Jared Gold Reemergence

Jared Gold
Reemergence
Strikezone

Organist Gold has been a significant part of guitarist Dave Stryker's organ trio along with drummer McClenty Hunter. Among the more recent group of jazz organists, Gold has become a significant part of the NY jazz scene playing with such heavyweights as Oliver Lake and the late John Abercrombie along with Stryker. he has recorded 8 albums although it has been three years since his last as a leader. On this recording, produced by Stryker, legendary drummer Billy Hart joins the pair (and it is a working trio), with trumpeter Jeremy Pelt adding his brass to three of the nine selections. Gold contributed two originals to this recording with others coming from Gershwin, Stevie Wonder, Ornette Coleman, Doris Akers and Lennon and McCartney.

From Jared's opening title track to the closing "Nomad" by Stryker, Gold and his organ trio certainly delight organ jazz fans starting with an unusual blues that Pelt's vibrant trumpet adds fire to the unusual burning blues line. Gershwin's "It Ain't Necessarily So" displays his melodic touch as well as orchestral sound while providing a strong setting for Stryker's dazzling playing. There is a wistful reading of The Beatles' "She's Leaving Home." Pelt is present on "Looking For Another Pure Love," which contrasts with the solid funk of "One For John A," where Pelt adds his trumpet to Gold's chicken shack grease. Hart provides a light Brazilian groove to "How Long Has This Been Getting On," which is followed by a slowed down rendition of Ornette Coleman's "Blues Connotation," where Gold's use of dynamics adds to the impressiveness of the trio's performance.

While organ jazz might be viewed by some as jazz comfort food, one cannot deny how outstanding Jared Gold and trio are on this superb recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is a short live clip of this trio.

The Janet Lawson Quintet

The Janet Lawson Quintet
The Janet Lawson Quintet
BBE Records

This is an expanded re-release of a Grammy nominated album by The Janet Lawson Quintet. It was originally issued on Inner City Records in 1981 and augmented by four selections from a tribute to Miles Davis in the late 1990s. Lawson was born in Baltimore before moving to New York for decades of performing as well as teaching. Recently she has had health issues and moved back to Baltimore to be with family. The Janet Lawson Quintet on the Inner City recording included Bill O’Connell, piano; Ratzo Harris, bass; Roger Rosenberg, sax/flute; and Jimmy Madison, drums. For the Miles Davis Tribute, Mike Richmond was on bass and Billy Hart on drums.

What becomes clearly evident on the opening "You Promised" is how commanding she was with her articulation and interpretation of lyrics, with her attention to diction and the nuances of words, through her phrasing, intonation, range and dynamics as well as magic of wordless improvisation lyrics with her, where her voice becomes another horn and becomes as important a solo voice as the instrumentalists, reflecting perhaps her studies with Warne Marsh. It does not hurt that she is backed by a superb band with O'Connell's soloing (and accompanying) brilliantly in addition to Rosenberg's flighty flute or meaty saxophone. Another stunning performance is of Fats Waller classic "Jitterbug Waltz," where Rosenberg's sax enters after Lawson opens it scatting the theme on a performance that seems modeled on Eric Dolphy's. Lawson's riveting scatted solo is followed my O'Connell's own fresh improvisation. "Round Midnight" generally lends itself to perhaps a more reflective tenor, but her scatting is followed by some brawny tenor sax.

From the Miles Davis session, there is an inspired interpretation of "It Ain't Necessarily So," with Mike Richmond adding a bass solo as well as a lovely "I Thought About You," and a stunning free-bop of "Joshua" from Miles' second great quintet. The remainder of this release is of a similar high level." The Press release for the British release mentions the inclusion of her rendition of Jobim's "Dindi," but that was not included on the review copy I received, so I am not sure whether that is included in the US release. The copy of the CD I received also did not list the personnel that I have included in this review. But with 72 minutes of often stunning music, this expanded "The Janet Lawson Quintet" makes for enthralling listening.

I received my review copy from a publicist. This review appeared in the July-August 2017 Jazz & Blues Report (Issue 373).
 

Infinite Spirit Revisiting Music of the Mwandishi Band

Infinite Spirit
Revisiting Music of the Mwandishi Band
FMR Records

Pianist Bob Gluck authored "You’ll Know When You Get There: Herbie Hancock and the Mwandishi Band” (University of Chicago Press, 2012), and in the course of writing the book had conversations with the members of this legendary band. This was inspiration for Infinite Spirit, a quartet that includes Gluck on piano and electronics, Christopher Dean Sullivan on bass, and members of the Mwandishi Band, Eddie Henderson on trumpet and Billy Hart on drums on three songs from that band, one number that is interlaced with a Gluck original and an original from Sullivan.

There have been a number of recent recordings that have reexamined similar music of this period in an acoustic manner. This release is partly (and most successfully) in that manner. Hancock played an electronic piano (Fender Rhodes) on some of the originals from this period, while Gluck adds to this an array of electronic sounds. It is a combination that to my mind is not completely successful. I mean listening to the wonderful development of Hancock's motif's on "Sleeping Giant" from Gluck on piano along with the haunting playing of Henderson as well as Hart's superb drumming (and Sullivan is a rock on bass) gets mesmerizing until about three/fourths of the way through one is assaulted with electronic effects that overwhelm the listener. Much better is the poignant performance of "You'll Know When You Get There," as well as "Quasar" in which there are sound effects layered among the performance, but do not overwhelm Henderson's marvelous playing over the ostinato bass, Gluck's chords and Hart's shifting groove. The electronics sound more integrated into the opening of "Spirits Unleashed," another display of Henderson's ability to paint a mood, and then some musical fireworks between him and Gluck with the electronic effects at the end again not overwhelming the musicians. And while the original "Water Torture" employed electronics, it was employed more successfully on the original where it was employed like an instrument and not simply sonic effects.

An intriguing recording but the electronics at times is a distraction and even unlistenable, particularly on the first of the five tracks. This is unfortunate because there is much here that is compelling.

I received my review copy from a publicist. This review originally appeared in the March-April 2016 Jazz & Blues Report (Issue 365). Here is a promo video for this album.

The Cookers Time and Time Again

Of course it is simplistic to describe The Cookers as an band of Hard Bop All Stars, but certainly the music here has its roots in the over 250 years of aggregate experience its members have. With one exception, Donald Harrison replacing Craig Handy on alto sax, the group’s line-up remains the same with Billy Harper on tenor sax, Dr. Eddie Henderson and David Weiss on trumpet; George Cables on piano, Cecil McBee on bass and Billy Hart on drums. The members of The Cookers have experience playing with some of the greatest jazz artists of the past half century including Art Pepper, Dexter Gordon, Lee Morgan, Herbie Hancock, Charles Lloyd, Max Roach, and Art Blakey. Additionally, every member is a leader of their own right as well as being notable composers and players.

Motema Music has issued their fourth CD, Time and Time Again and the album brings forth some vintage compositions such as Billy Harper’s Sir Galahad which was from his 1973 debut album Capra Black, while Cecil McBee contributes two new compositions. Other compositions are from the pens of Cables, Weiss and Hart for a program of music whose vitality is convincing proof that band’s name is deserved on the nine performances heard here

The tone is set with the opening Sir Galahad which opens with some very robust playing from Hart, followed by Weiss, Harrison and Cables. McBee’s original blues Slippin’ and Slidin’ provides a chance for the members to show the continual relevance of the blues with Harper, Weiss and McBee showcased with fine work. Cables Double Or Nothing is another burner with Harrison and Weiss shining before Hart explodes in his solo. It is followed by Cables tribute to the late Mulgrew Miller, Farewell Mulgrew with Weiss’ providing the horns arrangement whose ensemble playing sets the atmosphere for Cables playing being stately and moving. Harper again displays just how riveting a tenor saxophonist he is on Weiss Three Fall followed by the composer’s hot trumpet and terrific support from the rhythm section.

The title track, a Harper original is built upon a bass ostinato from McBee and includes more stirring playing from Harper, Henderson and Cables along with the superb rhythm section. The mix of strong compositions, solid ensemble playing with the superb rhythm section and the mix of technical mastery, passion, imagination and inventiveness make Time and Time Again another outstanding recording by The Cookers.

I received my review copy from a publicist.  Here is a video related to Sir Galahad and the album.

The Cookers "Cast The First Stone"

Taking their name from a series of classic Blue Note live recordings, The Cookers is an ensemble built upon some of the strongest jazz musicians of the past half century or so. With the tenor saxophone of Billy Harper and trumpet of Eddie Henderson they are supported by a rhythm section of pianist George Cables, bassist Cecil McBee and drummer Billy Hart. These five have graced clubs, stages and recording studios with the likes of Dexter Gordon, Max Roach, Lee Morgan, Herbie Hancock, Art Blakey and countess others, while each also establishing a formidable legacy of their own.

More recently they have been joined by younger players in their tradition: trumpeter Dan Weiss and alto saxophonist Craig Handy. Weiss in fact has become the band’s straw boss and produced the group’s latest disc, Cast the First Stone (Plus Loin Music). Saxophonist Azar Lawrence guests on several tracks on this. The compositions are originals from Harper, McBee and Cables with one exception.

The title track is a Harper original built around a punchy four note figure that sports tempo changes in its melody and displays the band’s fiery approach that may suggest some of the recordings by Woody Shaw and others from the seventies and eighties with the energetic ensembles and surging solos from Harper, Weiss and Cables. The latter mixes in a more melodic segment as McBee buzzes around him and Hart mixes in adept use of accents on his cymbals, before Harper takes the lead with some fiery playing followed. The nature of the composition gives the performance a rougher feel. McBee’s Peacemaker has a lighter, more supple tone with Henderson taking the initial solo employing a mute. He is followed by a lengthy solo from Craig Handy and then McBee, as Cables and Hart softly play under him.

Cables’ Looking For Light has an elegance to it. Guest Azar Lawrence adds some alluring soprano, soloing along with Henderson (again using a mute) and Cables reinforcing the spirit of the performance. Harper’s The Seventh Day has a more forceful cast, followed by the uplifting Croquet Ballet. Harper, Weiss and Cables solo on both numbers while the latter tune also includes a solo from Handy. After Cables’ Think of Me where Henderson soars, the recording concludes with Harold Mabern’s The Chief, that features dynamic tenor sax solos from Lawrence and Harper, and a drum solo by Hart. It concludes a strong recording.

This is not simply an all-star band put together for the studio, but a working group as evident through the striking performances of fresh, engaging material.

A publicist provided me with my review copy. 

Here are The Cookers (with Kirk Lightsey in lieu of George Cables).

Frank Morgan keeps Bop Flame Burning Brightly

One of several saxophonists that was labeled the next Bird, Frank Morgan notes that was the worst thing to happen to him as it was something no one could live up to and then having three decades of adversity including addiction and prison. Since he has returned to the scene the mid-eighties with a string of excellent recordings for Contemporary, he has certainly re-established himself as a superior player in the tradition of Parker. HighNote has issued A Night in the Light: Live at the Jazz Standard Vol. 3 with a marvelous band including pianist George Cables, bassist Carmen Lundy and drummer Billy Hart. I have not heard the earlier two volumes but based on the performances. No surprises in the repertoire, with four of the songs staples of Charlie Parker’s repertoire, Confirmation, Half Nelson, Hot House and Billie’s Bounce, along with On Green Dolphin Street and It’s Only a Paper Moon. These are songs Morgan has been playing for decades but familiarity does not make these performances sound routine. There is plenty of full-bodied playing here with a marvelous rhythm section and while Morgan may take these in a more relaxed fashion than Bird would have 55 years ago, Morgan’s playing is quite satisfying. Certainly nice that he has aged so gracefully and continues to enliven us with this disc.