Schapiro17 - Human Qualities

Schapiro17 - Human Qualities - Summit Records

Composer-arranger Jon Schapiro, currently a professor at Yeshiva University, formed Schapiro17 as a vehicle for his writing and to showcase some of New York's top musicians. The members on this recording are trumpets: Bryan Davis, Andy Gravish, Eddie Allen, Noyes Bartholomew; trombones: Alex Jeun, Deborah Weisz, Nick Grinder, Walter Harris saxophones: Rob Wilkerson, Candace DeBartolo, Paul Carlon, Rob Middleton, Matt Hong piano: Roberta Piket; guitar: Sebastian Noelle; bass: Evan Gregor; and drums: Jon Wikan. 

This big band opens like a modern New Testament Count Basie Band with the opening "Count Me Out." This composition transforms itself into a more contemporary vein with Rob Middleton's remarkable tenor sax, a piano interlude by Roberta Piket that evokes Duke Ellington, and Deborah Weisz's wooly trombone solo. This results in a memorable performance. "Tango" opens with bassist Noelle in duet with baritone saxophonist Matt Hong before the reeds and full band join. Schapiro's scoring provides a turbulent setting for Hong's rambunctious solo. Then there is the driving, irresistible groove of "Hmmm" with Piket laying down a barrelhouse piano progression for the high energy horns, Andy Gravish's scorching trumpet, and Paul Carlon's high-spirited tenor sax solo. All of this exceptional music is set against Schapiro's top-flight arrangement to builds up to an explosive climax.

The one song that Schapiro did not write is an evocative rendition of "The First Time Ever I Saw Your Face." Schapiro initially provides a haunting setting for Eddie Allen's mournful trumpet. Against the brooding atmosphere, Allen's trumpet becomes a bit more luminous. The title track is built around a fair amount of counterpoint by the ensemble. It also has dynamic solos from Rob Wilkerson on alto sax and Nick Grinder on trombone. These two trade-off with each other with their counterpoint playing over Schapiro's dense, volatile arrangement. 

The remainder of this recording is full of the same superior ensemble playing, marvelous and imaginative arrangements, and terrific solos by the ensemble's members. Guitarist Noelle especially shines on "Hallelujah." On "A Bounce in Her Step," Schapiro imaginatively incorporates various bebop phrases, especially from "Billie's Bounce." Drummer Joe Wikan lays down a funky groove while Alex Jeun's growling trombone evokes Tricky Sam Nanton on the closing selection, "House Money." 

With the fabulous music on this album, Schapiro17's "Human Qualities" is an outstanding contemporary big band recording that sounds fresh with repeated hearings.

I received my review copy from a publicist. Here is a link to a video of "The First Time I Ever Saw Your Face." https://youtu.be/U3UEci0kktw.

Paul Combs Unknown Dameron

Paul Combs
Unknown Dameron
Summit Records

Paul Combs, author of "Dameronia: The Life and Music of Tadd Dameron," is the leader of this celebration of lesser-known and previously unrecorded works by Tadd Dameron. Dameron's music has long inspired Combs. "I loved his melodies, as well as his notion that our purpose as musicians should be to create something of beauty as a balm for the ugliness in the world - or as Art Blakey, Tadd's colleague, and friend but it 'to wash the dirt of the day off of people.'" He plays all the saxophones and provided all of the arrangements on this project. Among those joining him are Alex Aspinall, Charles Ruggiero or Richard Sellers, drums; Ken Cook, Bill Cunliffe, piano, Melonie Grinnell, or Kamau Kenyatta, piano; Jeff Denson, Alex Frank, or Rob Thorsen, bass; Derek Cannon, trumpet; and Danielle Wertz, voice. Unfortunately, my download did not include the personnel on specific tracks.

About the music, Combs states, "While Dameron is fairly well-known for the eight compositions that have become part of the jazz canon, there are many more of his works that deserve our attention. Of the twelve selections recorded here seven were never recorded, and two only recorded once. The three songs with words have only been available on rather rare recordings, although there seems to be a renewed interest in them." This recording is likely to instill interest in all these songs.

While some of the melody lines and harmonies might hint at such classics as "Hot House," "Our Delight," "Lady Bird," and the ballad "If You Could See Me Know," these compositions stand on their own starting with "Conversation," which was initially written for Harlan Leonard's Kansas City Rockets but not recorded. Besides that he handsome arrangement, Combs delivers a rousing baritone sax solo which is followed by some excellent trumpet by Derek Cannon set against a relaxed tempo. "Take a Chance on Spring" has been recorded previously and showcases Wertz's delightful singing and scatting. This selection also has a terrific piano solo and some trading fours between Wertz and Combs.

There is a charming "Don't Forget It," written during Dameron's time with Jimmy Lunceford, with Cannon taking the lead on this. Bill Lee previously recorded the ballad "Never Been In Love," with lyrics by Bernie Hanighen on an obscure Strata-East LP. Wertz's singing here is exquisite with the understated piano trio accompaniment. Combs advises that "Sando Latino" was written for a lost recording by Milt Jackson. Whatever the case, the Latin tinge enhances a typical lovely Dameron melodic line with Cannon and Combs (on tenor sax) each negotiating the tunes harmonic scheme.

Combs burly baritone sax shares the spotlight with Cannon on "A La Bridges," which was written for and recorded by Harlan Leonard's Kansas City Rockets. Bridges was Harry Bridges, the Rockets tenor saxophonist who shares composer credits. "Weekend" combines lyrics about a ski weekend with a bossa nova groove which is beautifully sung by Wertz with Combs displaying a gruff, but lyrical talent one on the baritone. Combs' tenor ballad playing is at the forefront of the enchanting "Come Close."

"Unknown Dameron" is a revelation for those only familiar with Tadd Dameron's most famous recordings. A labor of love for Combs, the music here is rich in warmth and melodic qualities. With the first-rate ensembles and superb soloists, it hopefully will be an inspiration for future interpretations of these compositions from Dameron's oeuvre.

I received a download to review from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a promo video for this CD.

Dave Miller Trio Just Imagine

Dave Miller Trio
Just Imagine
Summit Records

Recently I reviewed an album on which pianist Dave Miller was backing his daughter vocalist Rebecca Dumaine. This recording is by Miller and his trio with bassist Chuck Bennett and drummer Bill Belasco on drums. Belasco has regularly been playing with Miller for four decades while Bennett has only been with Miller with two years, but one who Miller loves for his "harmonic awareness and melodic sensitivity." George Shearing greatly influenced Miller, and this album is a celebration of the centennial of Shearing, who was born on August 13, 1919. Rather than recreating Shearing's hits, Miller and his trio perform both standards and superior obscurities that Shearing had played along the way. Along with well-known songs like "You Took Advantage of Me," "Confirmation," and "A Foggy Day," Miller plays lesser-known songs from Billy Taylor and Ray Bryant.

The recording opens with the swing Billy Taylor's "One For the Woofer," with Miller displaying his relaxed, fluid, and sophisticated touch while exchanging fours with Belasco. Then there is the lyrical rendition of "You Took Advantage of Me," as he spins his solo with Bennett keeping the pulse and Belasco lightly adding his accents. Rusty Bryant's, "The Bebop Irishman" is a song that has only been recorded three times, twice by Shearing. Last recorded in 1963, Miller's rendition is an exuberant development of a traditional Irish motif. Then there is the delicate beauty of the performance of "I'd Love To Make Love To You," that Nat King Cole first recorded in 1946. Cole recorded "A Beautiful Friendship" with George Shearing. Miller's recording also displays a graceful, elegant quality with Bennett soloing on this.

There is a lively performance of Sam Jones' blues, "Bittersweet," and a spirited rendering of Charlie Parker's "Confirmation," as Miller is vibrant here. "You Must Believe In Spring" is an exquisite duet by Miller and Bennett opening with some lovely solo piano, while Jim Hall's "Careful" is a vivacious duet by Miller with Belasco on the Cajon. The solo performances of "A Foggy Day" and "Just Imagine" are delightful and exquisitely performed. Delightful and exquisitely performed is also an apt description of the music on "Just Imagine." The Dave Miller Trio has produced a marvelous recording.

I received a promo copy from a publicist. Here is a performance from the Dave Miller Trio.

Rebecca DuMaine and the Dave Miller Combo Chez Nous

Rebecca DuMaine and the Dave Miller Combo
Chez Nous
Summit Records

Starting with Cy Coleman's "When in Rome" and concluding with Charles Trenet (and Albert Askew Beach's English language verses) "Que-Reste-t-il/I Wish You Love," Rebecca DuMaine delights listeners with her playful, perhaps flirty, singing. He pitch and intonation are spot on, and her swinging phasing, as well as her articulation of the lyrics, underscore her inviting musical personality. It also helps that her captivating vocals (including her breezy wordless vocalizing as on Jobim's "So Danco Samba") is wonderfully supported by the Dave Miller Combo with Miller (her father on piano), Chuck Bennett on bass, Bill Belasco on drums and guest Brad Buethe on guitar.

Music was always part of her household growing up, and she heard George Shearing, Peggy Lee, Nancy Wilson, and Nat King Cole growing up. While she earned a drama degree and worked as an actress in New York and discovered she preferred jazz singing over musical theater doing some gigs in NY before returning to Northern California. Dave Miller, her dad, has been leading a trio since the 1970s and particularly loved how Shearing back vocalists. They provide marvelous swinging support with pianist Miller and Buethe very adept in their solos.

This a marvelous set of songs here ranging from her bubbly opening number, "When in Rome," that she first heard from Blossom Dearie. As Scott Yanow observes in the liner notes, Rodgers and Hart's "Everything I've Got Belongs to You," is not a typical love song as she sings "I have eyes for you to give you dirty looks, I have words that do not come from children's book, there's a twist of a knife I am learning to … but everything I got belongs to you." It is taken at a brisk tempo, and drummer Belasco takes a solo. The title track is sung in French followed by a captivating vocal on the Rodgers and Hart classic "I Didn't Know What Time it Was," showcasing her impeccable delivery of the lyrics as well as being in tune. Her father has a light, bouncy solo, Buethe following with a peppy one and Bennett with a short bass solo. There is also a wistful rendition of Lennon and McCartney's "Yesterday," with just her father's piano adding to the reflective mood. Bill Withers' "Just the Two of Us," is among his most famous songs, and she lends it a nostalgic flair with memorable piano and guitar solos.

Singing in French and English "Que Reste-t-il/ I Wish You Love," she provides a memorable close to a playful take on songs mostly about love. She has an endearing quality that is displayed throughout this collection of delightful performances of both well-known standards and lesser-known songs that are also gems.

I received my review copy from a publicist. Here is a video of Rebecca DuMaine performing with Dave Miller.

Dick Oatts/Mats Holmquist New York Jazz Orchestra
A Tribute To Herbie +1
Summit/Mama Records

Dick Oatts/Mats Holmquist New York Jazz Orchestra is a band comprised of some of the finest New York players along with several distinguished Scandinavian players. Oatts is a lead player and artistic director of the Vanguard Jazz Orchestra while Holmquist currently serves as Artistic Director for the JZ All Star Big Band in Shanghai. Holmquist suggested a big band tribute to Herbie Hancock and with John Mosca's expertise as contractor and lead trombone to bring together a formidable cast of musicians that include Walt Weiskopf on tenor saxophone, Frank Basile on Baritone saxophone, Joe Magnarelli on trumpet, and Adam Birnbaum on piano. Holmquist provided all the arrangements on this as well as contributed an original, "Stevie R," reflected in the "+1" in the recording's title, "A Tribute To Herbie +1."

These are some impressive interpretations of some of Hancock's iconic compositions including "Cantaloupe Island," "Chameleon," "Dolphin Dance," "Maiden Voyage" and "Watermelon Man." Influenced by minimalist composer Steve Reich, Holmquist which he describes in his arrangement of Chameleon." "In :Chameleon," I use a technique inspired by Steve Reich's famous composition "Drumming," starting with one note, adding one more, and another one, etc., until the thread of notes becomes a whole musical phrase." On this number he changes tempos as well as recompose and reharmonizes the theme with tenor solos from Walt Weiskopf and Robert Nordmark standing out. Oatts on soprano sax and pianist Birnbaum are featured on "Dolphin Dance," while the uptempo "Eye of the Hurricane," has blistering trumpet from Joe Magnarelli, along with hot tenor sax from Weiskopf, soprano sax from Oatts and a drum solo from John Riley. Magnarelli is featured with on "Stevie R.," Holmquist's original which also illustrates his construction of complexity from simple elements, and again on the marvelous "Maiden Voyage" with more marvelous trumpet and soprano sax, while there is a playfulness in the reworking of "Watermelon Man" that showcases Weiskopf's tenor sax and Basile's baritone sax along with some terrific support from the rhythm section.

Herbie Hancock's music has produced some of the most compelling performances of the past half century, particularly under his own name. The marvelous music on "A Tribute To Herbie +1," reflects the freshness that Hancock's music along with the marvelous Holmquist arrangements and superb playing of the Oatts/Holmquist Big Band.

I received from a publicist. This review originally appeared in the September-October Jazz & Blues Report (Issue 368).

Daniel Smith Jazz Suite For Bassoon

Daniel Smith has established himself as an extraordinary practitioner of the bassoon, not simply in the classical realm, but in the jazz and crossover genres as well. His career spans his recording of all 37 Vivaldi concertos to 2014's "Hot Smokin' Bassoon Blues." Despite Smith's remarkable facility on the bassoon, I found listening to that recording a challenge in part because of the sonority of the instrument itself. However, along comes across a release of recordings made two decades ago, "Jazz Suite For Bassoon" (Summit Records), with music that is more satisfying to these ears.

The recording has three parts that displays the breath of Smith's musical range. The first part is entitled "Baroque Adaptations For Bassoon and Jazz Trio." Accompanied by a jazz trio, he plays compositions by Vivaldi, Bach, Henry Purcell and William Byrd. First adapting Vivaldi's "Allegro from Concerto in Bb," he jazz trio backing provides a chamber group feel for Smith's supple and stately playing. William Byrd's "Pavan: The Earl of Salisbury" in contrast has a more relaxed morose feel in the accompaniment and Smith's measured playing and followed by a swinging rendition of Purcell's "Air For Ground Bass," which will suggest some of the Modern Jazz Quartet explorations in a similar vein. This set of five pieces has an intimate feel and appeal.

The second part of the CD has Smith and a baroque music ensemble, the Caravaggio Ensemble rearrange three of Scott Joplin piano rags, "The Chrysanthemum," "The Easy Winners" and "Original Rags." Michael J. West in his notes for this release observes that this performance would have been a smash in 18th Century Ballrooms. The lively reworking of ""The Chrysanthemum," Smith taking the lead with the ensemble providing a foundation and musical accents. "The Easy Winners" has marvelous playing by Smith along with complementary interplay from the strings and restrained piano.

The three movement "Jazz Suite For Bassoon" was composed by pianist Steve Grey who plays on it along with guitarist Mitch Dalton, vibraphonist Jim Lawless, bassist Ray Babbington; and drummer Mike Smith. The opening "Allegro" movement incorporates elements of Bobby Timmons and the Adderlys in the very lyrical melody. The second movement "Ballade," opens with Lawless setting the mood on vibes before Smith enters, sounding almost like a cello. His playing is followed by a piano trio segment before Smith reenters. It is a lovely performance. The third and concluding movement, "Finale" mixes blues, march and vigorous rhythmic swing for a lively conclusion to the suite and the recording that bridges the realms of classical and jazz.

Daniel Smith's "Jazz Suite For Bassoon" is a marvelous showcase for Smith's bassoon mastery and some marvelous chamber jazz.

A publicist provided the review copy. I have made minor changes in the review that originally appeared in the September-October Jazz & Blues Report (Issue 362).

Daniel Smith Smokin’ Hot Bassoon Blues

The bassoon is an instrument that is associated with classical music and it is out of the classical music world that Daniel Smith has emerged into the jazz world. I was not familiar with him until I received his new Summit Records’ recording “Smokin’ Hot Bassoon Blues” which is his 5th jazz recording (and 2nd apparently to focus on the blues).

He is backed on this by a solid rhythm section of Robert Bosscher-Piano/Arranger, Michael O’Brien-Bass, and Vincent Ector-Drums. There are also guest artists Ron Jackson-Guitar, Efrat Shapira-Violin, Neil Clarke-Latin Percussion, Greg ‘Organ Monk’ Lewis-Jazz Organ, and Frank Senior-Vocalist. They handle a program of blues (and blues-associated numbers that include Jimmy Forrest’s “Night Train”; Charles Mingus’ “Better Get Hit In Your Soul” Jimmy Smith’s “Back At The Chicken Shack”; Ray Charles’ "What’d I Say"; and “Hallelujah I Love Her So”: Sonny Rollins’ “Blue Seven”; Horace Silver’s “Senor Blues”: Duke Ellington’s “C Jam Blues”; and Bobby Timmons’ “Moanin’.”

I have no issue with Smith’s technical command of what is a somewhat cumbersome instrument to play, much less swing. The issue is the bassoon has a sour sound to these ears which may limit its audience. This is not to say that there is some very intriguing playing, including from those of Smith’s rhythm section as well as his guest artists. I find Shapira’s violin quite engaging and the unison parts of her and Smith provide more comfortable listening. She certainly makes distinctive contributions to “Night Train” and Senor Blues” for example. On the latter number, pianist Bosscher has a nice break.

Senior adds some vocals to a couple of Ray Charles numbers with O’Brien taking a nice bowed solo on “Hallelujah I Love Her So,” while Lewis’ adds greasy Hammond B-3 to “Back to the Chicken Shack” and “C Jam Blues,” on which guitarist Jackson sparkles with his crisp, clean fretwork. Smith is brave to handle the challenges of the Mingus and Rollins compositions and his playing on a lesser known Nat Adderley composition “Hummin’” is fascinating with some bluesy single note playing from Jackson and the rendition of Bobby Timmons’ “Moanin’” is also is also engaging with significant contributions from Jackson and Shapira along with a tight solo from O’Brien.

The reservations about this recording lie in the bassoon’s sonority that makes listening to “Smokin’ Hot Bassoon Blues” a challenge, despite the high level of musicianship as the novelty of a jazz bassoon may wear off for some. This might be best sampled a few tracks at a time.

A publicist provided my review copy. This review appeared in the September-October 2014 Jazz & Blues Report (Issue 356). Here is a video of Smith captured in performance.