BOB JAMES & DAVE KOZ – “JUST US”- Just Koz Entertainment
Reviewed by Dee Dee McNeil
Bob James, Yamaha piano; Dave Koz, Yamaha saxophones.
This is a unique milestone album that hit the street on March 7, 2025. Two iconic artists have recorded a duet outside the realm of their normal contemporary recordings. Bob James (a two-time GRAMMY winner) and Dave Koz (with twelve No. 1 albums on Billboard’s Contemporary Jazz Albums Chart), decided to record an album of acoustic jazz. They met in the warm, comfort of the James home in Traverse City, Michigan. Instead of going into the studio, the two old friends set up their Shure microphones by Bob’s grand piano and comfortably began to make music.
“In this digital age, artists can have as many tracks as they want to record a song. Say you have 100 tracks on a recording. Each one takes up sonic space. If you only have two instruments, as we have here, taking up the entire sonic space, each can be heard in a much clearer, bolder, bigger way,” Dave Koz explained.
When I think of Bob James, I immediately recall his group Fourplay and their hugely successful smooth jazz music. Songs like “Angels We Have Heard on High” had a melody that stuck like glue to my memory. Also, the theme song for that TV sitcom “Taxi” was another Bob James tune that many people recognize right away called “Angela.”
Quincy Jones noticed Bob James’ talent in 1962 at the Notre Dame Collegiate Jazz Festival. He thought James had a unique way of blending his classical music background with funk and smooth jazz. In the 1970s, James was signed to the CTI label and his popularity exploded.
Another artist who makes international waves with his unique saxophone sound and who prides himself in producing hit record after hit record is Dave Koz. He too has a lovely way of composing melodic music with a catchy funk groove like on his tune “All I See is You” or another best seller like “Endless Summer Nights.” Koz is so loved, he garnered a Star on the Hollywood Walk of Fame.
When you put these two best-selling artists and composers together, you get the “Just Us” album. They open with the Bob James ballad, “Sommation” followed by an exquisite arrangement of the American Songbook Standard, “My Ship.” Where “Sommation” spotlights the Bob James love of classical music, “My Ship” becomes an elegant representation of this familiar song, with Dave Koz letting his satin smooth saxophone caress each melodic note. When Bob James enters for his solo, the piano sings like windchimes blowing in a Santa Ana breeze. This duo puts me in a pleasant mood.
The recently released single from this “Just Us” album is another ballad. It’s a Koz composition (co-written with Todd Schroeder) titled “New Hope.” They composed it while on tour in Saudi Arabia.
One of my favorite tunes on this album is one that James and Koz wrote together called “TWO.” I can hear the funk, the groove, and the excitement in this tune. There is also a trace of Straight-ahead beauty in their composition. With bass and drums, this tune could really swing!
Of course, familiar tunes like “All the Way,” “Smile” and “Sunny Side of the Street” are bound to please. “Fontaine d’Alice,” composed by Bob James, spotlights his love of classical European music and his wonderful talent of creating rhythm on the piano keys that push this tune forward like a drummer would. The Koz original of “The Naked Ballet” is also quite classical in tone and structure. It reminded me a little of Bach’s wonderful musical style.
All in all, this is a lovely album by two master musicians. Both bring us their best, the way wise men do. Humbly, artistically and spiritually, they invite us to their unique musical table to enjoy an unforgettable and delicious feast.
On April 1, 2025 they will appear at Jazz Alley in Seattle, Washington.
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MICHELLE NICOLLE & LARRY KOONSE – “THE SILENT WISH” – Purple Lead Music
Michelle Nicolle, vocals; Larry Koonse, guitar.
Michelle Nicolle is a celebrated Australian jazz vocalist and songwriter. She flew into Los Angeles to pair with extraordinary guitarist, Larry Koonse and record this, her 11th album release. This production marks her first American album release.
They open with a familiar standard song by E. A. Swan, “When Your Lover Has Gone.” Nicolle adds the opening verse effectively. That snatches me to full attention. She and Koonse blend beautifully, like sea and sky. Nicolle shows off her stellar vocal range during a vocal improvisational scat, during which Koonse is tender and creative during his sensitive accompaniment. Their arrangement was so good, I had to play this tune twice.
This duo is spectacular! Nicolle’s choice of repertoire is both entertaining and fresh. Even when she sings a notable standard jazz tune like “I’m Glad There is You” the duo claims it as their own. They refresh and deliver this song that I know and love in awesome ways. They join talents tightly, forming a lock-and-key relationship.
Her album releases continue to show Mechelle Nicolle’s lean towards reimagining the American Songbook. In 2003 she released an album called “The Crying Game.” This arrangement shows her affinity towards vocalizing with a guitar. This time she is performing with Geoff Stephens.
This recent duo release introduces me to a song called “I Hope I Never.” It was unfamiliar to my ears. In her press package, this song was explained to be a big hit in Australia by a group called Split Enz in the 1980s. Nicolle and Koonse infuse it with jazzy sensibility.
Michelle Nicolle was raised in the Australian town of Barossa Valley, a famous wine producing region. She was obsessed with music as a child of eight, and studied violin, played piano, and cornet in a marching band. Additionally, she sang in school musicals. At the University of Adelaide, she performed in jazz groups. The rising star soon won acclaim as a jazz singer, including the Music Victoria Award in 2024, the Bell Award in 2017, the Mo Awards in 2001, 2003 and 2004. Her current band has been together 26-years.
“I really love vocal and guitar duos like Ella and Joe Pass or Tuck & Patti. After making ten albums with my band, I really wanted to stretch out to be more adventurous. There’s nowhere to hide in a duo of voice and guitar. The first time I heard Larry play, I knew he was my cup of tea. His incredible musicianship and loveliness as a human, creates the beautiful combination of exciting, surprising with cozy, real sympatico when we play together,” Nicolle sang her duo partner’s praises.
Larry Koonse is a Los Angeles treasure. He and his guitar have been featured on over 400 albums with many iconic artists. Larry has been strumming a guitar since age seven when he was mentored by legendary guitar master, Jimmy Wyle. At the young age of fifteen, Koonse recorded his first album with his father, guitarist Dave Koonse: “Father and Son Jazz Guitars.” Ater graduating from USC with a Bachelor of Music in jazz Studies he began his long and fruitful career as a jazz guitarist.
Their duet of “My One and Only Love” is superb. The vocalist’s phrasing and breath control is masterful and smooth. Another standard that was performed flawlessly and creatively was “All the Things You Are.” Nicolle is an excellent improvisor and scat sings with the ease of a horn player.
Another wonderful jazz musician, bassist John Leftwich, is the producer and engineer for this exceptional album titled, “The Silent Wish.” Every song performed by this duo becomes a new, exciting chapter in a well-read dramatic musical book. I could not stop turning the pages, pleasurably listening to these songs over and over again.
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EMMA RAWICZ & GWILYM SIMCOCK – “BIG VISIT” – ACT Records
Emma Rawicz, tenor & soprano saxophone; Gwilym Simcock, piano.
This duo project by pianist Gwilym Simcock and saxophonist Emma Rawicz is a breath of fresh air. The simplicity of the production lets you hear and enjoy the individual talents of each player. At the same time, their interaction and presentation is anything but simple. They are both amazing master musicians.
Their first song, “His Great Adventure” is an exploratory adventure in itself, composed by Simcock. However, both artists are competent composers.
Female saxophonist, Emma Rawicz, is a rising star on the ACT record label. She joined them last year. Simcock was nominated for the Mercury Prize and has toured the world with Pat Metheny. He is a perfect musical mate for Rawicz. Their instruments blend beautifully, even when they are improvising. The sound of Emma’s tenor sax and Gwilym’s piano excellence bring shine to this project. Each talent glows brightly, while at the same time, complimenting each other.
“I was already a fan,” says Emma Rawicz referring to her duo partner. “Playing in a duo is a dream come true for me. We have some very similar reference points in our musical make-up. Keith Jarrett, Jan Garbarek, Ralph Towner, as well as the whole folk-inflected lineage of British Jazz lineage through John Taylor, Kenny Wheeler and Norma Winstone,” Rawicz affirms.
“It’s really a joyful experience and a positive environment. We just get on so well. Her writing is so advanced. Her attention to detail extraordinary,” Simcock compliments Emma.
They met in February of 2023 at the Royal Academy of Music. It was a belated birthday celebration for Simcock. He turned 40. The pianist had written some new music, and she had been chosen to play on his special project. Once they met and played together, they decided to prepare a duet project. The two artists began to practice and collaborate in earnest. Their energy matches. You can hear it as each tune on this album unfolds. Their interaction compliments the other with fluidity. It sounds as though they’ve been working together for years. They recorded this album in the West Sussex countryside of Southern England. It sounds easy and relaxed like Sunday mornings. Clearly each artist is a master on their own instrument.
Rawicz’s composition “The Drumbledrone” is a word pulled from the Devonian dialect. Drumbledrone is another name for bumble bee. Emma’s grandmother spoke the Devonian English language that was once spoken fluently in Devon, a southwest community of England. Rawicz puts aside her alto sax and picks up the soprano saxophone to interpret this song.
They also offer ‘cover’ songs. Emma picks up her alto sax to play Stevie Wonder’s “Visions” tune. Simcock always adds incredible beauty with his accompaniment choices. He also excels during his improvisational solos. Rawicz is sensuous and emotional on the saxophone, also unafraid to improvise and challenge her creativity. You hear her exploring her woodwind freedom during this song. Another cover that they play is the standard Jazz song, “You’ve Changed.” It’s lovely!
I found every song they play on this album to be both entertaining and thought-provoking, presented and polished by two master musicians.
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Caity Gyorgy
Hello! How Are You?
(Self-Released)
Caity Gyorgy, a new discovery for me, is a 26-year old jazz singer from Canada. She recorded her debut EP in 2019 and since then has recorded one other EP and four full-length CDs in addition to performing at jazz festivals in Canada and earning a Masters of Music in Jazz Performance.
Caity Gyorgy has a very attractive voice, a wide range, and clearly knows how to sing jazz. She is a masterful and inventive scat singer who can also dig into the lyrics of ballads, and she is not shy to stretch herself. In other words, she is a talent who all jazz listeners should discover.
Hello! How Are You, which was recorded in 2023, has the singer joined by an excellent rhythm section comprised of pianist Anthony D’Alessandro, bassist Thomas Hainbuch, and drummer Jacob Wutzke. They perform eight of Ms. Gyorgy’s originals plus a definitive version of “They Say It’s Spring,” “Baubles, Bangles & Beads” and a heartfelt rendition of the downbeat “It Never Entered My Mind.” While the words in the title cut are a bit repetitious, Caity Gyorgy is a fine lyricist/composer as she shows during the surprising stories that she sings on “Letter From The Office Of,” “I Regret To Inform You,” and “Familiar Face.”
With her warm voice, youthful enthusiasm and deep knowledge, Caity Gyorgy is certain to be an important jazz singer for many years to come. Hello! How Are You? (which is available from www.amazon.com) gives listeners an excellent sampling of her talents.
Dion Berardo
All In My Head
(Self-Released)
Guitarist Dion Berardo was born in Italy and raised in Greece. Inspired by Wes Montgomery and Bireli Lagrene, he developed into a very skilled straight ahead improviser. Among his previous albums are New York City (a Gypsy jazz-inspired album), Dig (duets with a bassist), Guitarology (which also features guitarist George Koutsi), and Standards At The Honey Road Studio which features him playing with a vibes-guitar-bass trio.
For his fifth set, All In My Head, Berardo performs in a classic organ trio with organist Tommaso Perazzo and drummer Marcello Cardillo that has one guest appearance apiece by saxophonist Daniel Berkey and pianist Dimitris Sevdalis.
While there have been many recordings through the years utilizing the organ-guitar-drums instrumentation, All In My Head is a real standout. It is full of high energy and enthusiasm, Perazzo is a strong soloist in the 1960s organ tradition, Cardillo swings at every tempo, and Berardo’s playing throughout is brilliant, sometimes hinting at Kenny Burrell and Wes Montgomery. Starting with the exuberant title cut and continuing through nine of the guitarist’s originals and three standards, the trio particularly excels on the uptempo material which includes a faster than usual version of “Gone With The Wind,” a cooking “Blues Perpetud,” the boppish “Theo’s Pl” (a run through on rhythm changes), and the bluesy “One For The Boss.”
Listeners who enjoy organ trios can consider Dion Berardo’s All In My Head to be an essential acquisition. It is available from www.dionberardo.com.
Tania Grubbs Quintet
The Sound Of Love
(Travlin’ Music)
Tania Grubbs is a Pittsburgh-based jazz singer and storyteller. Her attractive voice, subtle delivery, and skill at interpreting lyrics make her a consistent joy to hear.
On The Sound Of Love, she is joined by guitarist Ron Affif, pianist David Budway, bassist Jeff Grubbs (her husband), and drummer James Johnson III. for a wide-ranging set of music all of which swings, even the gentler pieces. Like Irene Kral, Tania Grubbs consistently brings out the beauty of the lyrics and adds a bit of joy and sensitivity to everything she interprets.
Her set ranges from “Slow Hot Wind” and “Four” to a pair of Henry Manini’s best songs (“Dreamsville” and an emotional and beautifully sung ”Two For The Road”), Dave and Iola Brubeck’s “Strange Meadowlark,” and even numbers by John Denver (“Sunshine On My Shoulder”) and the team of Earl Klugh and Al Jarreau (“This Time”). Charles Mingus’ “Duke Ellington’s Sound Of Love” has probably never been sung better. In addition, Tania Grubbs contributes “The Sculptor’s Hands” and David Budway brought in “I Can Tell You Are Always There.”
With many concise and excellent solos contributed by Affif and Budway, Tania Grubbs is heard at her very best throughout The Sound Of Love (available from www.taniagrubbs.com) , an album that is easily recommended to those who enjoy first class ballad singing.
Jackson Potter
Small Things
(Shifting Paradigm)
An excellent bop-based guitarist, Jackson Potter is originally from St. Paul, Minnesota. In 2021 he moved to New York and released his debut album Restless. On his second set as a leader, Small Things, Potter heads a quintet also featuring trumpeter Alex Ridout, tenor-saxophonist Troy Roberts, bassist Hamish Smith, and drummer Marello Cardillo.
Small Things consists of three Potter originals, a song apiece from Roberts and Victor Lewis, and three standards. The opener, “Trams,” is notable for the danceable but unpredictable bass line. The post-bop piece “Small Things” has guest spots for altoist Jaleel Shaw and the voice of Sophia Formella who is heard singing wordlessly in the ensembles. Of the other performances, the standouts include Potter’s soloing during “Smoke Gets In Your Eyes,” the trumpet and tenor tradeoff on Victor Lewis’ “Hey, It’s Me You’re Talking To,” the moody medium-tempo ballad “Background Noise,” and a heated version of “Everything I Love.”
Potter, who plays beautifully on the closer, “Sophia’s Waltz,” has his own sound and inventive ideas within the jazz tradition. Small Things is available from www.shiftingparadigmrecords.com.
Gina Saputo
Daydream
(GSJQ Productions)
Gina Saputo, a fixture on the Southern California jazz scene, is perhaps best known for her work with George Kahn’s Jazz and Blues Revue and Jeff Goldblum’s Mildred Snitzer Orchestra. She has a voice that is quite warm, fetching, and alluring. But beyond that, she is a versatile vocalist whose tone and choice of notes would fit in well with a West Coast cool jazz group circa 1956.
Ms. Saputo begins Daydream with a rather unusual choice, the pop tune “You’re No Good.” Despite her best efforts and that of her impressive sidemen, not much can be done with that song. However the rest of the program is so strong that it easily compensates.
Joined on most selections by trumpeter Ron Stout, tenor-saxophonist Matt Otto, pianist Matt Politana, bassist Lyman Medeiros, and drummer Mark Ferber, Gina Saputo is featured in top form. Among the highlights are “If I Knew Then” (which has an arrangement that perfectly fits the mid-1950s L.A. vibe), a hard-swinging version of “Don’t Worry ‘Bout Me,” a rendition of Thelonious Monk’s “Think of One” that has the singer really cutting loose with some exuberant scatting, and a warm and surprisingly fresh version of “Over The Rainbow.” An atmospheric “Lazy Afternoon” has the singer’s husband Joe Bagg guesting on organ along with tenor-saxophonist Walter Smith III. while Billy Strayhorn’s “Day Dream” features her daughter Hazel Bagg faring quite well during her vocal.
Gina Saputo’s Daydream, which is well worth acquiring, is available from www.Ginasaputo.com.
Yuto Mitomi
Continuation
(YM Sounds)
Tenor and soprano-saxophonist Yuto Mitomi, who was born in Japan, has been living and playing in New York City since 2011. Continuation is one of three albums that he has led so far in his career.
Mitomi heads a quartet also featuring Takahiro Izumikawa on piano, keyboards and organ, bassist Moto Fukushima, and drummer Kazuhiro Odagiri. The group performs eight of the leader’s originals plus Dave Brubeck’s “In Your Own Sweet Way” and “Pure Imagination.”
“Joe’s Twigs” opens the set with Mitomi hinting at Wayne Shorter and playing a solo that is both fiery and a little restrained. The stop-and-go theme played by Izumikawa on “Continuation” inspires some speedy lines from the tenor. Mitomi is quite explorative on soprano during “The Song You Told” which has some stimulating bass playing from Fukushima. Other highlights include “Schist City” which evolves from a desolate ballad to becoming surprisingly joyful, “When I Took A Trip On A Train” which is a straightforward jam on the chord changes of “I Thought About You,” a 5/4 transformation of “In Your Own Sweet Way,” and the augmented blues “Krin.”
All ten selections have their strong moments, making Continuation an excellent introduction to the playing and music of Yuto Mitomi and his excellent sidemen. It is available from www.yutomitomi.com.
Rich Peare and Don Messina
Blues For Peter
(New/Artists)
When one thinks of duets between a classical guitarist and a bassist, it is of ballads, pretty music, and treatments that stay close to the melodies. While there is some of that on this set by guitarist Rich Peare and bassist Don Messina, their playing is much more unpredictable than one might expect.
A clue is given in that Blues For Peter has been put out on the New/Artists label, a company that has often released music by the students and followers of pianist-educator Lennie Tristano. Peare has a mellow tone but his ideas are often quite adventurous while still following the chord changes. Messina is an interactive bassist, keeping the music swinging with his walking but also playing stimulating lines behind Peare that often build on the guitarist’s ideas while injecting some of his own thoughts into the music. One can sometimes feel the influence of Bartok, Ravel and Lennie Tristano in their interplay in addition to the musical personalities of the two musicians.
The duo performs seven veteran standards and a blues dedicated to their friend the late guitarist Peter Prisco. While they play such vintage numbers as “It’s You Or No One,” “Foolin’ Myself,” “All Of Me,” and “Yesterdays,” the improvising makes the songs sound brand new. Sometimes the melodies are de-emphasized in favor of new and spontaneous ones. Peare and Messina make for a perfectly complementary team, constantly playing off of each other.
Blues For Peter is an outing that grows in interest with each listen. It is available from www.newartistsrecords.com.
Jim Snidero
Bird Feathers
(Savant)
Jim Snidero has been one of jazz’s most consistent and top straight ahead players for 40 years, ever since his debut recording from 1984. When he was a sideman with organist Jack McDuff, Snidero went out of his way to study the playing of the man who was arguably the greatest saxophonist of all time, Charlie Parker. Although he has performed songs associated with Bird on an occasional basis since then, Bird Feathers is his long overdue full-length tribute to Parker.
On Bird Feathers, Snidero performs in a pianoless trio that also includes bassist Peter Washington and drummer Joe Farnsworth. The altoist has a different tone than Parker and not utilizing a piano helps him to create fresh versions of pieces from Bird’s repertoire. Snidero performs five Parker compositions including “Scrapple From The Apple,” “Confirmation,” and the lesser-known “Charlie’s Wig,” plus four ballads that Bird recorded. By varying the tempos and playing ideas that are personal and a bit more modern than Parker did on his recordings, Snidero succeeds at making these songs sound more inventive than one might expect.
Jim Snidero, who closes the set with an unaccompanied version of “Lover Man,” succeeds pays a warm tribute to one of the all-time greats without sacrificing his own individuality. Bird Feathers is easily recommended and available from www.jazzdepot.com.
Hans Luchs
The Spell Is Broken
(Fresh Sound New Talent)
Guitarist Hans Luchs was originally based in Chicago before relocating to New York. While his The Spell Is Broken has been released on the Fresh Sound New Talent label, Luchs has actually appeared on several recordings since 2014 including his 2015 release Time Never Pauses.
Hans Luchs has his own sound on guitar and, as he shows on his eight originals that comprise The Spell Is Broken, he writes harmonically advanced pieces that swing while avoiding being predictable. For this project he is joined by pianist Mike King, bassist Simon Willson, drummer Adam Arruda and, on four of the selections, tenor-saxophonist Daniel Berkey.
Among the performances are the melodic “Azizam,” a swinging and rather joyous “Rostam,” the moody and introspective “Incongruent Thoughts,” and a happily funky “Hang Hostage.” To their credit, Luchs and pianist King do not sound like any of their predecessors. The music overall is a good example of jazz’s modern mainstream, not fitting too tightly into any obvious categories. While none of the originals are probably destined to become standards in the future, they have their own chord changes, cover a variety of moods, and keep one guessing a bit.
The Spell Is Broken, which is available from www.freshsoundrecords.com, is a fine introduction to the playing and writing of Hans Luchs.
Eric Comstock and Barbara Fasano
Painting The Town
(Human Child Records)
While pianist-singer Eric Comstock and singer Barbara Fasano, who have been married for 20 years, have worked together many times through the years, Painting The Town is their first joint recording. They are jazz-inspired cabaret performers who embrace the lyrics of superior songs and give them a bit of swing and subtle improvising.
On Painting The Town, the couple is joined by bassist Sean Smith, drummer Vito Lesczak and, on six of the 15 selections, the great tenor-saxophonist Houston Person. The occasional solos of Comstock and Person are a consistent joy and add to the jazz content of this project.
The singers occasionally vocalize together (including on the opening “I Cannot Hear The City,” the closing “Still In Love,” and “Broadway”) while also having individual features. Barbara Fasano is at her best on “Blue Skies,” a slow and thoughtful “In The Still Of The Night,” and a swinging version of “S’Posin’” while Eric Comstock is most memorable on a melancholy version of “Just One Of Those Things” and his solo feature “I Thought About You.” Houston Person adds a lot to the performances whenever he appears, particularly on “I Want To Talk About You,” “S’Posin’,” and Duke Ellington’s “Brown Penny.”
For those not familiar with these popular performers and unable to see them perform in New York cabaret clubs, Painting The Town (available from www.ericcomstock.net and www.barbarafasano.com) serves as an excellent introduction to the delightful musical talents of Eric Comstock and Barbara Fasano.
Eldad Tarmu
Silver On Aluminum
(Self-Released)
Eldad Tarmu was born and raised in Los Angeles, learned to play the vibraphone with important lessons from Dave Pike, attended college in Israel, toured the world with a variety of groups, earned a Master’s degree from Cal State LA, and taught in Romania during 2005-08. Now based in New Jersey as a college professor, a classical composer and a jazz performer, his latest recording is a tribute to Horace Silver.
Silver On Aluminum showcases Eldad Tarmu in an intimate trio with bassist Marty Isenberg and drummer Michael Shapira. Tarmu, who has his own personal sound on the vibes and is a fluent soloist, digs into eight Horace Silver songs. Among the highlights are “The St. Vitus Dance,” “No Smokin’,” the blues “Opus De Funk,” and “Strollin’.” By varying tempos and moods, Tarmu and his musicians hold onto one’s interest throughout as they explore Silver’s rich melodies.
It is doubtful that Horace Silver’s music had ever previously been explored at length with this instrumentation. Eldad Tarmu’s creative solos, which are inventive within the jazz tradition, make Silver On Aluminum (which is available from www.eldadtarmu.com) a swinging success.
Yuval Cohen Quartet
Winter Poems
(ECM)
The older brother of clarinetist and tenor-saxophonist Anat Cohen and trumpeter Avishai Cohen (they sometimes play together as the Three Cohens), Yuval Cohen is not quite as well-known as his siblings. A very good soprano-saxophonist with his own sound, he teaches in Israel and is an important force in that country’s jazz scene. Cohen occasionally travels the world and along the way has recorded several inventive jazz albums.
On eight of his originals, Winter Poems teams Yuval Cohen with pianist Tom Oren, bassist Alon Near and drummer Alon Benjamini. His music is often as picturesque as the song titles which include “The Dance Of The Nightingale,” “First Meditation,” and “The Unfolding Nature Of Iris.” The interplay between the musicians (Cohen’s sidemen are all world class) is both subtle and stimulating. Cohen’s music sometimes shows the influence of classical, folk music and soundtracks with “For Charlie” being a tribute to the playfulness of Charlie Chaplin.
Yuval Cohen has an original tone on soprano (never really sounding like John Coltrane, Wayne Shorter, Steve Lacy, or the other usual suspects) and his ideas are just offbeat enough (even on lyrical ballads) to keep his music from ever being predictable. Winter Poems (available from www.amazon.com) is one of his finest recordings to date.
Hugh von Kleist Quartet
Good Juju
(Zootcase Records)
From the name of his Zootcase Records, it is obvious that Zoot Sims is one of tenor-saxophonist Hugh von Kleist’s inspirations. After careers playing baseball and serving in the Navy, he recorded his debut album That Old Feeling in 2015 although it was not released until more recent times. Von Kleist has continued to evolve since that time and on Good Juju, he shows that he has become a more individual player while still staying connected to his roots.
For this set, Hugh von Kleist is joined by guitarist Jesse Ward, bassist Teresa Sanchez, and drummer Kendall Kay. Other than the Wayne Shorter title tune that opens the set, the music is comprised of straight ahead standards plus Antonio Carlos Jobim’s classic bossa nova “Meditation.” The packaging is a little bit faulty with the order of the songs being different than they are listed after the first three tunes however all of the selections are included.
Whether embracing the melody of “Sophisticated Lady,” playing some effective flute on “Meditation,” jamming joyfully on “Yardbird Suite,” or digging into the blues on Oscar Pettiford’s “Blues In The Closet,” Hugh von Kleist shows that he is a creative and swinging soloist. Sanchez and Kay are excellent as supportive players who have occasional brief spots while Jesse Ward’s versatile and consistently surprising solos make it obvious that the guitarist is one to watch for in the future. Good Juju is easily recommended and available from www.blowingold.com.
Out Of/Into
Motion I
(Blue Note)
The oddly-named Out Of/Into is an all-star quintet comprised of some of the most important giants of today’s jazz scene: pianist Gerald Clayton, altoist Immanuel Wilkins, vibraphonist Joel Ross (who also occasionally plays marimba), bassist Matt Brewer, and drummer Kendrick Scott. Motion I. consists of four original compositions by Clayton and one apiece by the other musicians other than Wilkins.
As one would expect, the solos are inventive, colorful and quite original within today’s modern mainstream of jazz. The blend between the alto, vibes and piano is quite attractive and bassist Brewer and drummer Scott are both supportive and interactive with the lead voices.
As is often the case with all-original sets these days (and during the past two decades), the pieces on Motion I are not destined to become standards in the future. They set moods, challenge the improvisers with original chord changes, and create interesting textures. However one does wish that among the many great soloists on the scene today, there were at least a few who could write standards for the future as did Benny Golson, Horace Silver, Chick Corea and nearly every top jazz artist of the 1950-75 period. Have all of the memorable melodies already been composed?
That reservation (which applies to a countless number of recordings) aside, Motion I (available from www.amazon.com) is an excellent outing by five musicians who will certainly be part of future jazz history books.