McClenty Hunter Jr. The Groove Hunter

McClenty Hunter Jr.
The Groove Hunter
Strikezone

Familiar to this writer as a member of Dave Stryker's organ trio, drummer McClenty Hunter Jr. studied at Howard University with Grady Tate and Juilliard with Carl Allen. He was a member of Kenny Garrett's Quintet and has played with Lou Donaldson, Eric Reed, Curtis Fuller, Javon Jackson and others in addition to Stryker.I believe "The Groove Hunter" is his first recording as a leader. Produced by Stryker and Hunter, there are some serious players to be heard here including pianists Eric Reed and Christian Sands; bassists Corcoran Holt and Eric Wheeler; guitarist Stryker; trumpeter Eddie Henderson; alto saxophonist Donald Harrison; and tenor saxophonist Stacy Dillard. They collaborate in various combinations on the four Hunter compositions and five interpretations heard here.

There is plenty of fire with Eric Reed dazzling on piano for a driving, fiery trip take of Herbie Nichols' "Blue Chopsticks," with Holt anchoring the performance with Hunter pushing the heated groove. In contrast, Reed is exquisite on Hunter's, "My Love," shifting from a lovely ballad mode to comping behind Dillard's robust, burning tenor sax and then soloing in a Tyner-esque fashion. Wayne Shorter's "The Big Push" has all three of the horns along with Reed and Holt. Dillard's robust tenor sax is impressive while Dr. Henderson delights with his attack. There are also strong statements from Reed and Harrison who plays in a turbulent manner. Stryker is featured on the rendition of Stevie Wonder's "That Girl," with Sands also outstanding on this bouncy performance. Gary McFarland's "Sack Full of Dreams" is a feature for some lovely, delicate playing from pianist Sands and guitarist Stryker, with Hunter employing a light touch. Hunter's drums kick off a brisk version of John Coltrane's "Countdown," with Harrison riveting alto sax with a good portion of the performance being a duet with Hunter before Reed and Holt join in.

Dillard's soprano sax is supported by Reed, Holt and Hunter on the leader's composition, "Give Thanks," on a lovely spiritually rooted performance. It is the close of a fascinating and enthralling recording by Hunter, who shows himself to be a composer of note as well as a marvelous musician who is joined by a superb cast of supporting musicians.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is McClenty Hunter Jr as part of Dave Stryker's band.

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.

Rick Germanson Quartet Live at Smalls

Among the latest batch of recordings of Live at Smalls on the Smalls Live label is one by the Rick Germanson Quartet. Pianist Germanson was joined that night by the trumpet of Dr. Eddie Henderson, the bass of Paul Gill and the drums of Lewis Nash. Germanson, best know for his association with Louis Hayes (especially the Cannonball Legacy Band), displays the influence of McCoy Tyner among others in his energetic playing.

On this date, backed by an excellent rhythm section, and benefiting from Henderson’s bright playing (in a Freddie Hubbard vein), he leads off with a driving interpretation of Bobby Timmons’ So Tired. Henderson employs a mute for a fresh and imaginative take on Surrey With A Fringe On Top, lending more of a Miles Davis’ tone here although the performances allude to the melody and chord structure of Surrey with little direct rephrasing or embellishment of the familiar melody.

Shorter’s Waltz is a Germanson original evocative of some of Shorter’s compositions with some strong work by Gill and Nash providing the base supporting more fine playing Henderson and Germanson. Playing solo, Germanson provides a lovely impressionistic rendering of Duke Ellington’s The Single Petal of a Rose, which is followed by another appealing ballad, Say It (Over & Over Gain), with Gill and Nash adding light, understated support.

A Germanson original, Edge brings Henderson back who plays in a fiery mode on this hard bop cooker. It closes another strong live recording of straight ahead hard bop from the Greenwich Village jazz club.

I purchased this. Here is Rick performing Bebop.

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).

Benny Golson's Jazz Legacy Still Expanding

Highly honored over the past few years for his lengthy career (he received a Grammy Lifetime Achievement Award among other honors), and recently feted at the Kennedy Center in Washington, D.C. in celebration of his 80th Birthday, Benny Golson’s musical legacy is marked by two new releases on Concord Jazz. “The Best of Benny Golson” is a career spanning disc containing nine performances while “New Time, New ‘Tet” is his first new recording in five years with his new jazztet. Golson’s contributions probably are most noteworthy as a composer and arranger, but he has also been a distinctive saxophonist who has produced a strong body of recordings. Some of his compositions have become part of the jazz standard book including “I Remember Clifford,” ”Whisper Not,” “Along Came Betty,” and “Killer Joe.” One thing these carefully crafted compositions share is there memorable melodies that stay with the listener. Furthermore, there is a thoughtfulness in his tunes, arrangements and his playing. he eschews a hot extroverted music for a distinctive crafted work which is akin to the careful work of a jeweler cutting stones and crafting his rings, bracelets and charms. 
A career spanning decades can only be skimmed on a single disc, but “The Best of Benny Golson,” brings together nine performances that display the range and variety of his compositions as well as his playing. This compilation opens with an octet performing “Whisper Not,” with Art Farmer, Gigi Gryce, James Cleveland, and Sahib Shibab joining him for the front line with a muted, delicate sound to the arrangement effectively using Watkins’ French Horn, Shibab’s baritone sax and Farmer’s muted trumpet with solos from Gryce, Cleveland on trombone, Farmer playing open, and Golson himself. Gigi Gyrce’s “Reunion” is a sextet with J.J. Johnson on trombone and Kenny Dorham on trumpet as well as a rhythm section of Wynton Kelly, Paul Chambers and Max Roach, on a nice bop number with shifting tempos with Golson taking the lead solo, Chambers getting featured and the ensemble trading fours with Roach.

“Are You Real,” a quintet performance with Curtis Fuller and a rhythm of Barry Harris, Jymie Merritt and Philly Joe Jones has some gusty playing from Golson before Fuller and Harris take the spotlight. Another date with Fuller brings the stunning “Blues After Dark,” another strong Golson melody, with its loping tempo and marvelous solos by both Fuller and Golson, both who employ an almost whispering attack at the beginning of their solos. Art Blakey joins Fuller on Golson on a delightful reading of Rodgers & Hart’s “I Didn’t Know What Time It Is,” while his ballad playing on “April in Paris,” evokes Ben Webster, in the use of space as well as tone on a superb performance although without Webster's heavy vibrato. A live rendition of “Along Came Betty” is from a Jazztet dated co-led with Art Farmer and with Curtis Fuller.

A 1997 recording of his “Five Spot After Dark,” has Ron Blake on tenor and John Swana on trumpet, both a bit more extroverted in their playing than Golson. Eddie Henderson is present on the closing track, a nice 2004 rendition of “Killer Joe.” Lacking familiarity with all the source albums for these tracks, I cannot vouch whether this is in fact the best of Benny Golson, but the music here is darn good indeed (to use a bit of understatement).

“New Time. New ‘Tet” (Concord Jazz) releases an August 2008 session with Eddie Henderson, trumpet-flugelhorn; Steve Davis, trombone; Mike Ledonne, piano, Buster Williams, bass, and Carl Allen drums. All but Davis were on the 2004 rendition “Killer Joe,” from “The Best of Benny Golson.” In the liner notes, Jim Merod has these interesting words to describe this contemporary Jazztet in that it “incorporates virtually all the elements of the pensive, sometimes sentimental,consistently philosophical and always gregarious.” Trombonist Davis' “Grove’s Groove,” opens this set with a relaxed groove and his at times blustery tone contrasts with Golson’s more reserved sounding attack. Next up is Sonny Rollins’ “Airegin,” with Henderson brassy solo a highlight along with Buster Williams’s walking solo and pianist Ledonne’s sparkling playing.

Golson’s “From Dream to Dream” is an apty titled ballad with a languorous feel. Davis takes a lengthy, low-key solo while Henderson and Golson add soft embellishments around. The tempo struts a bit quicker as Al Jarreau adds a vocal to this new rendition of “Whisper Not,” with Henderson using his mute on his solo, followed by Ledonne adding a bit of barrelhouse to his bop piano. Monk’s “Epistrophy” opens with a blast from the horns before Henderson takes the lead on the melody as Davis and Golson adding their voices before Henderson opens his solo in an extroverted vein, on a number where everyone solos with Ledonne’s bouncy handling of Monk’s angular lines a delight and his chords punctuate Williams solo.

Golson rearranges a couple of songs from the Western Classical musical tradition, Chopin’s “L’Adieu,” with marvelous muted playing on this ballad from Henderson, and “Verdi’s Voice,” with the jazztet evoking a classical quartet. An unusual contemporary ballad, El DeBarge’s “Love Me in a Special Way,” showcases Davis’ gruff lyricism before Golson takes over for his romantic reading of the number. “Gypsy Jingle-Jangle,” is a pretty lively tempoed number with shifting tempos that lead one on a musical ride, more like the tilt-a-whirl than a roller coaster, but energizing indeed. The closing “Uptown Afterburn,” is another energetic musical jaunt with Williams, who solos here, anchors with his forceful playing.

This recording illustrates that age has not slowed down Benny Golson down, and with the latest Jazztet, continues to provide us with jazz that remains thoughtful, soulful, contemplative, fiery and passionate.


This look back and look forward at Benny Golson originally appeared in the March 2009 Jazz & Blues Report (Issue 314) at pages 8-9. The issue can be downloaded at jazz-blues.com. Review copies of the CD were provided me from the publication.