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CD REVIEWS FROM THE FEBRUARY 2010 ISSUE OF THE LOS ANGELES JAZZ SCENE
Various Artists
1906 - When Things Was Lookin' Bright
Archeophone 9013
The Archeophone label (www.archeophone.com) has become the top record label for reissuing rare recordings
made before 1920. Their phonographic yearbook series, in addition to having two sets from the 1890s, now
includes ten single CDs that cover music from a specific year, ranging from 1906-22. Each has an extensive
booklet (often 24 pages) filled with information about the time period and the recordings. This is a label that
should be thoroughly explored by music historians and those who are interested in hearing original recordings
from a century ago.
The recently issued 1906 does not include any jazz since the first jazz recordings did not take place until 1917, but
there are quite a few intriguing performances. Among the 27 selections are the debut recording of “It's A Grand
Old Flag” (Billy Murray's version of George M. Cohan's hit has the original title, “It's A Grand Old Rag”), two
versions of “Wait Till The Sun Shines Nellie,” three recordings from the pioneering African-American performer
Bert Williams (including his trademark “Nobody”), a ragtime number from banjoist Vess Ossman (“Buffalo Rag”),
and an instrumental from Arthur Pryor's band (“On The Rocky Road To Dublin”). The other performances include
comedic vaudeville numbers (including “Everybody Works But Father” and “He Walked Right In, Turned Around,
And He Walked Right Out Again”), sentimental ballads, George M. Cohan's “So Long Mary,” some mildly risque
love songs, and one selection featuring opera legend Caruso.
Although for selective tastes, these ancient recordings succeed admirably in giving today's listeners a sampling of
the musical world of 1906.
Joe Alterman
Piano Tracks, Volume One
(Self Produced)
Joe Alterman is a fine jazz pianist who makes his debut as a leader on Piano Tracks, Volume One. Born in Atlanta,
Alterman (who moved to New York two years ago) has studied along the way with the likes of Gary Motley (director
of Emory University's Jazz Studies program), Dr. Billy Taylor, Geri Allen and Don Friedman. One can hear a wide
range of interests in his playing including such 1950s pianists as Red Garland, Wynton Kelly and Oscar Peterson
along with a fondness for stride piano.
Although there are stretches where his use of dynamics and space recalls Ahmad Jamal (particularly on the
opener “Time After Time”), Alterman sounds like himself. Joined by bassist Scott Glazer and drummer Justin
Varnes (except on “The First Night Home” where their places are filled by Sam Selinger and Tiffany Chang),
Alterman performs five standards and an equal number of his originals with solid swing, subtle creativity and the
ability to build on melodies while keeping each song's theme close by.
Of the vintage material, the trio swings lightly but firmly on “Time After Time” takes “I've Got A Crush On You” quite
effectively at a medium-tempo pace with Alterman contributing some light stride in the Teddy Wilson vein. He
comes up with fresh ideas on “I Cover The Waterfront,” interprets the thoughtful ballad “Last Night When We Were
Young” with plenty of heartfelt emotion, and swings hard on “Days Of Wine And Roses.” Rather than merely
recreating past styles, Joe Alterman finds his own place in the modern jazz mainstream.
The pianist's originals find the trio stretching beyond bop/hard bop into other areas while never losing sight of
their swinging roots “Funk-A-Doodle-Doo” is a catchy vamp that Alterman makes memorable through an soulful
improvisation that builds and builds. “While You Were Away” is interpreted so it is melodic, impressionistic and
even a bit cinematic. “The First Night Home” is a little reminiscent in spots of both “Good Morning Heartache” and
the style of Thelonious Monk but the trio creates their own moody atmosphere. The players put plenty of honest
emotion into the ballad “Table For Two” while “(Before You Bring Me My Cornbread) Slap Some Butter On That
Biscuit” is a medium-tempo blues on which Alterman and his sidemen display plenty of soul.
Throughout Piano Tracks Volume 1 (available from www.joealtermanmusic.com), the musicians listen closely to
each other, often seeming to think as one. Joe Alterman displays a lot of originality in his playing, even on the
more familiar standards, and his ideas are full of life, spirit and little surprises. This is an important step forward for
the promising young pianist.
Various Artists
The Big Broadcast, Volume 4
(Rivermont)
This fun series from Rivermont (www.rivermontrecords.com) is put together by Rich Conaty, who hosts “The Big
Broadcast” on WFUV in New York. As with the previous volumes, the 25 selections on this CD date from the 1920s
and ‘30s, is programmed loosely in chronological order, and includes a variety of mostly rare jazz and popular
music.
Covering 1918-37, the program includes performances by singer Arthur Fields (“Ja Da”), Chas. A Matson's Creole
Serenaders, the Ipana Troubadours, Fred Elizalde, Johnny Johnson's Statler Pennsylvanians, Emerson Gill,
Johnny Marvin (with Benny Goodman as a sideman), Fred Rich, Nat Shilkret, Seger Ellis, Benny Meroff, Annette
Hanshaw (“The One I Love”), the Mariners Trio, Harry Hudson's Melody Men, Kate Smith, Dick Robertson, Rudy
Vallee, Roy Fox, Claude Hopkins, the Three Keys, Hans Bund (recorded in Berlin in 1934), Freddy Martin, Joe
Venuti, Don Redman (a test pressing version of “Sweet Sue”) and Ben Bernie (an unissued private recordings of
“Look Who's Here”). Most of the selections, even those from pop singers of the era, are of interest from the jazz
standpoint and few of the performances are all that common.
Fans of early jazz will want this one, and many of the other releases put out by the Rivermont label.
Ben Geyer
The Narrative
(Ben Geyer)
Aaron Germain
Before You Go
(Aaron Germain)
John Lang
Lend Me Your Ears
(NYC)
Gaea Schell
After The Rain
(Roadhouse)
With the collapse of many record labels, the lack of interest of the larger American labels in recording new jazz,
and the dominance of downloading among the young, the record industry has drastically changed during the past
decade. A large percentage of new jazz releases are being put out by either tiny labels or the artists themselves.
That is true of the four CDs covered in this article.
The bad news is that the CDs generally cannot be found in the surviving record stores, but the good news is that
the quality of music is usually quite high. And after becoming aware of the recordings, by using the internet
listeners can locate copies of these CDs.
Pianist Ben Geyer on The Narrative has contributed two lengthy suites that are somewhat cinematic and inspired
by stories. “The Slip” is a three-part work that has been choreographed as a modern dance work. Its plot is about
two hydrogen atoms that combine together to form water before separating, while the four movements of “East Of
Eden Suite” musically depicts the biblical saga of Cain and Abel. While much of the music for the sextet (Robbyn
Tongue on alto and clarinet, Kristian Baarsvik doubling on tenor and clarinet, trumpeter Benje Daneman, bassist
Dylan Shamat, drummer Danny Wolf and the leader on piano) is written out, there is room for solo space, with the
improvisations being a logical outgrowth of the arrangements. The results are colorful, intriguing, and well worth
hearing, available from www.bengeyer.com.
Bassist Aaron Germain contributed all ten originals to Before You Go. His music can mostly be called post bop
jazz, with unusual chord changes, a forward momentum, and room for plenty of dynamic solos. Eight of the ten
numbers feature the brilliant tenor-saxophonist Sheldon Brown (whose influences range from Stan Getz to Michael
Brecker), pianist Matt Clark, drummer Bryan Bowman and the virtuosic Germain in a quartet except for the
swinging “Wrong Way Blues” which adds guitarist Matt Heulitt. On “Deep Breath,” trombonist John Grove and
vibraphonist Derek Smith are strong assets. “Bellabou Baiao” is a change of pace and a highlight since it features
both Adrian Jost and Colin Hogan on accordions and Sheldon Brown switching to clarinet. The uptempo piece is
worthy of Paquito D'Rivera. Aaron Germain has succeeded at creating an enjoyable set of modern jazz that is
easily recommended and available from www.aarongermain.com.
Bassist John Lang's Lend Me Your Ears, although recorded recently, is more boppish. Lang performs three of his
songs apiece with two different quintets and an octet, all of which use completely different personnel other than
the leader. The music is often quite extroverted, whether it is the rhythm changes of “Scuttle The Muttle,” the Jazz
Messenger feel of “Art Lovers” (obviously a tribute to Art Blakey), or the Latinish “Thumbelina,” with the lyrical
ballad “Communion” being a contrast. The lineup of musicians (trumpeters Nathan Eklund, David Smith and Bill
Mobley, tenors David Noland, Kim Bock and Craig Yaremko, altoist Erik Lawrence, trombonist Andy Hunter,
pianists Jeremy Manasia and Ehud Asherie, guitarists Justin Wert and Saul Rubin and drummers Andy O'Neill,
Brian Floody and Phil Stewart plus John Lang) is filled with excellent and talented players deserving of being
discovered. Straight ahead jazz collectors will want this excellent outing, available from ondalito@earthlink.net.
Pianist Gaea Schell has long been a local favorite, a talented pianist and a personable vocalist who has her own
fresh phrasing. On After The Rain, she is joined by drummer Jones Alsanders, either Scott Steed, Roger Shew or
Chris Colangelo on bass and (for three of the 13 selections) tenor-saxophonist Chuck Manning. Six of the 13
selections (including the sensitive “After the Rain,” the melancholy “Requited) and the jazz waltz “Tangible”) are
Gaea's originals while her seven interpretations of standards at times recall Bill Evans in its chord voicings but are
full of her own ideas. “”How Insensitive” and “In Love In Vain” are among the highlights of this high-quality set from
the fine pianist-singer, available from www.roadhouserecords.ca.