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.

Lizzie Thomas New Sounds From the Jazz Age

Lizzie Thomas
New Sounds From the Jazz Age
Lizzie Thomas Music

Originally classically trained, Lizzie Thomas discovered, after degrees in Vocal Performance and Music Education, that she found personal expression in jazz and the American Songbook. On this, her fourth album, she provides some novel interpretations of nine classic standards from the American Songbook. Helping her with these imaginative arrangements and vigorous vocals is a sterling backing band. The studio players include John Colianni on piano, Jay Leonhart or Boots Maleson on bass, Russell Malone or Matt Chertkoff on guitar, Omar Daniels on tenor sax, flute, Felix Peikli on clarinet, Bernard Linette on drums, and Doug Hendrichs on percussion.

One is struck on the opening "Fascinating Rhythm" by Thomas' vocal command, and her ability to negotiate tempo and key changes. Peikli's clarinet adds to the mood here. One suspects she would be as enthralling on a musical stage as a night club or concert stage. Russell Malone's solo guitar provides for her intimate opening to "Our Love Is Here To Stay," before the full band enters for this alluring performance. Daniels' flute is outstanding here. Daniels' sensual tenor sax solo and Colianni's sparkling piano contribute to a hauntingly gorgeous performance on Duke Ellington's "I Didn't Know About You." Malone adds some trebly, blues-drenched guitar to the lightly rocking, "You'd Be So Nice To Come Home To." Daniels adds a robust tenor solo while Thomas adds a brief scatting section.

Opening with a light Latin groove, Thomas sings enticingly on "In the Still of the Night," with nuanced delivery of the lyrics. Colianni stuns with his striking, and strong, accompaniment. There is a breathtaking rendition of Jobim's "One Note Samba," where she dazzles with her phrasing. Also, her handling of the lightning tempo during this performance leaves one astonished by her vocal technique. There is a bouncy "Cheek To Cheek" and a bubbly, yet sensual "Close Your Eyes." On the latter number, her vocal (including her horn-like scatting) weaves around Peikli's woody clarinet and Chertkoff's guitar obligatos.

"The Very Thought of You" benefits from the Afro-Caribbean groove underlying Thomas' seductive vocal, with marvelous piano, guitar comping, and Daniels' airy flute. It concludes a wonderfully rendered fresh and imaginative takes on these American songbook classics.

I received my review copy from a publicist. Here is Lizzie Thomas performing "Fascinating Rhythm."

Diana Krall Turn Up The Quiet

Diana Krall
Turn Up The Quiet
Verve Records

The latest recording by the acclaimed and honored pianist and singer Diana Krall presents her on a program of mostly standards (and love songs) from the American Songbook. Co-produced by her with the legendary producer Tommy LiPuma (this may be the last album LiPuma was involved with), she also chose the repertoire, conceived the ensemble arrangements and gathered three distinct bands for these sessions. First there is the trio of Diana, bassist, Christian McBride and guitarist, Russell Malone. Then there is a quintet of Krall, Karriem Riggins on drums, Tony Garnier on bass, the fiddle of Stuart Duncan and the guitar of Marc Ribot. The final ensemble is guitarist, Anthony Wilson, bassist, John Clayton Jr. and drummer, Jeff Hamilton (with Stefon Harris on one selection). Several tracks also have a full string section whose orchestrations are by Alan Broadbent who also conducted them.

With the marvelous personnel, Krall plays and sings with her usual elegance. The title is quite apt with her soft, almost whispered, singing on "Like Someone In Love," that opens with with just McBride's melodic bass before her piano and Malone's guitar joins in, with Krall, Malone and then McBride taking solos. It is followed by an interpretation of "Isn't It Romantic," taken almost at a crawl's pace with lovely guitar from Anthony Wilson with Stefon Harris' vibes and Jeff Hamilton's brushwork accenting her own piano with strings coloring Wilson's precious single-note guitar on a performance imbued with romance. Without Harris, this group returns for "L-O-V-E," gently supporting her solo here, as well as on the immortal Cole Porter "Night and Day," with strings and perhaps a slight Brazilian tinge from Wilson's chorded guitar accompaniment.

"I'm Confessin' (That I Love You)," features the quintet with Karriem Riggins on drums, Tony Garnier on bass, the fiddle of Stuart Duncan and the guitar of Marc Ribot, with Duncan's fiddle lending a gypsy quality while Ribot has a neat single note solo after his chorded accompaniment. Ribot's use of tremolo helps set the atmosphere for the exquisite rendition of "Moonglow," with Riggins' deft brushes matching Krall's own soft-spoken vocal, and followed by Ribot's lyrical phasing and tone in his solo. There is a delicate quality to Krall's vocal on "Blue Skies," with Malone and McBride. The Clayton quartet adds light latin backing to "Sway," with the strings adding to the performance's romantic quality. "No Moon at All" is a duet with Clayton who is sublime in his accompaniment here.

The Krall-Malone-McBride trio with sting session provides the setting for the alluring rendition of "Dream," with some special playing from Malone, before the easy swing, and delightful vocal and piano, of "I'll See You In My Dreams," with a gypsy jazz flavor imbued by Ribot's guitar and Duncan's fiddle that closes a marvelous album that may turn up the quiet but also turns up the romance in good measure.

I received my review copy from a publicist. This review originally appeared in the May-June 2017 Jazz & Blues Report (Issue 372). Here is the audio for "Night and Day," from "Turn Up The Quiet."

Houston Person, Rene Marie and Etienne Charles Among Headliners For 2017 Mid-Atlantic Jazz Festival

 

 Houston Person

The line up for the 2017 Mid-Atlantic Jazz Festival, to be held February 16th through 19th , 2017 at the Hilton Hotel in Rockville, MD has been announced with over 150 artists performing. Artist groups appearing on our main stage include Rene Marie, Houston Person, Etienne Charles, Vanessa Rubin, Kathy Kosins, Paul Carr, The Mid-Atlantic Collegiate Jazz Orchestra with guest conductor Delfeayo Marsalis, Russell Malone, Bobby Broom and Paul Bollenback and Steve Turre. A first this year for the MAJF Event and its producer the Jazz Academy of Music, is the pre-festival Mardi Gras fundraiser Gala featuring our own Jazz Academy Youth Orchestra opening for Delfeayo Marsalis and the Uptown Jazz Orchestra. This pre-festival gala offers a New Orleans theme with New Orleans Jazz, New Orleans Cusines and New Orleans Fun. The Mardi Gras Galla will be held on Thursday February 16th, 2017 starting at 6pm at the Hilton. Proceeds from the Gala will support the Jazz Academy Education Programs. Also new for this year will be a Discovery Stage for which emerging artists can submit an application to Paul Carr, Executive and Artistic Director of the Festival. 

As stated this year opens with a Festival Gala on Thursday evening February 16 and features Delfeayo Marsalis and the Uptown Jazz Orchestra. Also appearing will be the Jazz Academy of Music under Paul Carr's Direction. Friday Night opens on the Ronnie Wells Main Stage with the Mid-Atlantic Jazz Collegiate Orchestra, conducted by Delfeayo Marsalis followed by the wonderful vocalist Vanessa Rubin with tenor saxophonist Houston Person closing this evening's main stage. Herb Scott and Candice Bostwick will be performing in the MAJF Club and David Cole and Main Street Blues will be laying down blues in the MAJF Juke Joint. At Midnight, Friday, Saturday and Sunday, the MAJF Midnight Jam Session with the Wes Biles Trio takes place in the MAJF Club.

Rene Marie

Saturday Afternoon has the "Mid-Atlantic "2017 Jazz Voice" Finals," the Festivals annual jazz vocal competition on the Ronnie Wells Main Stage. Performing in the MAJF Club in the afternoon are vocalist Chad Carter, the Terry Koger Sextet and Iva Jean Ambush and Ambuscade. Vocalist Iva Jean Ambush will be doing a tribute to Ella Fitzgerald.

Saturday evening Kathy Kosins Group opens the Ronnie Wells Main Stage, followed by a Guitar Summit featuring: Russell Malone, Paul Bollenbeck, and Bobby Broom. Etienne Charles and Creole Soul, featuring the marvelous trumpeter will lose the Main Stage this evening. Performers in the MAJF Club this evening include Tacha Coleman Parr and Anthony Compton; and Maija Rejman, while Anthony "Swamp Dog" Clark will be performing in the MAJF Juke Joint.

Sunday morning has the traditional gospel brunch and MAJF Women's Collective featuring Akua Allrich, Janelle Gill, Amy Shook, Savannah Harris are the first afternoon act on the Ronnie Wells Main Stage. Also in the Main Stage will be the Greg Hatza Organization and the Lavenia Nesmith Group who will perform a Tribute to Nancy Wilson. The Lovejoy Group and Petra Martin.

The Festival's last evening has a Tribute to Paul Carr Featuring the Paul Carr's Bantam Orchestra; the Steve Turre Quartet featuring the famed trombonist and conch shell player; and the terrific vocalist Rene Marie. The Festival concludes with the MAJF Midnight Jam Session with the Wes Biles Trio. There are likely some other performers that will be added including those at the Discovery Stage. There are also workshops, interviews with artists, screenings of film, a High School Big Band Competition and more.

Etienne Charles

The Mid-Atlantic Jazz Festival continues the legacy of the East Coast Jazz Festival that ran for 15 years starting in 1992. The ECJF originated in honor of Elmore “Fish” Middleton, a Washington, DC jazz radio programmer, whose commitment to promoting jazz music and supporting emerging jazz artists became the guiding principle behind the festival. The driving force of the ECJF was the late Ronnie Wells, a Washington DC jazz icon. After her passing, so did the ECJF.

As stated on its website “The Mid Atlantic Jazz Festival (MAJF) represents an auspicious renewal of the spirit and intent of the ECJF, as a showcase for some of the DC area’s finest established and emerging artists, student ensembles, and a healthy dose of renowned touring jazz artists as well. MAJF is designed to take the ECJF mid-winter jazz festival tradition to the next level and to further enhance arts & culture in the Washington, DC region.” Under the auspices of Washington DC area saxophonist and educator, Paul Carr, the Festival has a focus on not simply bringing some of the best local and national jazz performers to the area, but to help nurture and support Jazz Education. As seen in my brief description of the Festival performances, this remains true.

For more information on the Festival, including hotel accommodations, visit http://www.midatlanticjazzfestival.org/tickets.

Sonny Rollins' Birthday Celebration Centerpiece of Road Songs Vol. 2

One of the most celebrated jazz concerts of the past couple years was the 80th Birthday celebration of Sonny Rollins in New York City. Performances from that concert form the core of Rollins’ second compilation of live recordings, Road Songs Vol. 2 on his Doxy label (Doxy/Emarcy). Four of the six selections come from that September 2010, Beacon Theatre concert with the other two performances coming from Japanese concerts, less than a month later. Most of the performances feature Sonny’s band of the time with Russell Malone on guitar, Bob Cranshaw on bass, Kobie Watkins on drums and Sammy Figueroa on percussion with one track having a historic collaboration.

Opening up is a rendition of Irving Berlin’s They Say It’s Wonderful, which has a nice solo from Malone after Rollins introduces the theme. Its a typical performance that fans of Rollins live performances from the last few years will be familiar with and centers around the trading of fours with drummer Watkins. It is followed by Sonny introducing Jim Hall with Hall performing (without Sonny) In a Sentimental Mood. If a wonderful performance, it is odd that an actual collaboration between Rollins and Hall is not present on this Sonny Rollins album.

The blues, Sonnymoon For Two, with the rhythm section of Christian McBride and Roy Haynes, was the historic meeting of Rollins with Ornette Coleman, who Rollins teases the audience about as a special birthday guest after his initial solo in a trio vein, and after initially asking him to come out takes another solo before Coleman comes out and the contrast in styles and how a solo is constructed between his approach and Rollins will be immediately evident and not simply because he is playing alto sax. While the interest of the meeting on stage by the two, the performance strikes this listener as a string of a unconnected solos based on Rollins’ blues composition, with some interchanges between the two and some inspired playing from Rollins later in the performance but as a whole this sounds more interesting than it sounds magical.

I Can’t Get Started opens with Roy Hargrove opening and playing exquisitely before Sonny enters on this ballad with his robust tone providing a counterpoint to Hargrove’s lyricism. It is followed by a lively Raincheck from Billy Strayhorn’s songbook, taken at a lively tempo with a calypso-tinge. Hargrove is bright and incisive here with the two trading fours starting about two-thirds of the way through this performance.

An abbreviated performance of St. Thomas concludes this recording. The editing of the performances is seamless and it comes off to the listener as one concert even though it mixes performances from three concerts, and the order of the Beacon Theatre performances is not in order of performance. The performances sound representative of the performances by Sonny Rollins I have seen over the past few years (thankfully without the sound issues that plagued the first third to half of recent Kennedy Center performances). It is certainly welcome to have this available even if I might suggest other Rollins recordings of live performances of the past decade a bit more consistent and magical. I specifically point to Without A Song - The 9/11 Concert.

I purchased this CD as a download.

Sonny Rollins Forever

Sonny Rollins Forever. That was what my T-Shirt that I purchased the last time I saw him at the Kennedy Center says. Last night I had a chance to see him at this year’s Montreal International Jazz Festival (Festival International de Jazz de Montreal) where he performed Sunday, June 27 at Salle Wilfrid-Pelletier, PdA, as part of Les Événements spéciaux TD series. Salle Wilfrid-Pelletier is the largest all-purpose concert hall in Canada and the site of the Festival’s major ticketed concerts.

Rollins had a somewhat different band than he had in Washington at the Kennedy Center. First of all, his nephew trombonist Clifton Anderson was not present and also Russell Malone was his guitarist. On electric bass was his long-time associate, Bob Cranshaw, however I did not make out the names of the drummer or percussionist. I could not identify the opening calypso number and while the sound was a little echoey during it, it was not nearly as bad as the two shows I saw at the Kennedy Center within the last three years and by the end of the first song the sound was much better. Maybe because I was sitting in the lowest balcony as opposed as mid-floor as in the Kennedy Center Concert Hall, the sound sounded better, or maybe the sound engineers in Montreal were simply better.

After the opening number, Sonny led us into a marvelous rendition of the ballad “My One and Only Love,” with a somewhat warmer tone than hard, husky tone employed on the opening number. Guitarist Malone was his equal here, responding with lines that at times recalled Jim Hall and John Scofeld. During the set he also effectively comped during one of Cranshaw’s solos. Up next was a marvelous rendition of “Global Warming,” which gave everyone an opportunity to shine and then another marvelous ballad, “Serenade,” from his most recent studio album, “Sonny Please.” After another exhilarating romp, Sonny launched into the blues, a bit of honking before singing about his low-down baby and her evil ways and then a short R&B-ish solo and they were done. Perhaps not as good as the late Dexter Gordon singing “Jelly Jelly,” it was perhaps a nod to Louis Jordan who I believe is an influence.

Despite the enthusiastic cheers of the audience, the band did come back for a curtain call but there was no subsequent encore. It was a superb 75 minutes of Sonny Rollins and as he turns 80, one enjoys every opportunity to see the master. Sonny Rollins Forever indeed.