By Dee Dee McNeil
June 1, 2025 – CD REVIEWS
JOE SANTA MARIA & DAVID TRANCHINA – “OBLIQUE RHYME” – Orenda Records
Joe Santa Maria, alto, tenor & soprano saxophones/composer; David Tranchina, acoustic bass/ composer; Gary Fukushima, piano/composer; Colin Woodford, drums/composer.
This is a power-packed group of Southern California musicians. Each one is an in-demand sideman as well as a bandleader in their own right. They’re also close friends, on and off the bandstand.
“We set out to make something beautiful and unique for ‘Oblique Rhyme.’ We’re all multifaceted musicians who have played in a wide variety of styles and have different perspectives on music, but it all blends beautifully when we play together,” says Tranchina.
“We’re not interested in just showing off our chops. When you listen to the great jazz artists, although they’re technically brilliant, it’s their musicality and soulfulness that expresses something deeper and more personal. That’s what we wanted for this album,” explains Santa Maria in their press package.
They open with a Joseph Santa Maria tune titled, “War Crime.” It’s energetic and dynamic, with the saxophone taking the lead and reminding me how much I love bebop and Straight-ahead jazz. Tranchina’s double bass walks all over this tune, in perfect step with Colin Woodford’s drums. Gary Fukushima brings modern jazz to the party. His piano playing flies both melodic and improvisational, like a wild beautiful bird. I am absolutely fascinated by this first original song. It covers several jazz perspectives, all in the same well-written tune, and introduces me to this quartet.
Each group member has contributed their original music to this imaginative album. Santa Maria said that on this debut original composition, “War Crimes” he endeavored to capture elements of Ornette Coleman’s music, mixed with modern funk.
“I think it has a lot of color, although it’s a bit ambiguous harmonically. I shifted around minor scale fragments to create an agitated texture,” Santa Maria described his composition’s elements.
Track #2 is a Tranchina composition called, “Hidden Lake.” It softens the mood and slows the groove, this time featuring Santa Maria on soprano sax. It’s named for a street where Tranchina grew up in Sonoma County.
Gary Fukushima composed “Sum Thymes,” a play on words, that’s quite abstract. This tune allows the band to show their skills in creating complex, Avant-garde textures and improvisation.
“This Must Be For You” is an original composition contributed by drummer, Colin Woodford. He dedicated this tune to Herbie Hancock. Each player brings their A-game to this project, both as composers and players. This album is full of surprises and technical beauty. However, what really drew me into their music is the emotional and soulful way each musician weaved creativity and honest emotion into these arrangements.
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DAVE BASS TRIO NUEVO – Vol 2. – Independent Label
Dave Bass, piano/composer/arranger; Tyler Miles, double bass; Steve Helfand, drums.
Fourteen years ago, when Dave Bass recorded his first albums, he was working with singers and horn players including Phil Woods, Conrad Herwig, Ernie Watts, Ted Nash and Ignacio Berroa. These initial recordings found their way to the top of the JazzWeek Radio Charts. When he released an album called “Gone” featuring vocalist Mary Stallings, the stellar reviews continued. Other albums followed like “No Boundaries” in 2019 and “NYC Sessions in 2015, that was named one of the “Best Albums” of that year. In 2021, Bass switched up and adopted the trio format.
“I think playing in a trio is one of the most challenging situations for a musician,” Bass said in his press package. “But it’s also perhaps the most satisfying configuration, because you can really develop a kind of telepathy with other musicians,” he concluded.
It’s a joy to listen to Dave Bass. His mastery of technique paints each tune with vivid colors. Back in the day, Bass was soaking up the creative lifestyle of San Francisco, playing a lot of Latin music and jazz until the mid-1980s. At that point, a horrible accident changed his life and upended his career as a popular and prolific pianist. The injury to his wrist caused him to desert his love of piano and choose a legal career. In 1992, he joined a prestigious law firm and in 1996, Dave Bass accepted the position of Deputy Attorney General in the California Office of the Attorney General. This led him to join the Civil Rights Enforcement taskforce. He hadn’t even considered playing piano again until, in 2005, while attending a friendly house party, people at the get-together encouraged him to play solo piano, when the hired band took a break. It was the first time he recognized that his broken wrist had healed and that he still had the talent and ability to play piano and entertain. This led him to return to the music industry.
This trio opens with a tune titled “LeGrand/Lester Left Town” that is a medley mix of a Wayne Shorter composition and a Dave Bass original.
“Wayne Shorter’s homage to Lester Young is a tune I’ve always loved since its debut on Art Blakey’s “The Big Beat.” The descending chromatic line that begins Wayne’s tune leans into Lester himself. A section of my own tune ‘LeGrand,’ makes a nice intro and outro that feature Steve Helfand’s exciting drumming,” Bass writes in his liner notes.
Pianist Dave Bass has composed some beautiful music for this project. His tune “Heart Above My Head” is a lovely ballad that features an impressive double bass solo by Tyler Miles.
Bass has a beautiful touch on the piano. His style is definitive, with his reference to the treble clef making the notes tinkle like wind chimes. One of his major influences was Bud Powell. He has recorded several of Powell’s compositions over the years, including “Dance of the infidels” on this album. Bass plays with time, creating an arrangement where he moves from 6/4, to throwing in an unexpected measure of 7/8.
Another pianist and composer who Dave Bass greatly admires is Johann Sabastian Bach. He tributes the great classical composer with a tune he calls “Journey with Bach” incorporating excerpts of Bach’s “Toccata and Fugue in D Minor” and “Chromatic Fantasy and Fugue.”
You will also hear many tunes arranged in a very Latin way. Bass has said that Latin music is in his DNA. In fact, he constructed “Latin Journey” (another Dave Bass original composition) based on excerpts from Isaac Albeniz’s “Asturias” tune, while incorporating parts of Ernesto Lecuona’s “La Comparsa” composition, then adding in his own input from a song called, “Mi Montuno.” Bass features his talented drummer, Steve Helfand, on this arrangement and Helfand sparkles with percussive talent. Throughout, Dave Bass’s hands move like a machine. You would not realize that for years, because of a terrible injury, he could not play piano at all. Clearly Dave Bass is back, stronger than ever.
This is an awesome trio album that celebrates three gifted musicians. Every tune is superbly played, melding bebop, classical and Latin music together like a string of expensive pearls.
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JAMES MOODY – “80 YEARS YOUNG: LIVE AT THE BLUE NOTE – March 26, 2005” – Origin Records
James Moody, tenor saxophone/flute/vocals; David Hazeltine, piano; Todd Coolman, bass; Adam Nussbaum, drums; Jon Faddis, trumpet; Paquito D’Rivera, clarinet/alto saxophone; Slide Hampton, trombone; Randy Brecker, trumpet; Cedar Walton, piano (on track 9.); George Wein, master of ceremonies.
Many a night I spent at a popular La Jolla jazz nightclub listening to several internationally acclaimed jazz artists like James Moody. It was wonderful to hear and see them in such an intimate setting! Moody was based in San Diego, with wife Linda, for the final several years of his career.
James Moody opens this historic album spreading laughter across the Blue Note jazz room in New York city, with his infectious humor. He’s singing the delightful lyrics to the tune “Bennie’s from Heaven.” Each of the musicians in his band are given space to explore their improvised solos. ‘Fours’ are traded with the dynamic Adam Nussbaum on drums. The pianist, David Hazeltine, is always a pleasure to hear. His talent is electric with long, creative piano phrases spilling from his fingertips. Todd Coolman furiously walks his bass beneath the excitement, locking the rhythm section into place with Nussbaum.
Of course, I remember James Moody for his internationally acclaimed hit record “Moody’s Mood.”
This ‘live’ band is fire! They continue their slow burn with the familiar “Cherokee” jazz standard. It features James Moody playing flute at a rapid and Straight-ahead pace. Moody follows this with his worldwide hit record and trademark song “Moody’s Mood for Love.” On the ending, Adam Nussbaum lays down a funky groove and Moody displays his sense of humor by rapping about television shows and romance. It surprises the attentive audience. They are both entertained and intrigued by Moody’s ability to participate inclusively, incorporating the young-folks hip hop style of music into his beloved jazz style.
To the pleasure of the excited audience, Moody introduces the brilliant trumpeter, Jon Faddis, the iconic Paquito D’Rivera on clarinet and alto sax, and the legendary Slide Hampton on trombone. Each of these masters were Moody’s good friends. Individually, they take eloquent solos, happy to be there celebrating Moody’s 80th year. Hampton makes his trombone talk like a human voice. Paquito’s clarinet sings like a songbird, and Faddis hits those high notes on the trumpet that stun me and the ‘live’ audience.
The ensemble flies on “Bebop,” where Moody shows that despite his eighty-years on earth, in 2005, he was still quite capable of exploring his saxophone and playing at a non-stop, rapid rate of speed without faltering. His chops were still breathtakingly astounding. Slide Hampton’s up-tempo, speedy delivery on trombone was also mind-boggling! Of course, Faddis offered a solo that made his trumpet sound like a cross between a bird on acid and a wild whistle. This album is both historic and entertaining.
As James Moody introduces us to his all-star band, they play Happy Birthday in the background. The concert ends with “Ow” that so many bands use as a ‘closer.’ Moody introduces Cedar Walton, now seated at the piano and ‘sitting-in’ with the band. Throughout this album, I sat breathless, on the edge of my seat. I suspect you will too!
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MINGUS IN ARGENTINA – “THE BUENOS AIRES CONCERTS” – Resonance Records
Charles Mingus, bass/piano/composer; Robert Neloms, piano; Donnie Richmond, drums; Jack Walrath, trumpet; Ricky Ford, tenor saxophone.
Born in Arizona, but raised in Watts, California, Charlie Mingus has deep roots in Los Angeles. I was excited to see a new and historic release of his music from a concert he performed in the late 1970s.
I don’t know why, but I began by listening to Side 2 of the MINGUS IN ARGENTINA double disc recording. It begins mid-song with a flurry of energy. Ricky Ford takes an exploratory solo that has the audience shouting and ecstatic in their seats. This recent Mingus release is a deluxe package that includes notes from the Mingus biographer in an accompanying booklet. It was 1977, and the South American city was on fire with the music of this iconic bassist, bandleader and composer, along with his awesome cohorts.
The place was Buenos Aires, inside the Teatro Coliseo and, in part, inside the Teatro Sociedad Hebraica Argentina (SHA) on June second and third. These shows took place just six months before Charlie Mingus was diagnosed with Amyotrophic Lateral Sclerosis, or better known as ALS, Lou Gehrig’s disease. That’s the illness that took him from this world on January 5, 1979.
This quintet has amazing energy. You can feel their camaraderie with each other, and how in-tune they are with the music of Mingus and his improvisational, on-the-spot ideas. As usual, Mingus fuses his music with virtuosity. He takes every audience on a wild and wonderful adventure. I love the way they build the crescendos of excitement, then drop down to a tinkling piano solo or to the Mingus walking bass. That tickles our interest. From a whisper they grow to an energetic growl.
On Side 1 of this double set recording, they open with “Goodbye Pork Pie Hat.”
“The audiences on the tour always loved us. I think it was arguably the best band of the time. In Argentina, they went crazy. They loved it. We reached all different kinds of people, and it was great,” said Walrath who was the trumpeter on this date.
“It’s fantastic to hear this music now, after all these years,” exclaims Ricky Ford, the tenor sax man on this concert performance.
Mingus takes one of his iconic solo bass excursions during this old familiar tune, with Neloms sparse piano notes egging him on. This tune floats into a rendition of “Duke Ellington’s Sound of Love” a song Ford interprets beautifully on his saxophone, thrust ahead by the powerhouse drums of Dannie Richmond, who was Mingus’s long-tenured drummer.
“…Now people are going to have another final stamp about the Charles Mingus band and how he had a really strong consistency in his musical expression, even late in his life,” Ricky Ford added with pride.
I am captivated by their energy on the tune “Noddin’ Ya Head Blues,” and also on “Three or Four Shades of Blue.” I love the blues! During this awesome concert, Mingus stepped to the piano and played a pair of short solos. One of those improvisations closed out the #1 Compact Disc. Walrath sparkles on trumpet during the “Cumbia & Jazz Fusion” arrangement.
Any lover of jazz, or collector of prized ‘live’ recordings, will treasure this historic album.
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ERIC SCOTT REED – “OUT LATE” – Smoke Sessions Records
Eric Scott Reed, piano/composer; Nicholas Payton, trumpet; Eric Alexander, tenor saxophone; Peter Washington, bass; Joe Farnsworth, drums.
This quintet is a group of friends who share deep history with each other. All of them have performed on worldwide stages, together, at one time or another. These are some of the first musicians Reed met and interacted with early in his career. Peter Washington attended the same Westchester High School in Los Angeles that Eric Reed attended. On Reed’s first bandleader-gig, at Bradley’s, in NYC, Eric hired Peter Washington.
There is something about the New York City nightlife that Reed and his cohorts have captured on this album.
“No shade to Paris or Vegas or Philly or Los Angeles, but being in New York City is not like being anywhere else in the world. ‘Out Late’ references the life of musicians, the nightlife and the activity, the feeling and the energy of those NYC vibration. … Of course, it’s also a reference to finding myself much later in life, …finally being able to embrace myself, my whole totality, my whole personage, who I am, who I love, why I do what I do, and how it’s all intertwined,” Eric Reed quoted in his press package.
Eric Scott Reed is a quiet, brilliant talent who has composed every song on this album. They open with “Glow.” Reed gives plenty of space and room for his quintet members to improvise and weave their way through the intricate chord changes this pianist has written, starting with his first tune.
On Track #2, called “All’umfrs,” the Straight-ahead arrangement immediately grabs my attention. Nicholas Payton makes a vivid trumpet statement, followed by the silky sound of Eric Alexander on tenor saxophone. When the spotlight swivels to Reed, he introduces us to the song in his own unique way. The piano notes tumble over each other, like children rolling down a grassy hillside and laughing. There is playfulness and joy wrapped inside this composition.
Washington explained this recording session and what it meant to him in this way. “Eric’s compositions were very intricate and well-planned out. He gave them to us at a moment’s notice. Some of the tunes were in unusual keys or had strange forms that were challenging, but he wanted us to be challenged. I was really amazed at how good the takes sounded, because Nicholas and I were on pins and needles to play those ensembles and find our way through those chord mazes,” Peter Washington described the feelings he experienced in the studio with Eric Reed.
“Shadoboxing” quickly becomes one of my favorites on this album. It has a melody that is rich and memorable. After a couple of verses, I wanted to sing along with it. This sounds like a jazz standard. The inimitable Joe Farnsworth is a monster on the drums. He pushes this tune ahead like a snowplow.
“The entire vibration of this recording was exactly that: to just flow. I came in with some sketches of ideas, and we just let the music do what it needed to do. …When I call on musicians, I want them to bring everything they want to bring and make it truly a collaborative effort,” Eric explained.
Another favorite is “They.” It’s bebop-infused, a straight-ahead piece that has Washington pumping his bass in a serious walk down main-street-USA. He is the propeller on this flying, energetic tune. Locked in step with the Farnsworth drums, Eric Reed flies out front, dynamic on piano.
Every take on this album is a “First take.” None of it was rehearsed prior to the studio session. This album was recorded ‘old-school’ with everyone in one room, no headphones, no overdubbing. This is a vintage jazz approach, and these are musicians who are like the jazz cats I grew up around. They brought their raw energy, slick talents and innovative imaginative playing to every track. These talented men took no shortcuts. They didn’t try to gloss over anything to make it sound better or to perfect anything. Just like life, they brought their best and like Eric Reed said, “Just let it flow.”
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MARINA PACOWSKI – “NEW JAZZ STANDARDS VOLUME 7 – THE MUSIC OF CARL SAUNDERS” – Summit Records
Marina Pacowski, vocals/(piano on one song); Josh Nelson, piano; John Clayton & Ken Wild, bass; Roy McCurdy, drums; Larry Koonse, guitar; Rickey Woodard, saxophones; Ron Stout, trumpet; Scott Whitfield, trombone. SPECIAL GUESTS: John Proulx, vocals; Ken Peplowski, clarinet.
Marina Pacowski is a French songstress who transplanted to Los Angeles in 2017. This project showcases the composer mastery of late trumpeter, Carl Saunders.
Pacowski is also an awesome pianist and has toured extensively in Europe, performing in France, Italy, Spain, Germany, the Netherlands and Belgium. In fact, she teaches private piano lessons in Los Angeles, and she offers vocal jazz improv classes.
One thing you notice right away is how intricate and melodic the compositions of Carl Saunders are. His music is brilliant. Pacowski was first introduced to Saunders when trombonist, Scott Whitfield, brought her to the Saunders’ home for a private jam session.
“Carl was known for his demanding standards. I was thrilled that I was welcomed into a very special inner circle of fellow artist and friends,” Marina Pacowski shared in her press package.
She opens with “August in New York” because Pacowski loves the joyful, swinging arrangement and the great lyrics by Pat Tuzzolino. This tune also gives her an opportunity to step up and showcase her impressive scat-singing talents. She and trumpeter Ron Stout trade fours briefly.
Track #2 is a tribute to the favorite dessert of Carl Saunders, “High on Blueberry Pie.” This tune has special meaning to Pacowski, because the first time she heard it, Carl Saunders actually sang it to her while she played piano. Speaking of the piano, Josh Nelson takes an awesome solo during this song.
Alan Bergman penned the lyrics for the Saunders’ tune “Theme for Jobim.” Pacowski is quite creative when spontaneously singing a completely new melody during her smooth scat presentation. She seems to think like a horn player, and that’s admirable. Larry Koonse enters the scene on his always brilliant guitar, soloing over the lilting moderate tempo tune. Pacowski has surrounded herself with some of the best jazz musicians in Los Angeles, including Scott Whitfield on trombone who plays as smooth as velvet.
Every song on this album is a diamond in the raw, just begging the music community to expose its glittering beauty to a wider audience. What a blessing for Marina Pacowski to get this wonderful opportunity to vocally introduce Carl Saunder’s music.
Her former release was titled “Inner Urge” on Summit Records.
On “Feels Like Home” I am intrigued by the wonderful melody and the John Clayton opening introduction on his brilliant bass. His bow is like a magician’s wand, hypnotizing our attention during his amazing solo entry. When Marina Pacowski’s soprano vocals enter, her high tones, against Clayton’s rich bass accompaniment, is stunning. I had to play this one twice. When Josh Nelson joins the arrangement, he repeats the melody on piano. This tune is so beautiful it takes my breath away.
Pacowski swings hard on “Is That Asking Too Much?” She is a scat-master on this blues. The band jumps in with gusto and features Rickey Woodard on tenor saxophone. Everybody wants a piece of this tune. Josh Nelson takes a turn improvising wildly, followed by master bass man, John Clayton. The legendary Roy McCurdy takes a noteworthy drum solo, before this featured vocalist re-enters to close the tune out with her scat singing.
Every song on this album is a journey into the mind and genius of Carl Saunders. The music is grandly presented by a group of his close friends, featuring the talented vocalist, Ms. Marina Pacowski.
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FREDDIE HUBBARD – “ON FIRE: LIVE FROM THE BLUE MOROCCO” – Resonance Records
Freddie Hubbard, trumpet/composer; Herbie Lewis, bass; Kenny Barron, piano; Bennie Maupin, tenor saxophone; Freddie Waits, drums.
It hardly seems possible that I attended Freddie Hubbard’s funeral in Los Angeles more than fifteen years ago. His recordings are still as fresh and inspirational as they were back in the 1970s. Hubbard was born April 7, 1938, and died in December 29, 2008. This album release is a celebration of one of America’s gifted and iconic jazz trumpeters.
As usual, Resonance Records has discovered never-before-heard ‘live’ recordings to enchant and entertain their jazz public. This recording was a live performance by Freddie Hubbard with an all-star group of legendary musicians. They were performing at a popular club in the Bronx borough of New York, the Blue Morocco. It was located at 1155 Boston Road in the Bronx neighborhood of Morrisania. The place was a familiar night spot that featured the who’s-who of jazz musicians, until the day they shuttered their doors in the 1970s.
“We were excited about Freddie Hubbard coming to the Blue Morocco. By 1967, when this album was recorded, Freddie was laying his claim, (as Dizzy Gillespie put it) as the greatest trumpet player in the world. Freddie was a dynamo, full of energy and full of pepper. As you can hear, he was on fire. I’m proud to have documented this page in the annals of Freddie’s career,” said Bernard Drayton, co-producer of this project along with his son, Charley Drayton, and the Jazz Detective, Zev Feldman.
A legend in his own right, Bennie Maupin is part of Hubbard’s aggregation. He spoke about his love and respect for Freddie Hubbard.
“Playing with Freddie was very, very intense. It was really exciting for me to be able to be a part of the group. … It was … just great musical fun. For me, playing with someone who had been working with people like Art Blakey, who had that kind of incredible experience, I realized what I needed to do just to keep up with him. I had to really practice a lot. It inspired me to really up my game,” Maupin talked about Hubbard being a serious inspiration to him.
Sadly, Bennie Maupin is one of the Californians who lost his home and possessions in the 2025 Eaton Canyon fire in Altadena.
Freddie Hubbard became a monumental force in jazz from the very first moment he emerged in New York. It was1958 when young, energetic, twenty-year-old Hubbard made a fiery entrance onto the heavy-weight, East Coast, jazz scene. His big, fat sound just blew everyone away who heard Hubbard play. His tone and presentation were unique and immediately recognizable. He was no Lee Morgan, Booker Little, or Dizzy Gillespie. He was pure and brilliantly distinct: the one and only Freddie Hubbard.
In less than ten years, Freddie Hubbard had already recorded nine studio albums as band leader. When they recorded this album, he was signed to Blue Note records. They were promoting his release of “Ready for Freddie” in 1961.
There is a wonderful booklet included in this two-set cd package with lots of interviews and stories about Hubbard’s life and music. I learned from the writings of Bennie Maupin, that he met Freddie Hubbard in Detroit when Freddie was performing with Art Blakey.
“… We didn’t work together until I relocated to New York. Freddie had serious stamina, some great, great chops, and could play for long periods of time and be very accurate and rhythmic. It was great to be able to hear that and play alongside someone with that kind of tremendous command. It really helped me a lot,” Maupin affirmed.
Brilliant pianist, Kenny Barron recalls that he lived right around the corner from Freddie at the time of this recording. It was right around the time that Barron had left the Dizzy Gillespie ensemble and Freddie started calling Kenny up, asking him to come work with them.
“He would come by and pick me up on the corner … because I had no car at the time. We’d meet on the corner of New York and Prospect Place. … the gig was maybe at ‘Slugs.’ I do remember the Blue Morocco. I think it might’ve been the only gig I ever did in the Bronx,” Kenny Barron writes in the CD pamphlet.
“…We would go from straight-ahead to avant-garde and switch on a dime! … Freddie was always the instigator. If you listened to him, you could tell where he wanted to go. We would just go there with him. It was a great band. I loved playing with them,” Barron was enthusiastic.
“Hub was one of my trumpet heroes in my youth,” said Charles Tolliver, American jazz trumpeter, composer, and co-founder of Strata East Records.
Freddie Hubbard and his band of iconic musicians play tunes we know and love, like “Bye Bye Blackbird” and “Summertime,” as well as several original compositions by Hubbard. On the first CD of this duel-set he flies high on “Crisis.” They play one of my favorite Hubbard tunes, “Up Jumped Spring,” plus a medley of “True Colors” and “Breaking Point.” On the second CD, “Breaking Point” is played again as a singular tune.
Every song, every solo, every arrangement is stuffed like a pinata with emotional and exceptional performances. Hubbard is at the peak of his career and his playing is both thrilling and a testament to his enduring legacy.
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Rodney Jordan
Memphis Blue
(Baxter Music Enterprises)
On Memphis Blues, bassist Rodney Jordan leads a quintet through fresh material that at times is reminiscent of classic Blue Note recordings but without too closely copying the past. He is joined by trumpeter Melvin Jones (doubling on flugelhorn), tenor-saxophonist Mark Sterbank, pianist Louis Heriveaux, and drummer Quentin E. Baxter. They perform four Jordan originals, a song apiece by trumpeter Jones and Mulgrew Miller, and two standards.
“The Storm Will Pass” opens the set with a relaxed performance that introduces the band. Gigi Gryce’s “Minority” has the quintet cooking with all five musicians taking concise solos. Jones on flugelhorn sounds a bit like Freddie Hubbard on the laidback “Escapatoria” and takes a particularly rewarding solo on “Hargrove,” a slightly funky tribute to Roy Hargrove that has a catchy melody that deserves to catch on.
The second half of the set includes the medium-tempo blues “Memphis Blue” which gives the two horn players opportunities to stretch out, an abstract ballad version of “Autumn Leaves” that is fairly free, the post-bop swinger “Small Portion,” and a self-explanatory “The Art Of Blakey.”
Memphis Blue (available from www.baxtermusic.com), which overall is a tribute to the bassist’s home town, is consistently enjoyable. Despite an impressive resume dating back to the late 1990s, this is Rodney Jordan’s recording debut as a leader. Hopefully he will record many more albums for this is a keeper.
James Moody
80 Years Young: Live At The Blue Note
(Origin)
Everyone loved James Moody (1925-2010). He came to his musical maturity during the bebop era, playing tenor and alto including with the Dizzy Gillespie Big Band and in the 1960s with Gillespie’s quintet. Moody continued to evolve through the years, taking up the flute and soprano while developing his own distinctive sound on all of his instruments. Always a good-humored and witty performer, particularly during his later years, Moody usually seemed to know half of his audience by their first names and many of his performances had a party atmosphere.
To commemorate his 80th birthday in 2005, the Blue Note in New York had a weeklong celebration. The previously unreleased music on 80 Years Young was performed on his actual birthday (March 26). First Moody sings and plays his two standbys (“Benny’s From Heaven” and “Moody Mood For Love”), getting a bit carried away in spots and even including some yodeling. He also plays flute on “Cherokee.” For those three numbers he performs in a quartet with pianist David Hazeltine, bassist Todd Coolman and drummer Adam Nussbaum, an outstanding rhythm section.
Then the night turns into a jam session as Moody is joined on three lengthy performances of songs associated with Dizzy Gillespie (“Birk’s Works,” “Bebop,” and “Ow”) by trumpeter Jon Faddis, Paquito D’Rivera on clarinet, trombonist Slide Hampton, trumpeter Randy Brecker (for two songs) and, on the closing “Ow,” pianist Cedar Walton. The music is as outstanding and exciting as one would expect with D’Rivera’s clarinet playing often taking honors although all of the horn players (including the guest of honor) are outstanding on during the stirring version of “Bebop.” Moody often sounds like the youngest player on stage. A great time was had by all and now, during the centennial year of James Moody, one can enjoy the music again. 80 Years Young is available from www.originarts.com.
Branford Marsalis Quartet
Belonging
(Blue Note)
Back in 1987 on his Random Abstract album, tenor-saxophonist Branford Marsalis did a surprising and effective imitation of Jan Garbarek on “Lonely Woman.” That rare skill comes in handy on his new album Belonging which features Marsalis and his longtime quartet with pianist Joey Calderazzo, bassist Eric Revis, and drummer Justin Faulkner. This unexpected tribute has the group performing all of the songs from Keith Jarrett’s Belonging album, a classic record that teamed the pianist with Garbarek, bassist Palle Danielsson, and drummer Jon Christensen. The original Belonging was recorded on April 24-25, 1974 and was the first of five albums by Jarrett’s European quintet. Marsalis’ Belonging was performed one month short (Mar. 25-29, 2024) of the album’s 50th anniversary.
Keith Jarrett wrote some of his finest compositions in the 1970s and performed innovative music with both his European group and his American quartet; the latter featured tenor-saxophonist Dewey Redman, bassist Charlie Haden, and drummer Paul Motian. Jarrett’s pieces traveled both inside and outside with bluesy melodies that were sometimes singable but also filled with rhythmic surprises, inspiring some of the best playing from both Garbarek and Redman.
Belonging, which consists of six Jarrett pieces, is an often overlooked classic, particularly compared to Keith Jarrett’s solo concerts of the era. Branford Marsalis’ quartet hints strongly at the original group without copying them too closely. Marsalis recalls Garbarek and Calderazzo displays the influence of Jarrett. But both artists also have their own complementary musical personalities and do not feel confined by the original versions of the songs.
“Spiral Dance” is a very good example of Jarrett’s inside/outside music, staying just barely inside at times. “Blossom” is an out-of-tempo ballad performance with Marsalis and Calderazzo creating thoughtful statements. “’Long As You Know You’re Living Yours” is catchy, a little funky, and celebratory. “Belonging,” which has Marsalis on soprano, is taken as a wandering ballad. “The Windup,” a spirited jam with some free form playing by the ensemble, becomes a tenor/drums duet at one point. Belonging concludes with the atmospheric ballad “Solstice” which has some fairly free interplay between piano and bass, exploring several moods before it fades out.
Throughout Belonging, the Branford Marsalis Quartet pays homage to a timeless album from a half-century ago, playing creatively within the wide boundaries of the Keith Jarrett European Quartet while adding to the legacy of the underrated gem. The new Belonging is recommended and available from www.bluenote.com.
Royce Campbell
Vagabond
(Max Frank Music)
Veteran guitarist Royce Campbell has had many rewarding musical experiences throughout his career. He toured with Marvin Gaye, was a member of the Henry Mancini Orchestra for 20 years, and has led at least 40 jazz albums (many for his Moon Cycle label) since 1990. Included are tributes (sometimes teaming him with other guitarists) to Mancini, Wes Montgomery, Joe Pass, Charlie Byrd, and John Coltrane.
Vagabond is his first recording as a leader with a big band. The nephew of arranger-composer Carroll DeCamp (1922-2013) who wrote for Stan Kenton and Larry Elgart and played piano in Indianapolis with Wes Montgomery, Campbell studied with his uncle in the early 1970s. During that era, Campbell wrote some originals that DeCamp arranged. The charts survived through the years, including making it through a house fire, and the guitarist decided that they were long overdue to be performed and recorded.
The 16-piece Vosbein Magee Big Band (co-led by director Terry Vosbein and trumpeter Chris Magee) plus Campbell performed the Carroll DeCamp arrangements at a concert in Lexington, Virginia. Ten of the guitarist’s originals are included on Vagabond along with “Body And Soul.” The music is modern straight ahead jazz with a few unexpected twists and turns. While Campbell solos on every song, there are plenty of spots for the key players of the big band including trumpeter Magee, trombonist Matt Niess, Bill Schnepper on alto and soprano, altoist Greg Moody, tenor-saxophonist James Cotton, and pianist Matthew Billings. While the musicians in the big band are primarily known locally, they are world class players.
Highlights include the attractive swinger “Peepers,” the light bossa “Gentle Breeze” which has a surprising climax that has several horns soloing together, a guitar feature on “Body and Soul,” an infectious “Mambo Puente” (check out the exuberant trumpet break by Magee), the pretty “Inner Peace,” and Campbell’s consistently rewarding playing throughout the concert.
It is a bit surprising and impressive that Carroll DeCamp’s arrangements for Vagabond still sound undated and fresh a half-century later. With the fine musicianship and Royce Campbell’s excellent playing, Vagabond (available from www.maxfrankmusic.com) is easily recommended to fans of modern big bands.
Nancy Kelly
Be Cool
(Origin)
Nancy Kelly, who recorded her debut album in 1987, recently released her seventh recording, Be Cool. She has a strong and appealing voice, swings even when sticking close to the lyrics of a song, and is not afraid to stretch herself.
Be Cool is Nancy Kelly’s second recording with an organist and her first with William Gorman whose powerful and at time dominant playing is a throwback to Wild Bill Davis along with the 1960s giants of the Hammond B-3. Guitarist Dave Stryker, tenor-saxophonist Jerry Weldon, and drummer Carmen Intorre Jr. are also in the core group with tenor great Houston Person making two welcome guest appearances, and the title cut also including soprano-saxophonist Joe Carello and guitarist Charlie Sigler.
The 11 songs include “Devil May Care,” a swinging “Besame Mucho,” an effective “Can’t Take My Eyes Off You,” a surprising version of “As Time Goes By” that is taken at a racehorse tempo, and a scat-filled “Bebop Lives” (a vocalized “Boplicity”). Nancy Kelly sounds very much in prime form throughout this outing and, while I wish that the organ was a bit lower in the mix, the results are spirited and enjoyable. Be Cool is available from www.originarts.com.
David Murray Quartet
Birdly Serenade
(Impulse!)
David Murray first emerged in the 1970s as a brilliant and fiery young tenor-saxophonist. Unlike many of his generation in the avant-garde, he did not emulate John Coltrane and instead mixed together aspects of Ben Webster, Albert Ayler and Paul Gonsalves to form his own sound. He recorded constantly and through the years lived up to his great potential.
Although Murray has not recorded as prolifically during the past 15 years, on Birdly Serenade he shows that he remains very much in his prime. The CD was recorded as part of the Birdsong project which is dedicated to the protection of bird life. Three songs have vocals (one is actually spoken word) that have something to do with birds while the instrumentals include the cooking medium-tempo blues “Bald Ego” (great title!), “Capistrano Swallow,” and “Bird’s The Word.” Murray, who doubles on bass clarinetist, is joined by the brilliant pianist Marta Sanchez, bassist Luke Stewart, and drummer Russell Carter for a wide-ranging set.
The opening “Birdly Serenade” is a 6/4 piece with a brief vocal by Ekep Nkwelle. “Bald Ego” is a swinging medium-tempo jam that features Murray romping a la James Carter and Paul Gonsalves and the pianist also having a strong spot. “Song Of The World,” which has Nkwelle’s second vocal, is a medium-tempo ballad with piano, bass, and bass clarinet solos. “Black Bird’s Gonna Lite Up The Night” returns to Murray’s roots with some intense and lengthy free form playing. “Nonna’s Last Flight” is funky yet unpredictable, the relatively brief “Capistrano Swallow” contains more free playing, and “Bird’s The Word” includes some straight ahead bass clarinet playing. The liner notes say that the latter is based on Charlie Parker’s “Confirmation” although I really do not hear it. The closer, “Oiseau De Paradis,” after some brief spoken word in French by Francesca Cinelli (unfortunately it is not translated in the liner notes), gives the quartet an opportunity to really stretch out.
A bit of a mixed bag, Birdly Serenade (which is available from www.amazon.com) shows listeners that at age 70, David Murray still has a lot to say.
Joe Fonda
Bass Of Operation
(SFR Records)
Bassist Joe Fonda’s quartet on Bass Of Operation has a rather unusual instrumentation. Michael Rabinowitz has long been jazz’s top bassoon soloist, playing with the fluidity of a saxophonist. He and Fonda are joined by Jeff Lederer (mostly on clarinet and flute but also bass clarinet and piccolo) and drummer Harvey Sorgen for seven of the bassist’s originals.
The music is unpredictable post-bop jazz that covers a variety of moods and often swinging grooves. The interplay between the two horns along with their unisons on the melody statements certainly gives this group its own musical identity. Fonda and Sorgen are tight and often play stirring and stimulating accompaniment (with the bassist taking occasional solos) while Rabinowitz and Lederer constantly play off of each other. “Déjà vu for DC” has a particularly catchy theme, “Magic (for Perry Robinson)” has the urgency of a Charles Mingus piece (with the blend between bassoon and bass clarinet being memorable), “Fast” lives up to its name, and “Mosaic” never lets up in its passion and drive. The other three selections also have their memorable moments.
Getting beyond the unique combination of instruments, Bass Of Operation is filled with a mixture of creative individual statements, heated ensembles, and composed passages, resulting in a large number of bright moments. Be sure to check out this impressive release which is available from www.joefonda.com.
Zoo Too Trio
Poetry Legroom
(Shifting Paradigm)
Poetry Legroom is a rather unusual album from the trio of keyboardist Michael Cain, guitarist Keith Price, and drummer Pheeroan AkLaff. The music is not as esoteric as this CD’s title and is primarily atmospheric, thoughtful, and impressionistic. It can be thought of as background music for a film about taking a long relaxed journey.
With the exception of Ran Blake’s “Waltz For Gwen” which is the bluesiest piece and a performance that swings in its own way, nearly all of the music is laidback. Cain is impressive in his out-of-tempo solo piece “Solodos,”AkLaff contributes some spoken word on the ballad “Waxing Gibbous,” and Price (who is based in New Zealand) is in the lead on “Song 1 Day 1.”
The music overall is dreamy, sometimes a bit haunting, and peaceful. There is not much variety but the Zoo Too Trio achieves its purpose. This set is available from www.shiftingparadigmrecords.com.
Daniel Garbin
Rising
6 X 20 Records
Daniel Garbin, who is originally from Romania, is self-taught on guitar. After playing a wide variety of music, he settled on jazz and moved to the United States. Attracted to Indian classical music, he also learned the sitar.
For his recording debut, Garbin performs seven of his originals (three co-written with his co-producer Simona Pop) in a group with keyboardist Camila Cortina, altoist Scott Litroff, bassist Eddy Khaimovich, and drummer Brian Woodruff. The solos are relatively brief, the ensembles are full of color and subtle surprises, and the songs, while somewhat complicated at times, are also surprisingly accessible.
The opener, a medium-tempo “Rising,” features Garbin playing sitar and showing that the instrument can fit into a jazz quintet. “Simi’s Bossa” is a harmonically complex piece that has a light Brazilian feel. The speech-like and scalar “Rolling Hills” has hints of Latin and African rhythms although it is essentially modern straight ahead jazz. While “Anomisericordo” has an Afro-Cuban jazz groove, “DSD” has a Mid-Eastern feel along with an infectious groove and an exuberant keyboard solo. Garbin’s guitar is in the spotlight during “Almost Forgotten – Like Satch” which is dedicated to Joe Satriani while the closer “Into The Sunset” is a fusion piece with hints of Pat Metheny.
The music on Rising (available from www.dgarbin.com) is fresh, lively, and always a little unpredictable. With the many fine solos and the attractive ensemble sound, it serves as an excellent start to Daniel Garbin’s solo career.
Svetlana
Reel To Remix: Night At The Movies Reimagined
(Self-Released)
In 2019, Svetlana, who was born and raised in Russia but is a longtime resident of the U.S., released Night At The Movies. The album was arranged by Gil Goldstein and Rob Garcia, consisted of 14 Academy Award winning songs from the movies, and teamed the appealing and warm singer with an all-star jazz group and strings.
Reel To Remix: Night At The Movies Reimagined is quite a bit different. Six of the original selections from Night At The Movies have been completely remixed and altered. One song apiece was worked on by Amber Navran, Cheryl B. Engelhardt, Melanie Charles, Bryn Bliska, Sirintip, and Annie Elsie. While Svetlana’s voice is still present, the jazz artists have been largely replaced by electronic soundscapes that turn each number into an atmospheric exploration.
The beauty of Svetlana’s voice largely shines through, particularly on an electronic rendition of “Pure Imagination.” “Moonlight” has a dreamy quality although the occasional drum machine seems unnecessary. “Moon River” is given otherworldly sounds, “Young And Beautiful” is quite spacey, and “It Might Be You” is largely turned into a vamp. Most intriguing is “Remember Me” which has a synthesizer interacting with Svetana’s singing.
While I prefer the original album, Reel To Remix: Night At The Movies Reimagined is consistently intriguing and adventurous in its own way. It is available from www.svetlanajazz.com.
Kazzrie Jaxen and Don Messina
The Dance
(New Artists)
Pianist-vocalist Kazzrie Jaxen, whose original name before she changed it was Liz Gorrill, has been an improviser from the start of her life although she has had extensive classical training. After studying with pianist Harvey Diamond, Ms. Jaxen became a student of Lennie Tristano’s from 1973 until his passing in 1978, later studying with Connie Crothers. While Tristano was an early influence (as can be head a bit on her version of Lee Konitz’s “Kary’s Trance”) on this CD, she has continued to grow as a soloist through the years and has been involved in many artistic projects.
The Dance features Kazzrie Jaxen in a duo with bassist Don Messina. She takes brief vocals on many of the pieces and generally sticks to the lyrics. Her most rewarding vocalizing is on the ballads, particularly “Will I Find My Love Today” and her own “The Mirror Calls” where she sings with quiet feeling while conveying the messages of the songs. In contrast, her piano playing uses such tunes as “My Melancholy Baby,” “What Is This Thing Called Love,” and “You’d Be So Nice To Come Home To” as points of departure for adventurous flights. Messina, who walks behind her, sometimes trades off with the pianist and has occasional solos while keeping the music swinging even during its wilder moments such as the bitonal melody statements of “Confirmation.“
The Dance (available from www.newartistsrecords.com) is an excellent sampling of how Kazzrie Jaxen sounds today, keeping the legacy of Lennie Tristano alive but in her own personal way.
Peter Smith
Smitty Straightens Out
(Real Magic Records)
On Smitty Straightens Out, pianist Peter Smith explores and revitalizes a type of jazz that is not played that often these days: boogaloos from the 1960s. Such numbers as Lee Morgan’s “The Sidewinder,” Lou Donaldson’s “Alligator Boogaloo,” and some of the repertoire of Horace Silver were quite popular at the time, combining infectious and danceable rhythms with heated jazz solos.
For this project, Peter Smith heads a quintet that includes trumpeter Aaron Janik, tenor-saxophonist Rickey Woodard, bassist Trevor Ware, and drummer Roy McCurdy. They perform six of the pianist’s originals plus the opener, a joyous version of Wes Montgomery’s “Road Song.” The latter piece serves as a perfect introduction to the all-star group. Also included are the boogaloos “Smitty Straightens Out” (a riff-filled piece worthy of Horace Silver), the blues “Tumbling Down,” and “Swagger Waggle.” Included for variety are the ballads “Timing Rules The World” (which has some beautiful harmonizing by the two horns) and “As They Grow,” a warm melody with Janik’s flugelhorn in the lead, plus the brief closer “Until Next Time” which has Smith also playing organ. The solos by Woodard, Janik, and Smith are full of spirit and swing hard.
The only fault to this very enjoyable CD (available from www.petersmithmusic.com) is that it clocks in under 35 minutes. Music this much fun always seems to end too soon.