Pat Bianchi
Confluence
(21H Records)
Pat Bianchi has been an important jazz organist ever since he led his first album in 2002. Confluence, which is at least his tenth set as a leader, finds him heading a trio also featuring tenor-saxophonist Troy Roberts and drummer Colin Stranahan. The same musicians had recorded Bianchi’s previous album Three in 2023.
Bianchi has a powerful orchestral sound that is closer to that of Wild Bill Davis and Dr. Lonnie Smith than to that of Jimmy Smith. He performs a wide-ranging set that begins with an unusual choice, a dramatic version of “It Was A Very Good Year.” The heated organ and tenor solos fit the tune quite well. “Jitterbug Waltz” is taken at a relatively fast tempo in a rendition that does not recall its composer (Fats Waller) at all. Roberts’ melody statement on the ballad “I Guess I’ll Hang My Tears Out To Dry” hints strongly at Ben Webster but not during his inventive solo. The other selections include “The Song Is You” which, after the odd accents of the melody, is taken at a racehorse tempo, the relatively obscure “Dizzy’s Dilemma,” a swinging “Come Rain Or Come Shine,” and a spiritual inspired interpretation of John Coltrane’s “Wise One.”
With Troy Roberts contributing muscular post bop tenor solos and drummer Colin Stranahan playing stimulating ideas in support of the soloists, Pat Bianchi is heard throughout in prime form. Confluence (available from www.amazon.com) is easily recommended to fans of the jazz organ.
Mark Turner
Patternmaster
(ECM)
Tenor-saxophonist Mark Turner, who is now 60, has often been cited by younger jazz artists as a strong influence. His post-bop improvising, light but not lightweight tone, and consistent desire to push himself in his playing rather than coasting have resulted in a strong musical legacy.
Patternmaster features Turner heading a pianoless quartet that also includes the impressive trumpeter Jason Palmer, bassist Joe Martin, and drummer Jonathan Pinson. While pianoless quartets may make one think of Gerry Mulligan or Ornette Coleman, this unit has its own sound as they display during six Turner originals.
It is fair to say that none of the pieces are destined to become standards in the future. Writing memorable new songs worth covering by others remains a major weakness in many of today’s top players. Turner’s originals generally feature dissonant harmonies by the two horns along with more accessible and light playing by bass and drums. While the melodies can be a little abrasive (best are the long ensemble statements on the tongue-twisting “Patternmaster”), the solos of Turner and Palmer are consistently filled with fire and creative ideas. They have compatible styles with the trumpeter’s occasional emotional jumps into his upper register always being a bit of a surprise. The arrangement of “It Very Well May Be” has each chorus having some stop-time, interplay with bassist Martin, and a cooking section that results in a memorable and modern uptempo romp. Martin, who has a long solo on the closing “Supersister,” and Pinson pay close attention to the lead voices while offering intuitive accompaniment throughout the set.
Even with the lack of strong melodies, the performances on Patternmaster (available from www.ecmrecords.com and www.amazon.com) grow in interest with each listen.Oscar Peterson
Around The World
(Mack Avenue)
Oscar Peterson (1925-2007) certainly had a very busy musical life. He recorded prolifically for decades (particularly during his two periods recording for Norman Granz) and was constantly on tour for over a half-century. A rather remarkable pianist whose phenomenal technique, rapid outbursts of notes, and ability to outswing anyone thrilled audiences, Peterson was largely unbeatable throughout his career, at least until a stroke in 1993 permanently slowed him down.
Around The World is an Lp that consists of previously unreleased concert performances from four different occasions. The first two numbers, an exploration of “The Lamp Is Low” and his original “L’Impossible,” have Peterson joined in 1969 by bassist Sam Jones and drummer Bobby Durham. As is true of most of the performances on this album, Peterson really tears into these pieces; the melody of “The Lamp Is Low” only emerges near the rendition’s conclusion. The next miniset, comprised of Milt Jackson’s “Reunion Blues” and Peterson’s “Place St. Henri,” features solo piano from 1980. On “Reunion Blues,” Peterson goes back to his roots and displays his mastery of stride piano and boogie-woogie. “Place St. Henri” in its 2 ½ minutes also has Peterson engaging in some rapid striding.
Side two begins with a duet with guitarist Joe Pass from 1981 on “Stella By Starlight.” The last two performances date from 1972 and include bassist Michel Donato and drummer Louis Hayes. After a relatively calm ballad medley of “A Child Is Born” and “Here’s That Rainy Day,” Peterson plays Neal Hefti’s “Cute” at an impossibly fast tempo, featuring Hayes on a drum solo.
While Around The World will not convert any nay-sayers who feel that Oscar Peterson played too many notes, it will be considered a joy by those who love the masterful pianist. It is available from www.mackavenue.com and www.amazon.com. Rolf Kuhn
Fearless – The Last Recording
(MPS)
Rolf Kuhn (1929-2022) was a German jazz clarinetist who avoided being pigeonholed throughout his long career. Originally a swing player when he first recorded in 1946, he crossed over to bop in the 1950s and was exploring free improvisations by the mid-1960s without losing his ability to play in earlier styles. He continued on his own singular path even when he was in his nineties as can be heard on Fearless which was recorded just six weeks before his passing.
Joined by his regularly working quartet of the time (pianist Frank Chastenier, bassist Lisa Wulff, and drummer Tupac Mantilla), Kuhn sounds in prime form despite being 92. He performs a set that includes originals that are often playful (one is called “Fun For Kids”), whimsical, and unpredictable. While he displays a conventional tone, his choice of notes will keep one guessing. On some selections, the Cuareim String Quartet is added although they were not really needed.Kuhn adds variety with the inclusion of warm ballad treatments of West Side Story’s “Somewhere,” “The Summer Knows” and his own “Tears In Heaven.” He opens with a duet with drummer Mantilla (“Alpha 47”), introduces a catchy melody on “As Café,” plays eccentric ideas on “Fearless,” hints at a tango on “Simply Red Plus,” and ends the album and his career with a free improvisation on “Free Exit.”
Fearless is a fitting close to Rolf Kuhn’s wide-ranging career. It is available from www.amazon.com.
Jean Luc Ponty
The Atacama Experience
(MPS)
A masterful violinist for over 60 years, Jean Luc Ponty made his recording debut in 1962, began to be really be noticed in 1967, was a member of Frank Zappa’s band during 1969 and the second version of the Mahavishnu Orchestra in 1974, and by 1975 and throughout the 1970s and ‘80s was famous for his influential fusion recordings for the Atlantic label. He remained pretty active until the turn of the century but since 2001 has only made a handful of recordings and none since 2014.
The Atacama Experience which is from 2007 was his first recording as a leader in six years. 19 years later it is still his most recent set with his own group. Featured with Ponty is William Lecomte on piano and keyboards, electric bassist Guy Nsangue Akwa, drummer Thierry Arpino, and percussionist Taffa Cisse. Three of the 13 selections have guitarist Phillip Catherine guesting on guitar while Allan Holdsworth is on one song.
The set begins with a surprise, a funky version of Bud Powell’s “Parisian Thoroughfare” that has the violinist revisiting his roots in bebop. Otherwise, all of the songs (other than one by Lecomte) are Ponty originals. The music is primarily light fusion that is filled with outstanding violin solos, tight playing from the rhythm section, and fine interplay by Ponty and Lecomte. A particular highpoint is the exuberant “Celtic Steps.” Also noteworthy are Ponty’s unaccompanied playing on the acoustic “Desert Crossing,” his duet with Lecomte on the touching “Last Memories Of Her,” and Holdsworth’s solo on “Point Of No Return.”
The release of The Atacama Experience, which is recommended and available from www.amazon.com, makes one wish that there were more Jean Luc Ponty recordings from the past two decades. His great talent has been missed.Nea Levy & Paul Edis Trio
Portrait In Evans
(Dot Time)
Bill Evans, along with McCoy Tyner, was the most influential pianist to emerge in jazz in the 1960s, bringing the mainstream of jazz piano beyond Bud Powell. Evans’ influence on other pianists has only grown since his death in 1980. While he wrote a set of superior compositions (best-known is “Waltz For Debby”), they were originally thought of as instrumentals rather than features for singers. Many of the pieces have wide intervals and are logically quite pianistic.
Noa Levy, who was originally from Israel and is now based in San Francisco, has a powerful voice and a flexible style. Her previous album, You, Me & Cole, is a set of Cole Porter songs performed as duets with bassist Shimpei Ogaw. For Portrait Of Evans, she is joined by top-notch British musicians: pianist Paul Edis, bassist Adam King, and drummer Joel Barford with Alan Barnes (on alto, clarinet and bass clarinet) guesting on three of the ten songs.
All of the selections are Bill Evans compositions with some (“Peri’s Scope,” “Blue In Green,” and “Laurie”) receiving particularly rare vocal treatments. On most of the performances, Noa Levy does not dominate and there is plenty of solo space for Edis who plays in a style that is complimentary to that of Evans. Barnes is an asset whenever he appears while King and Barford are excellent in their supportive roles. However the main aspect to Portrait In Evans that sets it apart from the many other Bill Evans tribute albums is the apparent ease that Noa Levy displays even on the most difficult-to-sing pieces. She always sounds confident, digs into the lyrics, swings, and makes those interval jumps sound graceful.
Portrait In Evans, which is well worth acquiring, is available from www.dottimerecords.com.Frode Kjekstad Qrt.
Stars Aligned
(Losen)
Guitarist Frode Kjekstad gathered together an international quartet to form a pretty impressive group for Stars Aligned. Best-known among the members is the lone American, tenor-saxophonist Eric Alexander. Kjekstad is from Norway and also in the group are British organist Roy Powell and the German drummer Frederik Villmov.
With the exception of the opener (Harold Mabern’s hard boppish “The Phineas Train”) and the closer (Wes Montgomery’s “Jingles’), all of the selections are Kjekstad’s originals. The music is very much in the hard bop/soul jazz mainstream of the 1960s and includes a happy jazz waltz (“Open Ocean”), the straight ahead “ Blues 4U,” the cooking “Bonebreaker” which alternates each chorus between uptempo swing and funk rhythms, two ballads (“Moon Song” and “Foggy Morning In The Woods”), the uptempo “Stars Aligned” (which has a particularly outstanding guitar solo), and the Latinish groove piece, “Hammond Cheese.”
Roy Powell’s playing recalls the 1960s giants of the Hammond B3, Kjekstad brings back memories of Wes Montgomery and Kenny Burrell, Villmov swings throughout, and Alexander fits right into the role of Stanley Turrentine, Houston Person and the other great tenors who played with organ groups. Despite my name dropping, each of the four musicians displays their own musical personality on this enjoyable set and succeeds at keeping the classic organ quartet viable, fresh, and exciting. Stars Aligned is recommended and available from www.losenrecords.no and www.amazon.com.Red Norvo
The Secret Session
(Dot Time)
Red Norvo (1908-99) had a long and episodic career. Jazz’s only major fulltime xylophonist and certainly the only one to lead a big band during the swing era, Norvo switched permanently to the vibraphone in 1943. Before that, he had worked in vaudeville, starred in a series of memorable small-group dates, married singer Mildred Bailey (they were known as Mr. and Mrs. Swing), and led his own orchestra. In 1942, he broke up his big band (the World War II. draft was making it hard for him to hold onto his sidemen) and formed a septet. While he led other similar small groups before working with the Benny Goodman Sextet and becoming a member of Woody Herman’s First Herd in 1945, the group heard on The Secret Session was never officially documented.
This particular session from late 1942 was recorded privately by jazz critic George T. Simon and is being released for the first time after more than 83 years. Norvo is joined by trumpeter Shorty Rogers, trombonist Eddie Bert, Aaron Sachs on clarinet and occasional alto, bassist Clyde Lombardi, drummer Specs Powell, and an unidentified pianist who is listed as possibly being Hank Kahout who otherwise never recorded.
The group plays some riff pieces, a few standards, and a few catchy originals. Unusual for the era of 78s, five of the ten numbers are over four minutes in length including an 8 ½ minute version of “Rose Room.” Sounding like a rehearsal at times, much of the music is taken at a laidback tempo other than “Bugle Call Rag” and a feature for Norvo on “Liza.” There are unidentified vocals on “Keep Smiling” and an almost out-of-control “Slender, Tender And Tall” which might be by Eddie Bert. In general, Sachs is the most rewarding soloist among the horns. It is particularly interesting to hear Shorty Rogers, who was making his recording debut and had not yet developed his own cool jazz sound, this early in his career. His next recording would not be until 1945.
Red Norvo, who is heard here for the last time in his career as a full-time xylophonist, is in excellent form throughout. This enjoyable piece of lost history is available from www.dottimerecords.com.
Johnathan Blake
My Life Matters
(Blue Note)
In 2017 drummer Johnathan Blake composed the music of My Life Matters to fulfill a commission awarded to him by the Jazz Gallery Fellowship. The 14 compositions on this recent Blue Note release are a mostly instrumental protest against the racism that is a daily dilemma for African-Americans in the U.S. However despite the subject matter and such song titles as “Last Dream,” “Requiem For Dreams Shattered,” “Always The Wrong Color,” and “That Which Kills Us Makes Us What,” the occasionally stormy music is generally upbeat and filled with optimistic creativity.
The core quintet on My Mind Matters is comprised of Blake, Dayna Stephens on soprano, tenor and EWI, vibraphonist Jalen Baker, pianist Fabian Almazan, and bassist Dezron Douglas. There are six relatively brief solo pieces featuring Blake (along with DJ Jahi Sundance on turntables), Almazan, Douglas, Stephens and Baker, a short wordless vocal by Bilal on the closing “Prayer For A Brighter Tomorrow,” and a guest appearance apiece by Johnathan and Rio Sakairi’s two children. Muna Blake (reciting her mother’s poem “I Still Have A Dream”) and bassist Johna Blake.
Highlights include Baker’s vibes on “Last Breath,” a beautiful soprano sax solo by Dayna Stephens on “Requiem For Dreams Shattered,” the inventive and atmospheric use of electronics by Almazan on some of the pieces, and the continuity of the suite. This is a worthy set of music that will hold onto one’s interest throughout, making one realize that Johnathan Blake is not just a superb drummer but a top-notch composer too.
My Life Matters is available from www.bluenote.com and www.amazon.com.Maja Jaku
Blessed & Bewitched
(Origin)
Maja Jaku was born in Kosovo and is based in Vienna. Considered one of the top jazz singers in Europe, she is a very expressive storyteller with a musical personality of her own. She was winning awards for her singing when she was just seven and has led her own bands since turning 14. Blessed & Bewitched is her fifth album as a leader and her first one to be recorded in New York. The singer is joined by trumpeter Michael Rodriguez, pianist Alan Bartus, bassist Dezron Douglas, drummer Johnathan Blake and, on three songs, Adrian Varady (the album’s producer who co-wrote some of the originals) on drums or percussion.
The set begins with Maja Jaku’s haunting vocal on “The Witch,” a quietly dark piece that has excellent trumpet and piano solos. On “I’m A Queen,” Ms. Jaku engages in some scatting (preceding Rodriguez’s fiery trumpet) and sounds quite assertive. During the melancholy ballad “Lonely Little Fox,” she creates a vocal full of longing that expresses an aching desire for love. The mood immediately changes on “Blessing Will Come” which is a joyous strut. “Never Let Me Go” is uplifted by her warm and passionate vocal. After the infectious “Rituals,” Maja Jaku concludes the set with a heartfelt and often dramatic (with out-of-tempo pauses) version of “Everything Must Change.”
All in all, Blessed & Bewitched is an intriguing and thought-provoking album that will help introduce the talents of Maja Jaku to an American audience. It is available from www.originarts.com.Gene Ammons
Meet The Boss
(Acrobat)
Gene Ammons (1925-74) always had a big, distinctive and soulful sound on the tenor. He came of age during the bebop era when he was a key soloist with the Billy Eckstine Orchestra and Woody Herman’s Second Herd. The tenor began leading his own record dates in 1947 and his distinctive tone was immediately recognizable from the start.
The 1950s were Ammons’ busiest period. He recorded bebop, blues, r&bish pieces, jump tunes, warm ballads, and jam session albums with equal success. The two-CD set Meet The Boss (which is subtitled “The Singles & Albums Collection 1950-53”) has 49 of the 67 selections that Ammons led during this three-year period. Most of the performances (ideal for jukeboxes) clock in under three minutes so the solos of Ammons’ sidemen are brief, but the tenor shows that he could get his message across quickly and quite effectively. He caressed ballads, was rollicking on the riff-filled originals, and made every note count.
A few of the selections that Ammons recorded as co-leader of a group with his good friend Sonny Stitt (heard on tenor and his rarely played baritone) are included. There is one error in that this version of their popular “Blues Up And Down” is actually an incomplete alternate take instead of the master. But the inclusion of the two-part “Stringing The Blues” compensates.
Drawn from the Prestige, Chess, United and Decca catalogs, this twofer serves as a fine sampler of Gene Ammons during a specific period of his career. Whether performing a ballad version of “Pennies From Heaven,” introducing the future standard “Walkin’,” uplifting “La Vie En Rose,” swinging on “Back In Your Own Backyard,” reviving his early hit “Red Top,” or battling Sonny Stitt to a tie, Gene Ammons is heard throughout in his early prime.
Meet The Boss is available from www.mvd www.mvdb2b.com.Mark Christian Miller
Strange Meadowlark
(Sliding Jazz Productions)
Strange Meadowlark teams together the fine jazz singer Mark Christian Miller with a group that could accurately be called the Los Angeles Jazz All-Stars: Robert Kyle (on tenor and flute), pianist-arranger Chris Dawson, bassist Chuck Berghofer, and drummer Joe LaBarbera. Pianist Josh Nelson guests on “Early In The Morning” and Miller accompanies himself on piano during the brief “Sometimes.” The set starts out particularly strong with the rarely-performed but still hip Oscar Brown Jr. swinger “Mr. Kicks.” After singing the lyrics, Mark Miller contributes some confident scatting in a tradeoff with Kyle’s tenor. “You Make Me Feel So Young” is uplifted by Dawson’s inventive arrangement which makes the standard sound fresh and unlike the usual Frank Sinatra treatment; Kyle’s flute is a strong asset.
I wish that the remainder of the set were not so ballad-oriented (five out of the seven performances) although Miller’s quietly expressive voice sounds fine on a medley of Dave Brubeck’s “Strange Meadowlark” and “Skylark” (which concludes with an impressive long note) and an atmospheric version of “Dream.” I particularly enjoyed a rendition of “I’ve Got My Love To Keep Me Warm” that has Dawson striding a la Teddy Wilson behind the singer and “I’ll See You In My Dreams” which, after a slow rendition of the verse, gets cooking.
Throughout Strange Meadlowlark, Mark Christian Miller solidifies his position as one of the more significant male jazz vocalists based in Southern California. He is in prime form throughout the enjoyable set (his fourth recording as a leader) which is available from www.markchristianmiller.com.
Dave Slonaker Big Band
Shifty Paradigms
(Origin)
Arranger-composer Dave Slonaker has led his big band in Southern California for 15 years. The 16-17 piece orchestra is filled with major names who are not only impeccable section players but top-notch soloists. But while there is solo space on the eight selections on Shifty Paradigms for all but two of the musicians, it is Slonaker’s arrangements that give this big band its own personality.
Dave Slonaker supplied all of the arrangements and wrote all of the songs except “Bye Bye Blues.” His modern mainstream big band jazz charts have each of the pieces evolving as they progress as opposed to just retaining the same chord changes once the theme is stated. The opener, “Dash Cam,” is a colorful tribute to driving on L.A. freeways. The lone standard, “Bye Bye Blues,” evolves from being a waltz to swinging in 4/4 and has viable solos from baritonist Adam Schroeder and trumpeter Ron Stout. Brian Scanlon’s passionate statement on alto uplifts the complex “Comin’ Home” while “Blue Windows” has no less than seven fine soloists making statements that are logical outgrowths of the arranged ensembles.
“Shifty Paradigms” has a subtle Latin groove (with Brian Kilgore added on congas) and worthy solos by Bill Reichenbach on bass trumpet and Bob Sheppard on soprano. The uptempo “3rd And Four” explore the intervals of thirds and fourths rather than being a tribute to football games. Trombonist Alex Iles stars on “Cathedrals” before the set closes with the uptempo samba “Roundabout” featuring trumpeter Ron Stout and tenor-saxophonist Rob Lockart.
The Dave Slonaker Big Band’s Shifty Paradigms is their fourth and arguably finest recording. It is available from www.originarts.com.