Danny Jonokuchi Big Band
A Decade
(Bandstand Presents)
Danny Jonokuchi is a name that all lovers of big bands should know. The trumpeter-singer is a particularly skilled arranger and composer as is obvious throughout his fifth recording as a leader, A Decade. The CD is filled with extroverted solos, exciting and frequently shouting ensembles, and top-notch songs.
Beginning with Jonokuchi’s swinging chart for Kenny Barron’s “Voyage” (featuring an excellent solo from altoist Andrew Gould), all ten performances on this set are quite rewarding. “Red Top” features guest trumpeter Terell Stafford at first playing a bit dixielandish and later hinting at Clark Terry. The leader contributes a likable and warm vocal to “This Can’t Be Love,” his original “South Philly” has fine spots for Gould and trumpeter Scott Wendholt, and “On Green Dolphin Street” features Jonokuchi on trumpet and baritonist Andrew Gutauskas. Wayne Shorter’s “Ping Pong” is given a Latin treatment with colorful trombone playing from Robert Edwards, and the reworkings of “Lady Bird” and “Like Someone In Love” are also memorable. In addition, there are two versions of “Skylark, both having solos from tenor-saxophonist Chris Lewis and the leader but with the second “bonus cut” also including his vocal.
A Decade, which is dedicated to Danny Jonokuchi’s period living in New York, is one of the best big band albums of the year. It is available from www.bandstandpresents.com.
Wayne Shorter
Celebration, Volume 1
(Blue Note)
Shortly before his passing, Wayne Shorter began listening to a large batch of unreleased performances from his quartet’s concerts to see what should be made available to the public in the future. He was particularly excited about the music that now comprises the two-CD set Celebration.
The Stockholm concert from Oct. 18, 2014 is one of the strongest representations available by the longtime group that Shorter had with pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade. It consists of five free improvisations, three Shorter originals, and two other pieces. When groups, even Shorter’s all-star unit, engage in free improvs, sometimes the results include stretches that are wandering and aimless, but that is never the case during these timeless performances.
The opener, “Zero Gravity To The 15th Dimension,” finds the group creating music that begins out of nowhere. A bass pattern and a tone center emerge and inspire fine playing by Shorter as the first among equals. The performance segues into different repetitive patterns before going in some surprising directions while being fairly mellow. Another selection (which begins as “Zero Gravity To The 11th Dimension”) is energetic and almost a little boppish in spots. Shorter, who mostly plays tenor, switches to soprano for the closing part of his “Orbits” and the ballad “Edge Of The World.”
The second disc contains three lengthy pieces which could be the soundtrack for an outer space journey. It begins in a desolate mood, has some intriguing stops along the way, and the closing piece, “She Moves Through The Fair,” sounds a bit like a landing.
Wayne Shorter and his very alert sidemen often speak in one voice throughout this fascinating musical voyage which is available from www.amazon.com.
Johnny Smith
The Last Night At Shaner’s
(PME Records)
Johnny Smith (1922-2013) was a brilliant jazz guitarist who is best remembered for his hit recording of “Moonlight In Vermont” in 1952 which featured his pretty chords and a short spot for Stan Getz. He originally played country music, switching to jazz when he was 18 and working with Benny Goodman during 1950-51. Smith was quite popular and in-demand during the 1950s and his song “Walk, Don’t Run” became an unexpected pop hit for the Ventures. Smith settled in Colorado in 1958 to raise his daughter, opening up a music store. He continued recording regularly through 1962, made one record in 1964 and three albums during 1967-68, but otherwise rarely ventured outside of Colorado where he played locally into the early 1970s. There were two exceptions: recording a half an album in 1976 (fellow guitarist George Van Eps was on the second half) and touring with Bing Crosby in 1977 shortly before the singer’s death.
The Last Night At Shaner’s is a previously unreleased live set from Dec. 18, 1971. Johnny Smith is joined by a trio of very good but now obscure local players; pianist Neil Bridge, bassist Dick Patterson, and drummer Derryl Goes. Bridge was an excellent pianist and takes some outstanding solos on this set (particularly on “Bye Bye Blackbird”) but the only other recording that he made are two songs with clarinetist Peanuts Hucko at a 1980 fundraiser. Bassist Patterson is on a Spike Robinson live album from 1974 that also includes Goes. The drummer had been on two earlier Smiths album and in 1997 would record with the Joel Kaye big band.
While Johnny Smith plays some typically beautiful ballads on The Last Night At Shaner’s, including “Here’s That Rainy Day,” “This Guy’s In Love With You,” “My Foolish Heart,” and “Moonlight In Vermont,” the biggest surprise is on the uptempo tunes. Starting with a go-for-broke rendition of “Struttin’ With Some Barbeque” that has some unlikely song quotes and passionate tradeoffs with the pianist, Smith plays hot and speedy guitar runs on such numbers as “I’m Confessin’,” “Bye Bye Blackbird,” “Shiny Stockings,” and “The Days Of Wine And Roses.”
This live set, which was fortunately taped by Dick Patterson, contains some of the finest Johnny Smith on record. It is easily recommended and available from www.pmerecods.com.
Gary Urwin Jazz Orchestra
Flying Colors
(Summit)
Arranger Gary Urwin follows a simple and logical formula for success on his albums. He utilizes top-notch Southern California-based players in his big band, hires superb soloists, picks out superior songs, and contributes arrangements that are swinging, melodic, and full of warm colors.
The opener on Flying Colors, Hank Mobley’s “This I Dig Of You,” has a typically remarkable trumpet solo from the late and much-missed Carl Saunders that will immediately win big band fans over. From that point on, the CD is filled with one highpoint after another. The program consists of eight jazz standards, Urwin’s “Spur Of The Moment,” Shorty Rogers’ medium-tempo blues “Short Stop,” Saunders’ “Tunnel At The End Of The Light,” and the “Theme From ‘Vertigo’.” Every performance has its moments.
Among the more memorable events are tenor-saxophonist Pete Christlieb’s ballad playing on “Day In The Life Of A Fool,” Saunders on “Polka Dots And Moonbeams,” trombonist Scott Whitfield’s warm playing during “You Don’t Know What Love Is,” and pianist Christian Jacob’s heartfelt solo piano on “My Buddy.” In addition to those four, there are some spots for lead trumpeter Wayne Bergeron, Rusty Higgins on flute and soprano, and Phil Feather on English horn.
Anyone interested in swinging big bands will want to pick up Gary Urwin’s Flying Colors which is available from www.summitrecords.com.
Shelly Berg
Alegria
(ArtistShare)
Although a bit unheralded, Shelly Berg has been one of the top pianists on the scene during the past few decades. Inspired by Oscar Peterson (who he can closely emulate), Berg long ago developed his own voice in straight ahead jazz.
Alegria features Berg in a top-notch and versatile trio with bassist Carlitos Del Puerto and drummer Dafnis Prieto. This is a well-rounded recording that consistently varies its moods, tempos and styles.
Among the highlights are the cooking “Home With You,” the relaxed playing on “At Last” (not the Harry Warren song but another tasteful ballad), “Bliss” (a Spanish-tinged number that one could imagine Chick Corea playing), the gloomy jazz waltz “When Next We Meet,” a reharmonized “I’ll Follow The Sun,” and “Somewhere” which has Del Puerto playing the melody and the pianist contributing some beautiful playing. The rollicking “Meatballs and Apple Pie” has the group joined by tenor-saxophonist Melvin Butler and eight background singers (including the members of the trio) and Butler is also impressive as a guest on “Red Rocks, Tall Cactus,” a performance that gets hotter the longer it goes.
Alegria is Shelly Berg’s finest recording in years and easily recommended. It is available from www.shellyberg.com and www.amazon.com.
Robert Edwards
Jay Bird 100
(LA Reserve)
J.J. Johnson (1924-2001) was not only a masterful trombonist but largely saved his horn from being relegated to becoming a minor instrument after the swing era ended. With its rapid tempos and complex melodies which were usually played in unisons, bebop offered quite a challenge for trombonists. Johnson developed the technique to be able to keep up with trumpeters and saxophonists, influencing and becoming a musical role model for his younger contemporaries and the generations that followed.
Usually when musicians record a tribute to J.J. Johnson (whose centennial year is 2024), it explores his later compositions (including “Lament”) and his playing of the 1950s and ‘60s. Trombonist Robert Edwards, who has worked with Swingadelic, Michael Dease, Benny Benack III, and the Eyal Vilner Big Band, instead focuses on Johnson’s recordings from his three Savoy sessions of 1946-49 when he was rapidly emerging as modern jazz’s top trombonist.
On Jay Bird 100, Edwards sounds a lot like Johnson, altoist Dick Oatts comes close to emulating Charlie Parker, and the rhythm section (pianist Adam Birnbaum, bassist Mike Karn, and drummer Aaron Kimmel) is very much in the tradition. They perform nine early Johnson tunes and a pair by Sonny Rollins (who was on the 1949 date), all of which are obscure. Only “We Two,” which is from 1956, dates from a slightly later period.
Most of the melodies are riffs with many of the songs being uptempo blues, utilizing rhythm changes, or based on earlier standards (“Boneology” is “Robbins’ Nest” and “Mad Be Bop” is really “Just You, Just Me”). The tight unisons and explosive solos are straight from the classic bebop era although the group sometimes stretches out beyond the three-minute limit of 78s of the time.
Suffice it to say that most of the music on Jay Bird 100 really cooks (listen to Edwards sound almost effortless on the rapid “Riffette”), these musicians are creative within the idiom, and that this is one of the best bebop albums of recent times. Jay Bird 100 is highly recommended and available from www.robertedwardsmusic.com.
Aaron Bennett Trio
Live At SF Jazz
(ADB Sound)
San Francisco Bay-area tenor-saxophonist Aaron Bennett has often performed in avant-garde settings. His large tone, ease at jumping into the upper register, and stormy solos make him a natural fit for adventurous jazz groups. Along the way he has worked with such notables as Wadada Leo Smith, Peter Kowald, John Butcher, William Hooker, Lisa Mezzacappa, and the Rova Saxophone Quartet.
Live At SFJAZZ features Bennett in a pianoless trio with bassist Dans Seamans and drummer Smith Dobson Jr. They perform six Thelonious Monk compositions that were originally part of the album Thelonious In Action which featured Johnny Griffin on tenor. Bennett, who has an individual voice that sounds nothing like Griffin, pays tribute to each of the melodies and generally keeps the themes in mind even while going outside. He consistently takes the music into unpredictable areas while engaging in close interplay with his sidemen who also get to solo on nearly every piece.
Bennett’s renditions of “Light Blue,” “Coming On The Hudson,” “Blue Monk,” “In Walked Bud,” “Evidence,” and a brief “Epistrophy” are full of unexpected twists and turns, displaying plenty of fire and energy even as he shows affection for Monk’s themes. The result is a set that serves as a fine introduction to the tenor-saxophonist, showing what he can do with Monk’s music. Live At SF Jazz is available from http://www.aarondavidbennett.com.
Ernie Mansfield
French Impressions & Latin Themes
(Windsailor Music)
Ernie Mansfield is a flutist, saxophonist and pianist who is classically trained and has worked extensively in the worlds of pop, rock and jazz. He spent two years in France playing with the progressive folk group Mormos. After working in Chicago with the Skyfarmer band, he settled in the SF Bay area where he has worked steadily as a studio musician and arranger, recording two earlier albums for Catero Records as a leader.
On French Impressions & Latin Themes, which is inspired by the time that he spent in France and Spain, Ernie Mansfield has certainly created an eclectic set that contains plenty of variety, reflecting his musical life. Most of the selections team Mansfield (mostly on flute but also occasionally playing saxophones and keyboards) with Brazilian guitarist Ricardo Peixoto, the late pianist Mark Levine, bassist Dave Belove, drummer Paul von Wageningen, and percussionist Carolyn Brandy.
The album begins with two famous classical pieces, the only compositions on the set not written by Mansfield. Claude Debussy’s “Clair De Lune” is one of the most beautiful melodies ever composed. Mansfield is heard on several flutes during the melody statement and he and Peixoto take fine solos over a light funk beat. In the 1930s, part of Maurice Ravel’s “Pavane” became the basis for the standard “The Lamp Is Low.” The flutist and his group perform the full piece (originally titled “Pavane For A Dead Princess”) rather than just jamming on the famous part.
The next two selections are a complete change. “One Edition Only” and “Paris Has Me” are soulful folk numbers that feature the singing of Julie Searles with a completely different rhythm section. Searles has an appealing voice and gets the messages across well.
The following three selections are inspired by the music of Spain, Latin America, and South America. “Pray For Peace” is a happy and danceable Afro-Cuban jazz piece that features infectious rhythmic patterns. “Wind, Sun, Moon” is a joyful samba that includes some very fluent flute playing and a passionate statement from guitarist Peixoto while “Mallorcana” is an energetic Brazilian-inspired number with hot playing from Mansfield and pianist Levine.
The set concludes with “Give Me Your Tired,” a tribute to the Statue Of Liberty, the longtime friendship between the United States and France, and the worthy goal of welcoming immigrants. Mansfield (on tenor) and Peixoto make inspired statements.
French Impressions & Latin Themes contains plenty of warm melody, top-notch playing, and inviting atmospheres. Ernie Mansfield’s CD (which is available from https://erniemansfield.bandcamp.com/album/french-impressions-latin-themes) is well worth several listens.
Pony Boy All-Star Big Band
Live At Boxley’s
(Pony Boy)
Pony Boy is a veteran jazz label that documents artists who generally have a connection to Seattle. Live At Boxley’s features an 18-piece big band led by drummer Greg Williamson. While none of the members are household names outside of Washington State, they are all world class players.
The orchestra performs ten arrangements contributed by Williamson, Conner Eisenmenger, Matso Limtiaco, and Keith Karns, each of whom are members of the band. They begin the CD with Eisenmenger’s “Harrod’s Creek,” a solid introduction to the group that features tenor-saxophonist Steve Treseler and trumpeter Jay Thomas (the best-known player in the band). Limtaico’s “Sabermetric Samba” lives up to its name and is followed by the three-part “Mordy Suite” which has a trio of numbers by Mordy Ferber. His brooding ballad “Rabin” is a contrast to the forceful and exciting “Mr. X” which contains some wild ensembles.
Of the other selections, “All The Things I’m Not” has some fine baritone playing from Limtiaco, the ensembles of “Inlet” are quite stormy, trombonist Eisenmenger is showcased on “I Fall In Love Too Easily,” tenor-saxophonist Treseler is in excellent form on “The Ray,” and Tracy Knoop’s high-powered soprano is noteworthy on “Geo Rose.” The package also includes two additional songs on a bonus disc: colorful revivals of “I Won’t Dance” and “Bahia.”
The Pony Boy All-Star Big Band would be an exciting orchestra to see live. For those of us not in Seattle, Live At Boxley’s (available from www.ponyboyrecords.com) is the best way to experience their music.
Michael Wolff
Memoir
(Sunnyside)
Released at the same time as his notable autobiography On That Note, Memoir features pianist Michael Wolff in a trio with bassist Ben Allison and drummer Allan Mednard. They perform ten of Wolff’s originals plus the standard “You’ve Changed.”
Despite their titles, the songs exist independently from Wolff’s book. Beginning with a light Marcus Miller-type groove on “Left Out” (which is a little reminiscent of Bill Evans’ “Peace Piece”), the music is mostly thoughtful and taken at relaxed tempos. “Afternoon” has a harmonically complex chord structure, the episodic “Zawinul” features a series of playful grooves,” “Leland” develops slowly while taking its time, and Wolff switches to electric piano on the laidback “On My Mind.”
The second half of the CD starts with the energetic and infectious “Jamaican Turnaround,” the medium-slow jazz waltz “Could Be,” and a funky “No Lo Contendré” which has some particularly interactive bass and drums playing. Memoir concludes with an introspective exploration on “Wheel Of Love,” Allison’s bass leading “Sad Clown” (which also has Wolff on electric piano), and a straightforward version of “You’ve Changed.”
With the release of his book and his new recording, Michael Wolff will hopefully get more of the recognition for his musical (and writing) talents that he deserves. Memoir is available from www.sunnysiderecords.com.
Anat Cohen’s Quartetinho
Bloom
(Anzic)
Clarinetist Anat Cohen (who also plays a pretty mean tenor) can always be relied upon to record stimulating and inventive music. She has long had affection for Brazilian choro music as can be heard throughout Bloom.
For this set, Cohen is joined by Vitor Goncalves on piano and occasional accordion, Tal Mashiachi on bass and acoustic guitar, and James Shipp on vibes, marimba and percussion in a group called Quartetinho. Sticking exclusively to clarinet, Cohen mostly performs originals by members of the group along with a classical piece and Thelonious Monk’s “Trinkle Tinkle.”
Bloom begins with Cohen’s quirky “The Night Owl,” an unpredictable performance that smoothly alternates written passages with improvised solos. The quietly emotional “Paco” has the feel of flamenco and features Mashiachi’s guitar. “Trinkle Tinkle” is given some unexpected pauses in its melody statement and has fine clarinet and vibes solos.
Other selections include the modern “Tango Para Guillermo,” the stimulating “Coco Rococo,” a brilliantly played classical piece (“La Catedral III: Allegro Solemne”), exciting interplay between Cohen and Goncalves on accordion during “Superheroes In The Gig Economy,” and the out-of-tempo slow ballad “Friends In Every Manner Of Conveyance.”
Everything works well, making Anat Cohen’s Bloom (available from www.anzicrecords.com) a worthy acquisition.
Janis Siegel and Yaron Gershovsky
The Colors Of My Life
(Club 44)
The Manhattan Transfer may have called it quits after 52 years, but Janis Siegel has continued on with her busy solo career. Even after all of this time, her voice is still very much in its prime as she shows throughout The Colors Of My Life, ten songs composed by Cy Coleman.
Cy Coleman (1929-2004) sometimes gets overlooked on lists of the major contributors to the Great American Songbook but he deserves to be included. Originally a jazz pianist who led a trio in clubs, Coleman began writing for the theater (usually with Carolyn Leigh as his lyricist in the early days) in 1960. Among his biggest hits were “Witchcraft” and “The Best Is Yet To Come,” both of which are on Ms. Siegel’s set.
On The Colors Of My Life, Janis Siegel shares the co-leadership with the Manhattan Transfer’s longtime pianist-keyboardist Yaron Gershovsky. They are joined by Boris Kozlov or David Finck on bass, drummer Cliff Almond, the Crosby Street String Quartet on two numbers, and the background vocals of Aubrey Johnson on their wordless rendition of “Playboy’s Theme.”
Among the other highlights are a sassy and assertive version of “I’ve Got Your Number,” Siegel’s superior ballad singing (full of longing and passion) on “With Every Breath I Take,” a duet rendition of “That’s My Style” (which has the pianist striding a bit), and the tricky rhythms given “I’m Gonna Laugh You Right Out Of My Life,”
Listeners not familiar with the work of Cy Coleman and those who love Janis Siegel’s singing are particularly advised to get The Colors Of My Life which is available from www.club44records.com.
George Colligan
You’ll Hear It
(LA Reserve)
George Colligan is such a consistently inventive pianist that it is easy to take him for granted. Consider that since 1995 he has led at least 25 albums and been on over 100 as a sideman. He has long had his own voice within the modern mainstream of jazz without ever becoming overly predictable in his playing.
You’ll Hear It features Colligan and his trio with bassist Alex Claffy and drummer Kush Abeday joined on six of the pianist’s 11 originals by up to four horn players including tenor-saxophonist Nicole Glover and trumpeter Alex Norris. Three of the songs also feature either Zyanna Melada or Jimmie Herrod on vocals.
The music holds one’s interest throughout. Highlights include the 5/4 trio number “Boss Level,” the quirky “You’ll Hear It” which a strong Breckerish solo from Glover, a thoughtful ballad (“Simply Living”), the brooding ballad “Thanksgiving,” and “The Tone Of The Room” which hints at Thelonious Monk’s “Epistrophy” in its theme.
Throughout, George Colligan takes typically rewarding solos and shows that he is also a first-rate composer. You’ll Hear It (available from www.lareserverecords.com) is an excellent sampling of his artistry.