The Art of the Ballad; Jon Mayer, piano.
When I began producing solo piano concerts in 2010, I never gave a thought that any of them might result in commercial recordings. But now it’s happened twice. This time it’s Jon Mayer, a gifted pianist whose resume is loaded with the names of jazz giants. Jon has played for us twice at Classic Pianos, and this wondrous all-ballad album presents Mayer doing what he loves — playing the shining stars of the American Songbook. Jon has known and revered these masterpieces all of his adult life, and one can hear it in every note. There are 12 tunes in all, every one a classic. Just to give you an idea, how about “Prelude to a Kiss,” “When I Fall in Love,” “For All We Know,” and perhaps my personal fave, the rarely heard gem, “Don’t Misunderstand.” On all these and more, Mayer brings a lifetime of passion for these titles. And an appreciative audience is enthralled. Special thanks to Classic Pianos for making it all possible, and to engineer Patrick Springer for the gorgeous recording quality. This stunning recital is available at CD Baby. And look for Jon’s return to Portland and Classic Pianos in early summer, 2015. Self-produced; 2014; appx. 59 min.
Tuesday Night; Gordon Lee with The Mel Brown Septet.
Where there was once bristling, beautiful hard bop, there is now Tylenol, toys and towels; what was once a favorite jazz hang called the Hobbit, is now a Walgreen’s. But many remember those nights on SE 39th & Holgate. Among the stars on that stage were Mel Brown, Thara Memory, Warren Rand, Michael York, Tim Gilson and Gordon Lee. Well, most of the names have changed, and the venue is now Jimmy Mak’s on Tuesday nights. Gordon Lee is a deep and creative pianist whose writing for this hard bop ensemble knows no boundaries. He and Brown continue their lengthy tenures on piano and drums. And here they are joined by Derek Sims, trumpet; Renato Caranto, tenor sax; John Nastos, alto sax; Stan Bock, trombone; and Andre St. James, bass. Eight of the nine compositions are Lee’s originals with his high-energy arrangements, and all celebrate the scintillating and timeless style of Art Blakey. The solos are masterful, the ensemble passages are brilliant, and the temperature rises at the sound of this septet in full flight. OA2 Records; 2014; appx. 55 min.
Mark Elf Returns, 2014; Mark Elf, guitar.
It’s been eight long years since Mark Elf’s last recording. Much of this was due to the devastating effect of Hurricane Sandy, which hit the guitarist and his whole neighborhood with a near knockout punch. But Elf is working hard to get his life back in order. And with the help of a Kickstarter campaign, here’s his new CD with long-time associates David Hazeltine, piano, Peter Washington, bass, and Lewis Nash, drums. Elf is a wonderful, natural musician and a superb, real-deal guitarist. No loops, effects, turntables or synthesizers here. Every track is a jazz guitar lover’s delight, so let’s examine at least a handful.
“A Little Diddy” and “The Bottom Line” follow a favorite device in the jazz world, the creation of a new piece from the chord changes of an old one. And so “Diddy” is based on Duke Jordan’s staple “Jordu,” and “Line” is a cousin of “I Got Rhythm.” Elf’s standard choices this time around include “Time On My Hands,” “People Will Say We’re in Love,” and a lesserknown gem traceable to Billy Eckstine called “It Was So Beautiful”; in Elf’s hands it is just that. On two tunes, Elf picks up the baritone guitar, something nearly as rare as an iguana in an Oregon rain forest. And he dedicates two more originals to sisters Jacky and Michelle, both of whom have passed on. “The Sandy Effect” is a sad, but not gloomy remembrance of the hurricane. On all these and others, with solid support from his top rhythm section, Elf is back. I for one am very happy about that!
Jen Bay Jazz; 2014; appx. 54 min.
Offering: Live At Temple University; John Coltrane, tenor and soprano saxophones.
OK, Trane heads! Get out and grab this recording of a 1966 concert never before released. Here it is on two CDs with the icon himself in the company of Alice Coltrane, piano, Pharoah Sanders, tenor saxophone and piccolo, Sonny Johnson, bass, and Rashied Ali, drums. Remastered from recently discovered tapes, the sound quality on this historic session is just fine. And kudos to Resonance Records for releasing it (both on CD and on vinyl), because there’s only one cut under 16 minutes. And there are only five tracks (on two CD’s) altogether! This is the later Coltrane — distinguished by ultra long solos and sonic adventures from all comers. It bears little comparison to Coltrane’s earlier, more accessible work on Prestige and Atlantic. For the record, the tunes are “Crescent,” “Leo,” and “My Favorite Things,” each of which exceeds 20 minutes; then there’s “Naima” at “just” 16 minutes, and “Offering” at only four! While this music is pretty far off the diving board for many listeners, it will surely be hailed as a major find. After all, like it or not, it’s John Coltrane, a huge influence on thousands of players, and if there is such a thing, a musical god.
Resonance Records; 2014; 2 CD’s: 42:39 and 49:06.
Before You Know It - Live In Portland; Ezra Weiss Sextet.
R.I.P., Ivories Jazz Lounge. An ideal place to enjoy a wide variety of jazz, Ivories gave it a solid run before closing in 2014. Late in 2013, Ezra Weiss brought his sextet into the room, and this well-recorded, spirited set is the result. Weiss manages to write both energetic, high-voltage contemporary music and slower, often sweeping pieces that sometimes have a movie theme quality.
Among those original works, I especially liked “The Five A.M. Strut,” which combines a funky feel while somehow bringing in the shadow of Thelonious Monk. “Jessie’s Song” features some nicely communicative ensemble playing, and “The Crusader” is one of those timeless sounding hard bop lines. The two standards on the CD, Gershwin’s “A Foggy Day” and John Coltrane’s “Alabama” both receive 11-plus-minute treatments, allowing loads of creative license for Farnell Newton, trumpet, John Nastos, alto sax, Devin Phillips, tenor sax, Jon Shaw, bass, Christopher Brown, drums, and the leader on piano. On all these and others, Ezra Weiss and company strut their stuff playing the jazz of today — just the way it’s supposed to sound!
Roark Records; 2014; 77:04.
Over Time: Music of Bob Brookmeyer; Vanguard Jazz Orchestra.
This is just one man’s opinion, but I think all of Bob Brookmeyer’s joyous and witty work with Clark Terry, Zoot Sims, Chet Baker and Stan Getz led us down the garden path. In addition to all that timeless work, there was Bob Brookmeyer the composer and arranger. This important recording shows that deep well of creativity and puts it in the best possible hands. Just before his passing in 2011, Brookmeyer had written several compositions for the Vanguard Jazz Orchestra. That 16-piece marvel is of course the successor to the Thad Jones-Mel Lewis Jazz Ensemble, founded in 1966 and still going strong. Other selections were actually submitted to Thad Jones “way back when” but never found their way to your turntable.
So here’s proof that Brookmeyer had a serious, no nonsense side; that, like Duke Ellington, he wrote with certain gifted soloists in mind; that he was a wellspring of intensity; and that he could make a band swing and still sound contemporary and vital. Through the years, my admiration for Brookmeyer has grown immensely. And we find that the latter day Brookmeyer was just as gifted as the young kid from the fifties.
Planet Arts; 2014; appx. 58 min.
The Corbanator; Larry Corban, guitar.
To paraphrase Tom Hanks in the film “Forrest Gump” — “the guitar is like a box of chocolates; you never know what you’re going to get.” The poor guitar is, of course, the most abused of all instruments. So when we encounter a guitarist such as Larry Corban, there’s reason to celebrate. His no nonsense, deep in the pocket sound draws on decades of tradition. On this most welcome disc, he is joined by James Weidman, piano, Harvie S., bass, and Steve Williams, drums. Corban’s lines are fresh as a starched dress shirt, clear as a cloudless sky, and man, he swings hard. The opener, “Dizzy Affairs,” is based on chord changes to “You’d Be So Nice to Come Home To,” getting the session off to a crisp start. Corban’s writing, as evidenced by several of his original tunes, is very straight ahead, bop-flavored and melodic. A few faves include the aptly titled “Sea of Fire,” with Corban playing very fast-paced single note lines; the quirky, tricky tempo of “Two, Two, Three Step”; and the rather delicate “Stacked Coincidences.” To these and other well-honed originals, add “Blue in Green,” “You Stepped Out of a Dream,” and the rarely heard beauty, “Old Folks.” One doesn’t have to turn the world upside down to sound great. And Larry Corban sounds great!
Nabroc Records; 2014; appx. 58 min.
The Late Show - An Evening with Jaki Byard, solo piano.
It has to be called a great day when a new recording shows up from a woefully under-recorded artist. Such is the case here with the late Jaki Byard, whose well-recorded solo set at San Francisco’s Keystone Korner adds a valuable piece to the limited Byard discography. He could do it all: Garner-esque left hand; Tatum-ish right hand runs; striding a la Fats Waller; a touch of Bud Powell, Thelonious Monk and other treats. But most of all this recording captures the creative but accessible Byard in all his unique and striking glory. You’ll also hear him charming the audience with relaxed remarks between tunes. And with the exception of a few beautifully performed originals, most of the selections are familiar to us: “Hello Young Lovers,” “Daydream”/”Caravan,” “In Your Own Sweet Way,” “Sweet Georgia Brown,” “For All We Know,” and more.
If you’re not acquainted with the sometimes powerful, sometimes delicate piano of Jaki Byard, this 1979 session is a great place to start. Released for the first time, it’s a joy to hear.
High Note; 2014; appx. 65 min.
Solitary Moon — The Johnny Mandel Songbook; Ginger Berglund, vocals; Scott Whitfield, vocals and trombone.
When the era of the outstanding American composers faded into Elvis, Doo-Wop, Motown and The Beatles, there remained a few quality musical poets unwilling to raise the white flag. Names that come to mind include Legrand, Frishberg, Mancini, the Bergmans, Fran Landesman, Blossom Dearie, and of course, the great Johnny Mandel. Berglund and Whitfield form a solid, impressive singing team here, and Whitfield adds some well-placed trombone work and all of the excellent arrangements. The frosting on this delicious cake is provided by LA stalwarts such as Carl Saunders, Don Shelton, Ken Peplowski, Kendall Kay, Pete Christlieb and many more. Mandel collaborated with a number of lyricists, among them Portland’s Dave Frishberg on “Little Did I Dream,” “El Cajon,” and the tear jerker, “You Are There.” Other prominent lyricists represented include Marilyn & Alan Bergman on “Cinnamon and Clove,” “Solitary Moon,” “I Won’t Believe My Eyes,” and “Where Do You Start.” Arthur Hamilton, a long time contributor to many tunes, provided lyrics for “First,” “Vacation from the Blues” and “I Never Told You.” Other Mandel gems include “Emily,” “Close Enough for Love” and “The Shadow of Your Smile.” Berglund and Whitfield plus a who’s who of LA cats pay honor to a quiet hero of goodness, a composer who refused to sell out — Johnny Mandel.
Bi-Coastal Music; 2014; appx. 67 min.
Mists; Charles Ives for Jazz Orchestra; Jack Cooper, arranger.
Hey, third streamers! This one’s for you! Arranger Jack Cooper has assembled the music of American composer Charles Ives for an 18-piece jazz orchestra with a guest appearance from trumpet ace Terrell Stafford. You may be sure that this is not a “swingin’ the classics” session. On the contrary, Ives’ music sounds as though it was composed with jazz in mind. So we experience a plethora of color, movement and emotion. Cooper has put all of these effects into the hands of solid musicians who respond with provocative solo work and stirring ensemble passages. A long time ago, music such as this would have been dubbed “experimental.” In 2014, it’s right down the center of the highway. It’s just that this highway has some twists and turns and offers some beautiful scenery along the way.
Planet Arts; 2014; appx. 56 min.
Memphis Skyline; Dana Landry, piano.
What might these jazz heavy hitters have in common? Phineas Newborn, Harold Mabern, Frank Strozier, Hank Crawford, James Williams, Charles Lloyd and Donald Brown. Well, the album title probably gave it away — they all hail from Memphis. One might surmise that Landry has a lot to live up to. This album features one composition by each of the eight cats, and one of Landry’s own. All of this suggests strongly that Landry is a name to watch. His hard swinging trio includes Erik Applegate on bass and Jim White on drums. Together they let all the horses out on a free-wheeling, swinging piano journey straight out of the tradition. The entire album is a pleasure to hear, but if I were forced to choose a handful of favorite tracks, they would be these: Mabern’s very boppish, uplifting “To Wane”; Williams’ poignant ballad, “Yolanda’s Storybook”; Lloyd’s funky blues, “Transfusion”; and Brown’s challenging “Basically Simple” (which is anything but). Landry and friends romp through these and more with ease and fiery virtuosity.
Artist Alliance Records; 2014; appx. 50 min.
Manhattan Stories; Charles Lloyd, tenor sax and flute.
“We all felt like the boundaries were being dissolved and we could do or try anything. This is a music of freedom and wonder —we were young and on the move.” So spoke Charles Lloyd of the music on this previously unreleased two-CD set. Recorded at two concert venues in New York City in 1965, Lloyd sets up shop here with Gabor Szabo, guitar, Ron Carter, bass, and Pete La Roca, drums. Be wise to the fact that this is not music for your Aunt Lucille who dug Nelson Eddy and Jeanette MacDonald. Each CD contains only three tracks, with tunes ranging from 12 to 17 minutes in length. Normally, under such conditions we simply say that it gives the players a chance to “stretch out.” However, this music is in its entirety a stretch for many listeners. Call it what you like —a trip into the early avantgarde, free playing defined, musically adventuresome or all of the above. And give credit to Resonance Records for releasing it, because the lengthy tracks won’t get them much radio exposure. Still, there remains an audience for Charles Lloyd and his immense musical imagination. And for that certain segment of listeners, this complex recording will be welcomed.
Resonance Records; 2014; 2 CD’s; appx. 43 and 42 min.
The Jazz City Workshop; Marty Paich, piano.
Now here’s a CD reissued with little fanfare earlier this year. And to my knowledge (besides one or two piano trio effects), this is the only time Paich recorded outside his usual small big band, the Marty Paich Dek-Tette. That ensemble was so polished, so West Coast cool, and featured top tier soloists like Art Pepper and Jack Sheldon, that it becomes tough for this otherwise very good session to compare. So let’s not do so.
Here, Paich’s pristine piano meets Herbie Harper, a nearly forgotten but very fine trombone man, along with Larry Bunker, vibes, Curtis Counce, bass, Frankie Capp, drums, and Jack Costanzo, bongos. The group cuts a swinging path through “Zing Went the Strings of My Heart,” “Autumn Leaves,” “Laura”, “Them There Eyes” and one jazz book offering, “Blues in the Closet.” Singer Mickey Lynne gets one chance at stardom on “That Old Black Magic.” The Dek-Tette material is more memorable and is definitely a collectors’ item today. But this studio date, originally cut for the Bethlehem label, features some premier LA guys doing what they loved to do in the mid-’50s.
Verse Music Group; 2014; times not indicated.
A Tribute To Wayne Shorter; Dave Liebman, soprano sax.
Aside from Sidney Bechet and a few others, the soprano saxophone has never made my top ten list. Not even as played by John Coltrane. So I was quite surprised with my reaction to Dave Liebman playing the music of Wayne Shorter. With a hot big band behind him, Liebman works out on nine timeless Shorter tunes. And the material must have inspired him, because Liebman keeps it all under control and very much down the center of the highway. The arrangements sizzle and soar, and Liebman and some 18 colleagues are all business throughout. Among others you’ll hear “Infant Eyes,” “Speak No Evil,” “Nefertiti,” and my personal favorite, “Yes or No.” Give credit where it’s due, they say. And Dave Liebman hits the bull’s eye this time, no doubt about it.
Summit Records; 2014; appx. 67 min.
Independence; Nir Naaman, tenor and soprano saxes.
It seems in the last decade or so that Israel has sent more than its share of jazz musicians to these shores. One of the more recent arrivals is Nir Naaman, born and raised in Israel but fully immersed in Yankee jazz. This is his debut album, and let’s put it this way — would you “settle” for George Cables, Marcus Printup, and Gregory Hutchinson, among others, on your first recording? With the exception of “The Very Thought of You” and “Polka Dots and Moonbeams,” the remaining material is all credited to Naaman. A few of those originals that started my engine include an upbeat opener, “Ohali Blues”; a brisk flight on “Dilemma”; the ensemble work and energy of “Independence”; and the way in which Naaman captures the spirit of the crescent city on “New Orleans Twist.” I shouldn’t dismiss the standards, either — “Thought” and “Polka Dots” — without saying that they are played with great affection and beauty. And your ear will tell you that Naaman is a first rate player straight out of the tradition. George Cables said of him, “To be sure, this CD is an example of Nir Naaman’s many musical gifts and accomplishments.” I couldn’t agree more.
Self-produced; 2014; appx. 58 min.
Swingin’ On A Star; Mason Embry, piano.
Sometimes we just want to sit back in our easy chair, pour a little Chablis, and listen to familiar songs played by a classy, elegant piano trio. And that’s exactly what you get with Embry, Michael Rinne, bass, and Joshua Hunt, drums. No re-inventing the wheel, but must we always make new statements? I say of course not. So here comes Embry, drawing inspiration from the likes of Teddy Wilson, John Bunch, Eddie Higgins and others. Elegance personified. Twelve tunes in tribute to great “crooners” of the 20th century. So get ready for “Beyond The Sea,” “You Make Me Feel So Young,” “Swingin’ on a Star,” “Wives and Lovers,” “On the Street Where You Live,” “Where Do I Begin,” “That’s All” and more. If you had a rough day, you can make it better with Mason Embry. Ditto if you had a good day!
Green Hill Records; 2014; 46:39.
Pages From An Imaginary Life; Andy Bey, piano, vocals.
This is Bey’s second recording for the respected High Note label, and if you don’t know his work, let me fill you in, at least a little bit. Bey’s been on the scene for something over 50 years, going way back to some RCA Victor sides by “Andy & The Bey Sisters.” In more recent years his piano and voice have been in the foreground. Some may consider him an acquired taste, but once you hear him on, for example, “I’ve Got a Right to Sing the Blues,” he puts his whole life in music into every word.
On this recording he delivers four groups of songs, all of which examine different aspects of life. He never wastes a note on piano, and that sparse style perfectly supports his expressive vocals. When Bey “cries” in falsetto, you know he’s been there. Standards and a few Bey originals make a heavy impact on the listener. Among these familiar melodies are “My Foolish Heart,” “Love for Sale,” “Good Morning, Heartache,” “Lover Come Back to Me,” “Take the ‘A’ Train,” and “Everything I Have Is Yours.” Lesser known tunes complete an altogether riveting performance by Andy Bey, a unique and dedicated artist.
High Note; 2014; appx. 65 min.
Samba Little Samba; Gabriel Espinosa, bass and vocals; Hendrik Meurkens, harmonica and vibes.
The CD cover indicates that Espinosa and Meurkens are coleaders of the session. True that may be, however, ten of the 12 tracks feature vocals by Alison Wedding, a singer well-suited to the material. Singer Tierney Sutton makes a guest appearance on the only standard on the menu, “Besame Mucho.” Meurkens, a veritable wizard on the harmonica, plays with unbounded joy on the fast tempos and with sometimes hand-wringing sadness on the ballads. The songs are all from the Brazilian book, and as such are built on exquisite melody lines.
Perhaps the most prominent guest artist is clarinet and tenor sax sensation Anat Cohen, who adds her colorful touch on four tracks. The thing to remember about Brazilian music is that when it’s happy, there is none happier. But when it’s sad, it’s a depth of sadness that is truly intense. This CD contains a lot of music from both emotional camps. And it’s very well-performed.
Zoho; 2014; appx. 57 min.
Cat House; Cat Conner, vocals.
When Cat Conner’s first CD reached me for review in 2011, I wrote, “There’s a direct sincerity in the way she tells the stories of these songs. Few can attain it and you know it when you hear it. Conner is the understated real deal.” Well, CD number two gives me no reason to alter that opinion. And before we get to her singing, it should be said that you must have all your jazz marbles in the jar to get this caliber of L.A. jazz masters on your gig. On this session Conner works with John Chiodini, guitar, Gene Cipriano, reeds, Tom Ranier, piano, Chuck Berghofer, bass, Joe LaBarbera, drums, Ron Stout, trumpet, and Dick Nash, trombone.
I can’t comment on all of the great songs she chooses, but how about “Handsome Man” (aka “Pretty Girl”), written by Duke Ellington with Billy Strayhorn’s perfect lyric; “Giant Steps,” the Coltrane anthem, was given lyrics by another marvelous singer, Meredith d’Ambrosio; and “Heart’s Desire” is a beautiful marriage of an Alan Broadbent melody and a Dave Frishberg lyric. Conner also handles the etched-in-stone standards with a radar-like jazz approach. Tunes such as “Everything I Love,” “Remind Me,” “Baltimore Oriole” and even “You’re Driving Me Crazy” are solid choices for Conner’s formidable chops. So, jazz friend, I reaffirm what I said before. In her own way, Cat Conner is the real deal and every bit as hip as Annie Ross.
Cat Tales Records; 2014; appx. 51 min.
It’s About Time; Al Muirhead, trumpets, vocals.
Jazz In Canada? Well, there’s Oscar Peterson, Diana Krall, Rob McConnell, Ed Bickert and Guido Basso, to name a few. But how about trumpet man Al Muirhead, a Canadian stalwart who has been a mainstay on Calgary’s jazz scene since moving there in 1966! Muirhead, who has filled every need for a trumpet in the Calgary area, has released his first album at the age of 78! His quintet features P.J. Perry, saxophones, Tommy Banks, piano, Kodi Hutchinson, bass, and Tyler Hornby, drums. Their choice of tunes represents a wide span of time, from “Sleepy Time Down South,” “Pennies From Heaven,” and “The Girl Next Door” to Dizzy’s “Night In Tunisia” and Clifford Brown’s classic “Joy Spring.” But Muirhead also gives us “Ida Mae”, a touching tribute to his bride of many years, and the title tune, a sprightly blues entitled “It’s About Time.” But the tune that really caught my attention was “Breakfast Wine,” a whimsical melody that was first done by another trumpet ace, Bobby Shew. Muirhead is in the center of the tradition, a disciple of players such as Armstrong, Hackett, Fagerquist and Edison, to name a few. The double meaning of “It’s About Time” is obvious, but one hopes Muirhead finds time to return to the studio.
Chronograph Records; 2014; appx. 52 min.
Happy To Be; Julie Kelly, vocals.
This CD represents my first acquaintance with Julie Kelly, and I sure liked what I heard. Kelly is a natural jazz singer. Nothing’s forced or over the top. It all comes easily to her, and she doesn’t lean on worn material. In fact, her choice of tunes reflect the hipness of a seasoned jazzer. Want proof? Well, consider Dave Frishberg’s “Our Love Rolls On,” Bob Dorough’s “You’re the Dangerous Type,” Roger Kellaway’s “I Have the Feeling I’ve Been Here Before,” or Thad Jones’s “High in the Sky.” With these tunes and others by such notables as Jim Tomlinson, John Proulx, Rich Eames and Kelly herself, this is an album full of wit and surprise.
Kelly’s colleagues include Bill Cunliffe, piano, Anthony Wilson, guitar, Bob Sheppard and Kim Richmond, saxes, Clay Jenkins, trumpet, and Ron Stout, flugelhorn, among others. Kelly’s immediacy and intimacy are refreshing, and if she reminds me of one great singer from the past, I’d mention the name Irene Kral. How’s that for good credentials?
Jazzed Media; 2014; appx. 49 min.
Live In Chicago; Frank Walton-Yoron Israel Sextet.
A native of Birmingham, trumpet man Frank Walton eventually chose Chicago as his home base, and he’s been a windy city mainstay ever since. This session was performed on the University of Chicago campus in January of this year. And it won’t take long for you to realize that the sextet concentrates on the hard bop format represented with so much passion on Blue Note of old. The liner notes even compare them to the likes of Lee Morgan, Hank Mobley and Freddie Hubbard, all prominent Blue Note artists. In fact, three of the tunes in this scintillating set were written by the above named all-stars. In addition to co-leaders Walton and Israel (respectively on trumpet and drums), the sextet includes Allen Chase on alto sax, Kevin Harris, piano, Avery Sharpe, bass, Lance Bryant, tenor sax, and guest Tony “Toca” Carpenter, percussionist. The only standard in the set is “One Mint Julep,” which I’m sure you’ll recall from the famous Ray Charles rendition. If you lean towards the Blakey and Blue Note sound, by all means, land here!
Han-Wal Productions; 2014; appx. 77 min.
Affirmation; Jason Yeager, piano.
Each time I write reviews for Jazzscene, I wait for a pianist with “the touch.” Many have had it over the years, but two who immediately leap to the top for me are Hank Jones and Tommy Flanagan. As a matter of fact, I’d love to hear what Yeager can do with a few standards and bop tunes. But that’ll have to wait for another record. This time it’s Yeager and his trio maneuvering around some expressive melodies and quirky, tricky and very creative lines. The trio, with Danny Weller on bass and Matt Rousseau on drums, is joined by some solid guests on a few cuts. But this is mainly a chance for Yeager to display chops, creativity, and “the touch.” Recommended listening.
Inner Circle Music; 2014; appx. 59 min.
The New Straight Ahead; NYSQ (New York Standards Quintet).
Now here’s a group that really values the tradition. They even include the word “standards” in their name. The quartet is comprised of Tim Armacost, saxes, David Berkman, piano, Daiki Yasukagawa, bass, and Gene Jackson, drums. They obviously believe in keeping the music of past masters alive and accessible. They invest most of them with an updated spirit, but classics are classics, and one never tires of them. Among others, NYSQ puts its fresh spin on Monk’s “Misterioso,” Bird’s “Ah-Leu-Cha,” Duke’s “It Don’t Mean a Thing,” and dreamy things like “When You Wish Upon a Star” and even the ancient opus, “Remember.” Armacost has a muscular tone on tenor and soprano, and Berkman is straight into the groove on piano. These veterans bring new joy to old tunes.
Whirlwind Recordings; 2014; 50:47.
The Disciple; Peter Zak, piano.
The notes accompanying this CD indicate that this is Peter Zak’s tenth (!) album for the fine Danish label, SteepleChase. Which begs the question: where the heck have I been? I’ve missed out on the other nine! Zak plays a beautiful piano with an understated, masterful tone. Clearly, he follows a long, proud line who have, over many years, established both a tradition of piano trio music and a standard to live up to as well. Zak succeeds in both areas. With two much admired colleagues, Peter Washington on bass and Willie Jones III on drums, Zak honors a handful of those piano heroes, playing lesser known pieces by Chick Corea, Elmo Hope, Horace Silver, Herbie Hancock, Hampton Hawes and Thelonious Monk, among others. Hence the album title. Zak has all the tools in this classic piano trio encounter. Now, where can I find those other nine albums?
SteepleChase; 2014; 65:10.
The Last Southern Gentlemen; Delfeayo Marsalis, trombone.
Whatever they may play at any given time, you may be sure that the Marsalis clan has been well-schooled in the Great American Songbook. So it comes as no surprise that the quartet led by trombonist Delfeayo would be a program consisting almost entirely of those timeless melodies. With Ellis, father of the famous sibs at the piano, John Clayton on bass and Marvin “Smitty” Smith on drums, the foursome picks up where Wynton left off with his several volumes of standards.
Delfeayo plays both serious and playful on 15 tunes, sometimes using the mute, sometimes straight, and all are loving treatments of tunes which have stood the test of time. There’s no gimmickry here, no “look what I can do” nor over-the-top showmanship. If anything, this is a reminder of the way records were once made, and I welcome it. Those titles? “Autumn Leaves,” “She’s Funny That Way,” “I’m Confessin’,” “But Beautiful,” “Speak Low,” “That Old Feeling” and more.
Troubadour Jass Records; 2014; appx. 70 min.
SHORT TAKES
Trip; Tom Harrell, trumpet and flugelhorn.
If anyone was destined to play the trumpet, Tom Harrell would be way up on the list. His combination of virtuosity at ferocious speeds and beauty of tone is awesome. On his new CD he works in a piano-less quartet with the equally enthralling Mark Turner on tenor, Ugonna Okegwo on bass, and Adam Cruz on drums. They offer 12 originals to charm and amaze.
High Note; 2014; appx. 60 min.
Flying Over Rio; Harry Allen, tenor sax.
As far as I know, this is Harry Allen’s first Brazilian style album, and it’s a mixed bag. There’s no denying that his tenor sax is as gorgeous as ever. But of the 15 tunes, the five vocals didn’t fit well with the remainder of the CD. Also, some guitar “trickery” did nothing to help the cause. But on both familiar and obscure Brazilian choices, Allen still “sings” on tenor.
Arbors; 2014; appx. 76 min.
Reliving The Moment; Cedar Walton, piano.
This previously unreleased set actually draws upon two of Cedar’s appearances at San Francisco’s Keystone Korner, one in 1977 and one in 1978. That’s why trumpet idol Freddie Hubbard and tenor man Bob Berg split the horn duties. The six tunes are mostly Cedar’s or Hubbard’s, with one standard, “For All We Know.” Lots of high peak hard blowing here with long cuts — typical of a live recording.
High Note; 2014; appx. 65 min.
Monk: The Lost Files; Clarence Penn, drums.
The music of Thelonious Monk is so pure and perfect as written that it doesn’t work all that well when “messed with.” Penn and associates keep the melody lines intact, but they alter the rhythms. Perhaps it’s done to illustrate some the adaptability in Monk’s music. But rhe attempt nearly results in something other than Monk. It may work for some Monksters. Just not this one.
Origin; 2014; appx. 53 min.
Bird In The Hand; Ben Bailey and The Nashville Big Band.
Atlanta based drummer Ben Bailey (not to be confused with trumpet great Benny Bailey) leads a swinging, Basie-style romp on both familiar and new tunes. There are some jamming soloists here. Proof, as if we needed it, that talent can be found everywhere and anywhere. Ben Bailey’s debut album is a winner.
A Duffy Jackson Production; 2014; times not indicated.
Clarity; The Music Clare Fischer; Roseanna Vitro, vocals.
Clare Fischer wore many hats: pianist, composer, arranger. He often wrote in a nearly third stream style and was a deep, versatile contributor to American music. Of the 10 Fischer tunes sung here by Roseanna Vitro, “Pensativa” and “Morning” are probably the best known. But with Vitro’s expressive vocals, we are also treated to Fischer’s lesser known work, which is often filled with dreamy tenderness and melodic perfection.
Skyline Productions; 2014; appx. 56 min.