Chris Pattishall - Zodiac

Chris Pattishall - Zodiac - Self-produced

Pianist-composer Chris Pattishall's debut recording is an auspicious one. "Zodiac" is his reworking of Mary Lou Williams' "Zodiac Suite" with expanded instrumentation. Williams was, of course, a pioneering pianist, composer, and arranger whose "Zodiac Suite" remains an underappreciated gem. Pattishall, who studied with Marcus Roberts and Harold Mabern, gained an appreciation for the jazz piano greats. Pattishall, in collaboration with producer Rafiq Bhatia, brought together an ensemble Jamison Ross (drums), Riley Mulherkar (trumpet), Ruben Fox (saxophone), and Marty Jaffe (bass) to increase expert the legendary Mary Lou Williams' wondrous music. 

Williams' original suite was inspired after reading a book on astrology, with each sign being a taking-off point that would take further inspiration from friends in the jazz world. So for "Aries," she was inspired by Ben Webster and Billie Holiday, while "Libra" found inspiration in Art Tatum. As a song cycle, the performances still ring fresh today. Pattishall's added instrumentation to this song cycle showing the continuing relevance of this music. 

While Pattishall may initiate a performance with piano, the added instrumentation allows additional musical colors. Bhatia's production at times adds a dreamlike quality, such as during the "Scorpio," which closes with some riveting saxophone from Fox. Pattishall adds some Monkish angular phrases in his comping on this track with its shifting tempos and moods. "Sagittarius" provides a piano solo showcase for Pattishall's considerable piano talent on a composition Williams dedicated to Eddie Heywood. "Three Blind Mice" is quoted in this performance. "Capricorn," dedicated to Frankie Newton, was one of Williams' favorite compositions of the suite, and the rendition here has the sober feel of the original performance. While there are no solos on "Capricorn," trumpeter Mulherkar and saxophonist Fox provide a mournful tone with their ensemble playing. Then the two weave around each other during "Aquarius."

It says so much that one does not have to listen to Mary Lou Williams' original recording to appreciate the outstanding music. Taking these memorable classic compositions and bringing together a terrific band that revives these multi-faceted compositions with such spirit is a remarkable achievement. Incidentally, Mary Lou Williams' recording is available from Smithsonian-Folkways, as well as various streaming services. One can download the full liner notes for the Williams recording at the Smithsonian website https://folkways-media.si.edu/liner_notes/smithsonian_folkways/SFW40810.pdf.

I received my review copy from a publicist. Here is "Libra" from "Zodiac."

Roderick Harper Evolving

Roderick Harper
Evolving
Self-produced

"Evolving" is the latest release from New Orleans-based vocalist Roderick Harper. It was recorded live with a cast of friends and mentor, including appearances from late piano legend Ellis Marsalis, sax icon Donald Harrison, and vocalist/drummer Jamison Ross. Others among the accompanists include pianists Oscar Rossignoli, Jesse Davis, Shea Pierre, and John Jones; bassists Robin Sherman and Roland Guerin; drummers Chris Guccione, Gerald Watkins, and Geoff Clapp; and soprano saxophonist Roderick Paulin. Among the twelve tracks are originals mixed in with some choice covers sung with a smooth, romantic warmth and soulfulness that are tastefully supported. At times Harper suggests to this listener a softer version of Donny Hathaway and other places a jazzier Johnny Mathis.

There is plenty of romanticism on the opening "Infinite Heart," which was co-written with Donald Harrison. Harrison graces this track with an airy solo. The late Ellis Marsalis provides the understated piano accompaniment for the blue ballad "Never Let Me Go" that complements Harper's disciplined singing. It is followed by a marvelous rendition of Donny Hathaway's "Someday We'll All Be Free," with Rossignoli superlative accompaniment. His singing here displays his mastery of phrasing, diction, pitch, and dynamics. There are also compelling interpretations of "The Big City" and "Look What I Got," where Harper extracts every iota of meaning from the lyrics.

Other standout selections include his horn-like scatting for Ivan Lin's "Valsa Minera," the heartfelt rendering of Charles Mingus' "Duke Ellington's Sound of Love," and a buoyant treatment of Alvin Battiste's "Salty Dogs." There is a gentle, reflective quality in his singing of "Do You Know What It Means To Miss New Orleans?" that is the final track. John Jones' Fender Rhodes provides an airy setting for the vocal, with Roland Guerin adding a terrific bass solo. It is as memorable and engaging performance as the other songs on this superb album of jazz singing.

I received my review copy from a publicist. Here is Roderick Harper performing "Never Let Me Go."

Quiana Lynell A Little Love

Quiana Lynell
A Little Love
Concord Jazz

Raised in Texas where she grew up singing gospel, Quiana Lynell made her mark in 2017 when she won the Sarah Vaughan International Jazz Vocal Competition Award. As part of winning, she received a contract with Concord Jazz. Earlier that year she appeared with her trio at the New Orleans Jazz & Heritage Festival. This appearance led to her performing in Poland with trumpeter Terence Blanchard’s Spike Lee tribute with a 75-piece orchestra and a continued period of mentoring on Blanchard's part. "A Little Love" is her debut album which covers a wide range of songs from Nina Simone to Chaka Khan, from Duke to the Gershwins, from Donny Hathaway to Irma Thomas. The bookends of the album featuring songs by modern artists Alina Engibaryan and Joshuah Campbell.  Backing her is a fabulous band featuring Cyrus Chestnut on piano, Jamison Ross on drums, Ed Cherry on guitars, George DeLancey on bass and Monte Croft on vibes (on several selections).

She has quite an extensive vocal range as well as a broad expressive range and delivers the songs with considerable authority. The clarity, the melodic qualities, and the expressiveness of her vocals is outstanding. There is plenty of positive messages in her songs such as she sings about overcoming “xi," and pushing forth to better times and justice on "Sing Out, March On." One telling performance is a medley of Ellington's "Come Sunday" with Billy Taylor's "I Wish I Knew (How It Would Feel To Be Free)." "Come Sunday" is a magical duet with Chestnut backing her marvelous vocal prayer. The full band joins in for the Taylor composition with guitarist Cherry sparkling behind heartfelt singing.

The authority of her vocals is also exhibited on the standards she performs. This includes a sublime duet with Jamison Ross on the Gershwin's "They All Laughed." Her interpretation of "Just A Little Lovin' (Early In The Morning)" from Barry Mann and Cynthia Weil has considerable charm. she exhibits much warmth in her swinging rendition of Gordon-Revel's "You Hit the Spot." Besides the romanticism of her singing, Cherry and Chestnut both stand out with the clean, crisply played solos.

Additionally, there is a rendition of Irma Thomas' "Hip Shakin' Mama," played by the band with a bit more of a backbeat and a marvelous vocal that hints at her gospel roots along with her interplay with guitarist Cherry. There is no doubt she could do a terrific recording of deep soul in the manner of Irma Thomas. Then there is a marvelous duet with Chestnut on Monte Croft's "What Is Love. With plenty of jazz vocal recordings coming out, "A Little Love" stands out with Quiana Lynell's excellent singing, first-rate backing, and well-chosen repertoire. Given how much I was impressed by this CD, I purchased a download of a more recent New Orleans Jazz & Heritage Festival performance by her.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a video of her performing "Hip Shakin' Mama" in Marcus Garvey Park in New York City at the 2019 Charlie Parker Jazz Festival.