Dave Stryker With Bob Mintzer and the WDR Big Band - Blue Soul

Dave Stryker With Bob Mintzer and the WDR Big Band
Blue Soul
Strikezone Records

Guitarist Dave Stryker's latest recording dates from March 2019 when he recorded with the WDR Big Band with tenor saxophonist Bob Mintzer. Mintzer, who serves as the principal conductor for the renowned Cologne, Germany band, provided the arrangements. The material here includes several songs in the vein of the Eight-Track soul and pop songs Stryker has featured in some recent recordings. Also heard are Stryker's originals that are in a similar groove-based manner.

Obviously, there is a difference between Stryker's usual organ jazz combo and a big band. However, the finger-popping, soulful feel of these performances is similar, in part due to Mintzer's handsome arrangements. Stryker is terrific with his lithe single note, horn-like solos set against a relaxed swinging groove. There are several standouts in the big band, including the keyboards of Billy Test (whose organ playing is excellent), drummer Hans Dekker and Mintzer himself.

Standout tracks include renditions of a couple Marvin Gaye songs, "Trouble Man" and, "What's Going On." Karolina Strassmayer is impressive on alto sax while Billy Test plays some funky organ. Stryker's jaunty original "AHA" has a robust Mintzer solo along with one from Stryker. Another original "Blues Strut," has a relaxed marching groove and showcases Test and Mintzer in addition to Stryker's scintillating playing. An unexpected delight is the performance of "Prince's "When Doves Cry," with Stryker's lyrical statement of the melody set against brassy horns. In addition to Stryker's nimble fretwork, alto saxophonist John Hörlén exhibits a dry, bluesy tone.

Against the relaxed swing of "Wichita Lineman," Stryker makes use of the lower register of his guitar to state the theme before Andy Hunter's surging trombone. Mintzer and Stryker are the soloists on Stanley Turrentine's "Stan's Shuffle," that closes this recording. With varied music, Mintzer's terrific arrangements, and the first-rate backing of the WDR Big Band, Dave Stryker's "Blue Soul' is his latest memorable recording.

I received my review copy from a publicist. Here is "Blues Strut" from  this CD.

Bob Mintzer Big Band - New York Voices Meeting of Minds

Bob Mintzer Big Band - New York Voices
Meeting of Minds
MCGJazz

This new recording represents "the integration of voices with [Mintzer's] Big Band," and is a wonderful success as Mintzer (on various reeds) leads a big band that includes Bob Shepard on Alto Saxophone, Roger Rosenberg on baritone sax, Scott Wendholt on trumpet, Jeff Bush on trombone, Phil Markowitz on piano, Jay Anderson on bass, and John Riley on drums, with the celebrated vocal group, New York Voices who are comprised of Kim Nazarian, Lauren Kinhan, Damon Meader and Peter Eldridge. Mintzer arranged all but two of the band arrangements with Meader arranging all of the vocal arrangements and two (one with Eldridge) of the band arrangements.

The arrangements provide a freshness to the very well known standards heard here starting with "Autumn Leaves," with lovely lead vocals from Nazarian and Kinhan wonderfully supported by the band and then the Voices scatting make turn them into an additional horn section during the middle break with pianist Markowitz standing out. Eldridge takes the lead vocal on "I Concentrate on You," with the Voices adding with their vocal harmony as well as vocal interplay another fresh touch with Rosenberg adding a burly baritone sax solo. The instrumental rendition of "I Want to Be Happy" again sports a superb band arrangement before terrific solos by Wendholt and Markowitz with a crisp drum break by Riley. Eldridge is on piano as well takes the lead vocal on "I Get Along Without You Very Well," with the scoring of the reeds (with flutes and clarinet) providing a sober atmosphere for this performance. Again the vocal arrangement and the integration with the big band is exemplary.

I could similarly rave about the leads of Nazarian and Eldridge on "The Way You Like Tonight," or the creativity of Mintzer in his band arrangement (also his tenor sax solo), or Mintzer's entrancing original "Weird Blues," another instrumental with  unusual voicings (especially of the trombones) with him and Rosenberg taking strong solos along with bassist Anderson. Then there is Mintzer's employment of muted trumpets on "Speak Low," along with the strong propulsive swing of the band. "Meeting of the Minds" is a superb meeting of a terrific big band with the wonderful New York Voices, resulting in an extraordinary recording.

I received my review copy from a publicist. This review appeared in the July-August 2018 Jazz & Blues Report (Issue 379). Here is the performance of "Autumn Leaves."

For Andrew Neu Big Band Jazz Is A Catwalk

Andrew Neu
Catwalk
CGN Records

This new release is subtitled "The Big Band Side of Andrew Neu," who according to his website "is one of the most exciting, multi-genre musicians today. He is well respected throughout the industry for his work as a saxophonist, woodwind player, arranger, composer, educator and recording artist." About this he says, "After rehearsing for years with these veteran LA studio musicians I'm thrilled to finally release this exciting and fun collection of modern big band music." He has some special guests to enliven the bright, brassy music here including trumpeters Randy Brecker, Rick Braun and Wayne Bergeron, saxophonists Bob Mintzer, Eric Marienthal and Gordon Goodwin, and bassist Brian Bromberg.

This is a strong, tight, swinging band whom play with nuance and heat. The opening "Juggernaut" has a jaunty rhythm, displays the crisp, buoyant quality of the band and the freshness of the arrangements. There are strong solos from trombonist Andrew Lippmann along with Neu's husky tenor sax. The rhythm section of pianist Andy Langham, guitarist Matt Hornbeck, bassist David Hughes and Jamey Tate provide a strong foundation with Tate also taking a solo here. The spicy "Zebrano," is a number that would seem to have get a Latin Dance floor full with Brecker featured with a fiery solo here along with Neu and Tate. Craig Fundyga guests on vibraphone on the title track with a prancing groove and muted trumpet in the opening choruses. It has a driving muted trumpet solo from Michael Stever preceding Fundyga's vibes solo with the horns framing his solo.

Neu's arrangement of "Body and Soul" is striking as it opens for a couple choruses at a ballad tempo before Langham's piano leads it into an Afro-Cuban mode and his solo is followed by Mintzer who sounds quite strong. Neu's lovely ballad, "My Neu" is a feature for Eric Marienthal's lovely alto sax solo, while Neu provides a wonderful orchestration for a lively performance of Cole Porter classic, "What Is This Thing Called Love," with memorable solos from Dan Kaneyuki on alto sax, trumpeter Stever and Neu. "Wasamba" is highlighted by Wayne Bergeron's adept trumpet, along with Brian Bromberg's fleet fingered piccolo bass.

The tenor sax of Gordon Goodwin is featured on a crisply played "Too Much of a Good Thing," while Rick Braun's mix of lyricism and heat is heard on Ennio Morricone's marvelous "Cinema Paradiso" on which Neu is also heard. After a lively "Blue Sesame" with a heated muted trumpet solo from Jeff Jarvis, there is a spirited "Alpha Dog," with Brian Bromberg adding a funky electric bass solo, along nice high register work from Anthony Bonsera on trumpet and Tate's drum solo to close this recording. Neu's compositions, arrangements and the strong ensemble work behind the excellent soloists result in a terrific, hard swinging big band recording.

I received my review copy from a publicist. This review originally appeared in the March-April 2018 Jazz & Blues Report (Issue 377). His website is https://www.andrewneu.com/.  Here is
"Juggernaut" from the album.

Ira B. Liss Big Band Jazz Machine Tasty Tunes

 Ira B. Liss Big Band Jazz Machine
 Tasty Tunes

Wow. A fixture in the Southern California scene for 38 years, when this Big Band kicks off with a volcanic "You Don't Know What Love Is," one simply goes along for the equivalent of a Formula One ride with this Big Bad Band with Eric Richards' heated arrangement, a full speed ahead alto sax solo from Christopher Hollyday, and blistering trumpet from Peter Green, before pianist Steve Sibley's reflective piano break. Pianist Sibley leads a terrific rhythm section with bassist Lance Jeppersen, guitarist Alex Ciavarelli, drummer Charlie McGhee and percussionist Mark Lamson.

I am not going to recite all the players in this superb band but simply highlight some of the high-points on this exceptional recording. Guest Eric Marienthal's alto sax is featured on Woody Herman-Ralph Burns composition "Early Autumn," which starts sedately before altering into a more heated tempo that displays Marienthal's fluid, bop-rooted playing that is framed by Tom Kubis' brassy arrangement. The band's vocalist, Janet Hammer, provides a nice treatment of "I Didn't Know What Time It Was," followed the strutting "When the Lady Dances." Composer Bob Mintzer (another guest here) takes a full-bodied tenor sax solo followed by Sibley's piano and Ciavarelli's fluid guitar.

Mike Crotty's arrangement of Sonny Rollins' "Oleo," kicked off by drummer McGhee, is a feature for the saxophone section each of whom takes a chorus or two. Baritone saxophonist Ross Rizzo, Jr., stands out among these exceptional players. They also trade fours at the end. Both Janet Hammer's vocal on "Nature Boy" and Holly Hofmann's alto flute solo are enlivened by Carl Murr's arrangement. Ciavarelli's jazz-rock guitar set the mood on "Manhattan Burns" with Peter Green's fiery, high register trumpet followed by similarly hot guitar. Dave Grusin's ebullient "Mountain Dance," opens with sparkling piano, muted trumpets and flute. David Castel De Oro sets a festive tone before there is a jaunty guitar solo that is full of dazzling single note runs.

Ira B. Liss has one high energy big band marked by superior ensemble and solo playing and wonderfully crafted arrangements resulting in an album of exhilarating and compelling performances.

I received my review copy from a publicist. This review originally appeared in the March-April 2018  Jazz & Blues Report (Issue 377) although I have made some stylistic changes to that review. Here is a clip of the band from several years ago with Janet Hammer singing a song most associated with Etta James with Eric Marienthal adding his sax.

Ray Obiedo Latin Jazz Project Vol. 1

Ray Obiedo
Latin Jazz Project Vol. 1
Rhythmus Records

Those wanting an easy to listen to album of straightforward Latin Jazz need go no further than the new album from guitarist and composer, Ray Obiedo, "Latin Jazz Project Vol. 1." Obiedo comes from the San Francisco Bay area where the sounds of Miles Davis, Antonio Carlos Jobim, Henry Mancini and Motown helped form his early musical persona, which later was further shaped by the James Brown revue. His career has included stints with Johnny Hammond Smith, then touring with trombonist Julian Priester, followed by a long association with the great percussionist Pete Escovedo and whose daughter Sheila was part of his funk/fusion band. Sheila and her brother Peter Michael Escovedo participate on this session which also includes Santana members David K. Mathews, Karl Perazzo and Jeff Cressman, Yellowjackets reedman Bob Mintzer, flutists Elena Pinderhughes and Roger Glenn, trumpeter Ray Vega, timbale master Orestes Vilató, vocalist Sandy Cressman, sax and flute player Norbert Stachel, steel pan player Phil Hawkins, and brothers Marc and Paul van Wageningen on bass and drums.

Included here are Latin Jazz standards and three Obiedo originals are this album starting with the rendition of Tito Puente's "Picadillo" with Glenn's flute and Matthews piano standing out along with the leader on acoustic guitar and Peter Michael Escovedo on congas and timbales. it sets the breezy for this album that has more of a controlled heat than jet engine bursts of energy. Pinderhughes' flute along with the wordless vocalizing of Cressman are featured on Walter Bishop's "Coral Keys," followed by Stachel's serpentine soprano sax featured on a lively rendition of the Ellington-Tizol classic "Caravan." A spirited interpretation of Sonny Rollins' "St. Thomas," includes the Hawkins' steel pans, the leader's intriguing single note runs and Stachel's dancing tenor sax along with a a percussion heavy segment with the piano and steel pans comping. Obiedo's original, "Cubo Azul," is a latin-accented hard-bop styled number that Mintzer's tenor is featured on, while flutist Roger Glenn contributed "Santa Cruz," a saucy number with a strong Afro-Cuban foundation as Vega's trumpet and Cressman's trombone provide support for Glenn's soloing here and Matthews takes a strong solo on piano here while there is a short, uncredited vocal break as well, while Vega takes flight leading this performance to a fade.

"Latin Jazz Project Vol. 1" closes with a percussion duet between Sheila E and her brother Peter Michael Escovedo, concluding a solid and very engaging recording.

I received my review copy from a publicist. This review originally appeared in the November-December 2016 Jazz & Blues Report (Issue 369). Here is some vintage Ray Obiedo.

Bob Mintzer All L.A. Band

Bob Mintzer
All L.A. Band
Fuzzy Music

While perhaps best known for his tenure with the Yellowjackets, saxophonist-composer-arranger Bob Mintzer has been writing and leading big bands for some 40 years. His new album "All L.A. Band" on Fuzzy Records revisits ten of his compositions that he had written over the years. Drummer Peter Erskine produced this recording as well as anchored the rhythm section for this studio big band. Few of the band members are familiar to this listener and with few exceptions, the soloists are not identified.

There is a mix in material and grooves with several numbers having a definite Afro-Cuban slant, others a Basie-ite flavor and others a funk/R&B flavor. The mood is set with the tropical flavor of the lively opener "El Caborojeno," followed by a Count Basie Band styled "Havin' Some Fun," and then "Home Basie" with a mix of R&B and Basie swing with terrific blues-rooted tenor sax playing (and while I might suspect Mintzer of being the player here he refers to the soloist in the third person in the liner notes). "Ellis Island" is another Afro-Cuban laced number with striking interplay between brass and reeds and a strong baritone sax solo.

"New Rochelle" was originally composed for The Yellowjackets and later recorded by Mintzer's big band and again is a lively swinging number set against a back beat. Mintzer describes "Runferyerlife" as "a rhythm changes tune taken at a pretty good clip," and his notes imply he takes the tenor solo with his use of shorter percussive phrases to blend with the rhythm section. There is nice scoring of the horns also backing a suitably blustery trombone solo. After the relaxed fun of "Latin Dance" with its funky bass line, Mintzer revisits the aptly titled, "Slo Funk," which was originally written for Buddy Rich's Big Band years ago.

The closing "Tribute" is another Basie styled number dedicated to "Thad Lewis and all of the great musicians who came out of the Basie band." Nice piano from Russ Ferrante to set the tune and the rhythm of Edwin Livingston on bass and Peter Erskine is first-rate here as on this entire recording. There is plenty of wonderful playing on this recording enhanced by the arrangements and the lively compositions. Not only does this make for fine listening, but all the music was originally recorded for the MINTZER Big Band Essentials play-along app, for all instruments which is available at the App Store.

I received my review copy from a publicist. Here is a selection for you to sample this recording.