Alan Rosenthal Elbow Grease

Alan Rosenthal
Elbow Grease
Street of Stars Records

While classically brained, pianist-composer Alan Rosenthal has become immersed in the New York jazz scene. The brother of author David Rosenthal (author of "Hard Bop"), he is a pianist of some reputation. This new mainstream jazz release has him joined by various combinations of musicians including Alan Chaubert - trumpet; Patience Higgins - tenor sax; Peter Brainin - soprano and tenor sax; Scott Reeves - trombone; Bill Ware - vibes; Brian Glassman - bass; John Loehrke - bass; Steve Johns – drums; and Mike Campenni - drums.

Rosenthal composed 8 of the 9 compositions performed in various configurations. The disc opens with a thoughtful, measured solo performance, "Another Sky." It is followed by "Up The Kazoo," a bright, bouncy sextet with striking riffing horns set against a marching groove. Ware's vibes add attractive colors in the ensemble before his solo with the leader lightly comping under him. Bassist Glassman is also showcased here.

Five of the 9 tunes are performed by a piano trio of Rosenthal, Glassman, and Campenni. "Blue J" is a charming piece that shows the close interplay between the three, as well as reveals Rosenthal's skillful touch and ability to construct intriguing, intricate solo. The energetic "Drop Me Here" exhibits the subtle shifts in timbre and dynamics of his approach. Bassist Glassman is more prominent in his supporting role on "Guitar Knee," on which Campenni's understated, but skillful percussion adds to this performance.

Two selections have a quartet of saxophonist Peter Brainin, bassist Loehrke, and drummer Johns. "Monk Over Marrakesh," places the spotlight on Brainin on both soprano and tenor sax and bassist Loehrke with the leader's skeletal accompaniment. "Dextrously" is a strong hard-bop number with robust tenor sax propelled by the rhythm section. Rosenthal's solo here is one of the highlights of the recording. The one cover is the trio's performance of Jerome Kern's "They Didn't Believe Me," with Rosenthal quoting "Fascinating Rhythm" and other standards in his rendition.

Alan Rosenthal plays with both "Elbow Grease" and thoughtful restraint on a marvelously played and very engaging piano jazz release.

I received my review copy from a publicist.

Ray Blue Work

Ray Blue
Work
Jazzheads

Tenor saxophonist Ray Blue is based out of New York who has been leading his own groups and recorded several CDs. He also has worked with such artists as Art Davis, Benny Powell, Eddie Henderson, the Charlie Persip Big Band, Wycliffe Gordon, Steve Turre, Ted Curson, and the Sun Ra Orchestra. The core band backing him on "Work" is Sharp Radway on piano, Jeff Barone on guitar, Essiet Okon Essiet on bass, and Steve Johns on drums. Also appearing are pianists Kirk Lightsey and Benito Gonzalez (each on two tracks), trombonist Ron Wilkins (on three selections), Belden Bullock on bass (one song), and Neil Clark on percussion (on three tracks).

Ray Blue is a straight-ahead saxophonist who has a warm tone and swings hard while wonderfully supported by a superior studio band. The title track is a lively Caribbean-spiced evocative of some of Sonny Rollins' compositions like "St. Thomas." As the group provides an infectious groove (aided by Clark's percussion), Blue introduces us to his velvety tone and fluid improvisation. Radway's sparkling solo follows this. There is a spirited, brief rendition of "Lift Every Voice and Sing," with Barone's horn-like guitar echoing Blue's tenor at times. Cannonball Adderly's "Sweet Emma" is taken at an appealing, lazy tempo with Wilkins adding his gruff trombone before Blue's brawny solo. Wilkins also adds his insistent trombone to the swinging interpretations of Jimmy Smith's "Mellow Mond," and George Coleman's "Amsterdam After Dark,"

Blues ballad playing is sublime as displayed his own "My Friend and I Took a Walk," with Benito Gonzalez on piano with John's brushwork exemplary. Gonzalez is also on one of two versions of "That's All," where Blue's cottony, measured playing would have brought a smile to Ben Webster. An equally marvelous rendition of this song done as a duo with Kirk Lightsey is the closing track. Lightsey and Bullock are present on a melodious ballad performance of "Teach Me Tonight."

Among other numbers here is a jaunty rendition of the old pop hit, "Our Day Will Come," and a swinging version of "Everything Happens To Me," that starts as a duet with Johns before the full band joins in. "Work" is an outstanding recording that showcases Ray Blue's marvelous, straight-ahead tenor saxophone.

I received a review copy from a publicist. This review appeared in the November-December 2019 Jazz & Blues Report (Issue 387). Here is Ray Blue from 2012 performing "Work."

Chris Rogers Voyage Home

Chris Rogers
Voyage Home
Art of Life Records

This album is the debut as a leader by trumpeter Chris Rogers, who is the son of legendary salsa and latin jazz trombonist Barry Rogers. Rogers was also with the Brecker Brothers and Billy Cobham, a founding member of the legendary jazz-rock band "Dreams." A remarkable player, he replaced Tom Harrell in Gerry Mulligan's Concert Band at the age of 19. Rogers himself states about his background, "“Listening to Mike, Randy and my dad playing together, and all Barry’s great solos on those classic Eddie Palmieri sides pretty much informed my concepts... and have been such towering influences upon me that the music here can be considered a direct reflection of their incredible spirits.”

There is a wonderful cast for this recording (recorded in 2001 but now released) with the bass/drums tandem of Jay Anderson and Steve Johns, pianist Xavier Davis, Synthesizer/keyboard wizard Mark Falchook joins the rhythm section on three. Two selections have the great Mike Brecker (Randy contributed to the liner booklet), and four have tenor and alto saxophonist Ted Nash, while baritone saxophonist Roger Rosenberg and trombonist Art Baron perform on a very special dedication to Barry Rogers - enhanced by the great man himself on an introductory trombone cadenza (thanks to the blessings of technology). Also guitarist Steve Khan is on three tracks, two of which include conguero/percussionist Willie Martinez.

Rogers contributed the nine compositions performed here which might in overly simplistic terms be viewed as being rooted in the post-Coltrane and Blue Note hard bop of the late sixties and beyond. The opening "Counter Change" certainly starts in that mode with the leader's crisp trumpet and Brecker's robust, volcanic tenor sax while the following title track (dedicated to Dan Grolnick) has a dreamy flow that to these ears evokes some of Herbie Hancock's recordings and has some lovely tenor from Nash. While "Whit's End" alludes to Whit Sidener, Rogers' teacher at the University of Miami, it is dedicated to Michael Brecker, who is brilliant here also playing with virtuosity and imagination while Rogers own playing displays his clarity and bite.

Dedicated to Lew Soloff, "The Mask" has a bluesy funk feel to it with more strong tenor from Nash. "Ballad for B.R." is dedicated to his father and the opening trombone cadenza is lifted from one of his father's solos with Eddie Palmieri. Art Baron on trombone and Roger Rosenberg on baritone sax join Nash and Rogers for this performance with some lovely arranging of the four horns in stating the theme and coloring the solos by Nash, bassist Anderson, Rogers, Rosenberg and Nash on an enchanting performance.

There is a three song suite of songs that feature guitarist Steve Khan, starting with "Rebecca" dedicated to Ray Barretto, a spritely paced latin jazz composition that he brought to a Barretto rehearsal. Pianist Hector Martignon named it after Rogers' sister who had attended on of their gigs. Dedicated to Mike Lawrence, "Ever After", was Rogers' first composition. It is a lovely ballad with the lyricism of Rogers and Khan evident throughout set against a light samba-like rhythm. "Six Degrees" is described as a bebop-influenced composition, with Rogers playing a mute (evoking Miles to an extent) with Khan's gorgeous comping in addition to his own marvelous solo. Bassist Anderson is also showcased here.

Nash returns for "The 12-Year Itch," whose title refers in part to it taking 12 years to finish this jazz shuffle. The head of this bouncy performance reminds me of some of Woody Shaw's compositions. Pianist Davis is featured here with a solid improvisation, along with by the two horns. It closes an excellent recording that sounds contemporary today.

My review copy was received from a publicist. This review originally appeared in the March-April 2017  Jazz & Blues Report (Issue 371). Here is a short video clip of Chris Rogers on flugelhorn.