Live In Bern; Scott Hamilton, tenor sax, and the Jeff Hamilton Trio.
It’s quite likely that Scott and Jeff Hamilton (not related) have worked together hundreds of times at jazz clubs, festivals and parties over the last 25 or 30 years. But this is their first recording together, and it’s a doozy! Drummer Jeff’s peerless trio includes piano marvel Tamir Hendelman and the dynamic Christof Luty, bass. And everyone sounds inspired on nearly 70 minutes of jazz perfection featuring 13 tunes representing both the jazz and standard books. Scott is of course a consistently brilliant player, dedicated to the tradition of giants with names like Hawkins, Webster and Byas.
Every tune is a shining light — how could it be otherwise with choices like “September in the Rain,” “All Through the Night,” “This Can’t Be Love,” “You and the Night and the Music” and other great standards. From the jazz book there’s “Soul Eyes,” “Woody ‘n’ You,” “The Champ”’ and “Centerpiece.” A couple of unexpected delights are Benny Carter’s serene beauty “Key Largo” and Billy Strayhorn’s rare treasure “Ballad for Very Tired and Very Sad Lotus Eaters.” The Hamiltons are without doubt among the present day masters, and Hendelman is a rapidly rising “do everything” piano ace. This is a beautiful real deal jazz record. You don’t find many of them these days.
Capri; 2015; appx. 68 min.
Emerging Markets; Pete Malinverni, piano.
Here’s the deal: take a sampling of the bop genius of Bud Powell or Barry Harris. Add a dose of the mystery and wit of Thelonious Monk, Elmo Hope or Herbie Nichols. And don’t leave out the individual qualities so important to any musician. “Find your own voice,” they’re told from the beginning. And with the influence of such artists as those named above, Pete Malinverni has done just that. On this session his quintet examines an all-original menu dedicated to various American cities. He’s joined by Bruce Harris, trumpet; Doug Weiss, bass; Victor Lewis, drums; and the gifted but under-appreciated Rich Perry, tenor sax.
So let’s touch on a few of the eight selections. “Buffalo, City of Illusions” recalls Pete’s home town and delivers a strong Monk message in its winning melody line. “Detroit: Still Movin’ and Groovin’” provides a shuffle rhythm and a bit of a gospel turn. And “Milwaukee: Hammerin’ Hank” goes from minor to major in a sharp and fresh medium groove. Malinverni’s solos are always harvesting new ground, and in their bright and open spirit, a joy to hear. Perry and Harris are ideal colleagues whose musical ideas are endless. Malinverni has occupied a very high place on my list of creative, “thinking” piano giants. This CD reaffirms that opinion.
Glass Beach Jazz; 2015; appx. 56 min.
But For Now; Bob Dorough, piano and vocals.
I always look forward to new Bob Dorough recordings with anticipation and delight. Dorough is an amazing presence in the jazz pantheon. At 93 years of age he remains the hip jazz man he’s always been. Nobody ever suggested that his voice could be mistaken for, say, Johnny Hartman’s. But Dorough, in his unique gravelly, scatty but always sincere way, retains his ever-faithful cult following. On this new CD, he changes things up a bit by adding alto sax player Michael Hornstein to the session. Hornstein has a sharp invigorating sound, not unlike a Bud Shank approach. Bassist Tony Marino completes the group, and the trio grabs a hold of a dozen tunes, including “Stars Fell On Alabama,” “Indian Summer,” “Prelude to a Kiss,” and two Dorough compositions, the title tuneand “Better Than Anything.” To these and more add a couple of instrumentals featuring Hornstein’s alto on “The Shadow of Your Smile” and “Harlem Nocturne.” Bob Dorough’s been in the game for some 70 years. He’s still the hippest, coolest cat out there!
Enja; 2015; appx. 52 min.
A Beautiful Friendship; Alexis Cole, vocals and Bucky Pizzarelli, guitar.
If you haven’t yet acquainted yourself with Alexis Cole, now’s the time. Because in the current sphere of younger generation singers, she’s right up there with the best. And what a thrill it must have been to work with 89-year-old guitar wizard Bucky Pizzarelli! The rest of this all-star group includes Frank Vignola, rhythm guitar; Nicki Parrott, bass and vocals; Anat Cohen, clarinet; and Warren Vaché, trumpet. All told they’re the essence of swing on 14 goodies including “East of the Sun,” ”Just Friends,” “On the Street Where You Live,” “I Thought About You,” “If I Were A Bell,” “These Foolish Things” and more. What you have to admire about Cole is that she doesn’t over-decorate any lyric. Like many of the great singers, she simply steps up to the mike and out comes sheer perfection.
Venus Records; 2015; appx. 55 min.
Live In Studio; Gerry Gibbs, drums.
They’re billed as “Gerry Gibbs’ Thrasher Dream Trio.” While I don’t know precisely what the name represents, I can tell you that it would be any musician’s dream to work with Kenny Barron, a monster pianist if ever there was one. Add bassist Ron Carter, whose resume might be as thick as “War and Peace,” and well, that is quite a trio. To sweeten this dessert, add trumpet ace Roy Hargrove and the polished singer Cassandra Wilson on three cuts each. Gibbs, who happens to be the son of bop vibes maven Terry Gibbs, chooses some perfect and in a few cases surprising tunes for his all-star colleagues. It’s all quality pop material from several decades back.
Hence we are treated to “On a Clear Day,” “Alfie,” “Watch What Happens,” “Charade,” and even the venerable wedding warhorse, “More.” The surprises? Well, there’s “Music to Watch Girls By,” “Theme from a Man and a Woman,” and even a rhythmic variation on Vince Guaraldi’s hit “Cast Your Fate to the Wind.” An album highlight is Hargrove’s gorgeous trumpet work on Michel Legrand’s “What Are You Doing the Rest of Your Life.” Sixteen tunes in all, and every one is as welcome as a cool breeze on an August night.
Whaling City Sound; 2015; appx. 75 min.
The Real Thing; Eric Alexander, tenor sax.
Tenor sax man Eric Alexander now has to his credit some 15 CD’s, more than half for the honored High Note label. Without a doubt he is one of today’s true tenor greats, and he appears here in a very traditional setting of bop, ballads and blues. He plays tenor exclusively, never doubling on soprano or any other instrument. For this invigorating session, Alexander stays with what has served him so well — a few swinging originals, a couple of standards, and a rare and charming bossa nova.
The tunes range from “Summertime” to “The Night Has a Thousand Eyes” and even an obscure Harold Mabern chart called “The Chief.” The surprise of the set is a pristine ballad which never became a hit for Frank Sinatra: You still may remember “Sleep Warm” when you hear Eric re-introduce it here. His accompaniment is most ably provided by the aforementioned Harold Mabern, piano; John Webber, bass; and Joe Farnsworth, drums. Guitarist Pat Martino pays a visit on three selections. To find a few more words to describe Alexander, let’s try: swinging, gifted, historical but contemporary, “in the pocket,” and, if I were to really put my mind to it, a few dozen more.
High Note; 2015; appx. 52 min.
Washington Hall Stomp; Greg Ruby, guitar.
I think you’d agree with me that now and then it’s fun to take a little musical detour; well, Seattle-based guitarist Greg Ruby and his “Rhythm Runners” provide a great one. It’s authentic sounding music of the 1920’s speakeasies and dance halls.
And it’s really well performed by a sextet with Ruby’s guitar, trumpet, trombone, clarinet, bass and drums. The tunes are mostly compositions of the leader. So, while most don’t date from the back room saloon era, they sure sound as if they do. The trombone growls, the clarinet is well, the clarinet, the guitar plays it for real, and nobody takes it over the top. These guys have developed their craft to a fine mark. And while it sounds like they’re having way too much fun, it’s somehow serious biz at the same time.
4 Culture; 2015; appx. 41 min.
New Chapter; Jason Klobnak, trumpet.
To heck with the gloom ‘n’ doomers. Straight down the middle of the real deal jazz boulevard, these dedicated musicians keep popping up. In this case it’s Colorado-based trumpet ace Jason Klobnak and his very solid quintet. The leader is joined by Elijah Samuels, tenor sax; Annie Booth, piano; Kim Bird, bass; and Paul Mulikin, drums. They all excel on nine original tunes which might be described as invigorating, melodic and full of well-honed ensemble work and thoughtful, controlled solos. The most intriguing title by far is the opener, “Today’s Forecast: Sunny, High of 80 Degrees and a Chance of Snow.” If there’s one flea bite on the album it’s the presence of a Rhodes electric piano on a few cuts. Other than that there’s a lot to recommend here. Klobnak and friends offer a distinctive sense of swing and lyricism. Combine those qualities with solid writing and the group’s enthusiasm, and the result is a mighty fine record.
Self-produced; 2015; appx. 64 min.
Invisible Man; Frank Kohl, guitar.
Frank Kohl is a no-nonsense guitarist and a native New Yorker who moved to Seattle in 1990. Since then he’s been an active player in that city’s jazz community with regular club and festival appearances. His quartet includes his brother, Tom Kohl on piano; Steve LaSpina, bass; and Jon Doty, drums. The four players shine on eight tunes, five Kohl originals and three etched-in-stone standards. There’s a subtle, bluesy quality to Kohl’s playing, but he would not be termed a blues guitarist. His original tunes, like “Invisible Man,” “Falling Sky,” and “Round About” have distinct and solid melody lines with minor key preferences here and there. Kohl’s guitar tone is understated and secure, and get this, he always sounds like a guitarist. The remaining players handle their supportive roles with efficiency and occasional bravado. The standards, by the way, are “My Funny Valentine,” “My One and Only Love,” and “Alone Together.” All of you serious guitar freaks will want to hear Frank Kohl.
Pony Boy Records; 2015; appx. 50 min.
Impressions; Kirk Reese, piano.
It’s a cruel crime that a trio this good, this polished, tight and talented can play together for 30 years before releasing their debut album. Shame, shame, it’s just not right. But thankfully, everything about the music is right and a delight in the hands of Reese and his trio mates, Steve Meashey, bass, and Jeff Stabley, drums. Right off the top you’ll discover Reese’s fondness for Bach, as he uses some Johann-like moves as in an intro to Benny Golson’s “Whisper Not.” That classical background asserts itself in other places throughout the session. Other familiar fare, played with great care and creative passion, include “When I Fall In Love,” “Stardust,” “In a Sentimental Mood,” and John Coltrane’s title tune. Among his many originals, I loved the marriage of classical and bop on “Re: Bop.” Kirk Reese has a lot to say to us. He’d be well advised not to wait another 30 years to say it!
Vectordisc Records; 2015; appx. 61 min.
The Royal Bopsters Project; vocal group.
Mark Murphy, Bob Dorough, Jon Hendricks, Annie Ross, and Sheila Jordan. Was that enough to get your attention? Well, all five of these vocal giants are guests on this remarkable CD. Several years in the making, the vocal quartet called The Royal Bopsters Project would have been absolutely exceptional on their own. But they are able to bring in Murphy on four cuts and all the others on one cut each. It’s not a small thing to have simply pulled off such an assignment. And you may rest assured that each of the vocalese heroes of decades past still sounds vibrant, hip and ready to wail!
The Bopsters choose classic tunes of the genre too. For example, Murphy guests on “Señor Blues,” “Red Clay,” “Chasin’ the Bird,” and “Bobplicity.” As for the other all-stars, Jordan shows up on “Peace”; Hendricks on “Music in the Air”; Dorough on “Nothing Like You”; and Ross on “Music Is Forever.” The latter is a tribute to departed jazz heroes and a true highlight. On the additional tunes, The Royal Bopsters prove to be vigorous proponents of bebop with great arrangements and sterling scat singing. The accompanying quintet, led by pianist Steve Schmidt, is right on target with strong support. This CD is simply brimming with bebop fun from both The Royal Bopsters and their honored guests. I loved every minute of it and think you will too.
Motéma Music; 2015; appx. 58 min.
And Then There Were Three; Keigo Hirakawa, piano.
Now and then we can hear it in the first few moments. “Uhoh,” we say, “here comes another young monster.” And if you’ve been listening to jazz pianists for decades (like I have), you’ll understand why I reacted that way upon hearing Hirakawa. His debut album is building a case for another heavyweight in the green room of jazz. His trio includes Eddie Brookshire on bass and Fenton Sparks on drums, and the ten tunes include eight original pieces.
To put it mildly, Hirakawa is high on adventurous virtuosity and inspired, confident musicianship. He’s smart to include one standard jazz gem, Bud Powell’s “Dance of the Infidels,” which receives a twist in rhythm and a “take no prisoners” treatment. On top of all this power and creativity, Hirakawa is a faculty member at the University of Dayton. George Benson said, “I had to come to Dayton to hear real jazz.” Well, this George agrees. There’s an abundance of it in Keigo Hirakawa.
Self-produced; 2014; appx. 53 min.
First Impressions; Tom Harrell, trumpet and flugelhorn.
Throughout a distinguished career, Tom Harrell has played his cards differently from others. He has often traveled the road seeking beauty and harmony above all. So it’s no complete detour that Harrell chooses to interpret compositions by Maurice Ravel and Claude Debussy here. Both composers opted for beauty, tenderness and often a sense of peaceful serenity. It defines much of their music, and Harrell adds two of his own compositions in a similar spirit. His nonet includes violin and cello along with standard jazz instrumentation. Harrell’s gorgeous conception and thrilling lyrical work is to be appreciated, admired and in a good way, consumed. It couldn’t be more perfect for the task at hand. Is it jazz? Is it classical? Is it both? You decide. I find it to be exquisite chamber music with elements of both of these creative arts. It’s not background music for feeding the terrier. You need to LISTEN!
High Note; 2015; appx. 53 min.
Dan Trudell Plays the Piano.
This is a “feel good” record in that it features a swingin’ piano trio playing great tunes. As simple a concept as that may sound, it’s becoming increasingly uncommon these days. Trudell, along with Joe Sanders on bass and Matt Wilson on drums, gets the session underway with a Stevie Wonder tune, “Isn’t She Lovely.” This opus from the pop world has found its way into the jazz repertoire, and deservedly, I might add. Among other familiar choices here, the trio gives us “I Let a Song Go Out of My Heart,” “That Old Black Magic,” “If Ever I Would Leave You,” and even Horace Silver’s rarity, “Soulville.” A few of the pianist’s own creations complete the CD. Trudell, who hails from Michigan, has lots of fun and frolic up his sleeve as he bursts forth as a consistently joyous player. We need more like him.
Self-produced; 2014; appx. 58 min.
Sophisticated Abbey; Abbey Lincoln, vocals.
If there hadn’t been an Abbey Lincoln, we would have been required to invent her. As a singer she has been compared to Billie Holiday. The comparisons are understandable. Like Lady Day, her vocal quality was rather rough-hewn, to the point where some might describe Lincoln as an acquired taste. Also, like Billie she sang standard songs and sometimes even whimsical ones. But she also sang deeply serious songs, often with important social messages that we need to hear.
This CD continues a High Note Records series of jazz greats recorded live at the Keystone Korner in San Francisco. This one dates from 1980, and puts Lincoln in the company of Phil Wright, piano; James Leary, bass; and Doug Sides, drums. The trio works very comfortably with her.
Lincoln was not a scatter, nor was she a bopper. She most definitely could make you believe that she lived the lyrics on this session. She covers the gamut: from Mancini’s “Whistling Away the Dark” to an unusual medley of “Sophisticated Lady,” “There Are Such Things,” and “Con Alma”; or from the pop hit of the day “It’s Impossible” (sung in Italian) to “God Bless the Child”; and a couple of her own powerful statements as well. Abbey Lincoln was a unique and magical presence in American music. Probably not for everybody — not even every jazz fan. But more than most, she found her own voice and it was one that commanded you to listen.
High Note; 2015; appx. 50 min.
Mort Weiss Is a Jazz Reality Show; Mort Weiss, clarinet.
Victimized in recent years by some of life’s setbacks and hardships, clarinet master Mort Weiss has rebounded to make this remarkable CD. He managed to hire the New York monster pianist Don Friedman for the session, and you can frequently hear Weiss urging his colleague on with little shouts of “Yeah, Don,” “take another,” and such. Mort, now in his eighties, plays bebop clarinet with the vigor and passion of a cat half his age. With Friedman’s trio of Phil Palombi, bass, and Shinnosuke Takahashi, drums, the guys take flight on a dependable and entertaining menu of tunes. Included are such winners as “The Lamp Is Low,” “Just Friends,” “Yesterdays,” “I Remember You,” “That’s All,” and more. Mort makes the clarinet rip and roar one moment and purr like a kitten the next. This is not at all one of those “swing style” clarinet records. It is, rather, totally a boppy jazz date with everybody giving it all they’ve got. Simply said, Weiss sounds inspired, and Friedman’s trio is rich ear candy.
SMS Jazz; 2015; appx. 77 min.
Say When; Steve Davis, trombone.
There are 11 tunes on this energetic CD, six of which were written by the late trombone master J.J. Johnson. So, intended or not — and I’m sure it was — this is in essence a J.J. tribute disc. It makes perfect sense that such a session would be under the leadership of Steve Davis, one of today’s eminent trombone giants. And in the spirit of J.J., Davis has made sure that this would be a resonating hard bop album by bringing in Eddie Henderson on trumpet and Eric Alexander on tenor sax. The rhythm section, not too shabby either, is comprised of Harold Mabern, piano; Nat Reeves, bass; and Joe Farnsworth, drums. Perhaps J.J.’s most revered composition is “Lament,” which has become a staple in the jazz book. It is included here, along with lesser known but worthy J.J. works such as “Pinnacles,” “Shortcake,” “Say When,” “Kenya,” and “Shutterbug.” On all the others, including a few great standards, Steve Davis and his exceptional colleagues have created a jazz album sure to please. And those of you who remember J.J. Johnson with affection and admiration will take special delight in this most welcome session.
Smoke Sessions Records; 2015; appx. 66 min.
Lotus Blossom; Andrea Brachfeld, flutes and vocals.
I’m sure it’s nothing new to regular readers of this space that I’m no wild-eyed flute fan. That being said, there’s no question that Andrea Brachfeld is a superb player and has chosen stellar musicians on this session; she selected some well loved tunes, too. Her basic rhythm section is comprised of the very creative pianist Bill O’Connell and includes Rufus Reid, bass, and Winard Harper, drums. A few guests also show up, the best known of whom is trombone dignitary Wycliffe Gordon. His sousaphone growls give Herbie Mann’s “Memphis Underground” a very New Orleans flavor (despite the title).
Among the tunes, “What A Little Moonlight Can Do” is treated as a ballad and works wonderfully well that way. George Shearing’s “Conception” is working its way toward standard status, and Brachfeld and company give it a fresh and unfettered look. Two Billy Strayhorn gems, the title tune and “A Flower Is a Lovesome Thing,” add a classy touch. Finally, Brachfeld adds five of her own compositions to the set, all of which are tunefully pleasant works. Gotta give her credit. She has big time chops and has made an enjoyable album.
Jazzheads; 2015; 66:58.
Home Sweet Home; Patrick Williams, big band.
Hey, I’ll bet you haven’t heard of Patrick Williams in quite a spell. Well he’s back, and once again finds a way to deliver very listenable jazz charts in an accessible way. That’s a long way of saying that Williams is a crafty cornerstone of jazz with pop flavorings. And he always makes it swing with authority so that your ears remain engaged.
On this versatile session the band explores the three part suite which gives the album its name. The saxophone soloists are all standout players and the suite is an album highlight. Two songs feature singers: Patti Austin shows some jazz chops on “52nd & Broadway,” and the swinging duo of Frank Sinatra, Jr. and Tierney Sutton team up on “I’ve Been Around.” Everybody exudes appropriate gusto! The charmer on the CD is a Neal Hefti tribute with a “Li’l Darlin” feel to it called “At the House of Basie.” The album concludes with a burner called “That’s Rich,” recalling the great drummer Buddy Rich. Some of LA’s premier cats are on hand including Dave Grusin, Chuck Berghofer, Bob Sheppard, Bob Summers, Andy Martin and more. Patrick Williams long ago established his own sound and a style that continues to hold sway to this very day. That kind of dedication is something to admire.
BFM Jazz; 2015; apps. 50 min.
Easy Living; Rebecca Hardiman, vocals.
Back in the 1990s, Portland area jazz folks took a lot of pride in a vocal group called Euphoria. They were all very hip and accomplished jazz singers, and their arrangements were second to none. One of those singers was Rebecca Hardiman who eventually went solo. Her brand new CD shows her to be very comfortable with her choice of standout tunes. As any real jazz singer should do, Hardiman delivers 14 tunes without pretense or too much frosting on the cake. She scats with ease and perfect clarity. Just check out the challenging “Boplicity” for proof. In that same realm is “Harold’s House Of Jazz”, a Richie Cole rarity that strikes a tempo fast enough to test any singer. Hardiman passes with flying colors.
Among the other dozen tunes, all of which are winners, there’s “Thou Swell,” “Mountain Greenery,” “I Wished on the Moon,” “They All Laughed,” and more. Hardiman is accompanied by her husband, Ray Hardiman on piano; Dan Presley, bass; Ron Steen, drums; and special kudos to Bryant Allard on trumpet and flugelhorn and to Laird Halling on sax and clarinet. A measuring stick for singers (in my opinion at least) is their ability to sound like it’s all so easy when we know it’s anything but! Rebecca Hardiman is such a singer, and you’re going to love her new album.
Self-produced; 2015; appx. 55 min.
SHORT TAKES
Lado B Brazilian Project; Catina DeLuna, vocals.
Back in the 1960s when so much music was falling into the sewer, a phenomenon called bossa nova and Brazilian music arrived in our midst. It has never lost its hold over us. And so we are treated to pretty voices like that of Catina DeLuna, singing in flawless Portuguese an entire pallette of Brazilian finery. Most of the tunes were new to me, but as you know well there’s always something refreshing and life affirming in the lovely music of Brazil. It is reaffirmed here.
Self-produced; 2015; 63:12.
Breathless; Terence Blanchard, trumpet.
If the original fathers of Blue Note Records could hear what their beloved label has come to, they’d reach for a roll of Tums. For the most part, Blanchard has entered the world of electronic funk, boring backbeat and truly painful lyrics. Maybe it will all benefit Blanchard’s bank account. But it doesn’t contribute to the jazz art. Pass on this one.
Blue Note; 2015; Time: No time for this.
Remembering Ol’ Blue Eyes; Lou Volpe, guitar.
Any album in tribute to Frank Sinatra is sure to catch my eye. The mistake on this session is that these great tunes are set with keyboard backgrounds and rather banal, poppy arrangements. Such tunes as “A Foggy Day,” “Speak Low,”’ “It Was a Very Good Year,” “Days of Wine and Roses,” “One for My Baby,” and lots more just don’t hold up well in the midst of the voltage.
Jazz Guitar Records; year not indicated; appx. 65 min.
Our Roots; Geof Bradfield, tenor sax.
Does anybody recognize the name Huddie Ledbetter? Well, if you answered “the real name for folk/blues singer Lead Belly,” you win today’s gold star. Geof Bradfield and his quintet take on five Lead Belly originals plus other material intended to reflect the era of field songs, work songs and blues. An interesting concept to be sure, and a challenging one. I’ll let you be the judge on this one.
Origin; 2015; appx. 60 min.
Trumpet Summit In Prague; Randy Brecker and Bobby Shew, trumpets.
Trumpet greats Randy Brecker and the vastly underrated Bobby Shew meet up with the Czech National Symphony Orchestra and, on a few selections, the St. Blaise’s Big Band. Much of the music is rather third stream in character and features grand and gorgeous arranging and, as one might expect, stunning solos. Also included are two standards: A rousing “Caravan” and a lush orchestral triumph on “Lost in the Stars” complete the album.
Summit; 2015; appx. 48 min.
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