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).
 

Larry Newcomb Quartet With Bucky Pizzarelli
Living Tribute
Essential Messenger

Blessed with a marvelous tone and a swinging melodic sense, guitarist Larry Newcomb's latest album is a tribute to some individuals who had a significant impact on him as a guitarist such as the late Dick Hall, Jim Hall, and Bucky Pizzarelli (who Newcomb studied under and adds his acoustic archtop guitar, mostly playing rhythm in a Freddie Green fashion to 7 or the 11 tracks) and in other ways as his family. He adds comments to various selections that link the song to a particular individual or individuals. Newcomb and his quartet of pianist Eric Olsen, bassist Dmitri Kolesnik and drummer Jimmy Madison are also joined by vocalist Leigh Jonaitis on two selections.

Newcomb captivates with his beautiful tone, single note lines and carefully placed chords with his swinging backing band starting with a sonorous "I Remember You," as well as the Cole Porter gem "You'd Be So Nice To Come Home To," the Jim Hall recording of which inspired him to become a jazz guitarist. Jim Hall's duet with Ron Carter of "Alone Together," inspired the rendition here with Kolesnik's bass being the dominant solo voice with Newcomb's only solo judiciously employing chords against a spare backing. "Morningside Heights," one of Newcomb's seven originals, is a driving blues with Pizzarelli adding a short, rhythmically emphatic chord-rooted solo after effervescent solos from Newcomb and Olsen. Another original, "Band of Brothers," dedicated to his sons, is a lovely waltz with Olsen's adding deft accompaniments along with a solo complementing the leader's playing on a charming original. Jonaitis adds her lovely vocal to "One Heart Ain't As Great As Two," with Pizzarelli's rhythmic chording anchoring this performance to which Newcomb adds pithy obligatos to her vocal, as well as "Love Is Here," with its breezy samba groove and Newcomb's understated support and charming solo.

Much of the charm of the performances on "Living Tribute," are because of the restraint often shown along with the invention and lyricism manifest throughout in the solos and the solid ensemble playing. This is a jewel of a recording of swinging, guitar jazz.

I received a review copy from a publicist. This review originally appeared in the July-August 2017 Jazz & Blues Report (Issue 373). Here are the two guitarists performing "Swing To Bop."