The 14 Jazz Orchestra - Cartoon Bebop

The 14 Jazz Orchestra - Cartoon Bebop - Dabon Music LLC

Here is the latest release from the South Florida Big Band under the leadership of composer/arranger Dan Bonsanti. About this 13 piece band's prior release, "The Future Ain't What it Used To Be," I wrote that it was "effervescent, contemporary big band recording with a nice selection of songs and strong musicianship." Bonsanti contributed two compositions, the title track and "A Day Tripper's Blues Buffet," which combined motifs from the Beatles number with a blues. Other pieces come from Chick Corea, Stanley Clarke, Airto Moreira, Herbie Hancock, Wayne Shorter, and others. 

The personnel included folks recording out of their home studio in part because of the pandemic. He engaged folks from around the country, including trumpet players Bretty Murphey in Wisconsin and Jason Carder in Arizona, and trombonist Dana Teboe in Maine. Bonsanti also engaged drummer Peter Erskine in Los Angeles, and woodwinds players Ed Maina in Tennessee and Tom Tinko in New Jersey. Guitarists Lindsey Blair and Randy Bernsen, drummers Lee Levin, Jack Ciano and Mike Harvey, woodwinds players Ed Calle, Peter Brewer, and Neal Bonsanti (Bonsanti's brother), bassists Nicky Orta, Tim Smith, Jamie Ousley, and Matt Bonelli, pianists Mike Levine and Kemuel Roig, and percussionist Richard Bravo all recorded from different locations around Florida. Bonsanti credits his engineer, Mike Levine, for the superb job stitching together the various parts into a seamless whole.

Bonsanti's handsome arrangements add to the flavor of this recording. The title track starts the fun and is based on music from the old Rocky and His Friends cartoon with some motifs from Charlie Parker and Thelonious Monk added. It has an attractive arrangement, a robust tenor sax solo from Ed Calle, Jason Carder's searing bop trumpet, and Ed Maina's fiery alto solo supported with fresh horn riffs. Also of note is Bonsanti's treatment Brazilian flavor of Moreira's "Misturada." There is sparkling piano from Kemuel Roig and Lee Levin's crisp drumming. Stanley Clarke's "Dayride" provides big band fusion funk with Lindsey Blair standing out on guitar and Calle taking it to the alley in tenor sax.

There are a couple of Chick Corea tunes heard here. "Got a Match?" is taken at a feverish tempo with searing Calle tenor sax and Ed Maina's effervescent piccolo. "Duende" is a lovely ballad with Neil Bonsanti (Dan's brother) on oboe. Herbie Hancock's "Driftin'" is a straight-ahead relaxed swinger with Maina tearing into a bluesy solo while Jason Carder's mute trumpet evokes Sweets Edison. Then there is Leslie Bricusse's lovely ballad, "When I Look Into Your Eyes," that was written for the movie "Dr. Doolittle." It has been recorded by Jack Jones, Sammy Davis Jr., Nancy Wilson, and Tony Bennett. It is a showcase for Calle's warm tenor sax set against a beautiful setting. There is also a striking rendition of Wayne Shorter's "Infant Eyes," with Randy Bernsen's enticing guitar and Mike Levine's spare, well-crafted piano solo.

The album closes with "A Day Tripper's Blues Buffet," which comes off like a mash-up of the Beatles' classic, "Night Train," and "Blues in the Night." This spirited performance features Ed Calle's rousing tenor sax and Lindsey Blair's blues-rock guitar. It caps another excellent big band recording from The 14 Jazz Orchestra.

I received my review copy from a publicist. Here is a pre-pandemic performance of The 14 Jazz Orchestra.

Brian Scanlon Brain Scan

Brian Scanlon
Brain Scan
Scan Man Music

Having worked as a studio musician for recordings, movies, and television shows, veteran saxophonist Brian Scanlon has a debut album as a leader. In addition to studio work, he has played behind some great names and perhaps is best known for his work with The Gordon Goodwin's Big Phat Band. Originally from New Jersey, it was while playing with the touring company of "Pippin," which led him to become a member of Ben Vereen's road band. Eventually, he ended up in Los Angeles, which led to his work as a studio musician.

On "Brain Scan," he plays both tenor and alto saxophones, composed eight originals, and interpreted one older tune. His backing musicians include including Tom Ranier and Ed Czach on piano, Trey Henry on bass, Peter Erskine on drums, Andrew Synowiec, Larry Koonse, and Avery Scanlon on guitar, and Joey De Leon on percussion. His compositions display a bunch of influences, including an affinity for funk and Latin grooves, with ingenious use of tempo changes.

The album starts with the title track, a playful number that evokes classic Blue Note recordings. His bright, fluid alto sax is complemented by Czach's comping and spirited guitar from his son Avery. "El Entrometido," with its percolating Latin groove, showcases his robust, driving tenor sax. Trey Henry and Peter Erskine are superb here and throughout this album, while Tom Ranier adds a choice piano solo. 'Re-Entry" takes us in more of a Grover Washington or David Sanborn funk-jazz vein while "Not Watching (For Nancy)" is a beautiful ballad performance with Scanlan on alto sax. Synowiec's guitar enhances it.

An energetic rendition of "Harlem Nocturne" is the one non-original and benefits Scanlan's arrangement for the quartet and the tempo shifts. With the rapid tempo, Scanlan impresses with his facility, clean delivery, and imaginative solo. Ranier and Erskine both solo on this number. Guitarist Koonse is present on the loping lament "Mark's Time." Scanlon wrote if for his brother who died of AIDS in 1992. Koonse adds a thoughtful solo in addition to that from Scanlon. Scanlon's son Avery returns for the closing "Scandalized," with its late-night mood.

There is plenty of excellent music to be heard on "Brain Scan." With excellent tunes, the leader's warm, and robust saxophone, and a terrific studio band, Brian Scanlon's debut as a leader is quite auspicious.

I received a review copy from a publicist. Here is a video of Brian Scanlon performing.

Calabria Foti Prelude to a Kiss

Calabria Foti
Prelude to a Kiss
Moco Records

For her 4th CD release, vocalist/violinist Calabria Foti recorded with a large orchestra and legendary arrangers on the podium in an iconic Capital Records recording studio. "Prelude To A Kiss" is full of grand, sweeping, orchestrations from celebrated arrangers, including Johnny Mandel, Roger Kellaway, Jeremy Lubbock, Jorge Calandrelli, and Foti’s husband, Bob McChesney (also the producer on the album). There are also and small band swingers featuring a stellar ensemble of musical greats: Roger Kellaway, piano; Trey Henry, bass; Peter Erskine, drums; Larry Koonse, guitar; and Bob McChesney, trombone. Singer-guitarist John Pizzarelli guests on “It’s The Mood That I’m In.”

Ms. Foti says, "This album is so special to me because of all the elements: The mix of glorious standards with the original songs, recording in the studio where so many of my heroes have made history, a most audacious team of musicians, with my husband at the helm and my daughters in the booth as I was singing. I was so emotional! My heart was so full and is full to this day. I hope this music touches your heart and draws you closer to your loved ones."

The album is special in part because of Calabria Foti herself. She has a gorgeous voice along with her delivery with marvelous pitch and tone, along with her nuanced phrasing and flawless diction in singing each word. Matching her melodious voice is the immaculate backing, whether those selections with a full orchestra or with a small, swinging combo. This is evident from the beautiful opening title track where the sweet-sounding and the sensual romanticism of her singing is supported by Bob McChesney's lush arrangement. This selection also is one of two songs with a violin solo along with McChesney's lovely trombone solo. Guitarist Larry Koonse is featured on the bossa nova "I Had To Fall in Love With You," which was arranged by McChesney and Johnny Mandel. Koonse's acoustic guitar solo adds to the charm from Ms. Foti's vocal.

"On the Street Where You Live," is an excellent small group recording with Ms. Foti exchanging fours scatting with Peter Erskine. This is followed by a gorgeous vocal on "Waltz For Debby" with a lovely guitar solo from Koonse. Roger Kellaway wrote the wondrous arrangement for "When I Look In Your Eyes," providing a backdrop for the sensualness of her vocal and McChesney's solo. "Goodbye" is an original from Ms.Foti, not the Gordon Jenkins composition that served as Benny Goodman's theme. It is about leaving someone who she does not want to leave and heartfully sung. Another standout selection is the "Backyard Medley." It is a swinging small group mashup of "Back in Your Backyard," "Give Me the Simple Life," and "The Love Nest," which she arranged. In addition to her superb vocal, Kellaway takes a splendid solo here.

Calabria Foti calls this recording a celebration of "all of love, especially the warmth, tenderness, and feeling of belonging that comes from being with family and loved ones." It is a glorious celebration with her outstanding vocals and the impeccable backing provided. She does not record frequently, but each one of her recordings is a treasure.

I received a review copy from a publicist. Here is the EPK for this recording.

3 Nights in LA with George Garzone, Peter Erskine, Alan Pasqua, and Darek Oles

George Garzone, Peter Erskine, Alan Pasqua, and Darek Oles
3 Nights in LA
Fuzzy Music

"3 Nights in LA" documents a January 2019 performance at a new Los Angeles club, Sam First. Peter Erskine took to the bandstand with pianist Alan Pasqua and bassist Darek Oles, his fellow faculty members at University of Southern California's Thornton School of Music joined by tenor saxophone player George Garzone, in town to teach a master class, for three nights, two sets a night. The result is this three-disc release, with each disc representing a different night with a total of 20 tracks and over three hours of music.

Erskine is likely the best known of these players from his time with Weather Report as well as playing with the likes of Steps Ahead, John Abercrombie, Kenny Wheeler, and Marc Johnson. Pianist Pasqua, a veteran of the New Tony Williams Lifetime and Allan Holdsworth, and bassist Oles, one of the most sought after bassists on the West Coast, have been playing with Erskine for over a decade. Tenor saxophonist Garzone, besides being a formidable master of the saxophone is a revered educator, with noted students including Joshua Redman, Branford Marsalis, and Donny McCaslin. Garzone first played with Erskine in 1998, an experience that left a deep impression and they have crossed paths several times since.

Those three nights in January produced some superb music. Erskine and his trio would be delightful to hear by themselves, but add Garzone's tenor saxophone, and the music is excellent in the vein of the classic John Coltrane Quartet as well as the '70s and '80s music of Dexter Gordon and Art Pepper. One may hear elements of Coltrane, Sonny Rollins, Dexter Gordon, Johnny Griffin, Hank Crawford and others in Garzone's full-toned, robust playing. The Coltrane tone may be most evident on the excellent rendition of the blues, "Equinox," the lovely ballad "I Want To Talk About You," but also on Garzone's "Tutti Italiani," where he builds his solo with fire followed by Pasqua's lyrical solo. There are three superb, different interpretations of "Have You Met Miss Jones?" and a rousing rendition of Bronisław Kaper's "Invitation."

There is also Garzone's original "Dedicated to Michael Brecker," which sounds like a contrafact of Lerner and Loewe's "If I Ever Would Leave You" from "Camelot." Garzone is fabulously complemented by Pasqua's rhapsodic solo and the support by Oles and Erskine (who takes a thoughtfully constructed solo here). The remaining music of these discs is also superb making "3 Nights in LA" a terrific release.

I received a download to review from a publicist. There is more on this recording at Peter Erksine's website, https://petererskine.com/featured-album/3-nights-in-la/. Here is a promo video for this recording.

Here is a video from the Sam First engagement.

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."

Bob Mintzer All L.A. Band

Bob Mintzer
All L.A. Band
Fuzzy Music

While perhaps best known for his tenure with the Yellowjackets, saxophonist-composer-arranger Bob Mintzer has been writing and leading big bands for some 40 years. His new album "All L.A. Band" on Fuzzy Records revisits ten of his compositions that he had written over the years. Drummer Peter Erskine produced this recording as well as anchored the rhythm section for this studio big band. Few of the band members are familiar to this listener and with few exceptions, the soloists are not identified.

There is a mix in material and grooves with several numbers having a definite Afro-Cuban slant, others a Basie-ite flavor and others a funk/R&B flavor. The mood is set with the tropical flavor of the lively opener "El Caborojeno," followed by a Count Basie Band styled "Havin' Some Fun," and then "Home Basie" with a mix of R&B and Basie swing with terrific blues-rooted tenor sax playing (and while I might suspect Mintzer of being the player here he refers to the soloist in the third person in the liner notes). "Ellis Island" is another Afro-Cuban laced number with striking interplay between brass and reeds and a strong baritone sax solo.

"New Rochelle" was originally composed for The Yellowjackets and later recorded by Mintzer's big band and again is a lively swinging number set against a back beat. Mintzer describes "Runferyerlife" as "a rhythm changes tune taken at a pretty good clip," and his notes imply he takes the tenor solo with his use of shorter percussive phrases to blend with the rhythm section. There is nice scoring of the horns also backing a suitably blustery trombone solo. After the relaxed fun of "Latin Dance" with its funky bass line, Mintzer revisits the aptly titled, "Slo Funk," which was originally written for Buddy Rich's Big Band years ago.

The closing "Tribute" is another Basie styled number dedicated to "Thad Lewis and all of the great musicians who came out of the Basie band." Nice piano from Russ Ferrante to set the tune and the rhythm of Edwin Livingston on bass and Peter Erskine is first-rate here as on this entire recording. There is plenty of wonderful playing on this recording enhanced by the arrangements and the lively compositions. Not only does this make for fine listening, but all the music was originally recorded for the MINTZER Big Band Essentials play-along app, for all instruments which is available at the App Store.

I received my review copy from a publicist. Here is a selection for you to sample this recording.

Clare Fischer - Out of the Blue

Brent Fischer has been busy preserving and perpetuating his father's legacy since the legendary Clare Fischer passed away in 2012. "Out of the Blue" is the latest Clavo Records release of previously unissued old and new recordings by the pianist, composer and arranger with his original keyboards supported by his son and producer Brent who provided arrangements and played Percussion Instruments and Bass; Peter Erskine or Mike Shapiro on drums, and Denise Donatelli & John Prolux -providing vocals for "Out of the Blue."

This recording contains several of Fischer's original compositions along with seven jazz and Brazilian standards. Son Brent's notes in the attached booklet provide a context for this posthumous release as well as details each of the selections. Listening to this a number of times one notices a stately elegant quality to Clare Fischer's piano on the opening "Love's Walk,' with Peter Erskine and Brent accompanying him. What also one notices is the articulation and the fascinating development of the musical themes. He employed an electric keyboard for "Tema Do Boneco De Palha (Theme Of The Straw Doll)," one of several Brazilian performances here, and he makes use of the instruments tonality in constructing the performance here and at the same time retain the relaxed, uncluttered feel of his piano.

"When You Wish Upon A Star / Someday My Prince Will Come" is a marvelous solo piano feature where he finds common threads between the two songs. "Starbright" is another fascinating performance with his electric keyboard suggesting a vibraphone at times. "Cascade Of The Seven Waterfalls," is another Brazilian delight, while the title track features the vocals of Donatelli and Prolux adding both horn-like lines and scatting against the trio backing. "Millbrae Walk," inspired by the late Cal Tjader, again has the leader evoking vibes on his keyboards on this lively performance which is followed by a haunting solo rendition of the Jobim-Gilbert-De Moraes penned "Amor Em Paz." Johnny Hodges' "Squatty Roo," is a delightful, sprightly duet between father and son and then followed by an introspective, poetical reading of Django Reinhardt's lovely "Nuages." Again it sounds like vibes being (along with piano) played on a highly energized performance of Fischer's "Novelho," with a bass solo and trading fours with the drummer followed by some lively piano. The closing medley of Brazilian classics "Carnaval / A Felicidade / Samba De Orpheu," further displays his ability to bring out an emotive quality of each note.

In the notes, Brent Fischer hints at more musical delights from his father. Certainly "Out of the Blue" will whet the musical appetite for these.

I received my review copy from a publicist. Here is some vintage Clare Fischer.