Steve Fidyk Battle Lines

Steve Fidyk
Battle Lines
Blue Canteen Music

"Battle Lines" is the third album from drummer-composer-leader Steve Fidyk. Fidyk was for 21 years drummer and featured soloist with the Army Blues Big Band, a premier 17- piece jazz ensemble stationed in Washington DC. He also performs throughout the US with small groups led by tenor saxophonist Walt Weiskopf and guitarist Jack Wilkins, and he is a member of the Jazz Orchestra of Philadelphia, a big band led by trumpeter Terell Stafford. He is an educator who is a member of the jazz studies faculty at Temple University and serves as an educational consultant for Jazz At Lincoln Center‘s Essentially Ellington program. For "Battle Lines" Fidyk leads an all-star band with an impressive front-line of trumpet legend Joe Magnarelli and tenor titan Xavier Perez, alongside the rhythm team of pianist Peter Zak, and bassist Michael Karn.

A simple, superficial description of the music here might be hard bop in the manner of Blakey, Louis Hayes-Woody Shaw, Cannonball Adderley, and others. The opening tune, Eddie Harris' "Ignominy," certainly is a stunning performance in this vein opening with Perez's robust tenor, followed by Magnarelli, and then Zak. Karn anchors the groove as the leader propels this excellent performance. It is the first of this album's splendid performances. This quintet shines on with the heat of Fidyk's title track, or the funky groove of his "Loopholes," where Fidyk dazzles while not overshadowing the front-line. Then there is Dave Brubeck's Chopin-inspired "Thank You (Dziekuje)," with a gorgeous melody and some sublime saxophone. Fidyk's drum teacher was Joe Morello, a member of Brubeck's legendary quintet, which adds a personal connection to this performance.

Fidyk's drums kick-off "Bebop Operations," which is a performance that conjures up classic Dizzy Gillespie. Magnarelli is in top form on this. It is followed by the oddly titled "Bootlicker's Blues," with its intriguing time shifts. Perez and Zak are featured before Fidyk solos with Zak comping. A ballad written for his parents, "Lullaby for Lori and John," places the spotlight on Magnarelli's hauntingly beautiful flugelhorn. A rendition of Charlie Parker's "Steeplechase," features a spirited Perez solo. Also of note is "Social Loafing," a relaxed swinging performance evocative of Gigi Gryce's "Social Call."

Steve Fidyk is quite impressive as a leader and composer, which is displayed superbly on this program of engaging originals and jazz chestnuts. Fidyk and company have produced a superlative recording in “Battle Lines.”

I received my review copy from Steve Fidyk. Here is a video of Steve with the Army Blues performing "Love For Sale."

Hendrik Meurkens Harmonicus Rex

Hendrik Meurkens
Harmonicus Rex
Height Advantage

The remarkable jazz harmonica wizard, Hendrik Meurkens, may be best known for his magic in the realm of Brazilian jazz, but on his latest release, "Harmonicus Rex," his focus is on straight ahead jazz. On this session he is joined by the legendary Jimmy Cobb on drums, along with bassist Marco Panascia and pianist Dado Moroni. Joe Magnarelli on trumpet and Anders Bostrom on alto flute are each heard on four of the eleven tracks (one on which they both are heard). The program on this release are five originals as well as six interpretations of standards.

Meurkens' "Mundell's Mood" is a bright, swinging number that opens this with the leader and Magnarelli stating the theme before the trumpeter takes the first solo before Meurkens takes the first of his solos on his chromatic harmonica with his melodic invention and horn like phrasing (if not tone) at the fore before a break from Moroni with Magnarelli and the leader trading fours prior to the coda. Its the beginning of a delightful, and wide-ranging, recording with the rhythm section exemplary throughout. The groove of Meurkens' "Slidin'" has Meurkens sounding a bit more wistful at first before he solos vigorously followed by Bostrom's lovely flute.

Moroni rumbles a bit to set the mood for a lovely quartet rendition of Dave Brubeck's "In Your Own Sweet Way." Then there is a lovely, bluesy original ballad performance, "Afternoon" with Magnarelli on flugelhorn contributing to the mood that Meurkens' engenders here. Both Magnarelli and Bostrom are present for the lively rendition of Milt Jackson's blues, "SKJ," while Meurkens' fluidity, melodic playing and invention is showcased on the Rodgers-Hart classic "Falling in Love With Love," with Moroni and Panascia also showcased. "A Summer in San Francisco" is a lovely, lazy original that features Bostrom while Magnarelli adds his bright tone to a relaxed, rendition of Freddie Hubbard's "Up Jumped Spring."

The album closes with marvelous quartet performances of the standards "Darn That Dream" and "What's New." And one cannot emphasize how exceptional the rhythm section is throughout nearly one hour of delightful, straight-ahead jazz on "Harmonicus Rex."
I received my review copy from a publicist. This review originally appeared in the May-June 2016 Jazz & Blues Report (Issue 366). Here Hendrik Meurkens performs "Darn That Dream."

Dick Oatts/Mats Holmquist New York Jazz Orchestra
A Tribute To Herbie +1
Summit/Mama Records

Dick Oatts/Mats Holmquist New York Jazz Orchestra is a band comprised of some of the finest New York players along with several distinguished Scandinavian players. Oatts is a lead player and artistic director of the Vanguard Jazz Orchestra while Holmquist currently serves as Artistic Director for the JZ All Star Big Band in Shanghai. Holmquist suggested a big band tribute to Herbie Hancock and with John Mosca's expertise as contractor and lead trombone to bring together a formidable cast of musicians that include Walt Weiskopf on tenor saxophone, Frank Basile on Baritone saxophone, Joe Magnarelli on trumpet, and Adam Birnbaum on piano. Holmquist provided all the arrangements on this as well as contributed an original, "Stevie R," reflected in the "+1" in the recording's title, "A Tribute To Herbie +1."

These are some impressive interpretations of some of Hancock's iconic compositions including "Cantaloupe Island," "Chameleon," "Dolphin Dance," "Maiden Voyage" and "Watermelon Man." Influenced by minimalist composer Steve Reich, Holmquist which he describes in his arrangement of Chameleon." "In :Chameleon," I use a technique inspired by Steve Reich's famous composition "Drumming," starting with one note, adding one more, and another one, etc., until the thread of notes becomes a whole musical phrase." On this number he changes tempos as well as recompose and reharmonizes the theme with tenor solos from Walt Weiskopf and Robert Nordmark standing out. Oatts on soprano sax and pianist Birnbaum are featured on "Dolphin Dance," while the uptempo "Eye of the Hurricane," has blistering trumpet from Joe Magnarelli, along with hot tenor sax from Weiskopf, soprano sax from Oatts and a drum solo from John Riley. Magnarelli is featured with on "Stevie R.," Holmquist's original which also illustrates his construction of complexity from simple elements, and again on the marvelous "Maiden Voyage" with more marvelous trumpet and soprano sax, while there is a playfulness in the reworking of "Watermelon Man" that showcases Weiskopf's tenor sax and Basile's baritone sax along with some terrific support from the rhythm section.

Herbie Hancock's music has produced some of the most compelling performances of the past half century, particularly under his own name. The marvelous music on "A Tribute To Herbie +1," reflects the freshness that Hancock's music along with the marvelous Holmquist arrangements and superb playing of the Oatts/Holmquist Big Band.

I received from a publicist. This review originally appeared in the September-October Jazz & Blues Report (Issue 368).

Hendrik Meurkens Harmonicus Rex

The remarkable jazz harmonica wizard, Hendrik Meurkens, may be best known for his magic in the realm of Brazilian jazz, but on his latest release, "Harmonicus Rex," his focus is on straight ahead jazz. On this session he is joined by the legendary Jimmy Cobb on drums, along with bassist Marco Panascia and pianist Dado Moroni. Joe Magnarelli on trumpet and Anders Bostrom on alto flute are each heard on four of the eleven tracks (one on which they both are heard). The program on this release are five originals as well as six interpretations of standards.

Meurkens' "Mundell's Mood" is a bright, swinging number that opens this with the leader and Magnarelli stating the theme before the trumpeter takes the first solo before Meurkens takes the first of his solos on his chromatic harmonica with his melodic invention and horn like phrasing (if not tone) at the fore before a break from Moroni with Magnarelli and the leader trading fours prior to the coda. Its the beginning of a delightful, and wide-ranging, recording with the rhythm section exemplary throughout. The groove of Meurkens' "Slidin'" has Meurkens sounding a bit more wistful at first before he solos vigorously followed by Bostrom's lovely flute.

Moroni rumbles a bit to set the mood for a lovely quartet rendition of Dave Brubeck's "In Your Own Sweet Way." Then there is a lovely, bluesy original ballad performance, "Afternoon" with Magnarelli on flugelhorn contributing to the mood that Meurkens' engenders here. Both Magnarelli and Bostrom are present for the lively rendition of Milt Jackson's blues, "SKJ," while Meurkens' fluidity, melodic playing and invention is showcased on the Rodgers-Hart classic "Falling in Love With Love," with Moroni and Panascia also showcased. "A Summer in San Francisco" is a lovely, lazy original that features Bostrom while Magnarelli adds his bright tone to a relaxed, rendition of Freddie Hubbard's "Up Jumped Spring."

The album closes with marvelous quartet performances of the standards "Darn That Dream" and "What's New." And one cannot emphasize how exceptional the rhythm section is throughout nearly one hour of delightful, straight-ahead jazz on "Harmonicus Rex."

I received my review copy from a publicist. Here Meurkens is heard performing "Up Jumped Swing" with Cobb and Moroni by Ray Drummond on bass.

Charles Davis For the Love of Lori

With a six decade career that includes associations with such iconic artists as Billie Holiday, Dinah Washington, Sun Ra, Ben Webster, Kenny Dorham, Elvin Jones and Jimmy Garrison, Illinois Jacquet, Freddie Hubbard, Johnny Griffin, Ahmad Jamal, John Coltrane, Clifford Jordan, Cedar Walton, Sam Jones, Billy Higgins and countless others, Charles Davis has not recorded as frequently as a leader as his talent as a saxophonist, composer and arranger merited. Perhaps best known as a baritone saxophonist, he is on tenor sax on his new recording “For the Love of Lori” (Reade Street Records). On this session he is joined by a superb band that includes pianist Rick Germanson; trumpeter Joe Magnarelli, trombonist Steve Davis; bassist David Williams and drummer Neil Smith.

The Lori, on the beautiful title track, is his late wife Lori Samet-Davis who passed away and the beautiful ballad is one way of his coping with the loss. His wife’s passing was not the only loss Davis suffered as his long-time musical collaborator, Cedar Walton, was supposed to be on this recording but passed away prior to the September 2013 recording date so Rich Germanson replaced him while Walton’s long-time bassist Williams helps anchor this album along with the marvelous drummer, Neil Smith.

The wonderful opening selection “Beques” displays the authority of the ensemble, whether soling or playing as an ensemble. Davis’ arrangement of Irving Berlin’s “What’ll I Do?” provides a lazy feel and after Davis states the theme on tenor, Magnarelli mades judicious use of a mute before Steve Davis masterful solo which is one of the album’s many pleasures. Julian Priester’s “Juliano” is a bright swinger as Steve Davis swings gruffly followed by Magnarelli’s forceful trumpet that segues into the leader’s robust tenor as the rhythm section pushes the performance along (Germanson takes a well conceived solo as well). It is followed by the leader’s salute to Kenny Dorham, “KD” that spotlights Magnarelli’s lyrical and driving playing.

Charles Davis warmth, strength and lyricism as a ballad player is evident on the title track while Smith’s drumming is wonderful in adding embellishments under the solos and the ensemble portions. In addition to his wonderful playing, Germanson contributed the arrangement for the first-rate hard bop rendition of Cedar Walton’s “Cedar’s Blues,” which also allows him to stretch out with the first solo over Williams walking bass line and Smith’s subtle rhythmic accents. The closing “I'll Be Seeing You” is a nicely paced and wistful rendition of this standard.

From the loss of his soul mate and a close friend, Charles Davis has found the strength to bring together the excellent band and music that makes “For The Love of Lori” such a delightful and marvelous hard bop recording.

I received my review copy from a publicist. Here is Charles Davis in performance.