Ray Gallon Make My Move

Ray Gallon
Make My Move
Cellar Live

It is possible that I may have met Ray Gallon when perusing the jazz stacks at J&R Music World in lower Manhattan decades ago. In any event, this is the pianist's long-awaited debut that has attracted praise from the likes of Ahmad Jamal and Ron Carter. Carter, in fact, wrote a brief liner note, "Welcome to the world of the music of Ray Gallon…extraordinary pianist…college professor…talented composer and arranger…and my dear friend… ." Gallon has been playing for many years, with a period he dealt with his health and that of his family and his resume includes playing with Ron Carter, Art Farmer, T.S. Monk, Dizzy Gillespie, Milt Jackson, Harry "Sweets" Edison, Wycliffe Gordon, Benny Golson, Frank Wess, and The Mingus Big Band. On this trio date, he is joined by bassist David Wong and Kenny Washington.

Listening to Gallon, one is struck by echoes of Hank Jones, Thelonious Monk, Barry Harris, Bud Powell, and others, but it is distinctly him backed by a first-rate rhythm section. Highlights on a consistently excellent recording include "Out of Whack" with its off-kilter, Monkish flavor with some nice stick work from Washington. Then there is an intriguing blues "Craw Daddy," with his use of dynamics and touch matched by Wong and Washington. "Harm's Way" showcases not simply his technical virtuosity with the almost frantic tempo but also the fluidity of his playing and his imagination and skill in constructing a solo. Both Wong and Washington solo here as well.

Gallon originally conceived of interpreting "I Don't Stand a Chance With You" as a bossa. Still, it has evolved into an exquisite and poignant ballad rendition played with a light touch. In contrast, on a memorable treatment of "Yesterdays," Gallon acknowledges employing some of the devices Art Tatum used (although not directly emulating Tatum), such as the transitions from rubato into a spirited tempo through an ostinato bass line and remarkably dissonant voicings. Other selections include the dazzling "Plus One," a contrafact based on Fats Waller's "Honeysuckle Rose," where he also trades fours with Washington. Hank Jones was perhaps the strongest influence on Gallon. Gallon, in fact, studied with Jones. "Hanks a Lot" is his tribute to the late piano great and has some of the energetic eloquence that Hank Jones brought to his music.

As a composer, Ray Gallon crafts melodic themes that keep resonating with the listener while the performances take surprising, but engrossing twists and turns, resulting in this excellent recording that leaves listeners wanting more.

I received my review copy from a publicist. Here Ray Gallon performs "Hanks a Lot."

Kenny Washington What's The Hurry

Kenny Washington
What's The Hurry
Lower 9th Records

Vocalist Kenny Washington (not to be confused with the well-known drummer of the same name) is a New Orleans native who relocated to the San Francisco Bay area after discharge from the Navy. He performed in an Off-Broadway jazz production that also took him to Europe. After returning to San Francisco, he was brought back to New York with vibraphonist Joe Locke for a performance at Dizzy's Club at Jazz at Lincoln Center. He has appeared on several recordings from saxophonist Michael O'Neill and has two live recordings under his name. He has many fans, including vocalist Karrin Allysin, and trumpeter Wynton Marsalis.

On this CD, Washington is accompanied by a core group of pianist Josh Nelson, Gary Brown on acoustic bass, and Lorca Hart on drums. Others on this recording include saxophonist Victor Goines, guitarist Jeff Massanari, trumpeter Mike Olmos, percussionist Peter Michael Escovedo, bassist Dan Feizli, trombonist Jeff Cressman, and percussionist Ami Molinelli-Hart.

This is a well-programmed album, with Washington singing in a variety of settings ranging from piano trio backing, guitar or bass backing, and small combo with horns. Washington is a singer with a considerable vocal range and a slight vibrato. He stands out with his phrasing, the clarity of his delivery of the lyrics and his horn-like scatting and whistling. The backing is immaculate, starting with the piano trio on "The Best Is Yet to Come." Massanari provides a supple guitar backing for delightful renditions of "S'Wonderful" and "I Got the World on a String." Goines adds his fruity tenor sax to Brown's bass intro on an exquisite "Stars Fell on Alabama," with Nelson and Hart adding their understated backing midway, with Brown soloing. Nelson's elegant, skilled piano and Olmos' soft growling trumpet are part of the backing for Washington's melancholic interpretation of Duke Ellington's "I Ain't Got Nothin' But the Blues."

Washington's performance of "Bewitched, Bothered and Bewildered" is a duet with pianist Nelson whose restrained backing adds to the intimacy of the performance. Escovedo's bongos kick off a Latin-feel to washington's reading of the jazz classic, "Invitation," with Nelson taking a stunning piano solo. Washington's hauntingly beautiful rendition of "Here's To Life" is perhaps the album's high point, which is high praise for an excellent recording. Bassist Dan Feizli accompanies Washington on a buoyant "Sweet Georgia Brown," where Washington displays his abilities scatting. A full band with Goines on clarinet, Cressman on trombone, and Molinelli-Hart on percussion provide an effervescent Brazilian groove for Washington as he sings the Jobim-de Moraes Bossa classic "No More Blues (Chega de Saudade)." Goines' blues-inflected clarinet is showcased along with Washington's vocal and scatting.

Guitarist Massanari returns to back Washington on Charlie Chaplin's "Smile." It closes a wonderfully produced and recorded CD that displays Washington's superlative jazz vocals.

I received my review copy from a publicist. Here is a recent performance of Kenny Washington singing "Cry Me a River."

Tony Bennett & Diana Krall Love Is Here To Stay

Tony Bennett & Diana Krall
Love Is Here To Stay
Verve Records/Columbia Records

While Diana Krall recorded duets with Tony Bennett (who just turned 92) for Bennett's duets recordings, this celebration of the music of Tony Bennett is their first full album together. It also is a celebration of the George Gershwin songbook and issued on the 120th Anniversary of Gershwin's birth. The 14 performances were recorded with The Bill Charlap Trio (Bill Charlap on piano, Peter Washington on bass and Kenny Washington on drums). 

Tony Bennett's voice perhaps is a tad frayed and not quite as supple as it once was, he remains a master song stylist. On the opening "S'Wonderful," Krall's sultry singing and the rapport between two produce a delightful track. Furthermore, Bennett still retains so much of his voice as heard on a superb "Nice Work If You Can Get It," as well as the trading of lyrics on "Love Is Here To Stay." In addition to the charm of the two, the Charlap trio's backing is sublime as on "I Got Rhythm." Bennett's phrasing certainly adds weight to his vocal on "I've Got a Crush OnYou," while she responds with congenial warmth. "Fascinating Rhythm," which was the first song Bennett recorded decades ago, is effervescently performed.

There are some solo selections, including Krall's superb reading of "How Long Has This Been Going On," with Kenny Washington's use of brushes and Charlap's wonderful accompaniment. I believe this a bonus selection for CDs purchased from Target stores, as is Bennett's vocal on "Oh, Lady Be Good." As indicated, the rapport between them is evident throughout the performances on this captivating recording.

I received as a download to review from a publicist. This review appeared in the January-February 2018 Jazz & Blues Report (Issue 382), although I have made minor changes to the review as published. Here the two perform "S'Wonderful," on the Tonight Show.

Inaugural Oscar Peterson International Jazz Festival to Honor Norman Granz Legacy

The Inaugural Oscar Peterson International Jazz Festival takes place during the weekend of February 16 - 18, 2018 with venues are in the historic Town of Niagara-on-the-Lake and nearby City of St. Catharines in the Niagara Wine Country. Spearheaded by Artistic Director, the celebrated jazz pianist Renee Rosnes, the world’s first (and only!) jazz festival bearing the name of Canada’s greatest jazz artist will honor and celebrate the great pianist's legacy of excellence. This Festival is not intended to simply present concerts in tribute to Oscar Peterson, but rather to truly present jazz, showcasing the rich history and the future of the music Oscar loved. In addition to Artistic Director Rosnes, the festival is led by Artistic Producer Kelly Peterson, and Executive Producers Christine Mori and Alexis Spieldenner of Bravo Niagara! Festival of the Arts.

Cecile McLorin Salvant performing "John Henry." 

The 2018 Festival will be dedicated to Norman Granz, celebrating the 100th anniversary of his birth. “Impresario, record producer, civil rights activist, and founder of Jazz at the Philharmonic, Norman Granz is arguably the most important non-musician in jazz history," said Kelly Peterson, noting his use of jazz concerts to attack racial discrimination. Jazz at the Philharmonic (“JATP” as it was known) was a series of all-star jam-session-style concerts that began in 1944 when Granz presented a concert at the Philharmonic Auditorium in Los Angeles. The first to present jazz in concert halls, giving it the same respect as classical music, he made it a contractual obligation for there to be no segregation in the concert venues, leading the charge against discrimination long before the Civil Rights Movement began. Granz himself said, “The whole reason for Jazz at the Philharmonic was to take it to places where I could break down segregation and discrimination.”

Jimmy Greene's performing "Beautiful Life” with Javier Colon singing on The Meredith Vieira Show. This was the title track of his Grammy nominated album hich is dedicated to his late daughter, Ana Marquez-Greene, one of the victims of the Dandy Hook School Shootings. 

Friday night, February 16, they will present an International All-Star "Jazz at the Philharmonic" with multiple GRAMMY Award and Jazz Poll winners, Cécile McLorin Salvant, Jon Faddis, Jimmy Greene, Michael Dease, Benny Green, Christian McBride, and Kenny Washington. They will be performing in a JATP style program at the Festival’s all-star opening night event at the FirstOntario Performing Arts Centre, in St. Catharines. Saturday afternoon, the historic 1792 St. Mark’s Anglican Church in Niagara-on-the-Lake will be the venue for screenings on Saturday afternoon of two documentaries produced by Norman Granz (one of which, "Jammin’ the Blues," was nominated for an Oscar), as well as a JATP concert film. Tad Hershorn, jazz archivist and Granz biographer, will moderate, along with Jacques Muyal, long-time associate of Granz.

The Christian McBride Trio of a few years ago, with pianist Christian Sands on piano and Ulysses Owens on drums.
 
Saturday evening will bring a Gala affair to Stratus Vineyards in Niagara-on-the-Lake with Double Portrait, the piano duo of the Festival’s Artistic Director Renee Rosnes, the 5-time JUNO Award-winning pianist, and GRAMMY Award-winning pianist Bill Charlap. The post-concert Gala Reception includes hors d'oeuvres by Chef Horne of Canoe Restaurant, Stratus wine, and Soma chocolate. The Festival concludes on Sunday at Stratus Vineyards with its grand finale, featuring Canadian artists Carol Welsman, Kevin Turcotte, Mike Murley, Robi Botos, Dave Young, and Jim Doxas in another Jazz at the Philharmonic-style concert. Sunday afternoon’s event will also feature the premiere presentation of the newly created Canadian Jazz Master Awards.

Carol Welsman seen performing "Fly Me To The Moon."

The Festival's website is https://www.opjazzfest.org/ and the email address is info@opjazzfest.org. They are on Facebook at https://www.facebook.com/opijf, the twitter feed is @opjazzfest and the instagram link is @oscarpetersonjazzfest.

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.

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. 

Andy Bey Knows It "Ain’t Necessarily So"

On the new disc, Ain’t Necessarily So (12th Street Recordings), veteran pianist and vocalist Andy Bey is heard on a live 1997 recording from New York City’s Birdland. It was recorded a few months after his acclaimed studio date, Ballads, Blues & Bey, and had him backed by Peter Washington on bass and Kenny Washington on drums, except for Vito Lecszak on drums for two tracks.

Possessing a broad vocal range,going from a deep bass to a bluesy falsetto, Bey phrases his vocals in a horn-like fashion, extended phrases punctuated by some vocalese, and thoughtfully emphasizing some of the lyrics. As he shows on a brief solo during On Second Thought, Bey certainly is not lacking in piano technique, his playing is marked by its spare and understated approach, evoking the melody through the use of chords and to help underscore his interpretations of such songs the Gershwin classic opening this set; the Kern-Hammerstein staple, All the Things You Are, Someone to Watch Over Me; and the Ellington ballad, I Let A Song Out of My Heart.

Even on the instrumental, If I Should Lose You, he makes use as much of the silences as the notes he plays, while throughout, Kenny and Peter Washington unobtrusively fill out the performances that were so enthusiastically received the evening this was recorded.

This review originally appeared in the March 2008 Jazz & Blues Report (Issue 302) and I received my review copy from that publication or a publicist for the recording. Here is a video of Andy Bey performing.