Charlie Parker
Bird In Kansas City
(Verve)
New Charlie Parker collections are a true rarity these days, particularly ones that are well recorded. Bird In Kansas City (available from www.amazon.com and www.ververecords.com), which has three sessions recorded at different times in Kansas City, is filled with some of the best “new” music by Bird released during the past 30 years.
Most significant are a series of numbers with an unidentified walking bassist and an almost inaudible drummer from a private party in July 1951. The seven selections (totaling 23 minutes) feature Parker in top form, occasionally playing some of his familiar phrases but also coming up with many choruses of fresh ideas and impeccably played double-time runs. He digs into four standards (including “Perdido” and “Honeysuckle Rose”), two rhythm changes jams, and a medium-tempo blues. None of this music was heard before.
Four numbers from June 1944 were originally put out on a collection from the now-defunct Stash label. Three months before his “Red Cross” recording session with guitarist Tiny Grimes, Parker already had his style together. In this sparse setting, Bird is backed by rhythm guitarist Efferge Ware and drummer Edwards “Little Phil” Phillips, The innovative altoist is in fine form on such tunes as “I Found A New Baby” and the ballad “My Heart Tells Me.”
The CD concludes with two previously unreleased numbers by Jay McShann’s Orchestra from Feb. 6, 1941 which precede the big band’s debut commercial recording by two months. Joe Coleman takes two vocals and one can understand why he did not otherwise record. However, although he just has an eight-bar solo on “Margie,” Parker’s full chorus on “I’m Getting Sentimental Over You” is classic.
Charlie Parker fans and collectors can consider Bird In Kansas City to be a must.
Oz Noy
Fun One
(Criss Cross)
Up to now veteran guitarist Oz Noy has mostly been heard on record playing fusion, funk, rock and adventurous mixtures of those idioms. However he has always enjoyed listening to straight ahead jazz and he has performed (if not recorded) standards for years with his groups.
Fun One, which is available from www.crisscrossjazz.com, is Oz Noy’s first full-length recording of standards although, typically, he avoids the predictable and plays the songs his own way. The guitarist is joined by the great if vastly underrated pianist David Kikoski, bassist James Genus, and drummer Clarence Penn. Other than the opening original “Fun One” (a funky number that lives up to its name) and the closing guitar solo “Improv 1” (based loosely on “Giant Steps”), this set consists of seven jazz standards.
“Solar” is taken in 7/4 time and, while Oz Noy’s sound is rockish, his choice of notes is boppish at times. Thelonious Monk’s “Ruby, My Dear” is given what is probably its debut recording as a bossa-nova with a flamenco flourish. “Wee” (also known as “Allen’s Alley”) is taken quite uptempo with Noy’s distorted tones working quite well. John Coltrane’s “Giant Steps” is transformed into a slow ballad and Clifford Brown’s “Sandu,” while swinging semi-conventionally in spots, also has electronic vamps that temporarily stop the music in one place before moving on. Also on this stimulating album are a 5/4 rendition of “Darn That Dream” and a blazing “Milestones.”
Oz Noy saw little purpose in recording predictable renditions of the vintage songs and happily his new versions are full of surprises, color, and inventive playing.
Michael Mayo
Fly
(Mack Avenue)
Michael Mayo, who is now 32, is one of the top up-and-coming jazz singers. He has a light and fairly high voice (sometimes utilizing falsetto), swings, has his own original phrasing, and is not shy to stretch himself. His recent recording Fly consists of five of his originals and his transformations of six standards.
Mayo is joined by keyboardist Shai Maestro, bassist Linda May Han Oh, and drummer Nate Smith for a wide ranging program. Of his originals, “I Wish,” which gradually becomes trickier rhythmically is most memorable along with “Fly.” The latter, an attractive rhythmic piece that is a little reminiscent of Weather Report, is noteworthy in that Mayo’s parents, Scott Mayo and Valerie Pinkston, contribute background vocals with Scott Mayo also playing a short alto solo.
The standards include “Just Friends” which is given a strong bass pattern, fairly straightforward versions of “It Could Happen To You” and the ballad “Spring Can Really Hang You Up The Most,” and a brief “Speak No Evil.” On “I Didn’t Know What Time It Was,” Mayo contributes all of the vocals via overdubbing including the melody, a bassline (a la Bobby McFerrin), scatting, and a background chorale.
Fly, which is available from www.mackavenue.com, serves as an excellent introduction to Michael Mayo’s singing for newcomers and as an affirmation of his creative talents for his fans.
Oscar Peterson
City Lights
(Mack Avenue)
One of the greatest jazz pianists of all time, Oscar Peterson (1925-2007) suffered a major stroke in 1993 that permanently affected his left hand. After doing what he could to recover, in 1994 he returned to the music scene. From then on, Peterson was essentially a one-handed pianist with his left hand just hitting occasional chords. Permanently gone were his stunning octave runs, unaccompanied solos, and extremely rapid tempos. But his right hand was unimpaired and, by utilizing a top-notch quartet and taking the tempos a little slower, he was able to compensate for much of what he had lost and continue contributing rewarding music.
City Lights (available from www.mackavenue.com) is a previously unreleased concert from Munich, Germany that took place on July 13, 1994. It was Peterson’s fourth concert since his stroke (the first was on July 1) and finds him joined by guitarist Lorne Lofsky, bassist Niels-Henning Orsted Pedersen, and drummer Martin Drew. After a cooking version of “There Will Never Be Another You” that shows the appreciative audience that Oscar Peterson was back, City Lights has four of his originals. Best are the beautiful “Love Ballade” and the relaxed medium-tempo version of “City Lights.” Peterson also plays “You Look Good To Me” (a song that he adopted), “Satin Doll,” Pederson’s “Samba Petite,” and the pianist’s “Nighttime.” Lofsky and Pedersen contribute plenty of concise improvisations and their sympathetic accompaniment (along with Drew’s) keep the music swinging and tasteful.
Peterson displayed a great deal of courage in reappearing as a greatly reduced but still impressive soloist. Throughout City Lights (which also includes informative and heartwarming liner notes from his wife and daughter), Oscar Peterson shows that he still had a great deal to offer during his final dozen years.
Roberto Magris
Freedom Is Peace
(JMood)
Pianist Roberto Magris has been leading records of his own since 1990 and quite prolifically for his JMood label since 2005. He is an inventive player who invigorates the jazz modern mainstream, and a fine arranger who has organized a variety of stimulating groups.
On the live set Freedom Is Peace, the Italian born pianist leads an international lineup of jazz talents that also includes tenor and soprano-saxophonist Tony Lakatos (Hungary), Florian Brambock (Austria) on baritone and alto, trumpeter Lukas Oravec (Slovakia), bassist Rudi Engel (Germany) and drummer Gasper Bertonceli (Slovenia). Each of these players is world class and inventive soloists who, while they have their roots in hard bop, are able to stretch the music forward. They perform five Magris originals and three other songs.
From the start of the opening selection, “Freedom Is Peace,” it is obvious that this is a hard swinging and high-quality sextet. The stirring piece, based on the chord changes of “Softly As In A Morning Sunrise,” not only has passionate solos by the horns and Magris but some wild closing ensembles that feature Oravec’s trumpet screaming over the band.
Following are the minor-toned “The Island Of Nowhere” which has particularly extroverted solos, the Mid-Eastern desert feel of “Malay Tone Poem,” and Andrew Hill’s sophisticated ballad “Laverne.” Magris’ “Something To Save From EU” has a charming melody, some fine bowed bass, and a tenor solo that shows the inspiration of John Coltrane. “When You Touch Me” is a medium-tempo swinger, “Loose Fit” could have been played by one of Charles Mingus’ groups (Magris hints at Don Pullen in spots), and the hard-driving “Hip! For The Conference” conclude the memorable set.
Freedom Is Peace (available from www.jmoodrecords.com) is filled with creative solos, joyful ensembles, and strong melodies. It is one of many Roberto Magris’ recordings that are heartily recommended.
Muneer Nasser Quintet
Blue House Session
(Vertical Visions)
Muneer Nasser, the son of bassist Jamil Nasser (originally known as George Joyner), is an excellent trumpeter in addition to being an educator and author. Originally inspired by Dizzy Gillespie, Nasser has had a wide-ranging career, performing in a variety of genres and settings. Blue House Session is his second album as a leader, following A Soldier’s Story.
For the project, Nasser leads an excellent hard bop-based quintet. Tenor-saxophonist Elijah Easton, pianist Allyn Johnson, bassist James King, and drummer John Lamkin III. may not be household names at this point but each musician is quite talented.
Blue House Session beings with “Nasser’s Blues,” a fine 1960s-type boogaloo number with a catchy melody that has infectious rhythm and solos from all five players. “Black Disciples” utilizes a reggae-type rhythm behind the strong individual statements while the Latin-flavored “Cancel Culture” is a romp that is based on the chord changes of “What Is This Thing Called Love.” Also on this album are “All Blues” (with Nasser contributing some muted trumpet), “Polka Dots And Moonbeams,” and a cooking Roy Hargrove blues (“Public Eye”) that is notable for a raging tenor solo by Easton.
The music is excellent and swinging throughout Blue House Session. This set, available from www.muneernasser.com, is well worth checking out.
Eugenie Jones
Eugenie
(Openmic)
A powerful singer whose vocalizing explores the soulful side of jazz (or the jazzier side of r&b), Eugenie Jones has a very appealing voice and a versatile style. She is also a fine lyricist/songwriter.
Eugenie, which was produced by bassist Lonnie Plaxico, finds the singer joined by several different rhythm sections (the pianists include Brandon McCune, Mamiko Watanabe, Darrius Willrich, and Peter Adams) and an occasional horn player with two numbers adding a cellist and a violinist. However the main focus is on the leader’s very expressive vocalizing.
The set includes six originals which often have philosophical lyrics by Eugenie Jones along with her versions of seven standards. Among the highlights are “Why I Sing” (about the importance of music in her life), the medium-tempo ballad “Starlight, Starbright” which shows off her voice particularly well, “Work Song” (it has a fine trumpet solo from Gil Defay), and her versions of songs by Nina Simone (“Sinnerman”) and Marvin Gaye (“Trouble Man”). She also modernizes such vintage material as “It Don’t Mean A Thing,” “I Love Being Here With You,” and “Harlem Nocturne.”
Eugenie features the singer in top form and is available from www.eugeniejones.com.
Heavy Hitters
That’s What’s Up!
(Cellar Music Group)
To say that this is a high-powered set by a sextet of today’s jazz greats would be a bit of an understatement. The music, which can be thought of New York City hard bop, is so full of energy, heat and impressive solos that one cannot evaluate it without raving a bit.
Heavy Hitters has an all-star lineup consisting of pianist-leader Mike LeDonne, tenor-saxophonist Eric Alexander, trumpeter Jeremy Pelt, altoist Vincent Herring, bassist Alexander Claffy, and drummer Kenny Washington. Recorded at Frankie’s Jazz Club in Vancouver, British Columbia, the group performs seven LeDonne originals, one by Alexander, “It’s Magic” (a duet by LeDonne and Alexander), and “My One And Only Love;” the latter is a thoughtful solo piano showcase.
The set begins with a very uptempo and intense “JB” and never loses its momentum after that. LeDonne often hints at McCoy Tyner but in his own musical personality, Alexander and Herring take consistently muscular and forceful solos, and the rhythm section is alert and supportive. Trumpeter Jeremy Pelt often steals the show when he solos, sounding on “That’s What’s Up” as if he is ready to blow the roof off the club, and displaying the fire of a Freddie Hubbard on “Blues For All.” Kenny Washington’s opening drum breaks on “Lord Walton” and the sound of the band during that tune hark back to Art Blakey’s Jazz Messengers of the 1960s when pianist Cedar Walton was a member. Late 1950s John Coltrane is also an inspiration as are some of the better Blue Note albums of the ‘60s.
Anyone worried about the current state of jazz are advised to pick up a copy of That’s What’s Up (available from www.cellarlive.com). It serves as proof (if any is really needed) that jazz is alive and well, so play it for jazz’s doomsayers.
Liz Cole
I Want To Be Happy
(Self-Produced)
Liz Cole is an up-and-coming jazz singer based in Southern California. For her debut album, she utilized some of the top jazz artists in town including, on various selections, pianist Otmaro Ruiz, guitarist Larry Koonse, bassists Darek Oles and Edwin Livingston, and drummer Aaron Serfaty.
Her set begins with an uptempo version of “I Want To Be Happy” and includes such songs as “Mean To Me,” “You’re Sensational” (from the movie High Society), the Eubie Blake ballad “I’d Give A Dollar For A Dime,” and “Lazy River.” Also featured are “Love” (from the Disney film Robin Hood), a few South American songs, and a heartfelt version of Tom Waits “I’m Still Here.”
Liz Cole has a warm voice, can swing well at faster tempos, and displays plenty of potential throughout I Want To Be Happy. She is one to watch for in the future.
M.T.B.
Solid Jackson
(Criss Cross)
M.T.B. stands for the initials of the last names of pianist Brad Mehldau, tenor-saxophonist Mark Turner, and guitarist Peter Bernstein. The trio of modern jazz greats, along with bassist Larry Grenadier and drummer Leon Parker, recorded the Criss Cross release Consenting Adults back in late-1994. 29 years later, with Grenadier and drummer Bill Stewart completing the quintet, they came back together to record Solid Jackson. All of these musicians are very much in prime form these days.
Solid Jackson (a phrase often said by bassist Charlie Haden) consists of two originals apiece by Mehldau and Bernstein, one from Turner, and one number apiece from Wayne Shorter, Hank Mobley, and Harold Land. The solos are generally concise (each of the five players have extensive experience as sidemen in addition to being leaders so they know how best to serve the music), the quintet (despite only being together for a few days) displays its own group sound, and the musicians essay the often-complex chord changes while sounding relaxed.
None of the originals are destined to become standards in the future although Mehldau’s “Solid Jackson” (which has some of the vibe of “Freedom Jazz Dance”), his pretty ballad “Maury’s Grey Wig,” and Turner’s “1946” (dedicated to trumpeter Tom Harrell) are among the highlights. Mobley’s minor blues “Soft Impression” gives the musicians an opportunity to revisit their roots in hard bop.
Solid Jackson (available from www.crisscrossjazz.com) is a perfect example of strong individualists blending together to create rewarding music. It is heartily recommended.
Jake Hart
Collage
(Sunnyside)
Pianist Jake Hart, the son of the notable guitarist John Hart, makes his recording debut on Collage. Collage consists of two lengthy solo piano pieces (simply called “Part I” and “Part II). The music sounds like thoughtful free improvisations but it is actually through-composed.
Influenced and inspired by 20th and 21st century classical music in addition to jazz, Hart explores a series of ideas that flow into each other. The often-dramatic music was apparently never written out and instead was memorized by its composer even though it gives one the impression that he is thinking aloud at the piano. The two Parts sound spontaneous and bridge the gap between modern classical music and jazz.
The results are quite intriguing and well worth several listens, making one wonder in what direction Jake Hart will be traveling in the future. Collage is available from www.sunnysiderecords.com.
Bruce Baker
Dreaming In Color
(Self-Released)
An excellent modern jazz pianist and composer based in Southern California, Bruce Baker had previously recorded and released two CDs: Mandarin Blue and Live At Alvas Showroom. Dreaming In Color, which is available as a digital download and might in the future come out as a CD, is a set of picturesque and lightly swinging originals.
Joined by the supportive bassist Karl McComas-Reichl and drummer Lucio Vieira, Baker performs 11 new originals on Dreaming In Color. The opener, “Finally Home,” has a nice comfortable groove and an optimistic and happy feel, sounding a bit like something Vince Guaraldi might have written. “Steppin’ Out” is harmonically complex and has an intriguing melody. “Ela Adora” is given a light Latin feel while “Grateful I Found You” alternates between waltz time and 4/4.
Each song has its own musical personality. “He Asked And She Said Yes” is fairly complex, the minor key tune “Smooth Sailing” has a mysterious vibe, “She’s All That And A Bag Of Chips” is a little funky, and “Why Or Why Not” is a swinger. “My Sweet Kelly” is a musical love letter by the composer to his daughter Kelly who was recently married. This enjoyable set concludes with the cinematic “Dreaming In Color” and the “No Honeymoon Blues” which gives the trio a chance to play the blues.
Dreaming In Color is a strong step forward in the career of Bruce Baker. More information about the pianist-composer and his music can be found at www.brucebakermusic.com.
Irene Serra & Luca Boscagin
The Great British Songbook
(Self-Produced)
This is a most unusual recording. Singer Irene Serra and guitarist Luca Boscagin perform ten songs by British composers. While one may think that referring to the music as “The Great British Songbook” means that it will be a set of swing era tunes, the songs are actually drawn from rock and pop composers of the past 70 years.
Along the way one hears tunes from Annie Lenox, Lennon & McCartney (“Eleanor Rigby”), Phil Collins, Rod Temperton, Sting (“Every Little Thing She Does Is Magic”), the Bee Gees and others. While Irene Serra, who has a fetching voice, considers herself a jazz singer, she sings these songs fairly straight. Due to the use of a slight echo, she sometimes sounds as if there are two or three singers performing together. Guitarist Boscagin is quite effective as a one-man orchestra, giving a Brazilian feel to some of the tunes, adding some effects (sounding like a keyboard on “Eleanor Rigby”), and taking occasional concise solos.
While I wish that there was much more improvising, this is a pleasing set of music that will be particularly enjoyed by those who are familiar with the original versions of these British songs. More information can be found at ireneserra.com.
B.B. King
In France
(Deep Digs)
B.B. King (1925-2015) was such a consistent performer that few of the recordings that he made in his long career are unworthy. A very musical bluesman who always had many jazz musicians and fans in his audience, King knew how to put on a well-paced and passionate show.
In France is a previously unreleased concert performance from Oct. 7, 1977 when King was deep in his long prime period. He leads a fine eight piece band that includes three horn players, organist James Toney, and fellow guitarist Milton Hopkins. Performing with plenty of energy and enthusiasm, King alternates slow blues with rollicking numbers. While he includes a couple of blues ballads and soul numbers (including Stevie Wonder’s “To Know You Is To Love You”), it is his memorable blues numbers including “Sweet Little Angel,” “Why I Sing The Blues,” “The Thrill Is Gone,” “I Need My Baby,” and “Sweet Sixteen” that define his musical personality.
There are some short spots for Toney and Hopkins but the focus is primarily on B.B. King’s passionate singing and distinctive guitar. No one ever complained about that! In France (which is well recorded and produced by Zev Feldman) is available from www.amazon.com.