Samara Joy
Portrait
(Verve)
Samara Joy continues to grow in depth, power, and inventiveness with each release. She had a beautiful voice in each of her registers from the start along with a hunger to learn about all eras of jazz. Rather than rest on her laurels, go for even more commercial success, or just repeat what she has already accomplished, she stretches herself on Portrait.
Or this outing Samara Joy is joined by seven young and upcoming musicians, five of whom were responsible for the set’s eight arrangements. The opener, “You Stepped Out Of A Dream,” lets one know that Ms. Joy is a virtuosic singer who is also generous in allocating solo space to her sidemen. She begins Charles Mingus’ “Reincarnation Of A Lovebird” (for which she contributed the lyrics) with an outstanding unaccompanied chorus before the band gets to stretch out a bit, revives the classic “Autumn Nocturne” (made famous by Claude Thornhill in the 1940s) which has her making effortless leaps between octaves, and composed “Peace Of Mind” (which is coupled with a rather exuberant version of Sun Ra’s “Dreams Come True”). The second half of the memorable program features her performing the touching “A Fool In Love,” a high-powered “No More Blues” (which has a heated tradeoff by trumpet and trombone), singing her lyrics to Barry Harris’ ballad “In Remembrance Of” (renamed “Now And Then”), and swinging hard on “Day By Day.”
The supporting cast, although not containing household names (other than co-producer Brian Lynch), is filled with young and potentially significant talents: trumpeter Jason Charos, trombonist Donavan Austin, altoist and flutist David Mason, tenor-saxophonist Kendric McCallister, pianist Connor Rohrer, bassist Felix Moseholm, and drummer Evan Sherman (the best known of the players). They are all world class players and Samara Joy sounds obviously inspired to have them in her group. Portrait, which is available from www.ververecords.com, is highly recommended.
Al Jarreau
Wow!
(Resonance)
Al Jarreau & NDR Big Band
Ellington
(ACT)
Al Jarreau (1940-2017) was a remarkable singer, a vocalist who could emulate the sounds of most instruments (particularly the congas), scat with great creativity, and always had a warm and friendly voice. If he had stuck to it, he could have been one of jazz’s greatest singers. One can hear him singing straight ahead jazz back near the beginning on Al Jarreau 1965 (Bainbridge) and on his jazz-oriented live set Look To The Rainbow (Warner Bros.) in 1977.
Unfortunately for jazz, Jarreau chose to go after the money and spent much of his career performing routine but very commercially successful pop music/light r&b. He became a household name but, with only an occasional exception (teasers that showed he could still do it if he wanted to), he spent much of his career outside of jazz.
Wow, a Zev Feldman production, has Jarreau featured on a previously unreleased set in a small venue from Aug. 13, 1976. Joined by his regular rhythm section of the time (keyboardist Tom Canning, bassist Ben Atkins, and drummer Tom Drake), Jarreau does quite a bit of scatting in his virtuosic if eccentric manner although the material is mostly not that rewarding. He tears into “Take Five” and also performs “Shiny Stockings” (accompanied only by Canning), but otherwise the performances (including “Fire And Rain”) are largely forgettable and dated. One can admire Jarreau’s technique but much of this performance (available from www.resonancerecords.org) seems rather self-indulgent, an outing only recommended to completists. It certainly does not deserve its 40-page booklet.
Ellington was recorded 40 years later, just a few months before Jarreau’s passing. His voice was still strong and he was clearly inspired by both the program (nine songs by Duke Ellington and two Billy Strayhorn compositions) and the frequently roaring NDR Big Band. The top-notch German big band was on its third tour with Jarreau and had a long-time relationship with the singer. These selections were recorded at concerts in Amsterdam and Monte Carlo. While none of the orchestra’s soloists are familiar names to American jazz listeners, they are all world class. There are spots along the way for trumpeter Ingrid Burkhadt, Fiete Felsch on alto and flute, tenor-saxophonists Christof Lauer and Frank Delle, pianist Hans Vroomans, and several others.
It is a real pleasure hearing Jarreau digging into such numbers as “I Let A Song Go Out Of My Heart,” ‘In A Mellotone,” “I’m Beginning To See The Light,” and “I Ain’t Got Nothing But The Blues.” Some of the songs are given lightly funky treatments while others are more straight ahead. Jarreau’s scatting is more coherent and not as wild as during Wow. He was obviously quite happy to be singing in this setting. Ellington, which has Al Jarreau exiting on top, is available from www.actmusic.com.
Mike Campbell
Live At Donte’s Vol. 1
(ITI)
Mike Campbell, a jazz singer and educator, has been a welcome presence on the Southern California jazz scene for the past 40 years. He recorded a series of excellent albums, mostly in the 1980s and ‘99s, that include Secret Fantasy, Blackberry Winter, One On One, Easy Chair Jazz, Loving Friends, My Romance, Let’s Get Away From It All, Close Enough For Love, and I Love You In Three Quarter Time. While he is largely retired from active performing, he still attends occasional concerts and supports local musicians.
Recently Mike Campbell discovered some long lost tapes from Feb. 13, 1983. On that night, NPR’s Jazz Alive broadcast his performance at the legendary and still much-missed L.A. club Donte’s. The singer was joined by his longtime musical partner pianist Tom Garvin, a 19-year old John Patitucci on bass, drummer Peter Donald, and tenor-saxophonist Tom Peterson.
Those listeners who are familiar with Campbell’s singing may be a bit surprised by the youthful power that he displays throughout the wide-ranging program (which is well recorded) although his gentle personality and friendly voice are easily recognizable.
First the quartet stretches out on two Garvin originals with Peterson in top form. Then the spotlight shifts to Mike Campbell who performs four jazz standards (including “Honeysuckle Rose” and Dave Frishberg’s “A Little Taste”) and four lesser-known numbers that include Randy Newman’s “Marie” and “Secret Fantasy”; Campbell co-wrote the latter with bassist John Heard. The music (available from www.amazon.com) is both rewarding and historic, featuring a young Mike Campbell in his early prime. And since it is Vol. 1, his fans can also look forward to more vintage performances in the future.
Steve Lacy
The Classic Albums
(Enlightenment)
Steve Lacy (1934-2004) was an innovative soprano-saxophonist who brought his instrument into the modern jazz world. He began his career playing soprano and clarinet (which he soon gave up) with Dixieland groups including with such players as Henry “Red” Allen,” Pee Wee Russell, and Rex Stewart. His first recordings were with trumpeter Dick Sutton’s group in 1954 which was billed as “progressive Dixieland.” After a few other sessions in swing and mainstream settings, by mid-1956 Lacy was performing very adventurous jazz with pianist Cecil Taylor, bypassing bebop altogether. In 1957 he made his first recording as a leader. His music by then including explorations of the songs of Thelonious Monk, Duke Ellington and other modern jazz composers. He had an opportunity to record with Gil Evans and worked briefly with Monk in 1960. Always particularly interested in Monk’s compositions, Lacy co-led a pianoless quartet with trombonist Roswell Rudd in 1962-63 that only played Thelonious’ songs. When that group broke up, he freelanced a bit (including recording a set of Louis Armstrong songs with cornetist Bobby Hackett in 1964) before becoming part of the jazz avant-garde in 1965. Moving to Europe, Lacy would record prolifically through the years and, while occasionally revisiting the repertoire of Thelonious Monk, he mostly performed originals and free improvisations from then on.
When Steve Lacy began specializing on soprano sax, he was nearly alone, particularly in modern jazz. Sidney Bechet passed away in 1959 and John Coltrane did not start playing the instrument until the following year. Others of the time who would pick up the soprano (such as Lucky Thompson) utilized it as a double rather than exclusively exploring it like Lacy. He developed his own cool-toned vibratoless sound, a relaxed free-form style that followed its own logic, often performed scalar pieces, and became an inspirational force in avant-garde jazz.
The Classic Albums is a four-CD set that contains all of the music from Lacy’s first seven albums as a leader (only skipping what has been released from his group with Rudd) plus a set with Carla Bley. Dating from 1957-66, the first half of this reissue is comprised of Soprano Sax (a quartet date with pianist Wynton Kelly, bassist Buell Neidlinger, and drummer Dennis Charles), Reflections (with pianist Mal Waldron, Neidlinger, and drummer Elvin Jones), The Straight Horn Of Steve Lacy (a quartet with baritonist Charles Davis, bassist John Ore, and drummer Roy Haynes), and Evidence (on which he is joined by trumpeter Don Cherry, bassist Carl Brown, and drummer Billy Higgins). These are the most accessible Steve Lacy albums, consisting of songs by Monk, Ellington and Cecil Taylor plus an occasional original and a few standards. One can hear the soprano-saxophonist growing in depth and originality throughout these mostly swinging performances.
The second half of this release has Lacy stretching out on Disposability (a trio with bassist Kent Carter and drummer Aldo Romano), Jazz Realities (a surprisingly dull outing with Carter, Romano, trumpeter Michael Mantler and pianist Bley who supplied most of the material), La Sortie (a quartet with trumpeter Enrico Rava, Carter and Romano), and The Forest And The Zoo (with Rava, bassist Johnny Dyani and drummer Louis Moholo). The two sets with Rava are quite conversational with a lot of fairly free group improvising. They lead the way towards Lacy’s playing of the next few decades. Steve Lacy’s The Classic Albums (available from www.amazon.com and www.mvdb2b.com) is well worth picking up by open-minded listeners. It serves as a strong introduction to his innovative music.
Mon David/Josh Nelson/Larry Koonse Continuum
(Dash Hofffman Records)
DNA (which stands for David.Nelson.Agreement) was originally a duo consisting of singer Mon David and pianist-keyboardist Josh Nelson. On their second recording, the group becomes a trio on the first four of the ten songs with the addition of guitarist Larry Koonse. While he is happy to share the leadership, in reality Continuum is a showcase for Mon David who is arguably the top male jazz singer in Southern California.
Continuum begins with a swinging rendition of “As Long As You’re Living,” a song with memorable lyrics by Oscar Brown Jr. that was made famous by Abbey Lincoln. It is the first of several philosophical pieces on this set, one of which is “Blowin’ In The Wind.” The latter is very effectively performed at a slower tempo than usual which brings out the beauty of its timeless thoughts. “A Time For Love” is given an emotional treatment which contrasts with the jubilant rendition of “Four” which has Mon David effortlessly racing through Jon Hendricks’ vocalese lyrics.
The pianist is featured on his “Spirit,” which has Mon David singing wordlessly. Bill Evans’ “The Two Lonely People” and the Nelson/David original “Duke And Billy” are taken at slow and thoughtful tempos. “Murky,” a medium-tempo blues with an extension, is a tribute to one of the vocalist’s main inspirations, Mark Murphy. It gives Mon David an opportunity to scat a little. The final three pieces are all ballads and, while the singer expresses heartfelt emotions with Nelson providing stimulating and quietly atmospheric ideas, I wish that Continuum contained a few more uptempo tunes that let Mon David really get to cut loose.
That reservation aside, Continuum is recommended for Mon David’s warm singing, Josh Nelson’s creative ideas, and the addition of Larry Koonse’s inventive playing. It is available from www.amazon.com.
Dann Zinn
Two Roads
(Ridgeway)
Dann Zinn is a passionate tenor-saxophonist based in the San Francisco Bay area who has a soulful sound. Ernie Watts and Lenny Pickett were two of his mentors and one can hear aspects of their styles in his playing although Zinn has his own individual voice. Two Roads is his sixth album as a leader.
For this project, Zinn is joined by pianist Rachel Z (who contributes some of her finest acoustic work throughout the set), bassist Jeff Denson, drummer Omar Hakim, and sometimes percussionist Brian Rice. The tenor’s playing is often intense, always a bit explorative, and pushes the limits of chordal improvisation. Like Watts and Michael Brecker, his tone is appealing, making his music more accessible than one would expect.
Zinn’s eight originals are generally post-bop and straight ahead but without being predictable. Some selections, such as the uptempo “Yarak” and “Two Roads,” have his improvising getting fairly free while still relating to the mood of each piece. During the opening section of “A Revolution Of One,” Zinn utilizes electronics on his saxophone to set up the atmospheric work. He gets funky on “East Bay Punk” yet is melodic and more relaxed on ”Prayer Again” and much of “Streams Of Dreams.”
With the tight rhythm section and fine soloing from Rachel Z and bassist Denson, Two Roads is a well-rounded showcase for Dann Zinn’s playing and writing. It is available from www.dannzinn.com.
Sun Ra Arkestra
Lights On A Satellite: Live At The Left Bank
(Resonance)
Sun Ra Arkestra
Lights On A Satellite
(In+Out)
Sun Ra (1914-93) was a most unusual fellow. A very skilled pianist, keyboardist and bandleader who performed music that was both futuristic and primitive, he espoused a philosophy that was alternately insightful and satirical although it was often hard to know which was which. While he was way ahead of his time musically, he made it difficult for listeners by often pairing a current session with one from a decade earlier on his releases without including recording dates. In his Arkestra, he sometimes mixed together brilliant musicians with others who could barely play their instruments. And by claiming that he was from Saturn while having his band wear outfits that had strong hints of both ancient Egypt and science fiction movies, it was easy not to take him seriously, even as he amassed a large cult following.
The two-CD set Lights On A Satellite is a live performance from July 23, 1978. Two of its pieces, the medium-tempo “Left Bank Blues” and a version of “’Round Midnight” that features tenor-saxophonist John Gilmore, are taken from the Robert Mugge film Sun Ra: A Joyful Noise. Otherwise the performances are being released for the first time in this Zev Feldman production. The overall results are not essential but they are a fine keepsake (available from www.resonancerecords.org) for those lucky enough to catch Sun Ra’s memorable shows during the era.
There is quite a variety of music, all performed the Sun Ra way. The leader ruminates on synthesizer during the opening “Thunder Of Drums.” “Tapestry From An Asteroid” has an effective June Tyson vocal followed by some free playing that includes violent alto from Marshall Allen and electronics. Ra, who briefly plays “Over The Rainbow” on piano, stretches out a bit on “A Pleasant Place In Space” and contributes some spacey stride piano to “Space Travelin’ Blues.” He next has his band paying tribute to his roots in Fletcher Henderson on a much-too-rapid and barely recognizable version of “Yeah Man” and a more swinging “Big John’s Special.” Gilmore is featured on the ballad “Lights On A Satellite,” and he sounds a bit like Johnny Griffin (particularly during an unaccompanied flight) on “Lazy Bird/Half Nelson.”
The second CD begins with Marshall Allen mostly playing melodically on “Cocktails For Two,” other than punctuating his statements here and there with some screams. “Watusi” is an endless percussion display that suffers from the lack of a visual element since it was primarily a background for dancers. “They Plan To Leave” and the one-chord jam “We Travel The Spaceways” overstay their welcome while “Images In A Mirror is an uptempo blowout with Gilmore wailing over the ensembles.
Since Sun Ra’s death, and after a short period when John Gilmore (who soon passed away) led the band, Marshall Allen has been at the head of the Arkestra. The altoist recently turned 100 and he continues to lead the band which, when they recorded the self-titled Lights On A Satellite this year, consisted of 24 pieces. Allen still plays with power as he shows on the set’s opener, a much different version of the title cut than heard in 1978.
Unfortunately, Marshall Allen often lets his band ramble on way too long. The crowded ensembles, which are not always in tune, are colorful but miss Ra’s presence. While Tara Middleton proves to be a fine singer whenever she appears (best on the bluesy and previously unrecorded Ra composition from 1956 “Baby Won’t You Please Be Mine”), most of the soloists are erratic. “Dorothy’s Dance” swings a bit although the individual statements are forgettable, this rendition of “Big John’s Special” is way too loose, and the free playing by the ensemble on “Reflects Motion” goes on endlessly without reaching any conclusion. When the band concludes with “Way Down Yonder In New Orleans,” it is difficult to know whether they are being sloppily dissonant on purpose or are just unfamiliar with the tune. The In+Out set, which is available from www.inandout-records.com, is mostly for Sun Ra completists. Hopefully Marshall Allen can be persuaded to record a small group date to show listeners how he can still play with creativity at the age of 100.
Conte Candoli Quintet & Zoot Sims Sextet
Los Angeles 1955 Live Sessions
(Fresh Sound)
While one associates Los Angeles of the 1950s with West Coast cool jazz, music that was generally played quietly and often with arranged ensembles that were somewhat introspective, not all of the jazz played in L.A. during that era fit into that genre. Conte Candoli was an exciting bebop trumpeter while Zoot Sims (based on the West Coast for part of that era) was famous for always being able to swing hard. Los Angeles 1955 Live Sessions (available from www.freshsoundrecords.com) consists of three previously unreleased selections by a Conte Candoli-led quintet, and a set by Zoot Sims that was originally issued by the bootleg label Philogy under altoist Joe Maini’s name; the reissue of the Zoot session has much improved recording quality.
Candoli’s group also features tenor-saxophonist Bill Holman, pianist Carl Perkins, bassist Leroy Vinnegar, and drummer Larry Bunker. They perform heated, hard-swinging, and boppish renditions of “Groovin’ High” and “The Champ” along with “’Round Midnight.” Holman shows that he was a top-notch tenor player even though he would soon become much better known as a superb arranger-composer.
The Zoot Sims session also has contributions by trumpeter Jack Sheldon, altoist Maini, pianist Walter Norris, bassist Carson Smith, and the obscure but fine drummer Richie Frost. Recorded by a fan who loves Sims’ playing, on four of the six numbers, the recording stopped after the tenor’s solos. However “Indian Summer” and the 12 1/2 minute rendition of “I’ll Remember April” are complete and the recording quality is decent for the time.
These performances, recorded at Jazz City and the Haig in Los Angeles, add to the legacy of jazz in Los Angeles and will be enjoyed by fans of these classic players. It is available from www.freshsoundrecords.com.
Thélonius Garcia
Marche Nocturne
(TG)
Thélonius Garcia, who has been based in Montreal since 2018, is a pianist with a gentle touch who puts quiet feeling into his music. Classically trained in France, he eventually switched his focus to jazz while not being shy to display his classical background (particularly the music of Chopin and Debussy) in his improvisations Marche Nocturne (available from www.theloniusgarcia.com), a set of 16 piano solos, is his recording debut. Only three of the pieces clock in over three minutes and none is longer than 4:09. These short sketches are all taken at medium-slow tempos and give one the impression that Garcia is thinking aloud at the piano. Two numbers have haunting wordless singing from either Pierre Lebeau or Paul Bisson that add to the atmosphere.
Whether it is the three-note patterns that are featured on the title cut and “Vestiges,” the percussive playing of “Gould,” the heartfelt ballad “Evocation,” or the beautiful melody of “Histoires Ephemeres,” Thélonius Garcia’s playing acts as an effective soundtrack for one’s thoughts.
Margaret Slovak & Chris Maresh
A Star’s Light Does Fall
(Slovak Music)
Margaret Slovak is a jazz guitarist who plays sophisticated chords with a gentle touch. She met bassist Chris Maresh in 2023, they found that they had similar styles, and the duo has often played together during the past year.
On A Star’s Light Does Fall, the two musicians perform Christmas-related songs including a few standards, some lesser-known material, and Wayne Shorter’s “Infant Eyes” which is probably the first time that the latter tune has been on a Xmas album. Their treatments of such songs as “What Child Is This,” “Christmas Time Is Here,” Leonard Cohen’s “Hallelujah,” “I Wonder As I Wander,” and “Some Children See Him” are melodic, respectful and lightly swinging.
Margaret Slovak’s attractive chord voicings, Chris Maresh’s supportive bass lines, and their optimistic interpretations make A Star’s Light Does Fall a worthy acquisition for those who enjoy relaxing Christmas jazz. It is available from www.margaretslovak.com.