Tamuz Nissim Capturing Clouds

Tamuz Nissim
Capturing Clouds
Street of Stars Records

This is the fourth album from Tamuz Nissim, an Israeli born vocalist who has been living in New York City for the past five years. Her vocals are supported by guitarist George Nazos, bassist Harvie S, and drummer Tony Jefferson. In her album notes, Nissim compares jazz to the impossibility of capturing clouds, and how the freedom to improvise make the same song sound different, just like clouds transform and remold their shapes. Her intent o is to bring this freshness to the songs she performs.

She displays an ability to bring a fresh approach to the opening "On the Sunny Side of the Street" backed just by bass and drums. She enchants with her alluring voice, her pitch, and flute-like phrasing set against the restrained backing. Furthermore, she fascinates with her scatting here and on her original "Make It Last," with Nazos taking a winsome solo along with drummer Jefferson. She also wrote the title song with a soft, dreamy vocal. Another standard, "Like Someone In Love," also has her enchanting singing backed solely by bass and drums with Harvie S soloing. Nissim's original, "What a Pair," is an exquisite duet between her scatting and bassist Harvie S.

Nissim displays a perky side on her rendition of Tom Waits' "I Don't Want To Grow Up," one of several unusual song interpretations she performs here. Another one is her thoughtful approach to Nick Drake's "Saturday Sun," with Nazos providing gorgeous guitar accompaniment. On "Rhapsody For Trane (I Hear a Rhapsody)," she crafted lyrics to John Coltrane's solo on "I Hear a Rhapsody" from Trane's "Lush Life" album and dazzles with her vocalese singing.

The final selection is a sweet, relaxed version of George Harrison's "Here Comes The Sun," accompanied solely by guitar. It is a captivating close to this most appealing recording.

I received my review copy from a publicist. This review appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here she performs "On the Sunny Side of the Street."

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.