano,
sometimes taking solo honors. He is a strong asset in
giving this set both a tie to the original record and a feeling
of looking ahead to the future. (available from www.
jazzpolice.com)
Scott Yanow
Charles Mingus Sextet
Cornell 1964
(Blue Note)
It was one of the most exciting jazz groups of all time
although it only lasted a few months. In the spring of 1964,
bassist Charles Mingus took a sextet on a European tour
that included Eric Dolphy on alto, flute and bass clarinet,
tenor-saxophonist Clifford Jordan, trumpeter Johnny
Coles, pianist Jaki Byard and drummer Dannie Richmond.
The group was caught live on record and film (via
television) on a few occasions during the tour, most
notably the three-Lp (now two-CD) set The Great Concert
Of Charles Mingus. Coles was hospitalized in Paris and
had to drop out, so the band ended up as a quintet. When
Mingus and his sidemen left Europe, Dolphy decided to
stay overseas where tragically he died a short time later
from insulin shock in a German hospital.
Despite the great interest in this group which has even
resulted in some bootleg issues from concerts, the music
on Cornell 1964 was previously unknown and completely
predates the European tour. Although this March 18, 1964
concert is the earliest example of the group, the band
sounds very much together and familiar with the complex
material.
First, Jaki Byard displays his mastery of stride piano on
“ATFW You”; the “ATFW” part refers to Art Tatum and
Fats Waller. Mingus’ bass playing is featured on a
straightforward ballad reading of “Sophisticated Lady.”
Then the fireworks really begin. The extended versions of
“Fables Of Faubus,” “Orange Was The Color Of Her
Dress, Then Blue Silk,” “Take The ‘A’ Train,” “Meditations”
(which is over 31 minutes long) and “So Long Eric” hold
their own with the slightly later renditions. The music is
consistently unpredictable, the team of Mingus and
Richmond never lets the horn players coast or play
clichés, and the musicians are driven to play at their very
best. Dolphy is typically brilliant, Jordan excelled in this
group and Coles makes one wonder why he was so
underrated. The program winds down with a humorous
version of “When Irish Eyes Are Smiling” (since it was the
week of St. Patrick’s Day) and the group’s only recording
of Fats Waller’s “Jitterbug Waltz.”
Built on bop, utilizing group improvising drawn from New
Orleans jazz, and containing very adventurous solos and
multi-themed works, the 1964 Charles Mingus Sextet both
looked backwards and forwards simultaneously. All of its
existing recordings are fascinating and unique, making
Cornell 1964 one of the finds of the year.
Scott Yanow
Gerry Wiggins/”JJ” Hassan Shakur
Wiggins & Wiggins
(Madwig Music)
Pianist Gerry Wiggins, who recently turned 85, is one of
Los Angeles’ top jazz treasures. A distinctive pianist, an
accompanist for vocalists and an inspiration for 60 years,
“the Wig” (who was initially influenced by Erroll Garner and
Art Tatum) has always had his own witty style and uplifts
every musical situation in which he plays. His son Hassan
Shakur (who has been known as JJ since he was a child),
has long been a talented bassist who has mostly been
based on the West Coast. Although father and son have
played together on occasional reunions, Wiggins &
Wiggins is their first recording as co-leaders.
With fine supportive playing from drummer Joe La
Barbera, the resulting music is swinging and joyful. Gerry
Wiggins is generally the lead voice and he is heard
throughout in top form, particularly on such numbers as
“Sonar” (his best known original), “Have You Met Miss
Jones,” Billy Strayhorn’s “Clementine,” “Yardbird Suite”
and other catchy numbers. J.J. has plenty of short solos
and the interaction between the three players is often
humorous and always good-humored.
This delightful set, which is a very logical idea, is available
from www.gerrywiggins.com.
Scott Yanow
Howard And The White Boys
Made In Chicago
(Evidence)
Formed in 1988, Howard and the White Boys has been
one of the more popular blues groups ever since. Based in
Chicago, the band recorded several notable albums for
Evidence although Made In Chicago is their first recording
in six years. The group tours steadily in the U.S. and
Europe, showcasing the vocals of bassist Howard
McCullum, the guitar solos of Rocco Calipari and Peter
Galanis and drummer Jim “Bucko” Christopulos. Galanis is
the group’s newest member, having joined in 2004. With
guests Daryl Coutts and Dave Friebolin alternating on
keyboards (two songs feature both of them), Made In
Chicago is one of the
group’s finest recordings to date.
The music is primarily basic blues with plenty of fire from
the rockish guitars, spirited vocals and saucy lyrics
including such songs as “Good Booty And BBQ,” “She
Loves My Automobile” and “Black Cat Bone.” The
passionate good-time music includes a few contrasts in
moods and holds one’s interest throughout, climaxing with
the lengthy instrumental “Coming Home.” Blues fans
should go out of their way to get this one, available from
www.howardandthewhiteboys.net.
Scott Yanow
Naoki Iwane
Deserted Island
(What’s New)
Altoist Naoki Iwane is a very original soloist with his own
sound. He was born and raised in Okayama, Japan and
originally studied classical piano while playing drums in
rock groups. After moving to Seattle to attend college, he
tried out a neighbor’s saxophone, enjoyed playing it and
gradually shifted his focus, studying with George Garzone
at the New School. He makes his recording debut as a
leader on Deserted Island.
Iwane performs eight of his originals on this CD while
joined by pianist George Dulin, guitarist Kazuhiro Ikeda,
bassist Chris Tordini and drummer Tommy Crane. The
final four numbers also have Garzone on tenor, with lots of
fiery interplay between the two saxophonists. The music is
both lyrical and quite unpredictable, with quirky melody
lines, complex chord changes and virtuoso improvising.
Highlights include the jubilant “Twentieth Century Bebop,”
the introspective “Sea Watch” “Twisted Heaven” and an
explosive “Slip + Slide.”
Listeners who fear that there is nothing new to be heard in
jazz these days (which is quite inaccurate) are well advised
to give Deserted Island (available from www.naokiiwane.
com) a close listen. It does not sound like 1960s hard bop
to me!
Scott Yanow
The Great War
An American Musical Fantasy
(Archeophone)
World War I. was the most musical of all wars. One thinks
of “Battle Hymn Of The Republic” and “Dixie” being
connected to the Civil War while World War II. had quite a
few sentimental ballads but World War I. inspired the
widest variety of songs. The recording industry barely
existed during the Spanish American War in 1899, but it
was growing steadily by the time World War I. started in
1914 and especially at the time of the U.S. entry into the
war in 1917. The American popular song (which by 1917
included such composers as Irving Berlin, George M.
Cohan and Jerome Kern) and Tin Pan Alley were
flourishing while ragtime was quickly declining and jazz was
becoming ready to be discovered.
An American Musical Fantasy is a two-CD set that is
mostly comprised of recordings from 1914-18 along with a
few slightly later items. Programmed in loosely
chronological order, one hears pieces that speculate
about war, a few rare antiwar songs (such as “I Didn’t
Raise My Boy To Be A Soldier” and “Don’t Take My
Darling Boy Away”), many patriotic-based originals, pieces
that are pure propaganda in urging Americans to fight the
Kaiser, tunes full o