By Dee Dee McNeil
MIGUEL ZENÓN – “GOLDEN CITY” – Miel Music
Miguel Zenón, alto saxophone/composer; Matt Mitchell, piano; Chris Tordini, bass; Dan Weiss, drums; Miles Okazaki, guitar; Daniel Diaz, congas/tripandero/percussion; Diego Urcola, trumpet/valve trombone; Alan Ferber, trombone; Jacob Garchik, tuba/trombone.
Miguel Zenón
Miguel Zenón wanted this music to be a sweeping suite that musically represented the demographics and political evolution of San Francisco. That’s a huge task, but Zenón was up for the challenge. He embraced this assignment by first studying California history.
“Beginning with Native communities, all the way back to when California was Mexico, then the Gold Rush, and the waves of Asian migration. I talked to about fifty individuals and came out … with a lot more information to feed my creative process,” Miguel Zenón explained in his press package.
This work was commissioned by SFJAZZ and the Hewlett Foundation. As he began choosing the instrumentation he would be using and the individuals who would play them, in his mind he heard a brass and rhythm section nonet, along with the captivating guitar master, Miles Okazaki. He heard percussion and called Daniel Diaz to come be a part of his project.
“He’s a special musician who can play all the percussion, all the street stuff, and read anything,” Zenon praised his percussionist.
Once his mind was clear on what he was going to write and who would play it, the composer/arranger got busy. Zenón opens this terrific project with “Sacred Land.” His beautiful solo alto saxophone introduces the composition. Matt Mitchell shines during his piano solo, fingers racing, like startled birds flying across the Golden Gate Bridge. The horns chase the piano solo and create their own flight, harmoniously. Track #3 is titled “Acts of Exclusion” and was written with the Bay Area’s Chinese American community in mind. It’s a punchy piece, inspired by the Chinese Exclusion Act of 1882. On piano, Mitchell explores an atonal sequence in the tune, with the percussion of Daniel Diaz bright and tenacious during the Zenón arrangement. Also, the guitar solo is memorable by Okazaki. I was impressed by the power-packed drum solo of Dan Weiss.
Zenón’s composition, “Sanctuary City” starts out very sweetly, with his lovely, melodic saxophone establishing the tone and texture of the music. The groove settles into a jazz 6/8 waltz feel. As the curtains part, trombonist Jacob Garchik stands boldly in the spotlight to solo. This is a very beautiful arrangement. “Cultural Corridor” sounds like a carnival. It’s a joyful piece, with the horns playing disjointedly over each other, tumbling counter melodies with enthusiasm. This song represents the various geographical areas that house cultures like SOMA Pilipinas, the Calle 24 Latino Cultural District, and Japan-town.
The final tune on this album is simply called, “Golden.” It sounds like traffic, bathed in car horns and frustration, rather than the beauty, jazz energy and elegance I found in his other compositions. But you can feel the pace and groove of the city during this composition. Both piano, drums and bass create a rhythm section full of movement and steady excitement. The horn lines mimic a busy highway. This tune features Zenón’s talented brass section. Many of the gifted horn players step forward to solo, including Diego Urcola featured on a brilliant trumpet solo. Zenón’s music reflects the art, cultural beauty, and resilience in both the city of San Francisco and his compositions.
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JIMBO ROSS – “JAZZ PASSION & SATIN LATIN” – Bodacious Records
Jimbo Ross, electric 5-string viola/violin; Joe Gaeta, guitar; Stuart Elster, piano; Peter Marshall, upright bass; Ron Wagner, drums.
Over the years, Jimbo Ross has built quite a reputation as a jazz improviser and expert musician on the viola. In fact, at a concert during the mid-1970s, Don Ellis introduced Jimbo Ross as “the only jazz violist in captivity.” I don’t think I’ve ever enjoyed the viola as a lead instrument in a jazz ensemble until this moment. The Ross touch on the viola is certainly distinctive and impressive. He makes the instrument a solo thrill, leading the band in a number of familiar songs with a sensual flair all his own.
They open the album with the Victor Young tune “Delilah” from the movie soundtrack of Carmen Jones. Jimbo Ross begins the soloing with gusto and improvisational beauty. He dances all over the strings of that viola and he ‘swings.’ He is followed by a happy-go-lucky solo featuring jazz pianist, Stuart Elster. Elster can always lay down a groove. On this tune, he does not disappoint. Then Joe Gaeta steps into the spotlight on guitar. He has a magnificent sound and like all the others, Gaeta can ‘swing’ with the best of them. I am captivated by the sound of this quintet, pumped up and wrapped in rhythm by Ron Wagner on trap drums, who is in locked-arm stride with Peter Marshall on upright bass. Together, this group of great Southern California musicians remind me a little bit of a Gypsy band, in the style of Rhinehardt.
When Ross plays “Polka Dots & Moonbeams” he tattoos the song on my heart with his viola interpretation. Although this is a Great American Book Standard, Jimbo paints this song with brand new, vivid colors, using his bow to splatter improvisation all over the face of this familiar tune. I would call Jimbo’s playing, viola fusion.
We usually think of violin or cello as lead instruments in a string quartet or in a jazz setting. Rarely do we hear the viola player step through the curtains to become the spotlighted soloist. The viola, often thought of as a big brother to the violin, is generally stuck in the middle for harmonic blending. Jimbo Ross is one of the only working jazz violists in Los Angeles who has the nerve and the talent to bring the viola to the front line of their music. I am absolutely thrilled by Jimbo’s musicality.
In addition to this stellar jazz quartet, Jimbo Ross also leads a group called his “Bodacious Band.” They cover a variety of styles, digging into the history of New Orleans Zydeco music, playing Chicago blues, along with R&B, funk and soul, he shows what his viola can do once shining in the spotlight.
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GUNHILD CARLING BIG BAND WITH STRINGS – “JAZZ IS MY LIFESTYLE” – Jazz Art Records
Gunhild Carling, vocals/trombone/trumpet/composer/arranger; Neil Fontano & , piano; Jim fox, guitar; Ken Wild, bass; Jamey Tate, drums; Johan Blome, banjo; Luke Kirley, sousaphone; REEDS: Mark Visher, Danny House, Dan Kaneyuki, Dan Boissy & Caesar Martinez. TRUMPETS: Jonathan Bradley, Mike Stever, Ray Monteiro & Jamie Hovorka. TROMBONES: Ryan Dragon, Nick Daley, Erm Navarro & Julianne Gralle. SPECIAL GUESTS: Scotty Barnhart, trumpet; Chloe Feoranzo & Nathan Tokunaga, clarinet; Viggo Blome, drums; Idun Carling, trombone; Neil Fontano, piano. STRINGS: The Prague Strings Chamber Orchestra.
Gunhild Carling is a remarkable musician, composer and singer. She headlines this band and is a multi-instrumentalist, in addition to her warm, quite compelling voice. The band opens with the title tune, one that Carling composed, both music and lyrics.
Known as the Swedish Queen of Jazz, she is quite the entertainer. Sparkly on stage, with sequined dresses and flowing blond hair, reminiscent of Billie Holiday with flowers pinned into her hairdo, Carling picks up a trombone or a trumpet and shows the audience that she can play these instruments as well as any of her big band members. She is the consummate entertainer, playing her instruments with the same flair and drama that she sings a song. At times, I hear the influence of the great Lady Day in Carling’s vocal presentation, especially on ballads like “I Desire You.”
In addition to all her many talents, she is an amazing composer. Her songs are well written with strong lyrical content and memorable melodies. This lady is the whole entertainment package. On this album, you will hear and enjoy eleven of her original compositions. It’s also a family affair. Joining her on this project is her daughter, Idun Carling who plays trombone, her son, Viggo Blorné plays drums, and her husband, Johan Blome plays banjo.
On this recording, added to her 13-piece big band is the Prague Strings Chamber Orchestra. She also has included trumpeter, Scotty Barnhart and clarinetists, Nathan Tokunaga and Chloe Feoranzo.
Gunhild Carling started performing with her family band when she was nine, playing trombone. She soon mastered the trumpet, played the recorder, the harmonica and even the bagpipes. She studied tap dance and added dancer to her biography. Always ready to expand her musical world and eager to learn more, she began to sing and learned to play banjo, ukulele and harp. It didn’t take long for her to carve out a reputation in Europe as a multi-instrumentalist and great stage performer.
In 2018, Carling moved to Northern California with her family. Although based in America, she continues touring the world. She is a social media influencer with over 5-million views on Youtube.com. Jazz is My Lifestyle is the perfect title for her album and her career.
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BEVAN MANSON featuring TIERNEY SUTTON – “TALKING TO TREES” – Tiger Turn Records
Bevan Manson, piano/composer/arranger; Mike Lang, piano; Luca Alemanno, Trey Henry, Edwin Livingston, & Tony Dumas, bass; Kendall Kay, Bernie Dresel, Steve Schaeffer & Joe LaBarbera, drums; MB Gordy, hand percussion; Brian Kilgore, congas/hand percussion; Bernie Dresel, percussion; Tom Rizzo, guitar; Gayle Levant, harp; Joe Locke, vibraphone; Nancy Mathison, clarinet/bass clarinet; Phil O’Connor, bass clarinet; Nick Akdag & Phoebe Ray, bassoon; Geoff Nudell & Don Foster, clarinet; Bob Sheppard & Sara Andon, flute; Danny Janklow, alto saxophone; Damon Zick & Brian Scanlan, soprano saxophone; Ed Neumeister, trombone; Ira Nepus, trombone & conch shell; Jonathan Davis, oboe; Gordon Au, trumpet; Rick Todd, French horn. STRINGS: Lucas Lechowski, violin solo; Amy Hershberger, Alyssa Park, violin; Luke Maurer, viola; Tim Loo, cello. VOICES: Tierney Sutton & Katherine Liner, lead vocals; Marina Pacowski, scat vocal; Mukti Garceau, Devon Davidson, Filippo Voltaggio, Matthew Lewis, Leslie Sultanian & Brent Wilson, voices. Hollywood Studio Symphony Orchestra conducted by Jeff Schindler
Bevan Manson has a premise about weaving vocalists into his arrangements, not to mention using over 70 musicians on this project.
“Personally, I’m often drawn to integrating the singers into lavish instrumental textures and narratives,” he writes in his liner notes.
I can clearly hear his concept on “All Blues” using Tierney Suttons sweet soprano voice like a horn, lacing through the chord changes, on-point and needle perfect with pitch and creativity. Manson opens his CD with this familiar Miles Davis jazz standard.
This tune is followed by “Banyon Tree” that becomes a medley with “Take the A-Train.” Manson fattens his arrangements with “The Hollywood Studio Symphony.” The Lucas Lechowski violin solo is outstanding.
Manson attended the prestigious Eastman School of Music and moved to Boston after graduating. It was there he met Sutton and became an admirer of what he calls her ‘meticulous singing style.’ After 13 years on the East Coast, he moved to Northern California to teach at UC Berkeley as Director of UC Jazz. Next, he relocated to Los Angeles, 20 years ago, currently splitting his time between Los Angeles and Albuquerque.
On “Willow Weep for Me” Bevan Manson’s style and approach on piano is spotlighted. I love the harmonics he hears and shares on his instrument. Luca Alemanno takes a noteworthy bass solo, although brief.
This album features 76 musicians in different orchestral ensemble settings, from large to small, with Manson on piano. Los Angeles offered him the opportunity of plucking legendary talent from a huge river of A-list jazz musicians in the Southern California basin. Bevan Manson’s love of nature, and especially trees, is the point of this work of art.
“I love taking walks in natural environments. It gives you a feeling of balance. The Japanese have a term for this – forest bathing. It’s not only good for your health, but it also taps into spiritual feelings. After seeing all the destruction caused by fires in California, I’m becoming more and more concerned that the natural world is in danger,” Bevan Manson explains.
Obvious on “Dance of the Mangrove Trees,” Manson also finds a lovely balance between European classical music and America’s own indigenous music called jazz.
“Talking to Trees” is a beautiful tribute to both the natural world and Manson’s unique, polychromatic talents in arranging and composing. He weaves a tapestry of musical ideas, using different sounds, voices, and instruments to create a project as lush and healthy as any of these trees he celebrates on this album.
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Misha Tsigano
Painter Of Dreams
(Criss Cross)
Keyboardist Misha Tsigano has constructed a fascinating set of music on Painter Of Dreams. His six originals often have complex time signatures, unusual melodies, and unique chord progressions that hold together with their own logic. It takes true virtuosos to perform this music (none of these pieces will be found at jam sessions) so Tsigano assembled quite a cast of modern jazz giants for this project: trumpeter Alex Sipiagin, altoist Miguel Zenon, Chris Potter on tenor and soprano (for three of the eight numbers), bassist Matt Brewer, and drummer Johnathan Blake. Hiske Oosterwijk sings quite effectively as part of the ensemble on two numbers and she performs her own lyrics to “Painter Of Dreams.” In addition to the originals, Tsiganov wrote arrangements to “Long Ago And Far Away” and a downbeat “I Loves You Porgy” that deconstruct the standards a bit while not losing their melodies.
Zenon and Sipiagin are consistently outstanding in their explorative yet natural-sounding solos and the stretches where they interact with each other are a joy. Tsiganov, who is mostly heard on Rhodes synthesizer, has his own inventive style and individual voice on the instrument while Brewer and Blake swing and make musical comments throughout the challenging music.
Painter Of Dreams is modern jazz of the highest quality and well worth several listens. It is highly recommended and available from www.crisscrossjazz.com.
Planet D Nonet
Echoes Of Harlem
(Eastlawn)
The Detroit-based Planet D Nonet paid tribute to Duke Ellington on their previous CD Blues To Be There. Echoes Of Harlem is Vol. 2 in this series. While most Duke Ellington tribute projects are either comprised of his more popular hits or feature an ensemble sounding like Ellington’s orchestra in the 1930s or ‘40s, the Planet D Nonet has a very different approach.
The group could pass for a combo taken from Ellington’s orchestra circa 1959-60. While its players do not actually copy such greats as cornetist Ray Nance, trumpeter Clark Terry, clarinetist Jimmy Hamilton, altoist Johnny Hodges, tenor-saxophonist Paul Gonsalves, baritonist Harry Carney, or Duke himself, they sound as if this was a group from the era that Ellington might have started if he wanted to have a second orchestra. Jeff Cuny wrote the majority of the arrangements so these are not exact reproductions but his charts really bring back the Ellington sound.
While there are a few numbers that debuted at an earlier time (“Rocks In My Bed,” “Echoes Of Harlem,” “Caravan,” and “Sophisticated Lady”) and a couple slightly later pieces (including Billy Strayhorn’s “Blood Count’), the selections are mostly obscurities that were in Ellington’s repertoire of the time. It is particularly rewarding hearing such somewhat forgotten tunes as “Happy Anatomy,” “Addi,” “Juniflip,” “La Belle Plus Africaine,” “Frustration,” and “Happy Reunion” receiving rare revivals. Most unusual is “Azalea” which, since it was recorded by Ellington with the Louis Armstrong All-Stars, receives a vocal by trumpeter James O’Donnell that comes close to sounding like Satch.
O’Donnell also does a fine job of emulating Cootie Williams when utilizing a plunger mute, really tearing into “The Shepherd.” The other musicians are trumpeter Charlie Miller, trombonist John “Tbone” Paxton (who sings on “Caravan”), Alex Colisto on alto and his particularly effective clarinet, tenor-saxophonist Christopher Tabaczynski (hinting at Gonsalves at times), baritonist Goode Wyche III. (sounding closer to Pepper Adams than to Carney while displaying a deep sound), pianist Michael Zaorski (taking the closing “Sophisticated Lady” as a solo piano showcase), bassist Trevor Lamb (featured on “La Belle Plus Africaine”), and drummer Sean Perlmutter with leader RJ Spangler contributing congas on a few numbers. Singer Camille Price guests on “Rocks In My Bed.”
It all works quite well. Echoes Of Harlem, which is available from www.eastlawnrecords.com, is as enjoyable as Blues To Be There.
Warren Wolf
History Of The Vibraphone
(Cellar Music)
Ever since he emerged in the early 2000’s, Warren Wolf has been one of the leading vibraphonists in jazz. On History Of The Vibraphone, he pays tribute to some of the greats who preceded him, dedicating each of the first nine songs to a different vibist.
For this project, Wolf is joined by pianist-keyboardist Alex Brown, bassist Vicente Archer, drummer Carroll “CV” Dashiell III. and, on six of the numbers, Tim Green on alto and soprano. One song apiece (mostly penned by the vibraphonists other than numbers by John Lewis and Chick Corea) pays homage to Terry Gibbs, Lionel Hampton (“Midnight Sun”), Milt Jackson (“Django”), Bobby Hutcherson, Cal Tjader, Gary Burton (Corea’s “Captain Senor Mouse’), Roy Ayers, Dave Samuels, and Joe Locke. Of the early vibraphonists, only Red Norvo is missing, and Wolf hints in the liner notes about a possible Vol. 2 in the future.
The set, which also includes Wolf’s own “I See You Baby, Looking At Me” and a second version of “Midnight Sun,” gives the leader an opportunity to play in a variety of styles. It is fun getting to hear him play in a boppish manner on Gibbs’ “Bopstacle Course” and “Django,” and creating his own take on “Captain Senor Mouse” which was originally a duet by Corea and Burton. Many of the other performances are more modern or a bit groove-oriented but, no matter what the piece, Wolf tips his hat to his predecessors while sounding like himself.
History Of The Vibraphone must have been a fun project for Warren Wolf. It makes for an enjoyable listen and is available from www.cellarmusicgroup.com.
Louis Armstrong
Louis In London
(Verve)
The music on this CD is being advertised as Louis Armstrong’s last great recorded concert. While there is some truth to that, it is not the whole story. Armstrong was still riding high during the first half of 1968, considered a living legend who had had a surprise hit with “Hello Dolly” four years earlier. He performed a pair of television concerts for the BBC on July 2, 1968 and was featured at prestigious venues in London the next two days. Just two months later he was knocked out of action by heart problems, forced to temporarily retire. Armstrong made a comeback in 1970, first as a singer and then later in the year (against his doctor’s advice) as a trumpeter. His appearance on the Johnny Cash Show, playing trumpet behind Cash on a Jimmy Rodgers song, could be considered his last hurrah although he did regroup his All-Stars for a week in March 1971 before again being forced to retire, four months before his death.
Treated by some publicists as a major new discovery, in reality nearly all of the music on Louis In London (which is drawn from the July 2 television shows) was out previously on the Lp Louis Armstrong’s Greatest Hits Recorded Live. Of the 13 selections on the new CD, this version of “Hello Dolly” is different than the one on the earlier Lp plus there are four songs being issued for the first time, in place of Jewell Brown’s vocal features.
By 1968, Louis Armstrong was conserving his energy, taking shorter trumpet solos or, as on “Indiana,” skipping his solo altogether. Joined by the last version of his All-Stars, a sextet with trombonist Tyree Glenn, clarinetist Joe Muranyi, pianist Marty Napoleon, bassist Buddy Catlett, and drummer Danny Barcelona, Armstrong’s singing is as spirited as ever and every once in a while he lets out a blast on trumpet that hints at his earlier greatness.
There are no surprises in the repertoire which includes versions of his later hits (“Blueberry Hill,” “Mack The Knife,” “Hello Dolly,” and the recent “What A Wonderful World”) plus such standbys as “A Kiss To Build A Dream On,” the instrumental “Ole Miss,” and “Mame” (an attempt to duplicate the success of “Hello Dolly”). Tyree Glenn proves to be an excellent foil for Armstrong on “Rockin’ Chair” and often takes solo honors while being very supportive of the trumpeter in the ensembles.
The music is enjoyable enough throughout Louis In London and while falling short of being essential, any Louis Armstrong performances are well worth hearing. Louis In London is available from www.amazon.com and www.ververecords.com.
Louis Stewart & Jim Hall
The Dublin Concert
(Livia)
Jim Hall (1930-2013) teamed up with the great Irish jazz guitarist Louis Stewart (1944-2016) for a single duo concert in 1982. The two guitarists had never played together before and this was probably their only collaboration. Fortunately their meeting was recorded and now, 42 years later, it is finally being released for the first time.
It is surprising that this was only a one-time event for Hall and Stewart had complementary styles. Hall was a bit more harmonically advanced and used space creatively (making every note and sound count) while Stewart displayed more energy and some double-time runs, but the guitarist from Dublin also had a thoughtful and quietly explorative style that was in the same musical world as Hall.
The restored set consists of five duets and three Hall solo showcases. Of the latter, a laidback yet dramatic “All the Things You Are” and “In A Sentimental Mood” are particularly memorable while the duets include “Stella By Starlight,” a lengthy version of John Lewis’ “2 Degrees East, 3 Degrees West,” and “St. Thomas,” performances that stick in one’s mind afterwards.
Fortunately some of the recordings of Louis Stewart (who along the way worked with Tubby Hayes, Benny Goodman, Spike Robinson, and George Shearing) have been recently put out by the Livia label. The Dublin Concert (available from www.liviarecords.com and www.amazon.com) is particularly recommended to fans who enjoy Jim Hall’s playing and to those who are discovering the musical magic of Louis Stewart.
Eric Person
Rhythm Edge
(Distinction Records)
Altoist and soprano-saxophonist Eric Person has a very impressive résumé including associations with Roland Shannon Jackson, Chico Hamilton, the World Saxophone Quartet, and Dave Holland not to mention his own series of inventive recordings.
The passionate saxophonist was leading his group Meta-Four (which also included guitarist Cary DeNigris, pianist-keyboardist Jerod Kashkin, bassist Adam Armstrong, and drummer Peter O’Brien) in 2007 when he recorded Rhythm Edge. The album, which was released at the time on the Distinction label and has now been reissued, consists of a dozen Person originals and has three guests on various selections: trumpeter Ingrid Jensen, trombonist Robin Eubanks, and percussionist Daniel Sadownick.
The opener, “Tyner Town,” is an uptempo modal tune in the style of McCoy Tyner that sets the stage for what is to follow. Throughout the outing, Person’s alto and soprano solos are full of fire and display his original sounds and inventive post-bop ideas. Kashkin is consistently outstanding, particularly when he plays acoustic piano although his electric work is also noteworthy. Jensen takes a few hot trumpet solos and engages in a memorable tradeoff with Person on “”Supersonic.” Other highlights include the melancholy dreamlike “Majestic Taurean Majesty,” an episodic “Reach” (featuring Person on alto soloing over the electronic background), and the dissonant waltz “Pendulum Swing” which has some dazzling soprano playing by the leader.
The adventurous compositions and playing throughout Rhythm Edge sound as fresh and timeless as ever, even 17 years after they were performed. This set is available from www.ericperson.com.
Francesco Crosara
Circular Motion
(OA2)
Born in Italy and the son of the late jazz singer Lillian Terry, Francesco Crosara is a veteran pianist based in Seattle. In the past he worked with such giants as Lionel Hampton, Freddie Hubbard, Richie Cole, Roy Hargrove, and Von Freeman among others but his most significant playing has been as a leader. While his music often falls into the area of modern mainstream jazz, he also doubles on synthesizer and is open to the inspirations of fusion, funk, World Music and Western classical music.
On Circular Motion, Crosara performs ten of his originals that are drawn from the past 40 years. He plays with three different trios with either acoustic bassist Clipper Anderson or Farko Dosumov or Osama Afifi on electric bass, and Mark Ivester, D’vonne Lewis or Xavier Lecouturier on drums. The music is mostly thoughtful with close interplay by the musicians. While electric bass is utilized on six of the ten numbers and Crosara occasionally switches to synthesizer, most of the music is acoustic in its sound other than the funky blues “One Day Honey One Day Onions” and “Savara” (a swinging romp on electric piano).
Several of the songs are in 6/4 time (including the Bill Evans-flavored “Gymnopedie No. 4”), and among the highlights are the introspective “Longing,” a mostly relaxed “Julia’s Tango” (other than an unexpected heated section), “Circular Motion” (an inside/outside song that one could imagine Keith Jarrett enjoying playing) and the folk melody “Passion.”
Despite occasional nods to his inspirations (including Chick Corea), Francesco Crosara plays this music in his own voice. His likable set is available from www.originarts.com.
Monika Ryan
Alive
(Self-Released)
Monika Ryan has a distinctive, very clear, and fetching voice, her phrasing is quite swinging, and she is a talented songwriter. Alive teams her with guitarist Sergio Pereira, bassist Ales Cesarini, and drummer Pancho Montanez with occasional spots for pianist Hernán Milla, tenor-saxophonist Keith Loftis, and trumpeter Augie Haas. Her CD has a dozen new songs by the singer plus Pereira’s “Can You Slip Away” for which she wrote the lyrics.
The messages in Monika Ryan’s lyrics are upbeat and filled with enthusiasm for life. With Pereira contributing bossa-nova inspired guitar and Loftis sounding a bit like Stan Getz, she sounds quite joyful on such numbers as “Every Day,” the childlike “You Draw Me In,” “This Morning,” “Let’s Get Away,” “Tonight,” and “Beauty All Around” (a duet with bassist Cesarini).
The delightful singing (which sometimes includes wordless stretches), the light and infectious rhythms, and the happy feelings displayed throughout Monika Ryan’s Alive are difficult to resist. This recommended release is available from www.resensitize.com/alive.
Michael Dease
Grove’s Groove
(Le Coq)
When one thinks of Michael Dease, it is of one of the top trombonists of the past 20 years. However he does not play a note on trombone during his recent recording Grove’s Groove. In fact, the trombonist is Steve Davis. For the second album in recent times, Dease is heard exclusively as a baritone-saxophonist.
Dease actually played alto-sax first and was a reluctant baritonist in his high school band. After hearing Curtis Fuller’s playing on John Coltrane’s “Blue Train,” he took up the trombone, developing into a major musician who has played with a wide assortment of top jazz artists including his close friend Roy Hargrove. After hearing Dease play some credible tenor, Hargrove encouraged him to begin doubling in public. In 2022 Dease began playing the baritone seriously and developed so quickly that he overcame the hesitation he felt about temporarily putting the trombone aside.
Grove’s Groove, which is dedicated to Roy Hargrove, has baritonist Dease and trombonist Davis joined by pianist Bill Cunliffe, guitarist Jocelyn Gould (who also contributes warm and fetching vocals to “Tea For Two” and “Never Let Me Go”), bassist Rodney Whitaker, and drummer Ulysses Owens Jr. Trumpeter Terell Stafford is a welcome guest on two numbers, organist Jim Alfredson is prominent on McPherson’s soulful blues “The Viper” (which also adds Eli Howell who takes a fine trombone solo), and percussionist Alex Acuna helps out on two songs. The musicians perform three standards, a trio of Dease’s originals, and a song apiece by Steve Davis (the title cut), Cyrus Chestnut, and Charles McPherson.
The music on Grove’s Groove (which is available from www.lecoqrecords.com) is essentially straight ahead hard bop with concise solos, tight ensembles, and an attractive group spirit. Mood and tempo variations along with the consistently high-quality playing make this a particularly strong effort. Dease, whose tone on baritone is deep like Pepper Adams’ was, shows that he already ranks as one of the better baritone-saxophonists around. Still, one hopes that he will always continue playing trombone too.
Kiran Ahluwalia
Comfort Food
(Self-Released)
Kiran Ahluwalia is a powerful and very musical singer who was originally from India and is currently based in Canada. Her husband, jazz guitarist Rez Abbasi, produced her latest album in addition to playing with her backup sextet. Comfort Food is her first album in six years and has Ms. Ahluwalia joined by Abbasi, Louis Simao or Robbie Grunwald on accordion and organ, bassist Rich Brown, drummer Davide DiRenzo, Ravi Naimpally on tabla, and percussionist Mark Duggan. Despite Abbasi’s occasional solos, the music is largely outside of jazz while sharing its adventurous spirit.
The modern Indian folk music is filled with lyrics that protest against the right-wing pro-Hindu (and anti-Muslim) government of India, discusses the injustices that restrict women, talks about cultural intolerance, and also covers the aftermath of the breakup of a relationship and finding love. Despite the seriousness of many of the lyrics, Kiran Ahluwalia also gives listeners an optimistic feel and plenty of stirring long notes. That and the Indian grooves (which are influenced by West African music) result in a set of originals (available from www.kiranmusic.com) that are surprisingly catchy and accessible.
Natalie Jacob
Sooner Or Later
(Self-Released)
A fine local jazz singer, Natalie Jacob has a nice friendly voice, sings in tune, and puts warmth and honest emotion into the lyrics that she interprets. She was the lead vocalist with Bluenova during 2007-10 and in 2014 joined the Latin jazz group Along For the Ride. While she recorded with the latter and has worked with the Scotty Barnhart Quintet, the Paul McDonald Big Band, the Brazilian band Corcovado, and her own groups, Sooner Or Later is her recording debut as a leader.
Trumpeter Barnhart (who is the project’s producer) is on four of the ten selections, guitarist Anthony Wilson and percussionist Kevin Winard are on three, and all of the performances include the great pianist Tamir Hendelman (who contributed the arrangements), bassist Carlitos Del Puerto, and drummer Clayton Cameron.
Sooner Or Later consists of ten standards with Ms. Jacob and her band swinging on such numbers as “Exactly Like You,” “East O The Sun,” an uptempo “What A Little Moonlight Can Do,” and the title cut. A bit of variety is offered with the inclusion of three Jobim tunes and the ballad “Smile.”
While not containing any real surprises, the music on Sooner Or Later is tasteful, melodic, and can easily be enjoyed by listeners wanting to hear a first-class vocal stylist. It is available from www.nataliejacob.com.
Jim Clayton
Look Out
(Clay-Tone)
Jim Clayton is a talented pianist and singer from Canada. He made his debut recording in 1997, worked at a wide variety of jobs including as music director for The Second City for 17 years, wrote music for television shows, and produced musical comedy albums. As a pianist he co-led the Clayton/Scott Group with guitarist Andrew Scott, making two albums. In 2013 he recorded Songs My Daughter Knows in New Orleans with Jason Marsalis, Bill Summers and Marlon Jordan. It was followed by an album comprised mostly of his originals in 2016, Lenny Jumps In.
Look Out is a bit different for it finds Clayton cast as a singer in New Orleans who also plays piano in a trio with bassist Amina Scott and drummer Herlin Riley. He performs a dozen songs that range from veteran standards (including “Devil May Care,” and “This Can’t Be Love”) several tunes from movies (a medium-tempo “Moon River,” “Everybody Wants To Be A Cat,” and “Spider-Man”) and cartoons plus songs by Paul Simon and Jim Croce among others. Of particular note is the transformation of Sting’s “Every Breath You Take” into a Mardi Gras theme worthy of Professor Longhair.
The music is all played as swinging trio jazz with Jim Clayton taking personable vocals that sometimes recall Bob Dorough and other jazz pianist-singer-songwriters although in this case he did not write any of the pieces. While his vocal range is limited, he effectively gets his message across while playing some fine piano. Scott and Riley support him well and the results (available from www.jimclaytonjazz.com) are enjoyable.
Felipe Brito
Don’t Put Off Until Tomorrow
(Self-Released)
An excellent trombonist from Brazil, Felipe Brito studied music at Indiana University, the Cleveland Institute of Music, and the University of Texas at Austin. He makes his recording debut as a leader on the rather brief (31 minutes) six-song CD Don’t Put Off Until Tomorrow.
Brito has a fluent style and a big sound. For his recording, he utilizes keyboardist Fabio Leandro, bassist Jackson Silva, drummer Rodrigo Braz, and occasionally saxophonist Raphael Ferreira. Brito proves to be an impressive soloist throughout a set that ranges from post-bop to being slightly funky, a variety of modern jazz pieces that sometimes include a touch of the influence of Brazilian music. He wrote all of the compositions with the most memorable originals being “Aos Amigos Da Vida,” the catchy rhythmic melody “Nao Deixa Cair,” and “Chiquita Hermosa.” Brito is the main soloist although Leandro and Silva get their spots. Ferreira is only sparingly used which is unfortunate because whenever he plays (particularly on soprano for the title cut), he sounds quite talented.
One looks forward to Felipe Brito’s future projects. Don’t Put Off Until Tomorrow (available from www.amazon.com) is a strong start.
Cacau Ferrari
Space Bass
(Self-Released)
Cacau Ferrari is an inventive electric bassist who plays unusual lines on his instrument while swinging. Space Bass is a set of nine brief duets with eight different participants from Brazil that totals 22 minutes. The music will primarily be found as individual performances online.
“Dorians” teams Ferrari with the rockish guitar of Andre Dantas,” he interacts with trumpeter Guta Menezes on “TPT Triplets,” and he accompanies the bowed bass of Alexandre Brasil on the well-titled “LowBlues,” one of the set’s highpoints. Accordionist Roberto Kauffmann is featured on the playful “Accordioned Waltz” while Ricardo Imperatore’s electronics on ‘Electro-Maracatu” makes him a particularly colorful partner for the bassist. Heber Poggi’s warm tenor is on “One Shot Ballad,” singer Camila Costa is in the spotlight during “Onda do Som,” and Ana Baird is on two songs, singing wordlessly on the haunting “Sambated Bolero” and interpreting lyrics on “Seja Como For.”
Space Bass is filled with intriguing performances that make one look forward to Cacau Ferrari stretching out much more in the future.
Night Heat
Justin Chart
Universal Music Group
https://www.youtube.com/embed/bRzXXDk0Q-8?si=f-QYrNv6gEKxhab5Justin Chart’s appropriately named new album “Night Heat” is live with the unbridled spontaneity of brilliant musicians at the very top of their game. Chart has once again recorded a live Hard-Bop album with thought-provoking phrasing, while presenting powerful control of his horn. “We Got Somethin Goin On”, begins as a sprawling piece that starts with a powerful groove before morphing into a full-blown jazz extravaganza, fueling Chart’s sizzling riffs. This song would have been a hit single back in the day when instrumental singles meant something. The team of Chart on saxophone and Mike Rocha (Big Phat Band) on trumpet are a powerful duo, they feel and sound like Cannonball and Nat Adderley. The saxophonist communicates meaning and emotion with his phrasing and the tone of his alto, talking to the listener in a spectrum of colors. I can feel the primal tonality soul to soul, in the fact that Chart is continually exploring uncharted territory. “Forward Face Grace” conjures wordless forms of feeling. The imagery is a pathway that seduces you with layers of sheer exotica before tearing itself apart to finally reveal a restful clearing. It has a vibe that is the essence of jazz. It’s the wee hours in a downtown speakeasy. “Somewhat of a Character” is a perfect example of Chart’s Hard Bop riffs, so graceful and powerful, keeping a charismatic interplay with Rocha, as they seem to make so much happen with ease. No unnecessary layers and motifs. If you have a great song then it will speak for itself. “Notes To Myself” does just that freely joining textures and dynamics, Justin floats his glistening sound fluidly over the attentive work of his rhythm section, featuring drummer Cecil Brooks, who grooves and swings splendidly. Saul plays harmonic fragments, leaving a wide aperture for Chart to be the messenger that he is. “Calling Evans” has the feel of an after-hours place where all of the best jazz musicians go to play after their gigs to play what their souls are saying. With his use of harmonic substitutions, Chart makes a daring choice of notes, and produces a clear penetrating sonority which gives him a unique sound that is all his own, yet gives the feel of a sixties Blue Note record. “Night Heat” delivers gallant, growling, grooving Jazz, the perfect combination of the slick and the raw-edged, of modernity and tradition. From there they explore any number of Jazz byways and swingin side roads, spiraling solos coat every performance with a glistening, mesmerizing dialog of wisdom. “Pearl Was” is a cool ballad, with shining solos and spacious deliveries that coat your consciousness with a mesmerizing authenticity. Saul on keyboards and Chart have done a few records together and have developed a sonic and symbiotic alliance. “Scatter Good Seed in The Fields” again featuring the team of Chart and Rocha, each with explosive solos, and tight horn sections that are just outstanding, when you consider these are live performances, and completely improvised, they are off the Charts. The ensemble closes out the album with “Make The Grade,” which projects a modern jazz edge as the finale. The breakdown at 1:30 is phenomenal; these guys are so tight, words, at times, are beyond the power of my pen. Chart plays with a romantic’s imagination a classicist’s precision and at times, frightening, intensity. The musical telepathy on “Night Heat” is magnificent! The bandleader and Co. have indubitably captured the heat of the night in “Night Heat.”
