Andreas Varady The Quest

Andreas Varady
The Quest
Resonance Records

One of a number of younger artists Quincy Jones is currently championing, he discovered the Slovak Varady when introduced to him at the 2012 Montreux Jazz Festival when he was 12. Jones in the liner booklet states, "It's not every day that you see a 15-year-old playing like George Benson! There was something about him and he had the same type of spark that I had seen in some of the musical greats I previously worked with." Varady produced this recording and did all the composing and led this ensemble that includes his brother Adrian on drums, father Bandi on bass, fellow Slovak Radiska on saxophone and the brilliant Venezuelan-born pianist, Benito Gonzalez.

He may have been a prodigy when Quincy Jones first encountered Varady, who is of Hungarian Roma descent. Varady now displays not simply formidable chops, in what now might be considered traditional guitar vein of Montgomery, Burrell, Grant Green and the like, but is also a composer leading an excellent band. The brief "Lost Memories" introduces this ensemble with a dynamic groove as the leader's fleet runs are matched by the band. "Radio Joint" opens with Varady and Radiska playing the main theme over a repeated piano line before Varady generates a lot of heat in his solo before Radiska barrels forth in an energized post-Coltrane-mode as Gonzalez comps and solos in a manner akin to McCoy Tyner. Like Radiska, Gonzalez shows his own musical personality. There is subtle electronic effects employed at the closing portion of this performance. Gonzalez's lovely opening for "Follow Me" provides a tranquil beginning before the full band add a bit of energy with 15-year-old Adrian displaying a dynamic attack before playing more gently under the lyrical solo from Gonzalez. This is followed by the two brothers playing explosively together.

"The Time is Now" displays Varady's fleet and fluid attack along with his finesse in negotiating the changes, while the brief interlude "Patience" involves some evocative use of effects. The album gets its title from "The Quest to Dopeness." It opens with Gonzalez playing inside the piano with the two brothers add texture and colors before Varady and Radiska state the theme and negotiate the shifting tempos and melodic lines prior to the leader taking a crisp, fleet solo followed by the saxophonist's husky solo (even briefly quoting Coltrane). This is all set against the pianist's block chord and explosive drumming with the younger Varady soloing with the band riffing in support. "Story" is a beautiful composition with Varady and Radiska playing wonderfully in a lyrical manner. "Radiska" finds the group again in a post-Coltrane vein, with magical playing from Gonzalez who again channels Tyner . Also on this is  Varady's own scintillating solo and Radiska's strong sax here. One cannot lose sight of the superb work of Bandi and Adrian in providing a strong foundation. More electronic effects mix with a serene melody for the concluding "Outro."

This is the third recording from Andreas Varady, and showcases his considerable talents along with an excellent band resulting in this superb recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378), although I have made a few stylistic changes. Here is the promo video for this album.

Bill Evans Another Time: The Hilversum Concert

Bill Evans
Another Time: The Hilversum Concert
Resonance Records

This is a follow-up to Resonance Records' highly acclaimed "Some Other Time" that similarly documented the short-lived Evans trio of bassist Eddie Gomez and drummer Jack DeJohnette (who would leave Evans when recruited by Miles Davis). While that album was a studio recording, this was live recording made at the studios of the Netherlands Radio Union two days after the studio album. Like all Resonance reissues, the production is exquisite with a wonderfully illustrated booklet containing essays from Marc Myers on the music contained; Dutch music critic Bert Vuijsje; producer of the radio broadcast, Joop De Roo; recollections of the concert and performing in Holland by Gomez and Dejohnette and pianist Steve Kuhn's recollections on Evans and his piano style.

The music is sublime with Evans brilliance and dynamic lyricism evident from the opening moments of Andre and Dory Previn's "You're Gonna Hear From Me," with Gomez's brawny bass anchoring the performance while DeJohnette's use of brushes adding accents while Gomez takes a dynamic solo. It is followed by Evan's waltz, "Very Early," that opens slowly before quickly accelerating into a brisk frolic. Evans' romanticism and intelligence is evident on the treatment of the standards, "Who Can I Turn To," "Alfie," and "Embraceable You."  After Evan swings "Who Can I," Gomez is superb on his solo, with DeJohnette helping drive things along, and then DeJohnette's brush work is impeccable on "Alfie." A brilliant Gomez bass solo opens the Gershwin classic and after stating the theme, Evans and Dejohnette enter but serving as support for the bassist. A lovely "Emily" is followed by an energetic interpretation of Miles' "Nardis," with DeJohnette imaginatively, and vigorously, soloing.

A spirited "Turn Out the Stars," and a quick "Five," close this recording. It is another superb Resonance reissue of musical history that has been lovingly been made available for contemporary audiences and certain to receive the same accolades that were given to "Some Other Time."

I received my review copy from a publicist. This review appeared originally in the September-October 2017 Jazz & Blues Report (Issue 374).  

 

Shirley Horn Live at the Four Queens

Shirley Horn
Live at the Four Queens
Resonance Records

Following up recent recordings by Larry Young, Thad Jones-Mel Lewis Orchestra and Stan Getz-Joao Gilberto, the non-profit Resonance Records has just issued Shirley Horn "Live at the Four Queens," recorded by KNPR on the night of May 2, 1988 at a lounge in that Las Vegas casino and hotel. She was accompanied that night by her regular trio of bassist Charles Ables and drummer Steve Williams.

Over a decade after she passed away, these recordings are wonderfully restored and capture the elegance and the spirited musicianship of this great lady. There are a couple of terrific instrumentals, Randy Weston's "Hi-Fly," that opens this program, and the Rodgers and Hart classic "Isn't It Romantic," that make it clear that she would have been remembered even if she never sang a note, but when she interprets "You'd Be So Nice To Come To," one feels the magic her singing has that led to such great artists as Miles Davis and Wynton Marsalis adoring her.

There are so many treasures including a couple of Jobim penned gems, "Meditation," taken as slow a tempo as possible followed by her playful "The Boy From Ipanema." There is a stunning "Lover Man (Oh Where Can You Be?). The nuances of her singing might lead to comparisons with Billie Holiday. However she does not imitate Lady Day. Instead, like Holiday,she has a rare ability to move a listener while employing a narrow vocal range.

Along with Ms. Horn's wondrous performances, the CD comes with a 56 page booklet with reminiscences of her along with background on her career and these performances, recollections of Richard Seidel, who produced her for Verve and Steve Williams discussing his time playing with her, vocalist Sheila Jordan's memories about her friend as well as the recollections of Shirley Horn's Washington by her friend and neighbor, Washington DC radio personality Rusty Hassan. This booklet is also available as a pdf file for those purchasing this as a download on iTunes. This booklet is part of the packaging that adds to the many pleasures of Shirley Horn's music on this excellent release.

I purchased this. Here is Shirley Horn performing.

Wes Montgomery Echoes of Indiana Avenue

Resonance Records, which last year issued a live Freddie Hubbard recording for the first time, has just issued an important historical recording by the great guitarist, Wes Montgomey, “Echoes of Indiana Avenue.” In a handsomely hard digipac package, Resonance has acquired the rights to the nine performances issued on this that date from 1957-1958 and include four studio performances and five live performances. Michael Cuscuna, among the contributors to the booklet with background on these recordings, Wes and the Indianapolis Jazz scene of the time, suggests these may have been originally recorded in order to help Wes secure a record deal with Pacific Jazz, although it was in 1959 when cannonball Adderly saw Wes and recommended him to Riverside Records that his place as a major jazz guitarist and innovator would be established.

Musically one can hear the elements of his music including his touch, mix of single notes and chords, the use of octaves and his indelible swing. We can contrast his delicate playing on “Darn That Dream” with driving, hard bop playing on “Straight No Chaser,’ with brother Buddy on the piano. Mixing his fluidity with a fertile musical imagination this live performance exhibits the same qualities that would dazzle in a couple years hence with his Riverside releases.

Shorty Rogers’ “Diablo’s Dance,” is a lively, latin-tinged number which starts in a light, swinging fashion until about 1:30 into the performance when Wes takes off, with a piano solo from Melvin Rhyne which is not as dazzling as Montgomery is. Rhyne is heard on organ on the moody “Round Midnight,” with Monk spare, evocative playing delving into one of Monk’s most haunting melodies. On Horace Silver’s “Nica’s Dream,” the performance starts politely enough with a light swing with Montgomery displaying restraint even in his solo.

The last four numbers are live performances with a group including pianist Earl Van Riper, and exhibit a tad bot more presence by Montgomery than the studio recordings. “Take The A Train” has lively solos from both. It is followed by a lovely “Misty” as well as a terrific “Body & Soul” where Montgomery’s technique and nuanced playing is outstanding. The final performance is a stunning, atmospheric improvisation, “After Hours Blues,” with Montgomery providing hard chords (in the vein of T-Bone Walker) to accent the opening late night blues piano solo from Van Riper. On his own solo one hears a blend of string bending, chords and single note runs as the audience responses delighted laughter, whoops and encouragement. It unfortunately fades out but one can imagine him playing another ten minutes in this vein without repeating his ideas.

The sound and packaging is first-rate and if not essential Wes Montgomery, this is certainly an important release that lovers of jazz guitar and Wes Montgomery will want. 

I do not recall if I received a review copy or purchased this. This review is from several years past and I do not recall if it was published. Resonance has subsequently issued a double CD package of even earlier recordings of Wes "In the Beginning."

Christian Howes Fiddle Takes Listeners Out of The Blue"

This writer had the pleasure of seeing violinist Christian Howes perform at the DC Jazz Festival performance as he was part of pianist Marian Petrescu’s band in a tribute to Oscar Peterson. He dazzled with his technique but his music was playful, thoughtful and passionate. His new recording on Resonance Records is “Out of the Blue” and is with a group including Robben Ford. Besides Ford, other players on this album include pianist Tamir Henderson, organist Bobby Floyd, bassists Ric Fierabrazzi (electric) and Kevin Axt (acoustic) and vocalist Sharon Hendrix.

Chick Corea’s “Fingerprints,” a take on Wayne Shorter’s “Footprints,”is first up with its exhilarating violin from the leader followed lively solos from Henderson, Axt and then Ford with the tempo taken down. Often labelled a blues-rock guitarist, Ford is quite home in this jazz setting and eschewing some of the more rock-oriented elements of his playing. His playing adds a nice contrast to Howe’s rich, flowing tone. The Fats Domino classic “I’m Walkin’,” is taken at a crisp gait as Howe lovingly embellishes the melody with his marvelous playing. Howes rendition of Horace Silver’s “Cape Verdean Blues,” swings under his twisting, driving violin lines, while “Gumbo Klomp,” is a light second-line finger-snapper with both keyboards present and Ford’s slightly crackling tone adding to the festive feel. Howe’s opening playing on the title track evokes to these ears old-timey music before his moody solo followed by some crisp staccato playing from Ford that contrasts with Howes’ moody playing.

Sharon Hendrix handles the vocal on the R&B flavored “Seek and Ye Shall Find,” with some really nice organ from one-time Ray Charles organist, Floyd and Ford shines here as well before his playing is the counterpoint for Howes vocalized playing. “Bobby’s Bad,” is a lively Howes original that is built on a memorable funky riff and dedicated to Floyd, his one time mentor. Carla Bley’s “Sing Me Softly of the Blues,” is a marvelous performance with both Howes and Ford (arguably the best of his superb playing on this) hinting at “C.C. Rider” in their statements here. Ford is not on the the hot pepper tempo rendition of Ornette Coleman’s “When Will the Blues Leave,” with Howes working off Henderson here along with solos from Axt and Rosenblatt. The disc closes with Booby Floyd on piano opening a delightful duet with Howes on the classic “Sweet Lorraine.”

“Out of the Blue” is a delightful album that with its bluesy foundation is both substantial and accessible. Howes swings and plays thoughtfully, mixes in some humor yet never loses his feeling on this very appealing recording.


This review has appeared in the September 2010 Jazz & Blues Report. The review copy was provided by either Resonance Records or a publicist for the release.