CD REVIEWS
CD REVIEWS |
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By John Gilbert
Art Pepper, alto sax: Milcho Leviev, piano; Bob Magnusson, bass; Carl Burnett, drums.
No need to get the jewelers loop out on this recording. It's the American 'art' form at its finest. Art died on June 15, 1982 but his artistry lives on in recordings such as this featuring the 'tout le monde' of jazz.
This is a 2 disc album containing the following tunes: Disc one: Blues For Blanche, Talk, band intro, Ophelia, Mambo de Pinta, Patricia.
Disc Two: Cherokee,Goodbye, Yours Is My Heart Alone, Dedicated, Make A List (Make A Wish)
"Blues For Blanche" The tone of Art Pepper is a departure from Bird and the boys but the non stop bop is more than prevalent in the message therein. Burnett on the drums is nuclear perfect timewise and Milcho's furious piano magic is out there where the buses don't run but is the Sine Qua Non of this track.
"Patricia" is a ballad that Leviev opens slyly followed by Pepper's hard edged yet sentimental soliloquy that remains steamy in the aforementioned edgy mode yet is beautiful and supple as silk. Milcho Leviev and Bob Magnusson together play as though the stars were aligned just right and I'm sure angels were weeping in their appreciation.
Disc two opens with the jazz staple "Cherokee" done at a blazing tempo with Leviev ripping through the keyboard like Man O War on steroids yet the ideation remains constant and swings like the Flying Wallenda's..Art continues on the speedway with a blistering solo proving that when God made time, he made plenty of it and Pepper took full advantage of it with 'record' speed. So whether it's Bird with 'his' Cherokee, or Med Flory's blazing vocal (Ko-Ko) on his album, this version is as hip as it gets and the exchanges are as noteworthy as one would expect from an ensemble so proficient. The tune is finished, but as they say, the melody lingers on.
These are but a few tunes from this recording that Laurie Pepper describes as Art's "ComeBack" band being at their tightest and topmost form. We can thank Art Pepper's widow Laurie for the release of these previously unheard masterpieces and for her untiring efforts to bring this music to those with an discerning ear. For those with the musical ear of Van Gogh you can go back to the cacophony and excess of fusion, for after all "Only those who have taken the voyage can discuss it"
Giacomo Gates..Luminosity..Double Dave Music 2007 By John Gilbert
This is a double disc recording with an added DVD that presents Gates in a live performance at Pearl's in San Francisco. Giacomo Gates is imbued with the 'spirited soul' of the purveyors of bop and his vocal style reflects just that. With his hip vocals Gates brings us back to the time when singing was an art form unto itself. On the DVD, in conversation, Gates mentions the name of Lord Buckley as one of his influences, Buckley was one of the original "down" iconoclasts of the bop era and the fact that he is mentioned guarantees the listener an exciting journey through musical mastery (and history), for whomever is familiar with Buckley has the knowledge of the best era in jazz and it shines across Giacomo Gates' vocalizations like an aurora borealis. My favorite tune on the DVD is Charlie Parker's 'Billie's Bounce' and the message is clear, Gates is swinging and singing with style and substance.
Disc 2 (DVD): Melodious Funk; Lady Be Good/Disappointed; Since I Fell For You; Billie's Bounce.
DVD Personnel: Giacomo Gates: vocals; Larry Dunlap: piano; Aaron Hermain: bass; Jeff Mars: drums; John Gove: trombone
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On the recording Giacomo Gates is in his element as his choice of tunes is hipness personified...In a tribute to the Ink Spots the tune 'Me, Spelled M-E, Me' is done cleverly with a mention of Errol Garner by pianist Larry Dunlap and Gates sings it like he wrote it.
'Melodious Funk' After a bit of versification Giacomo Gates romps happily through this tune with some divine scatting as Bob Kindred urges him on with some serious tenor messages. John diMartino's piano artistry adds an emphatic exclamation point to the matters at hand.
Kindred's steamy sax introduces 'The Beginning Of The End" and Gates' ballad mode is smokier than a speakeasy and twice as intoxicating.
'Hungry Man' is one of Bobby Troup's masterpieces with lyrics to match. Some solid scatting by Gates adds emphasis to the old adage: 'Let The Big Dog Eat' and believe me there are chops galore for all to dig. Tony Lombardozzi feeds us some hip guitar libation in his time to romp.
'P.S. I Love You' was made famous by Jimmy Sacca and The Hilltoppers back in the 50's. I was in the service at Fort Dix, New Jersey with Sacca and this tune was the embodiment of sentimental missives that I sent home and the spirit of this song was in every line that I wrote. So listening to Giacomo Gates sing it in 2008 was enough to make angels cry. The words to this tune are magnificent as all Johnny Mercer's lyrics are.
Giacomo Gates leaves no meat on the bone in this album. Every tune is a gas and if that ain't true grits ain't groceries and eggs ain't poultry.
Track listing: Disc 1: Comes Love; Me, Spelled M-E, Me; Peace of Mind (Let's Cool One); Melodious Funk; The Beginning Of The End; Hungry Man; The Blues Are Out Of Town; Romancin' The Blues; Someone's Rocking My Dreamboat; Up From The Skies; What Am I Here For?; P.S. I Love You; Full of Myself (Bonus Track)
Personnel: Giacomo Gates: vocals; John DiMartino: piano; Ray Drummond:
bass; Greg Bandy: drums; Bob Kindred: tenor sax; Tony Lombardozzi: guitar
5 Stars
Ginger and Scott..Dreamsville..Artios Group 2008
Personnel:
Scott Whitfield (Vocals and Trombone) Ginger Berglund(Vocals) Roger Neumann (Saxes, Flute) Corey Allen (Piano) Jennifer Leitham (Bass) Kendall Kay (Drums) and Special Guest Bob Florence (Piano, tracks 7 and 9)
Scott Whitfield is a trombone player of rare talent, and well respected by his peers.
His vocal approach is a cross between the relaxed lounge singer and a fiery jazz vocalist. Whitfield's voice texture is smooth and (in tune).
Ginger Berglund's matched races with Whitfield are just that "matched"..She has a beautiful tone and vocal style that fits perfectly in this format.
There is lots of fertile ground to till here. 13 tracks are on this recording and each goes right to the heart of hip.
"Slow Boat To China" Roger Neumann's tenor sax hits the ear with joyful abandon, and Whitfield's trombone solo is as solid as ever. The vocal duet is a study in pure jazz singing.
"All My Tomorrows" Neuman's steamy sax leads into Berglund's sweet vocal followed by Whitfield's dreamy message. Folks, this is the real deal. this is a ballad done as it should be and it ends with the singers bringing it home magically. This number would make angels weep.
"Pardon Me While I Fall In Love" This is an original by Whitfield / Berglund and the Jackie / Roy style is, one might say, like shaking hands with a shadow...just a hint. The lyrics are certainly apropos to the musical intent.
"You Inspire Me" The vocal duet is as smooth as cashmere and again the words are dug in as tight as ticks on a dog. Neumann brings his "A" game always and this time is no exception.
"The Best Thing For You" Scott and Ginger sing the verse and then 'scat heaven' explodes in warp speed as the duo roars through this tune like the roadrunner on steroids. Scott scats, Ginger does a bit of persiflage, Neumann soars, Whitfield roars, Leitham's bass is nuclear in time and always as supple as silk. If this tune doesn't move you nothing ever will.
"How High The Moon / Ornithology" is the last tune on this record but not the least by any stretch. Berglund sings it straight and then the pair scats 'Ornithology'. Scott performs trades with himself (voice and 'bone) and that's a fact.
The band is superlative, Scott and Ginger sing as good as any I've heard, and by the way, they sing coast to coast like butter and toast. If you are a purist in the jazz genre and want to hear the very best, then this recording is for you.
5 Stars (wish I had more)
Personnel: Carl Saunders, trumpet / flugelhorn, Pete Christlieb, tenor
sax, Andy Martin, trombone, Bob Efford, baritone sax, Christian Jacob, piano, Kevin Axt, bass, Santo Savino, drums and special guest Sam Most, flute and baritone sax.
Carl Saunders has always been an explorer in the sense that he plumbs the depths of every tune that he plays or arranges.
Ted Richardson, a saxophonist friend of Saunders mentioned that 20 years ago Bill Holman had written some charts for him that somehow never came to fruition and the charts had lain dormant for twenty years. Saunders had performed with the Holman band in 1984 and was intrigued by this turn of events and after viewing the charts decided to go into the studio and record.. There are eleven tracks on this album including one ("The Hook") that was a Saunders original. Saunders knew that several of the musicians that he chose for this project had played with the Holman band at various times. Being a friend and admirer of Bill Holman, Saunders recorded this body of work, and these arrangements once again saw the light of day and burst upon the scene like an aurora borealis.
"Three Little Words" comes on like Man O War and Saunders rides this tune like a champ. Andy Martin's trombone solo is neck and neck with Saunders and both reach the finish line in a dead heat.
"Primrose Path" is a ballad with melodious beauty nudged along with Saunders Fluglehorn and extended runs that leave the listener breathless instead of Carl Saunders. Sam Most's bari lends more magic to an already spellbinding track.
"Dearly Beloved" Pete Christlieb is featured on tenor and his soliloquy romps through this Kern classic as slick as a schoolboy's sleeve. The band drives and Christlieb gets it all with a torrent of notes. This tune swings and then some.
"The Hook" is a Carl Saunders original that struts and sashays along behind this trumpeter's melodic solo and inventive. passages. Saunders sobriquet should be "Edison" because there are few soloists with his ideation and inventiveness. Christian Jacob's flying fingers, at the piano, add the final exclamation point.
"Hannibal" is a Holman original. Carl Saunders' prowess is in full bloom with another blistering solo. Andy Martin is brilliant in his time at bat. Sam Most's patented solo is a work of art, albeit brief.
This album has it all, rock solid arrangements, the top soloists in the business, tunes that are gems and with Carl Saunders at the helm it gets right to the heart of hip.
Santo Savino on drums is time personified, Axt on bass matches Savino's mastery in the rhythm section. All in all this project has been a long time coming but now that it's here,it remains born again. It ain't going nowhere except into the ear and soul of the discerning listener.
There is an old expression in jazz (comparing talent) and it goes "Five dollars don't hang around with two" and the virtuosity and artistry of Carl Saunders is certainly apropos to that ancient bon mot. Saunders is the 'sine qua non'
of trumpeters on the jazz scene. He stands alone.
This album is the essential statement of Bill Holman and Carl Saunders. And that's bankable.
5 Stars
This album has been a long time coming. It has never been released, until now. You will hear Anita at her best in this '63 televised concert from Japan. A big band is the format with arrangements by Buddy Bregman and featuring Bob Corwin at the piano. In this world of faux jazz singers, Miss O'Day shines through like an aurora borealis.
There are 15 tunes on this recording and every one is superb. The stars were aligned just right when God gave Anita O'Day her voice, and here we have a chance to listen to her soaring like a high flying acrobat and singing the bottom out of every note on the ballads.
On "Boogie Blues" O''Day parlays the blues into a new dimension with a driving big band arrangement.
"Honeysuckle Rose" opens with Anita singing with the bass. Strutting and sashaying musically O'Day takes this old chestnut to new heights.
A racehorse tempo on "Avalon" finds Miss O'Day swinging this tune into orbit, up in the rarefied air where few dare to go.
"Night And Day" is the highlight of this marvelous record. Phrasing magically and articulating cleverly, she brings this tune to a tempo faster than a bootlegger heading for the county line.
From the film Jazz on a summer's day, Miss O'Day reprises "Sweet Georgia Brown" This tune starts off in a slow mode and then O'Day jumps on this number like a hungry hobo on a ham sandwich...The swing chorus is beyond adequate description, suffice it to say that this number cannot be overstated.
From the same movie "Tea For Two" is a vocal jam session and a clinic in bop singing. the exchanges with the instrumentation goes from 8's to 4's to 2's to 1's. This is a tune every aspiring vocalist should study. No singer on the scene today (with Nancy Kelly being the exception) has the innate God given talent that Anita O'Day is blessed with.
"That Old Feeling" will give the listener a new feeling that captures the ear in a manner so pleasant that a smile is inevitable.
Last but hardly the least is "Four Brothers" as O'Day scats like magic. On the trades with the trumpet and sax , Anita takes no prisoners.
This is a true jazz recording with a singer so far ahead of her peers that few are even close. A clinic? more than that, this is the quintessential jazz artist at her very best. In a word this album is both irresistible and most importantly a valuable addition to America's art form.
5 Stars
Tracks;
Boogie Blues, Trav'lin' Light, Honeysuckle Rose, Avalon, Bewitched, You'd Be So Nice To Come Home To, Night And Day, Let's Fall In Love, Sweet Goergia Brown, Tea For Two, Stella By Starlight, Love For Sale, Get Out Of Town, That Old Feeling, Four Brothers
Nancy Kelly..Born To Swing..Amherst Records 2006 Nancy Kelly (vocals) Dino Losito (piano) Neal Miner (bass) Mark Taylor (drums) Houston Person (tenor sax)
It is so easy when you know how and so pretty when you do it right and Nancy Kelly does it right and then some.
Miss Kelly has paid her dues in the jazz genre and as a result she has developed into one of the major forces in this idiom, perhaps the best of them all. She has honed her craft in jazz clubs the world over. Kelly's range is high wide and handsome, her phrasing is impeccable and she scats joyfully, correctly and gives new meaning to the word hip. Nancy Kelly is the real deal and your ears will bear witness to that.
"I've Got The World On A String" Kelly is on this tune like a heat seeking missile this is followed by a lengthy tenor solo. Dino Losito at the piano weaves his magic with some cool changes in his inimitable fashion. Losito is the perfect match for Kelly, in that he swings with the best of them. This tune is revitalized, revamped and given a brand new life.
"Like Someone In Love" will melt your heart as Nancy Kelly does justice to this Burke / Van Heusen piece in a superb ballad style that has "No Holds Barred" stamped all over it.
Dino Losito's brilliant intro on "You'd Be So Nice To Come Home To" paves the way for Kelly's vocal that is infused with a brightness that shines like the aurora borealis...Some dynamic scatting serves as a virtual instrumental byway into the land of bop. Nice solo by bassist Neal Miner adds some spice to a tune that is already abounding in provocative piquancy.
"Let Me Off Uptown" Shades of Anita but with Kelly's patented high heat stamped all over it. Dino Losito's brief solo is as good as it gets. Again Kelly's scatting rules the day only interrupted by some persiflage with Person.
This album (aptly titled "Born To Swing) is one in a million and it is certainly the standard by which all jazz singers will be judged. This recording ranks as the best I have heard in 2006. To put it succinctly, if Nancy Kelly isn't the best in the business today, the electric chair is a barca lounger and pigs are tap dancing on Broadway. 5 Stars
One might say it's the rebirth of Supersax and the L.A. Voices. As Med Flory relates, "For the last twenty years the Voices have been doing a Rosebud in the bowels of some Sony warehouse, So in order for people to dig this album while I'm still alive, I decided to put it out myself" So, thank the powers that be, because this is one great piece of American jazz, performed by stellar musicians in the finest bebop tradition.
"The Song Is You" The voices start matters off singing the melody and the ensemble plays Bird's solo in harmony. The interpretation of Bird's message is clear, clean and swings like The Flying Wallenda's. This is one masterful arrangement that pleases the ear, which is what superlative jazz is supposed to do, unlike the cacophony that passes for music (at times) in this day and age. It gets no better than this.
"Just Friends" This tune was one of Bird's favorites and Sue Raney's sweet voice captures the essence of this piece magnificently leading the Voices ....The section work is flawless and I know Charlie Parker is as happy as a sissy in Boys Town. The juxtaposition of the Voices and the instrumentalists go beyond simple accolades. Words can never convey 'sound' adequately, it is for the ear to relish and enjoy.
"Ko Ko" is one of the highlights of this recording. Med Flory vocalizes Bird's chorus at racehorse tempo and the Voices embellish it with clever ripostes accenting the vocal magically with their verbal sally. How do I like this tune? Let me count the ways......
"Embraceable You" Sue Raney comes through on this song so sweetly that it will melt your heart. The Voices make this old chestnut rise from the ashes and sashay along like it was brand new. Again the section work is superb as Charlie Parker is paid homage to in a manner befitting his elegance. When Raney sings the words " How I Need You Baby" it takes its toll on the soul with a sweetness that defies words.
"Out The Window" Clever lyrics and a captivating shuffle beat get it all on this Med Flory penning. I defy anyone to dig this tune without a bit of jitterbugging dancing in the mind. This number goes right to the heart of hip.
"Supersax" Med Flory tells the musical story of Bird and Supersax with words supreme. Parker is talked about by the soloists most respectfully. This is Med Flory at his best. Yes indeed, "Supersax will always play the word of Bird"
"Skylark" The Voices sing this remarkable melody beautifully. Harmony, thy name is "The L.A. Voices" The trumpet solo is a work of art, albeit brief.
These are but a few of the 16 tunes on this album and all of them deserve to be heard again. I only hope that this will be the resurgence of the finest interpreters of Charlie Parker's music, as well as the gems that Flory has always given us.
I have enjoyed this recording more than I can express. Maybe some will think that I have been too praiseworthy, my answer to that is, listen for yourself and if you don't agree, you must have the ear of Van Gogh. 5 Stars
The collaboration of Charlie Parker and Dizzy Gillespie changed the course of jazz so emphatically, that to this day BeBop lives on with their influence felt in every jazz musician today.and on every instrument played in this genre. It has been said that their contributions are equal to that of Bach and Beethoven.
This never before heard Town Hall Concert in
1945 ranks as the musical find of this century.
There is remarkable sound quality and the tunes are the best of the best of this era. The musicians are the cream of the New York scene and their propensity for improvisation is unparalleled in the annals of modern jazz.
After an intro by Symphony Sid, Dizzy's blistering solo on "BeBop" is followed by Bird's late appearance. Parker walks on stage to the crowds delight with anticipatory applause and promptly blows the house down with his usual flair and brilliance. The unison with the alto and trumpet is beyond description.
"A Night In Tunisia" is highlighted by Bird's explosion of notes on the break along with a melodic prowess not heard in the 'con-fusion' of today. On the second break Dizzy bursts forth like a fourth of July fireworks display. Diz finds enough time to insert the familiar "I Get The Neck Of The Chicken" quote. There is enough energy in this selection to light up Times Square during a brownout.
"Groovin' High" based on the "Whispering" changes saunters along with Parker's magical interpretive powers in full sway. Gillespie struts in with a myriad of notes..not a mindless exercise in facility...but a message filled chorus totally apropos to the chord changes. Al Haig bounces in with a soliloquy as hip as hip gets.
"Salt Peanuts" A stratospheric tempo is the hallmark of this tune. Al Haig gets after this tune like a hungry man with a ham sandwich. To describe Charlie Parker's solo would take a combination of Shakespeare, Hemingway and Kerouac. Suffice it to say that it not only gets off the ground but it is somewhere in orbit along with satellites and Mickey Mantle home runs.
Dizzy Gillespie follows with an equally torrid solo to match his worthy constituent.Let's just say, you had to be there..and you are in many ways.
"Hot House" this tune is as beautiful as the man that penned it...Tadley Ewing (Tadd) Dameron. Bird again swoops and soars like a sparrow on steroids. Haig sounds a bit like Tadd on this take and that makes it doubly interesting.
"52nd. Street Theme" closes out this recording with a style and grace that is fitting for an album of this magnitude.
Jazz fans and cognoscenti alike will be overjoyed to bear witness to this, the greatest find since the Rosetta stone.
Personnel: Charlie Parker (alto), Dizzy Gillespie (tpt), Don Byas (tenor sax, track one only), Al Haig (piano), Curley Russell (bass), Max Roach (drums), Sid Cattlett (drums on tracks 5 and 6), Symphony Sid Torin (MC)
Tracks: Intro, BeBop, A Night In Tunisia, Groovin' High, Salt Peanuts, Hot House, Fifty Second Street Theme
I once inquired of Thad Jones (when he was with the Basie band) for some advice on drumming and he said "All you have to do is listen to my brother" I did, and from then on I became an ardent admirer of all the Jones boys.
The music of Thad Jones, in this magnificently packaged album, is expressed and marked by stately grandeur and lavishness. Every musician is a hall of famer and Mickey Roker on the drums gives a clinic in the art of stylish and sensitive brush work. After a weekend of listening to young drummers sound like a tin can tumbling down cement steps (Chet Baker's words) I raise my hands heavenward and proclaim a series of hallelujahs for the Mickey Rokers of the drum world. It can get no better. Roker exhibits a mastery of percussion that is rarely heard in this day and age of drummers who play like they are in a fist fight with their instrument. Inspiration, thy name is Roker.
Bob Brookmeyer's trombone has lost none of the sparkle and ideation that he is noted for.
Hank Jones gracefully glides across the landscape of this ensemble with classic sophistication somewhat reminiscent of the Freddie Redd and Bud Powell's sweet swinging style mixed with hot bop lines. Hank Jones carries the torch proudly.....He has the touch of Midas without all the repercussions!
What can one say about the passion of James Moody, Frank Wess, and Benny Golson? This record keeps getting better and better as the tracks go on. The interplay between the three saxes is indescribably brilliant and (cogent) in the message of each.
Richard Davis on the bass is the heartbeat of this ensemble.
Jimmy Owens' trumpet / flugelhorn adds the seasoning to a potent mix of jazz that exceeds the boundries of greatness.
The music on this CD has no cacophony, no torrent of notes going nowhere.. Everything meshes like the innards of a fine Rolex chronograph.
I am satisfied that jazz as we know it and love it is alive and not only well, but strutting along main street in its Sunday best...It can get no better, unless we have a second coming of our mates in Bop heaven.
There are not enough stars in the heavens to rate this album.
Thad Jones is honored in a manner most deserving of his artistic genius.
Tracks: Subtle Rebuttal, Thad's Pad, Kids Are Pretty People, One More,
Mean What You Say, A Child Is Born, Bossa Nova Ova, The Waltz You Swang For me, H&T Blues, Consummation, The Farewell, Monk's Mood
This Album Says It All
This recording is not only packaged beautifully, it contains 20 tracks from live performances and liner notes by contemporaries of Darin, it also contains a DVD with the first 8 tunes on the CD and 3 songs from lost documentary footage.
Bobby Darin swung so hard it is difficult to describe adequately.
This is clearly the recording of the year for this writer, ranking right up there with the legendary Nancy Kelly's hot and hip "Swingin And Singin"
"This Could Be The Start Of Something Big" and it is the start and finish of something huge as Darin swings magically and the band rocks and screams in kind..BD's phrasing is impeccable, his intonation is flawless and the yips and whoops he injects into the drummers (Ronnie Zito?) back beat is so apropos that it simply punctuates the exquisite arrangement to the maximum. It is obvious that Bobby Darin is having an artistic celebration that exceeds the bounds of expectation.
"Can't Take My Eyes Off Of You"..As Darin kicks off this number,with one, two, three, four, ho, in his patented hip style, this song goes into orbit, laying on dead red all the way..BD rides this tune like Arcaro rode Citation with self assurance and style. It gets no better.
The big band is blazing and Darin carries the message of "A Quarter To Nine" as though he exercises supernatural power over natural forces. Pure enchantment.
"Beyond The Sea" Darin humorously adds the line "My lover stands on Tommy Sands, watching the ships that go sailing" Effortless and smooth, urbane and hip is the byword for this gem...Every yip and hup is placed perfectly to accentuate this charming tune.
"Jive" This is an ode to the 60's as the lyric cleverly advises.."Been Starin' at the sun, been stoned since half past one, jives alive from nine to five, my main man. I've got my paper rolled, I've slowed down growin' old"....And so it goes.
"All The Way" has never been done as touching as this. Forget Frank. As they say BD is standing in Sinatra's front yard. This is BD at his best.
"The Curtain Falls" This is the closer Darin always used at his concerts and it is a beautiful way to say goodbye.."Off comes the makeup, off comes the clowns disguise, the curtains falling the music softly dies, but I hope you're smiling as your filing out the door, as they say in this biz that's all there is, there isn't any more We've shared our moment and as the moment ends, I've got a funny feeling we're parting now as friends, your cheers and laughter will linger after they tear down these dusty walls, If I had this to do again I would spend it with you again...People say I was made for this, nothing else would I trade for this and just think I get paid for this ..Good night Ladies and Gentlemen and God love you "
There are not enough stars in the universe to rate this album, suffice it to say: It is strikingly impressive and sumptuous in structure and adornment..The very best.
Tracks This Could Be The Start Of Something Big, Can't Take My Eyes Off Of You, Song Sung Blue, All I Have To Do Is Dream, A Quarter To Nine, Alone Again Naturally, Beyond The Sea, I'll Be Your Baby Tonight, If I Were A Carpenter, Simple Song Of Freedom, Up A Lazy River, Jive, Rainin', Long Time Movin', Dream Lover, Blue Skies, Moon River, All The Way, Mack The Knife, The Curtain Falls
Bonus DVD features the first eight tunes on the album and lost documentary footage of Weeping Willow, One Of Those Songs, You're Nobody 'Til Somebody Loves You
This album was taped in a live performance at New York City's Jazz Forum on April 30, 1981.
Except for track one, "With A Song In My Heart" these are original compositions by Jack Reilly from the late 60's to the 70's.
Reilly is a true a virtuoso of the piano with remarkable facility and ideation. One might hear a flicker of Bud Powell or a whisper of Bill Evans (done with reverential regard) but clearly Jack Reilly has a unique style along with rhythmic flexibility and the ability to swing...He paints with his own brush.... And is definitely the sine qua non on this recording.
"With A Song In My Heart" There was no thin gruel here, only fat chords and a jaunty message filled solo from Reilly. On the 8 bar exchanges with the drummer, Mr. Reilly was merciless.
Bud Powell was talked about a bit on "Minor Your Own Amos" as the pianist unleashed a torrent of impressionistic bop lines. The drums and bass were clearly inspired on this tune.
"Lento For Carol" has a thought provoking melody and a haunting quality that conjures up the bittersweet pall (on occasion) of love
This is a trio that epitomizes the true meaning of sophistication and professionalism in the jazz world today.
Tracks, With A Song In My Heart, January, Minor Your Own Amos, November, Lento For Carol, Kyrie.
Musicians.. Jack Reilly (p), Jack Six (b), Ronnie Bedford (d / percussion
One might say that this recording, featuring two of
the top musicians in the business, is a match made in heaven. I say it's a match made by Jazzed Media (and Graham Carter), who thankfully respects our native art form by producing this remarkable Disc in an age where cacophony and discordance permeate the airwaves.
Carl Saunders goes beyond being an
accomplished Trumpet player, he is an artist of impeccable taste and ability, recognized by his peers and, certainly by this writer, as the premier player on his instrument in the jazz idiom.
Phil Woods with his patented Charlie Parker sound has been a mainstay in the jazz genre for years and his contributions have been monumental.
"Walkin' Bass" finds Woods with a more personal approach as he stretches out with a raucous solo that cooks like a New Orleans chef on fat Tuesday. Saunders breezes in effortlessly with endless breathtaking phrases that adds the spice to an already hot mix being stirred up. The rhythm section keeps the burners at the right temperature, enhancing the brilliance of the Saunders and Woods soliloquies.
"Mr. Lucky" is a Saunders' arrangement and his solo highlights this gem with a searing trumpet message. Phil Woods follows with some tasty thoughts of his own.
"Sorta Blue" captures the pensive mood of both artists in a tune arranged by Eric Fankhauser. Always the melodic player, Saunders shines like the Northern Lights and Woods struts and lopes along in his Parker bag. Nice unison work by both featured players.
This is a can't miss album that makes the most of two dynamic musicians, a great rhythm section and compositions by the genius of Henry Mancini.
Tracks: The Pink Panther, Lightly, Walkin' Bass, Soldter In The Rain, Free And Easy, Fallout!, Goofin' At The Coffee House, Dreamsville, Mr. Lucky, Sorta Blue, A Quiet Gass, Two For The Road.
Personnel: Carl Saunders (tpt, flugelhorn) Phil Woods (alto), Ken Walker (b), Jeff Jenkins (p), Paul Romaine (d).
Jazzed Media website http://www.jazzedmedia.com
Carl Saunders http://www.carlsaunders.com
Phil Woods http://www.philwoods.com
Lenore Raphael..Piano
Mike Bocchicchio..Bass
Roger King, Jr.. Drums
Lenore Raphael has a love affair with the Piano, It is demonstrated by the myriad of emotions that she is able to evoke in her playing.... By the stream of ideas that pour forth in her solos and the quickly alluded to quotes that brush by the ear like a susuration. From a sweetly swinging mode to pure non stop bop, Raphael is the personification of swing. To swing, the music must grab the emotion of the listener, and this recording certainly accomplishes that.
Lenore Raphael has played the major jazz clubs of the world, she is a BET award winner and has been the recipient of rave reviews from critics all over the world. Raphael counts the great Jazz Pianist Milcho Leviev among her admirers, and he has included the original composition ("Johnny Jazz") on this disc, in his repertoire.
"I'm Old Fashioned"..Clever ideas abound, spontaneous quotes dance softly by. Raphael is an admirer of Bud Powell and one can sense it in her improvisations, Bud's (sometimes) moodiness, however, is never apparent in her playing, only a hint of his wistfulness is evident. This is always a good tune and Raphael toys with the melody cleverly but never loses the simple beauty of it.
"Johnny Jazz"..This is an original composition by the leader. The intro is pure Monk. The melody is exquisite, the bridge is eight bars of pure power, and the Piano solo is brilliant. The exchanges were highlighted by Raphael's impish mimicking of the drums in the trades. This tune is a favorite among musicians and has received rave reviews from both players and DJ's.
"Billie's Bounce" Charlie Parker's blues classic was done at a high steppn' medium tempo full of all the soul you could ask for. Raphael's interpretation was worthy of the authors genius. The Bass and Drums were clearly inspired by the tune,.. and the Pianist.
"You Don't Know What Love Is".. Bud Powell is embraced beautifully by Lenore Raphael, but the stamp of her soul is clearly on this tune. The bridge was given a most moving treatment, it was eight bars of a cry for love, brushed lovingly across the keys.
"There Is No Greater Love"..Solid bop from the top. Up tempo and swinging. The trio meshed nicely, the solo by Raphael had me clapping in appreciation. A boffo ending to a remarkable recording. If you love great jazz, this album was made for you.
Tracks: I'm Old Fashioned, Tricotism, Sometime Ago, Johnny Jazz, Billie's Bounce, You Don't Know What Love Is, There Is No Greater Love.
http://www.lenoreraphael.com
This CD may be purchased by contacting: SWINGINFOX MUSIC
P.O. BOX 20941
COLUMBUS CIRCLE STATION
NEW YORK, N.Y. 10023
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Bob Florence is a Pianist of unequalled harmonic virtuosity, as well as a composer and arranger of both sensitivity and power. Florence brings a mystical romanticism on the one hand and a driving potency on the other. In a word he is the sine qua non of this marvelous recording. He has assembled the finest musicians in the world and they respond brilliantly as a unit and individually.
A Grammy winner, coupled with 14 Grammy nominations and 2 Emmy awards serve to remind the listener of his distinguished career and enormous contribution to the music we call Jazz.
Basie, Kenton, Quincy, Brother Ray Charles, and the Tonight Show are among the recipients of both his pen and pianistic mastery.
Get ready for the ride of your life.
"Dukeisms"..The Guitar of Larry Kooonse opens with this up tempo gem, Koonse's dexterity and skill paves the way for the bands entry like a musical tornado. Jeff Driskill's Tenor and Kim Richmond's (Alto) are the final touch in this ode to Edward Kennedy Ellington on the 100th. anniversary of his birth.
"Nerve Endings" This tune walks and struts like a Drum Major in a Mardi Gras parade. Everyone has a say in matters, paving the way for Carl Saunders grand entrance. Saunders is the non pareil among Trumpet players, and here he is with his usual flair cascading notes in an exhibition of melodic beauty and dynamic ideation. Tom Peterson's evocative Tenor solo adds the final touch to this fiery Florence composition.
"Chelsea Bridge" Bob Florence's touch and unparalleled keyboard sensitivity is the precurser for the Trombones of Charlie Loper (laying down the melody) with a sonorous tone, followed by Bob McChesney's inspiring jazz solo.
"Running With Scissors" Showcases Ron Stout's reflective Trumpet solo which builds to monumental proportions under his skillful aritstry. Stout is a musician who has had a major impact in the jazz world and on this writer in particular.
"Never Let Me Go" will get the attention of every Piano player who listens to the aesthetic and emotional stimuli engendered by Florence in this solo offering. It is delicate in style and powerful in the message inherent in its posh presentation. A brief phrase in tribute to Duke is cleverly alluded to in this Livingston / Evans piece.
"Q&A" features the muted Trumpet of Steve Huffsteter in his stylish and expressive mode behind a backdrop of orchestral brilliance.
"Whatever Bubbles Up" was inspired by Mike Myers' riposte to Barbara Walters query about his future plans..Ron Stout's Trumpet solo shines like a beacon in the night. The fluidity and ease with which he generates phrases are remarkable in beauty and most importantly substance.
Larry Koonse on Guitar, Dick Weller, Drums and Trey Henry Bass comprise a rhythm so attuned to this extraordinary recording that one might say that it is the perfect kicker in an intoxicating libation.
This album is a true work of art celebrating the genius of Bob Florence once again.
Personnel
Woodwinds, Kim Richmond, Don Shelton, Jeff Driskill, Tom Peterson, Bob Efford, Bob Carr.
Trumpets & Flugelhorns..Wayne Bergeron, George Graham, Mike McGuffey, Ron Stout, Steve Huffsteter, Carl Saunders.
Trombones.. Charlie Loper, Alex Isles, Bob McChesney, Bryant Byers.
Bass Trey Henry, Drums Dick Weller, Guitar Larry Koonse
Piano / Arrangements, Bob Florence.
Tracks: Dukeisms, Nerve Endings, Chelsea Bridge, Running With Scissors,
Kissing Bug, Never Let Me Go, Q&A, Whatever Bubbles Up.
Without question Pinky Winters is the consummate ballad singer in the jazz world today. Her tone is exquisite in its smoothness, clarity and unabashed sensuality. Each word is caressed with a gentle whisper rising to a sound of unequalled beauty. Winters is blessed with a vocal timbre that is both polished and urbane.
She does not have to "strive for tone" which leaves her free to explore the lyrics with impunity. No words can adequately describe 'sound' without comparisons (in relation) to known sounds, and since Pinky Winters is the standard by which other vocalists are judged, suffice it to say that listening to her is the ultimate auditory experience. Vive La Reine.
Enhancing Miss Winters with his unerring backing and interesting solos is Richard Rodney Bennett, a Pianist of eloquence and taste. Bennett's comping is totally apropos to the vocalistic intention of Winters. The chords always fit and embellish the singers phrases with understated but powerful accompaniment.
"Let's Take The Long Way Home" Again Pinky Winters' enunciation is clarity in its purest form. She leads us down the path of longing with a promise of sweet fulfillment. Bennett's Piano is the garnish on a fancy presentation.
"My Melancholy Baby" Winters sings the verses and the melody follows with an invitation hard to resist. This tried and true chestnut was given new life by the soothing promises in Pinky Winters lyric interpretation.
"Early To Bed" A tune that hits home to some of us.....Great ode to the malady of over doing it and the pleasure of recounting the past. Cleverly spun by this dynamic duo.
"Rain Sometimes" A great message, with superb lyrics as a love story unfolds with blissful passion.
"Here I Am In Love Again" A story of love and its consequences brilliantly sung with Winters usual flair.and Bennett's tender care.
This album is a glorious excursion into a dreamy musical land of sweet promises and gentle admonitions. It gets no better than this.
Tracks Let's Take The Long Way Home, My Melancholy Baby, Where Have You Been?, He's My Guy, Why Can't I? I Only Want Some, Rain Sometimes, Little Did I Dream, There's No Such Thing As Love, Sweet William, Early To Bed, No More, Here I Am In Love Again, Put Your Dreams Away.
Personnel Pinky Winters (v), Richard Rodney Bennett (p), Bob Maize (b on 1,3,6,7)
Mike Melvoin Piano, Phil Woods Alto Sax / Clarinet, Steve Gilmore Bass, and Bill Goodwin, Drums.
One can never capture the essence of sound with mere words. Suffice it to say that this disc pleases ones auditory receptors in the most majestic way.
This recording is a glorious excursion into the land of be-bop, blues, standards and originals.
Mike Melvoin goes beyond being a superb Pianist. His melody lines are rich with a sound and feel that are rare in this day and age. The "touch" is beautiful and the solos are pure magic. I will always equate Melvoin with an infusion of Bud Powell's influence (It is clearly felt) and yet the romanticism is definitely his own. Elegance and soul define Mike Melvoin. It is apparent in tunes like the original "It's Always You" this piece is an ode to love expressed with a lyricism that goes straight to the heart.
"Are You Going To Eat That?" Bebop is the mood and swing is the thing as another Melvoin penning is classic in it's purity and stylishness, It romps along magnificently..Everyone wails on this swinger.
Phil Woods adds his patented Charlie Parker tone to the mix, filled with Bird's quotes. Woods pairing with Mike Melvoin adds a new dimension to his (Woods) playing. One can hear the comping of the Pianist urging Woods onward and he answers delightfully. Phil Woods' Alto is an excellent addition to this album, one might say he is a welcome guest at the Mike Melvoin extravaganza.
Steve Gilmore's Bass adds the essential elements ie; time, fluidity and solos that are original and filled with ideation. Bill Goodwin also fits nicely into Melvoin's scheme of things. He lays down subtle accents and is always apropos to the intent of the soloist. This disc is both a joy and celebration of classic jazz. It will never get any better than this.
Tracks. All Or Nothing At All, Are You Going To Eat That? Dawn Dance, Easy To Love, It's Always You, I hear A Rhapsody, I'm Confessin', But I Have To, This Is The Place, Come Rain or Come Shine, Whatever My Bianca Wants.
This is one of those special recordings that showcases an artist superbly. Nancy Kelly has many styles, however they all have one thing in common, they swing like the proverbial garden gate. Alternating a coquettish style with hard driving, swinging lines, makes her one of the best jazz singers in the biz.. Musical savvy is the final ingredient that completes this one of a kind singer of songs.
"Till There Was You" has a great intro, nice ensemble work as well as a happy Trumpet solo by Jeff Jarvis, Saxman Bobby Militello romps on this one and Kelly exhibits flawless timing and remarkable tonal quality.
"That's All" A cute, sexy version of this great tune. Kelly's voice texture remains constant. This song is sweetly done, and another side of this diverse artist is shown.
"The Joint Is Jumpin'" Fats Waller like piano backing coupled with Nancy Kelly's hip lyric trip makes this piece work nicely. Great change of pace.
"At Long Last Love" Cole Porter would be pleased with this rendition of his timeless composition. Joe Carello's Sax lopes along merrily, Nancy Kelly punctuates (as Sass would say) in fine style. "Young And Foolish"...Ballad time and Kelly really torches out on this one. Hot Stuff.
"It's Alright With Me" And it's alright with this writer too. Cole Porter is paid homage to again with Nancy Kelly's cool cadence and you hear it on this song at it's best. Dynamite scatting is a final touch. Interesting solo by Joe Carello. Kelly smoke. everyone on this tune.
"Slow Boat To China". This boat was definitely not slow, in fact it got off the ground, musically speaking. This tune got a new treatment with a racehorse tempo setting the pace and Kelly's vocal was extraordinary, Bobby Jones' Piano solo was fast and furious with Joe Carello's Sax matching him at top speed. A hip cruise to the Orient.
"Stormy Weather" Torch time once more. Kelly adds some extra soul to her vast repertoire and already full bag of Singin' and Swingin' accouterment.
Nancy Kelly..Vocals
Danny D'Imperio..Drums
Steve Curry..Drums on 2, 7, 10
Paul LaDuca..Bass
Ron France..bass on 2, 7, 10
Bobby Militello..Sax
Joe Carello.. Sax on 6, 8, 11
Bobby Jones..Piano
Lyman Strong.. Piano and Synthesizer on 1
Rod Blumenau..Piano on 3
John Nyegers.. Piano on 4, 6, 11
Dino Losito..Piano on 8
Jeff Jarvis..Trumpet
Brian Murphy.. Vibes on 9
Steve Brown..Guitar on 5, 9
Mark Manetta..Guitar on 2
"Till There Was You", "That's All", "The Joint is Jumpin'", "At Long Last Love", "Young And Foolish", "It's Alright With Me", "Slow Boat To China", "Stormy Weather", "I Concentrate On You", "Through The Fire", "Jennine", "Come In From The Rain"
Be Bop Big Band..Carl Saunders
Without a doubt this is the best big band to come along in many a year. It will knock your socks off on the speed burners and send romance wafting around like the sweet smell of Joy Perfume on the ballads.
The sections are filled with the best musicians in the business and the leader, Trumpet virtuoso, Carl Saunders is in a class by himself.
Some beautiful Herb Phillips arrangements aided by exquisite playing by the soloists make this recording a true work of jazz art.
"Compilation" features Saunders' blistering solo. proper homage is paid to Mr. Gillespie along the way. Bob McChesney's Slide Tromone solo is as 'noteworthy' as any Valve 'Bone in existence..Jerry Pinter on Tenor and the estimable Christian Jacob at the Piano add a very fine puncuation mark to an explosive opener.
"Perceptive Hindsight"..Doug Webbs Saxophone is a study in advanced Tenorology. Trumpet master Ron Stout enters on the ground floor and takes us to the penthouse where his beautiful phrases abound and sweet ideas reside. Christian Jacob adds his magic touch in closing.
"Strike Out The Band" Bobby Shews smooth tone and rapid fire style are his trademarks and he puts his stamp on this tune with a flair.
"Autumn In New York" is a tour de force for Saunders, his heavenly sound is as clean as the board of health and much more ascetic.
"An Apple For Christa" A blazing tempo and a blistering soliloquy showcases his eminence Bob Summers, whose artistry is simply stunning. It is a case study for would be Trumpeters.
"Baby Blues" is a call and answer blues with everyone eventually taking part. Saunders endless phrases, humor and speed, are puncuated by the upper register for which "HIs Highness" is famous for.
This is the best of the big bands. A disc that won't soon be forgotten.
Compilation, Love Dance, Emily, I'm All For You, Perceptive Hindsight,Never Always, Some Bones Of Contention, Strike Out The Band, Autumn In New York, Dearly Befuddled, An Apple For Christa, Baby Blues.
Trumpets: Carl Saunders, Frank Szabo, Bobby Shew, Ron Stout, Bob Summers, Scott Englebright (3, 8 9.)
Trombones: Charlie Loper, Andy Martin, Bob McChesney, Pete Brockman (Bass), Sam Cerrutto (3, 8, 9.)
Saxophones: Lanny Morgan, Brian Scanlon, Altos, Jerry Pinter, Doug Webb, Tenors, Bob Efford, Baritone.
Rhythm: Kevin Axt, Bass, Santo Savino, Drums, Christian Jacob, Piano.
Dino Losito-Piano
Neil Miner-Bass
Mike Melito-Drums
The selection of tunes on this disc were the portent of very hip things to come. This fine trio has woven a tapestry of jazz that swings tastefully, like a porch glider on a summers day, with "Skylark" being a prime example. And then taking off into orbit on a tune like "Our Delight" the next. Dino Losito is a bop oriented musician that has a firm grasp on the roots of "modern jazz". As in all good Pianists, there is the shadow of Bud Powell omnipresent in his playing.
Neil Miner is a strong Bassist and worked very nicely in this trio.
Mike Melito's sensitive drumming was a huge plus for this ensemble. There was no overplaying and the accents were apropos to the soloist's intention.
"Happy Times"..Speed indeed for Losito as this tune got off the ground. The Drums and Bass stayed in the race with the leader in fine style.
"There It Is" An original piece with Frank Strazzeri like phrasing. Nice ideas laid down by Losito.
"Skylark" Mr. Mercer would approve. Sensitive treatment by all. Romantic mood set by the leader.
"Our Delight"..Tadd Dameron's classic is done at racehorse tempo, with Losito all over the 88's. This tune had me grinning like a possum spittin' 'simmon seeds. A marvelous tribute to TD. He would smile that special smile and softly applaud the guys.
"Like That" Another original by the leader that strolls along majestically.
"Stars Fell On Alabama" Saloon time styling with a helping of elegance. This tune has a beautiful melody and it was handled with the respect it deserved by the trio and especially by Mr. Losito.
This disc is an exploration into the time proven power of Be-bop and love songs. A great addition to any collection.....
Tracks:
Happy Times, There It Is, Skylark, Our Delight, Soul Eyes, Like That, When You Wish Upon A Star, I'll Close My Eyes, Stars Fell On Alabama
Body And Soul
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Live from the New Point Grille in Kansas City
September 9, 2001
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David Basse's voice texture has a nodding acquaintance with Johnny Mercer, but his delivery is strictly his own. An ability to scat is his strong suit and it is displayed at it's best on this Disc. Angela Hagenbach will simply steal your heart away. Her low sultry voice combined with a clever vocalese style is the perfect counterpoint to Basse.
Bobby Watson, on Alto, provides a nice backdrop to the vocals and adds some soulful solos to the mix.
Greg Richter has a style not unlike the great Milcho Leviev, with a bit of Stu Goldberg peeking through now and then. Hip solos with a cascade of notes make for interesting listening.
Sam Johnson, Jr. is a Drummer who is a steady timekeeper and a heady exchange man who holds his own on the fours.
Matt Pittman on Bass complements the ensemble as the heartbeat of it all and adds some tasty solos in his turns to blow.
'Them There Eyes' features the seductive voice of Hagenbach swinging happily, adding a great treatment to a fine song.
'Strangers On A Train' is an original tune with a brooding, haunting quality to Basse's vocal. Bobby Watson echoes these sentiments on his Alto.
'Cubicle' This is Watson's best effort. His idea filled solo which alludes to 'Laura and 'Green Dolphin Street' is a gutsy, strong soliloquy. A hot piano with a torrent of notes by Greg Richter gives it just the right touch.
'Sunny Side Of The Street' marches right along with Basse leading the way. This tune is hipness personified. David Basse is at his best. The Louis Armstrong impression by Richter (?) only detracted from an otherwise swinging track.
'Confirmation' When you are talking about Charlie Parker, you are going to get this writer's immediate attention . The Piano took a journey to Chopsville and some nice 4's between Basse, Johnson and Watson capped it off in fine fashion. David Basse swung to the max on this tribute to Bird.
'Satin Doll' and 'In A Sentimental Mood' ....on the former Hagenbach simply stole the show, and the latter is an excursion into Torch City . Nice Bird quote by Richter on 'Satin' and Watson's solo on 'Sentimental' reflected the mood set by Angela Hagenbach.
'Baby, Baby All The Time / 'Juke Joint Blues' ..The musical conversation between Basse and Hagenbach was a joy to listen to. The humor, soul and hip delivery was magnificent, it was the perfect closer to a super recording.
David Basse and Angela Hagenbach..Vocals
Greg Richter, Piano, Vibes, Vocals
Bobby Watson, Sax
Matt Pittman, Bass
Sam Johnson, Jr., Drums
Tracks: 'Moanin', 'Them There Eyes', 'Strangers On A Train', 'Centerpiece', 'Cubicle'. 'Sunny Side Of The Street', 'Confirmation', 'Wichita Lineman', 'Satin Doll', 'In A Sentimental Mood', 'Take The "A" Train', 'Baby,Baby All The Time' / 'Juke Joint Blues'
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