Troy Roberts Days Like These

Troy Roberts
Days Like These
Toy Robot Music

Tenor saxophonist Troy Roberts new recording has him playing with two masters with whom he played and recorded with. Roberts currently is a member of organist Joey DeFrancesco's group and appears on some of the organist's recent recordings. Before that he was a member of Jeff ‘Tain’ Watts Quartet for five years, appearing on three of Watts albums. Watts has appeared on two of Roberts' prior recordings. DeFrancesco plays on the first three of the eight songs here. Emmet Cohen plays organ on the remaining five tracks. Cohen and Roberts were in an organ trio together when Cohen was a student at the University of Miami’s Frost School Of Music and Roberts was on the faculty.

This is a wonderful collection of organ trio recordings starting with "“My Girl is Just Enough Woman For Me." With superlative backing, Roberts shows he can play tough and tenor with a big sound in the manner of Gene Ammons, Stanley Turrentine (who recorded this song several times) and Houston Person. This is a swinging number that also showcases their brilliance of DeFrancesco and Watts, both of whom solo. DeFrancesco sets the tone opening the torch song, "Why Was I Born," with Roberts displaying his exquisite ballad playing. Roberts' original "Trams" has appeared on a Grammy Nominated album by Orrin Evans & The Captain Black Big Band of which Roberts is a member. It is an intriguing composition with engaging, driving interplay among the trio, not to mention the unexpected twists and turns in the solos.

Another original, "The Waltz of Parting Days” is constructed around a brooding melody, with Roberts again playing with warmth and clarity as Cohen and Watts complement Roberts playing. Roberts' “Sly Old Dog” is a contrafact of Cole Porter’s “It’s Alright With Me." This is a raucous uptempo burner with Roberts' blistering tenor sax (evoking Johnny Griffin), along with Cohen's spirited organ, and Watts driving percussion. After the relaxed, jaunty "Jack the Sipper," Roberts delights us with the Wayne, Hoffman and Sigler tune “Little Man You’ve Had a Busy Day.” This performance again illustrates the warmth he brings to a standard as his velvety playing caresses the melody of this standard.

An uptempo original, “Wizard of Ozroop" enthralls with a gripping performance by Roberts with unexpected and imaginative twists and turns. Troy Roberts is an excellent saxophonist with a big sound who constructs thoughtful, imaginative and passionate solos. He receives superb backing throughout and his session mates provide their own engrossing solos. With the first-rate renditions of rarely performed songs and Roberts originals, listeners need more "Days Like These."

I received a download for review from a publicist. This review appeared in the November-December 2019 Jazz & Blues Report (Issue 3387). Here is Troy Roberts performing "Trams."

Jimmy Scott I Go Back Home

Jimmy Scott
I Go Back Home
Eden River Records

Jimmy Scott's career was one of great frustration as for years he was bound to an onerous recording contract with the result that in his prime years, his musical career was stifled. Fortunately starting in the 1980s, Scott's fortune changed. He was amongst the early recipients of the Pioneer Award from the Rhythm and Blues Foundation. Still, despite the efforts of his friends like the late Doc Pomus, it wasn't until a record company exec saw Scott sing at Pomus' funeral that he was signed to a record label. As one close to Doc Pomus noted in the film, "AKA Doc Pomus", it took Pomus to f****ng die for Jimmy Scott to get a recording contract. Fortunately we were blessed with many memorable recordings that displayed his unique vocal styling.

This new album was recorded prior to Scott's passing in 2014 and was the result of the desire of German producer Ralf Kemper to produce Scott, that this elaborate production occurred. Mixed by the late Phil Ramone, Scott is joined by a number of collaborators including Bossa nova icon Oscar Castro-Neves and legendary saxophonist James Moody, both of whom themselves passed away after their contributions to this recording. Scott is wonderfully backed on many songs by drummer Peter Erskine, the great pianist Kenny Barron and organist and trumpet player Joey DeFrancesco. Jazz icon Dee Dee Bridgewater joins Scott on "For Once in My Life," while vocalist Monica Mancini and trumpet master Arturo Sandoval are on "I Remember You," while several tracks have lush orchestrations played by the HBR Studio Symphony Orchestra.

This album is clearly a labor of love from the producer but one would be hard pressed to call this among Scott's finest works. Scott was among the most singular singers whose phrasing, timing and pitch could wring emotion out of what would sound like cliches when sung by lesser vocalists. Yet there are passages here when his vocals sound a tad frayed. Still his ability to move the listener is evident on the opening "Motherless Child," enhanced by Joey DeFrancesco's organ. On "Easy Living" his vocal is half-spoken with a fine DeFrancesco solo. The bossa nova "Love Letters" is an appealing vocal duet with Oscar Castro-Neves who contributes his guitar along with his vocal in Portuguese, while Dee Dee Bridgewater joins Scott for a duet of Stevie Wonder's "For Once In My Life," with James Moody contributing a terrific tenor sax solo.

Furthermore, some of the other performances another singer is at the fore such as Monica Mancini's marvelous featured vocal on "I Remember You," which also has the with the guitar of Oscar Castro-Neves in the accompaniment and with Sandoval's trumpet. On "Someone to Watch Over Me" (perhaps a song he is most identified with), Scott provides a brief spoken introduction before Renee Olstead sings the vocal in an attractive understated manner. There are two duets with actor Joe Pesci that are among the high points of this recording. Kenny Barron's piano is noteworthy on "The Nearness of You," where Pesci both shows Scott's influence in his approach as well as complements Scott.

There is plenty of poignancy throughout, including the closing "Poor Butterfly," with Gregoire Maret's wistful harmonica, but Scott himself shows his years and perhaps health issues. If one was looking for an introduction to Jimmy Scott, there would be other recordings that one would recommend before this. This is more a recording for those who are already fans of him, and wish to hear his last musical testament, that is wonderfully played even if it has some flaws.

I received for review a download from a publicist. Here is Dee Dee Bridgewater behind the scenes for "For Once in My Life."

Joey DeFrancesco at the 2013 Mid Atlantic Jazz Fest Day 3-2170738

20130217 Mid Atlantic Jazz Fest Day 3-2170738, a photo by NoVARon on Flickr.

Capping a Festival that spotlighted the Hammond B-3, this year's Mid-Atlantic Jazz Festival concluded with a burning performance from Joey DeFrancesco with his trio that included guitarist Paul Bollenback. In addition to his deep funky organ, Joey DeFrancesco also treated us to a bit of trumpet. It was hard bop, deep fried blues and some ballads with deep soul tinges,

Sunday Feb 17 Promises More Great Mid-Atlantic Jazz

Today is the final installment of  my daily previews of this year's Mid-Atlantic Jazz Festival for which I had a preview on January 15.  One week from when this is first posted is the final full day of music for this year's Mid-Atlantic Jazz Festival.

Standing out on Sunday afternoon is a performance by The Cookers (video clip above), a terrific ensemble comprised of jazz legends pianist George Cables; tenor saxophonist Billy Harper; drummer Billy Hart; bassist Cecil McBee; trumpeter and flugelhorn player Eddie Henderson; flautist and alto saxophonist Craig Handy; and trumpeter David Weiss. Also Sunday afternoon on the main stage will be saxophonist Bruce Williams leading a group with Pat Bianchi on organ. Williams, a Washington DC native, is a member of Ben Riley’s Thelonious Monk Legacy Septet as well as being the newest and youngest member of the World Saxophone Quartet in addition to leading several ensembles on his own. There will also be a performance by San Francisco area saxophonist William O’Neill will lead a group that also features vocalist Kenny Washington.

Sunday evening opens with saxophonist Bobby Watson, and followed by New Orleans vocalist Stephanie Jordan who will be singing a Tribute to Lena Horne. The Ronnie Wells Main Stage will conclude with the multi-award winning organist Joey DeFrancesco (Video clip above) with more hot Hammond B-3 grooves. 

Other highlights of Sunday's program includes Janine Gilbert Carter doing a gospel brunch (and here is a video clip from that). Janine's performance at last year's festival has just been issued on DVD (she used photos of mine for the cover) and it will be a heart-warming time. Performances in the Mid-Atlantic Jazz Club includes Darius Scott, Ivy Ambush and Cloudburst. There will be workshops (for example Stephanie Jordan and Kenny Washington will conduct one on scatting) with a number of performers and interviews with The Cookers and Joey DeFrancesco. And in the JukeJoint, Linwood Taylor, one of the Washington area's finest blues guitarists will be holding forth with some powerful music. Taylor, long a local favorite was recently a member of Joe Louis Walker's Band and certainly during the breaks in the Main Stage, he is someone to check out (and a sample of him can be seen in the clip below). Of course, Sunday night will conclude with the Midnight Jam.

Monday morning as some will be checking out, the keyboards of Jackie Hairston, one-time member of Otis Redding's Band and a local favorite who has played with everybody in DC's blues, soul and jazz scene will be playing. Again for more information on the festival, check out http://www.midatlanticjazzfestival.org. 

2013 Mid-Atlantic Jazz Festival Will Bring Its Strongest Line-up Yet To Rockville

The Mid-Atlantic Jazz Festival returns to Rockville, Maryland February 15 through the 18th. This year is the Festival’s 4th edition and takes place at the Hilton Executive Meeting Center in Rockville for a weekend of jazz music, workshops, interviews and a High School Band competition. The festival combines internationally renowned artists along with both established and up-and-coming acts from the Mid-Atlantic Region.

Paul Carr - Photo  Ron Weinstock

This year’s festival will have a special focus on the Hammond B-3 and feature performances by organists Pat Bianchi, Dr. Lonnie Smith and Joey DeFrancesco. In addition, there will be performances by pianists Orrin Evans, Helen Sung and Larry Willis; saxophonists Bobby Watson, Paul Carr, Sharel Cassity and Tim Warfield; vocalists Gregory Porter (singing the title track of his album Be Good in video above), Carmen Bradford and Stephanie Jordan; as well as the supergroup The Cookers. That only cracks the surface of the performers appearing.

Friday evening, February 15, the Festival’s Ronnie Wells Main Stage kicks off with pianist Orrin Evans and his trio with special guest, saxophonist Tim Warfield. Evans, a former finalist in the Thelonious Monk Competition, has become one of the most acclaimed young pianists, rooted in the tradition but also quite forward looking. Following Evans will be the Grammy nominated Gregory Porter accompanied by the Mid-Atlantic Jazz Orchestra under the direction of Paul Carr, which features some of Paul’s students from the Jazz Academy of Music and special guests from among the Mid-Atlantic’s finest musicians. Porter is among the most talked about new names in the jazz vocal circles and brings a warmth reminiscent of Marvin Gaye and Donny Hathaway to his soulful jazz styling. The main stage will close with saxophonist Paul Carr with B3, a group consisting of organist Pat Bianchi, guitarist Bobby Broom and drummer Bryon Landham. 

Carmen Bradford

On Saturday afternoon bass clarinetist Todd Marcus will lead his group which will have as special guest, clarinet master Don Byron. That will be followed by a vocal summit featuring Sharon Clark, Lynette Washington and former Count Basie singer Carmen Bradford, backed by the Chris Grasso Trio. Grasso is among the DC area’s most in demand accompanist for singers. Saturday afternoon concludes with the Akiko Tsuruga Quartet, featuring the Japanese born organist who is a mainstay on the NYC scene.

Saturday Night’s performances on the Main Stage opens with the Larry Willis Quintet that includes trombonist Steve Davis, saxophonist Joe Ford, bassist Steve Novosel and Billy Williams on drums. This is quite an impressive grouping including former McCoy Tyner saxophonist Ford and Rashaan Roland Kirk bassist Novosel in addition to the leader. It will be followed by another supergroup, Women In Jazz, which includes vocalist Sharon Clark, saxophonist Sharel Cassity, pianist Helen Sung, bassist Amy Shook and drummer Allison Miller. The Main Stage closes that night with the legendary Dr. Lonnie Smith on the Hammond B-3.

Sunday’s Main Stage opens in the afternoon with saxophonist Bruce Williams leading a group with Pat Bianchi on organ. Williams, a Washington DC native, is a member of Ben Riley’s Thelonious Monk Legacy Septet as well as being the newest and youngest member of the World Saxophone Quartet in addition to leading several ensembles on his own. San Francisco area saxophonist William O’Neill will lead a group that also features vocalist Kenny Washington, and the afternoon closes with the Jazz super-group, The Cookers. The Cookers comprise of true jazz legends including pianist George Cables; tenor saxophonist Billy Harper; drummer Billy Hart; bassist Cecil McBee; trumpeter and flugelhorn player Eddie Henderson; flautist and alto saxophonist Craig Handy; and trumpeter David Weiss. 

Stephanie Jordan
Photo © Ron Weinstock

The final night on the main stage opens with saxophonist Bobby Watson. New Orleans vocalist Stephanie Jordan will be singing a Tribute to Lena Horne, but hopefully she will also sing her wonderful rendition of Shirley Horn’s Here’s To Life. The Ronnie Wells Main Stage closes with the multiple poll-winning organist Joey DeFrancesco for more hot Hammond B-3 grooves. The Festival’s Main Stage Line-Up is arguably the strongest yet, and a musical feast for those who want to hear real, straight-ahead jazz.

In addition to the main stage line-up, the Festival hosts a High School Jazz Band competition and performances by a number of up and coming performers in MAJF Club room. Friday night saxophonist Elijah Jamal Balbed performs. He has just released his first album, “Checking In,” which is certainly going to gather much attention for his robust playing and his thoughtful, impassioned solos. Also in the Club that night is vocalist Chad Carter. Saturday in the club will be saxophonist Marshall Keys, vocalist Janine Gilbert-Carter and saxophonist Bruce Swain. On Sunday Janine Gilbert Carter will be doing a gospel brunch show in the Hotel Atrium along with performances in the MAJF Club by Darius Scott, Ivy Ambush and Cloudburst.

For the first time, the Festival will have a Juke Joint with blues performances over the weekend from David Cole, Clarence ‘The Bluesman’ Turner and Linwood Taylor. There will be workshops by some of the performers and interviews with Gregory Porter, Dr. Lonnie Smith, The Cookers and Joey DeFrancesco. Each night will conclude with Wes Biles leading a midnight jam. 

It is a music packed weekend with much more details on the performers as well as the schedule, ticket information, accommodations info and more at www.midatlanticjazzfestival.org. Hope to see many of you there.

"Papa" John DeFrancesco Is Himself a Big Shot

Fans of organ jazz certain have a delightful new release from "Papa" John DeFrancesco, Big Shot on Savant. Father of Joey DeFrancesco, the renown organist, Papa John himself has been a celebrated organist of the years. Joey is present, playing piano and other keyboards in a supportive role, while another son,John Jr., handles guitar. The rest of the band is comprised by Jerry Weldon’s tenor sax, Mike Boone’s bass and Bryon Landham’s drums.

They deliver a program of blues drenched numbers starting with a walking tempo rendition of Red Top, a classic since Gene Ammons made it his own with slower tempo here making for a relaxed groove as Weldon states the theme followed by John Jr.’s solid single note playing and a tasty solo on the Diversi organ that Papa John plays that captures the sound of the Hammond with perhaps a fuller tone in the foot-pedal bass.

From Gene Ammons to the Doors as Joey’s keyboards sets the dreamy atmosphere for Riders in the Storm, with Papa John taking the first solo after Weldon states the theme and then the saxophonist takes a vigorous solo. Next up is a solid ballad performance, Too Young to Go Steady, with Joey’s piano setting the mood followed by some lovely tenor sax and Papa John’s moody organ offset by Joey’s piano and some nice brush work from Landham.

Nolo, picks up the tempo with his funky groove and John Jr is prominent with some fine playing as Weldon riffs behind him with Papa John suggesting Jimmy Smith’s mojo here. The title track is a solid walking blues, while Maricopa, has a light Latin groove with Weldon, Papa John, John Jr., and Joey all prominent here. Down Home, is a moody late night blues while the disc closes with the funk of What, with Joey coming off like Billy Preston while Weldon shows his funk sax groove while John Jr. is a it more electric in his playing that perhaps come off least interesting track here.

The fact that the music here may not stretch boundaries and makes for comfortable listening should not be viewed as a criticism but the recognition of the strengths of Big Shot which is characteristic of what makes the best organ jazz, soul-blues grooves with tenor sax and other musicians who are fine storytellers. Recommended.

This review originally appeared in the January 2010 Jazz & Blues Report (Issue 323). I received my review copy from the publication. Here is "Papa" John performing a Jimmy Smith classic.

Dan Adler's Organ Trio Shines On "Back to the Bridge"

Israeli born guitarist Dan Adler has established himself on the New York scene where he has played and studied with saxophonists Steve Grossman and Bob Berg as well as such guitarists as Jack Wilkins, Pul Bollenback, Peter Bernstein and Rodeny Jones. His second recording, Back to The Bridge (Emdan Music) is an organ trio session with Joey DeFrancesco handling the keyboards, and DeFrancisco’s regular drummer Bryon Landham on drums. The result is a terrific, swinging recording that showcases Adler’s solid guitar playing backed by perhaps today’s most impressive organist.

The opening Adler original, Gold and Silver, is dedicated to the great Horace Silver, and a brisk number that quickly displays Adler’s tone along with his fleet, precise and imaginative delivery followed by DeFrancesco taking over. Joe Bushkin’s Oh, Look At Me Now, a swing era hit associated with frank Sinatra, introduced by some unaccompanied guitar before DeFrancesco and then Landham join in behind Adler’s nicely articulated and developed solo. An unexpected pleasure is the organ trio rendition of Clifford Brown’s Joy Spring, with its alternating rhythms at the beginning before the trio gets off on a hot groove. The title track is an Adler original, and is, in his words, an attempt to mix a non-bebop head to some bebop solos and in any event a delightful musical trip.

It is suggested that Adler’s jazz waltz, Good Old Days, harkens back to the relaxed feel of the Larry Young, Grant Green and Elvin Jones organ trio, and DeFrancesco’s funky playing precedes strong soloing from Adler. In his liner notes, Scott Yanow observes how Landham sets a tone with a New Orleans march groove, before Adler and DeFrancesco set a medium tempo swing groove. Adler plays homage to his homeland with a languid performance of the Israeli ballad, Yatsanu At (We Left Slowly), which spends a doleful mood. The calypso rhythm of Between Jobs, helps lighten the spirits, while I’ve Never Been In Love Before, is taken at a quicker tempo than usual with a especially adept and intriguing solo by Adler. This splendid session ends with Oscar Peterson’s blues, The Smudge, that ends this recording with more wonderful playing.

I have not heard Adler’s prior recording, but Back To The Bridge, is a superb, straight-ahead organ trio marked by imaginative material and excellent playing from all involved that has worn well over repeated listening. Dan Adler’s website is http://danadler.com.

My review copy was provided by a publicist.

Big Pete's Big New Blues

Big Pete Pearson
While the back of the CD cover for I’m Here Baby (Blue Witch) calls Phoenix based Big Pete Pearson a shouter, he comes across more like James Cotton crossed with a bit of Lonnie Brooks to give a sense what he sounds like.. Produced by Bob Corritore and joined by the likes of Ike Turner, Johnny Dyer, Joey Francesco, Leon Blue, Kid Ramos and W.C.Clark. The opening Too Many Drivers is a rocking shuffle in the vein Cotton excelled at with Matt Bishop providing the rollicking piano as Chris James and Johnny Rapp on guitar help push the groove while producer Corritore wails on harp. Its a good indication of what’s to come on this set of straight, no chaser blues. Leon Blue handles the ivories and Corritore is on chromatic harp on a nice version of Tin Pan Alley with a nice gritty vocal. A good song writer, his original The Way I See It, has him reaching down on his vocal, while Worried About My Baby is an easy rocking number with Johnny Dyer contributing a nice harp break on a recording that would have been at home on a vintage Chicago blues collection. I’m Here Baby, is a slow-drag bump and grind number that Pearson just pours his heart into. Ike Turner and Joey DeFrancesco are present for Big Legged Woman, a number that brings Lonnie Brooks to mind while a more West Coast flavor is on the evocative rendition of Percy Mayfield’s The Highway Is Like a Woman. Cousin W.C. Clark join on a spirited blues medley, trading verses and songs as well as the closing Texas Blues Memories. Possum Up the Tree, with Kid Ramos on guitar evokes vintage Muddy Waters while there is a down home flavor added to Natural Ball. While Texas born, Big Pete’s music sounds like he was in Chicago, not Phoenix, the past fifty years. This is an exhilarating blues disc that certainly should make him a singer in demand on the hopefully reviving blues circuit. This is a good one. Check out www.bluewitchrecords.com or www.bigpetepearson.net for more information.