Roseanna Vitro - Listen Here

Roseanna Vitro - Listen Here - Skyline Records

"Listen Here" reissues Roseanna Vitro's 1984 album that launched her remarkable recording career. Vitro has been one of the most notable jazz vocalists in her over a 35-year career with dynamism in her performances. Her clear diction, pitch, the dynamics of her horn-like phrasing, and expressiveness have engrossed audiences over this time. On this recording, Vitro was handsomely backed by a superb rhythm section; pianist Kenny Barron, bassist Buster Williams, and drummer Ben Riley. Arnett Cobb adds his tenor sax on three selections, Bliss Rodriguez replaces Barron on one track, Scot Hardy is on guitar for one selection, and Duduka Fonseca adds percussion for two.

This was a remarkable session starting with the sterling opening rendition of the Bossa Nova standard "No More Blues." She captures the listener immediately. On an album of exquisitely rendered classic songs, a few tracks stand out, such as her rendition of Ellington's "Love You Madly." Her horn-like singing and scatting are matched by Cobb's tenor sax and Barron's superlative solo. "Centerpiece," with just Rodriguez and Cobb accompanying her, also stands out with Cobb's outstanding tenor sax complementing her superb singing. Then there is the supple support of the longing she expresses in "A Time For Love." This song is followed by the joyfulness exhibited on "This Happy Madness," the reflective performance of the title track, and the jubilant swing of "It Could Happen to You," with yet another stellar Cobb solo.

Steve Allen wrote the liner notes that are reprinted on this reissue. "Is Roseanna Vitro a jazz singer? Yes, but no means only that. Her voice, the basic sound, is lovely, her diction clean. Though she sings and phrases with experienced authority, there is something charmingly girlish and feminine in the sound, long may it wave." Allen's 35-year old words ring true still today as she continues to enthrall us with her live performances and recordings. Thirty-five years after its initial release, "Listen Here" sounds fresh and vital, and its rerelease is most welcome.

I received my review copy from a publicist. Here is a recent video of Roseanna Vitro performing.

Jimmy Heath Love Letter

Jimmy Heath
Love Letter
Verve

Gary Giddins relates in the liner notes for "Love Letter," its origin arose from a query, friend, and photographer, Carol Friedman, who asked if Jimmy Heath would record an album of ballads. The answer is this recording, which Giddins scribes as "Heath's stunningly elegant last testament." On this, his final recordings, Heath is supported by a fabulous backing band of pianist Kenny Barron, guitarist Russell Malone, vibraphonist Monte Croft, bassist David Wong, and drummer Lewis Nash. Augmenting the group on separate tracks are vocalists Gregory Porter and Cécile McLorin Salvant, and trumpeter Wynton Marsalis.

Giddins quotes, from conversations with Friedman, Heath about saxophonists playing ballads, "Ben Webster would play in the lower register of the saxophone and you could hear his breath. But Coltrane found a way to play in the high register of the tenor. Having played alto before, he could hear up there and he learned the altissimo range of the tenor. When he played a melody of a ballad it was ethereal. It was like heaven. Coltrane would play up in the heavens. Ben and Coleman Hawkins and everybody would be downstairs—they'd be down here on earth! Trane found a way to Trane found a way to sing in the high register that I found was unique." Heath has incorporated some both approaches as he often plays in the tenor sax's lower register but without Webster's pronounced vibrato or Hawkins relatively harsh sound.

This splendid recording opens with Heath's "Ballad from Upper Neighbor's Suite," on which Heath  exhibits his nuanced tone and phrasing set against an exquisite, delicate quartet backing with Barron being especially outstanding. One should not be surprised by the superb singing by Cécile McLorin Salvant ("Left Alone") and Gregory Porter ("Don't Misunderstand"). There is a purity in Ms. Salvant's voice with the airy backing by Malone, Croft, Wong, and Nash, before Heath's gorgeous solo. Porter's romanticism on "Don't Misunderstand" is enhanced by Barron's sophisticated elegance as Heath sings with his tenor sax.

There is a gentle warmth exhibited when Heath, with Malone and Croft in support, provides a lyrical reading of Dizzy Gillespie's "Con Alma." Wynton Marsalis joins Heath, Barron, Croft, and Nash for a winsome rendition of Kenny Dorham's ballad, "La Mesha." In addition to the sublime beauty of the horns, Barron's solo is one of elegant sophistication. There is a reflective quality to Heath's playing on "Inside Your Heart," the one track on which he employs the soprano sax.

The album closes with Heath's poignant performance of "Don't Explain," a song that Barron, Croft, and Nash recorded with Heath, later overdubbing a solo of considerable beauty and feeling. As Carol Friedman stated about Heath, "His mastery is such that you could swear that the rhythm section—Kenny in particular—is following Jimmy's lead." It is the coda of a remarkable recording, and career belies the fact that Jimmy Heath was 93 at the time. There is nothing in the robustness of his playing and impeccable pitch and timing that suggested any diminishment of his talent. Gary Giddins closes his liner notes, "Farewell, Jimmy, and welcome back. Consider this the second *rebirth*, because people are going to be talking about you all over again." Indeed, with this outstanding recording, people will be talking about Jimmy Heath for many more years.

I received a  download to review from a publicist. Here is "Con Alma" from this recording.

Lee Konitz Frescalalto

Lee Konitz
Frescalalto
Impulse!

This is a stunning new album by Lee Konitz with a stellar rhythm section of Kenny Barron on piano, Kenny Washington on drums and Peter Washington on bass on a collection of standards that allows the alto saxophone legend to display his fruitful improvisatory skills. "Stella by Starlight" opens with Konitz playing briefly unaccompanied before the rhythm enters and both Barron and Peter Washington take choice solos along with the leader's own dry, slightly sour alto. Konitz's original "Thingin'" also allows his band to shine along with his unpredictable and fresh playing, even avoiding cliches when trading fours with Kenny Washington while the performance fades at close.

A trio record of Barron with this rhythm section would be heaven enough, but add Konitz's alto and you have some magic. Unexpectedly, Konitz scats backed by piano to open "Darn That Dream" before taking an alto solo and then scats after Barron's lovely playing on this duet. The Washingtons return on the swinging "Kary's Trance," "Out of Nowhere" provides another showcase for Konitz's ability to take a familiar number and delight us with his unexpected and fresh improvisation and then scats an improvisation between solos from Peter and Kenny.

After a lovely Konitz ballad, "Gundala," where his lyricism is on full display, there is a superb rendition of the Kaper Bronislaw and Paul Francis Webster classic "Invitation" before the album closes with "Cherokee." Rather than the breakneck tempo "Cherokee" usually is played at, Konitz leads the quartet in a medium walking tempo as he hints at its melodic theme before Kenny Barron accelerates things with a fiery break followed by Kenny Washington's explosive drum break and then the pace slows down with Konitz's reentry. This "Cherokee is a fresh, imaginative end to a fabulous recording.

I received a review copy from a publicist. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371), although I have made minor changes from that review. Here is Konitz playing "Cherokee" from a few years ago.

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."

Sixth Mid-Atlantic Jazz Festival Stands Up For Real Jazz

Paul Carr

The Sixth Annual Mid-Atlantic Jazz Festival returns Presidents’ Day Weekend to the Hilton Washington DC/Rockville Hotel & Executive Meeting Center, 1750 Rockville Pike, Rockville, Maryland 20852. Put on by the Jazz Academy of Music, the motto of Mid-Atlantic Festival is “Standing Up For Real Jazz.” In this vein, the focus is on hard, swinging jazz with a number of national headliners mixed in with some of the finest musicians in the Washington DC area. The featured performers for this year include vocalists Tierney Sutton, Allan Harris and Carmen Lundy and instrumentalists including trumpeter Sean Jones; saxophonists James Carter, Jimmy Greene, Craig Handy and Marcus Strickland; bassist Rufus Reid; trombonists Delfaeyo Marsalis; and pianists Kenny Barron, Ellis Marsalis and Patrice Rushen. Local jazz favorites include vocalists Sharon Clark and Janine Gilbert-Carter; saxophonist Paul Carr; pianist Eric Byrd, and vibraphonist Warren Wolf. Performances are held both on the Ronnie Wells Main Stage as well as smaller club settings.

Sharon Clark

Friday night, February 13, the Ronnie Wells Main Stage opens with tenor saxophonist Paul Carr, head of the Jazz Academy of Music, and a marvelous player leading a group with vocalist Sharon Clark. Clark, arguably DC’s leading female jazz singer. Writing in the New York Times, Stephen Holden wrote that she “evokes not Holiday but rather a less operatic Sarah Vaughan fused with the more animated side of Shirley Horn, a singer who also liked to take her time. Ms. Clark’s voice is rich, her phrasing unfussy, her jazz embellishments minimal.” They will be followed by another terrific singer Tierney Sutton, with trumpeter Sean Jones closing the evening with his group.

Main Stage activities resume late morning Saturday February 14 with the Mid-Atlantic "Jazz Voice"--Vocal Competition with six semi-finalists competing for a $2000 Grand Prize. Shortly afterwards an afternoon session features DC drummer Samuel Prather and Groove Orchestra with the marvelous vocalist Christie Dashiell. They are followed by Chelsey Green and the Green Project, led by the talented violinist. Saturday Evening’s Main Stage performance opens with a Tenor Saxophonist Summit with three of today’s most compelling tenor players: James Carter, Craig Handy and  Marcus Strickland. After their set, vocalist Allen Harris will captivate the audience followed by Ellis Marsalis and son Delfaeyo, on The Last Southern Gentleman Tour.

Craig Handy

Sunday on the Main Stage, Vuyo Sotashe, the 2014 Mid-Atlantic Vocal Jazz Competition winner, opens the afternoon show followed by the great bassist and composer Rufus Reid leading his Quartet. Craig Handy and Second Line Smith closes the session. Handy’s latest project mixes New Orleans grooves with a tribute to the great organist Jimmy Smith.

Sunday evening’s final Main Stage session opens with one of this writer’s favorite vocalists, Janine Gilbert-Carter backed by a trio that includes pianist Eric Byrd with a saxophonist to be named. Carter brings plenty of warmth and a touch of Dinah Washington to a varied selection of material. Next is  tenor saxophonist Jimmy Greene whose backing group includes the legendary Kenny Barron on piano and will focus on music from Greene's latest album, “Beautiful Life” on Mack Avenue Records. Greene is a masterful saxophonist with a robust tone and this recording is part of his ongoing grieving process at the sudden and tragic loss of his 6-year old daughter, Ana Marquez-Greene, who fell victim to the Sandy Hook Elementary School mass murder in Newtown, CT. After this performance, vocalist Carmen Lundy will close out the Main Stage with the great Patrice Rushen on piano and keyboards.

Marcus Strickland

Throughout the festival, there will be plenty of music in the MAJF Club and the MAJF Juke Joint rooms. Friday night the Marcus Strickland Quartet performs two sets in the MAJF Club while David Cole will be laying down blues in the Juke Joint. Saturday shows in the MAJF Club include the Terry Koger Sextet, vocalist Chad Carter, and the great drummer Winard Harper, while Memphis Gold will be in the Juke Joint. Sunday evening Shirletta Settles, Anthony Compton, and Sarah McKenzie are among the MAJF Club room performers while Anthony “Swamp Dog” Clark will be blowing his harmonica and shouting the blues in the Juke Joint.

Additionally there will be free performances in the Hotel Atrium including Big Band and Combo competition performances. There will also be interviews with a number of the artists and workshops for students that are led by some of the performers. One can see how packed the weekend will be. For more information with fuller artist biographies, information on accommodations and tickets along with special features on several of the performances visit, http://www.midatlanticjazzfestival.org.

Frank Wess and Magic 101

Veteran Tenor Saxophonist Frank Wess was 89 when he recorded Magic 101 that has just been issued on IPO Recordings. On this he is accompanied by another jazz veteran, the remarkable Kenny Barron piano along with bassist Kenny Davis and drummer Winard Harper. With this superb band, Wess weaves his magic (a bad pun but it is Wess' nickname) over a program of standards, mostly ballads. 

From the opening moments of Irving Berlin’s Say It Isn’t So, to the last lingering notes of Duke Ellington’s All Too Soon, Wess plays with warmth and imagination while Barron mixes deft restraint with energetic solos while Davis and Harper deftly push things along. Harper is especially wonderful with his use of brushes at times as well as pushing things along crisply when appropriate. But Wess is the heart and soul of the music here. Both Lester Young and Ben Webster, two of his main influences, always thought about the lyrics of the songs they played, and on the lovely The Very Thought of You, Wess shows just how well he learned this lesson. Harper’s deft cymbal work embellishes Barron’s lovely solo here as well.

Wess’ own Pretty Lady is a lovely ballad followed an exquisite rendition of Come Rain or Come Shine. After another lovely reworking of a standard, Easy Living, Barron provides a bit of sophisticated blues piano to introduce Blue Monk, with Wess’ tenor contributing to the late hours feel of a blues-drenched performance of this jazz classic. The set closes with an unaccompanied rendition of Duke Ellington’s All Too Soon, which the Duke wrote as a feature for Ben Webster, that exhibits the full breadth of the warmth and tone of Frank Wess. 

Bret Primark entitled an upload of Wess performing Lush Life with his Washington DC high school classmate, the late Dr. Billy Taylor, “When Frank Wess Plays a Ballad, Ben Webster Smiles.” The wonderful Magic 101 has much that will make us (and would make Ben Webster) smile.

I received my review copy from a publicist. Here is the youtube clip I referred to in my review.

DC Jazz Festival Picks for June 4

Kris Funn

This is the fourth post I am making to highlight some of the shows associated with this year’s DC Jazz Festival. I am specifically not highlighting the DC JazzLoft Fest since I have posted on this already. I will may also pick a few other shows around the DC Virginia area that should not be overlooked. I am posting this a day ahead of the date of performances.

At 6:00 PM, the Kennedy Center Millennium Stage will feature bassist Kris Funn. This Baltimore, Maryland native is currently a member of trumpeter Christian Scott’s Band. He currently leads Kris Funn & Corner Store. which also features drummer Quincy Phillips of the Roy Hargrove Quintet. The band features Funn’s blues-battered bass lines, rocking originals, and dramatically danceable revisions of John Coltrane and Sam Cooke tunes.

The Kennedy Center at 7:30 hosts Jazz Meets The Classics with the Classical Jazz Quartet featuring Kenny Barron, Stefon Harris, Ron Carter, Lewis Nash; Paquito D’Rivera Sextet; Pepe Rivero; Michael Phillip Mossman and Pernell Saturnino. This is the signature concert featuring a number of NEA Jazz Masters.

Jonathan Batiste

The Hamilton hosts a show with groups led by pianist Jonathan Batiste and bassist Ben Williams. Batiste is a member of the celebrated Batiste Family of New Orleans and with Henry Butler, and Davell Crawford, is among the leading contemporary proponents of the New Orleans piano tradition. But he is so much more as indicated by his performances with Roy Hargrove's Big Band, Wynton Marsalis, Cassandra Wilson and others and has issued several albums. Bassist Ben Williams is a Washington DC native who won the Theloious Monk International Competition for Bass in 2009. He has performed with such artists as Wynton Marsalis, Terence Blanchard, Roy Hargrove, Mulgrew Miller, Cyrus Chestnut, Ron Blake, Stefon Harris, Karreim Riggins, Hamiett Bluett, James Williams, Bobby Watson, and Winard Harper. His recently issued the excellent album State of Art on Concord Jazz.

The Bohemian Caverns Jazz Orchestra has its weekly performance at the Bohemian Gardens. For information of them visit http://www.bohemiancavernsjazzorchestra.com/live/.


For more information visit http://www.dcjazzfest.org/content.cfm/schedule_and_major_events.

DC Jazz Festival Picks for June 3

This is the third post I am making to highlight some of the shows associated with this year’s DC Jazz Festival. I am specifically not highlighting the DC JazzLoft Fest since I have posted on this already. I will may also pick a few other shows around the DC Virginia area that should not be overlooked. I am posting this a day ahead of the date of performances.

For more information visit http://www.dcjazzfest.org/content.cfm/schedule_and_major_events.

Elijah Jamal Balbed

The Phillips Collection, the prestigious modern art museum near Dupont Circle hosts the first of two Jazz 'n Families Fun Days. Performances to note today include Elijah Jamal Balbed Quartet at 2:00PM featuring one of the DC area’s acclaimed young saxophonists. Michael Bowie and Sine Qua Non appears at 3:30PM. The bassist leads a five-piece ensemble that applies specific lessons from Spanish classical guitar music to an unorthodox jazz combo setting, without a guitarist. Legendary pianist Kenny Barron appears at 4:00PM.

At 6:00PM, the Kennedy Center’s Millennium Stage will host a performance by the Erena Terakubo Quartet leading an ensemble from Berklee College of Music. The Sapporo, Japan native plays alto saxophone. Saxophonist David Sanchez is at the Hamilton this evening. David Sanchez was mentored by Dizzy Gillepsie, toured with Kenny Barron, Roy Haynes and legendary drummer Elvin Jones, while recording with Barron and Haynes respectively. He incorporates and re-contextualizes the rhythms and folk melodies of his native Puerto Rico in his music that has achieved international acclaim including winning a Latin Grammy® Award. Here is David Sanchez performing.