Blue Muse - It Never Entered My Mind

Blue Muse
It Never Entered My Mind
Self-Produced

Blue Muse is a Jacksonville Florida based band consisting of Jarrett Carter, guitar; Cody Wheaton, bass; Javian Francis, piano; John Medico, drums; Jack Miller, drums; Sarah Lee, tenor sax; Lance Reed, trombone; and Steve Strawley, trumpet & flugelhorn. Blue Muse was formed after saxophonist Sarah Lee left her 20-year career in Information Technology and pursued her passion, jazz. It was while attending Jacksonville University that she brought together the jazz musicians who became Blue Muse. "It Never Entered My Mind" is this group's second album.

This album is a well-played recording in the vein of the classic Blue Note recordings of the sixties, with the influence of Wayne Shorter, Horace Silver, and Art Blakey particularly evident. Three of the six tunes are Shorter compositions. The opening track, "One By One," was by Shorter and recorded by Blakey and the Jazz Messengers. It is a driving performance with clean, crisp ensemble portions and engaging solos from Reed, Francis, Lee, Strawley, Carter, and Wheaton. Following is the title track, the only standard on this album. Strawley's muted trumpet opening with a lyrical solo while the other horns provide atmosphere in the background. Carter again impresses with a guitar interlude. A finger-popping rendition of Horace Silver's "Nutville" follows with some hot trumpet before Sarah Lee takes a dynamic, rhythmic solo before Reed's well-burnished trombone solo and Medico's fascinating use of his whole drum kit on his solo.

"Sweet Sour" is another Wayne Shorter composition initially recorded by Art Blakey. Guitar Carter dazzles on this selection, followed by Reed's gravelly trombone and Francis' fluid piano. Also heard are interpretations of Joe Sample's "Freedom Sound" and Shorter's "Ping Pong." Again, there are spirited solos set against a tight, responsive ensemble on more marvelously played, straight-forward hard bop performances. Blue Muse is calling this an EP as it 'only' has 40 minutes of music. In the days of vinyl LPs, this would have been a full LP, and in any case, these six tracks with 40 minutes are solid performances in the hard bop vein.

I received my review copy from a publicist. This review appeared in the July-August 2021 Jazz & Blue Report (Issue 397). Here Blue Muse performs "It Never Entered My Mind."

Kenny Shanker - Beautiful Things

Kenny Shanker
Beautiful Things
Wise Cat Records

Kenny Shanker is a saxophonist, pianist, vocalist, and award-winning composer from Pleasanton, California. He started playing piano when two and has developed into an impressive talent. Shanker has performed with the New World Symphony, Richard Bona, David Benoit, Shelly Berg, Lage Lund, Taylor Eigsti, Bill Mobley, the Nelson Riddle Orchestra, and many others. Now residing in New York, he has performed at Carnegie Hall, Birdland, Dizzy's Club, Smoke, Smalls, Fat Cat, Jazz at Kitano, and other locations.

"Beautiful Things" is his fourth album, second for Wise Cat Records. On this session, he played alto saxophone and backed by a rhythm section of Daisuke Abe - Guitar, Mike Eckroth - Piano, Yoshi Waki - Bass, and Brian Fishler - Drums. Bill Mobley plays trumpet on three of the twelve selections. Shanker wrote 5 of the twelve tunes, with the other seven being standards.

The opening "Cool Mint" has the feel of a sixties Brill Building hit with a memorable melody before Shanker's fruity solo followed by thoughtful solos by Eckroth and Abe. It is followed by the hard bop "Prestissimo" with a breakneck tempo that evokes "Giant Steps." Taken at an almost frantic tempo, Shaker, trumpeter Mobley, and pianist Eckroth navigate the changes impressively. On Rogers & Hart's "It Never Entered My Mind," it sounds like synthesized strings added to a ballad performance where he exhibits a beguiling tone. Abe takes an alluring acoustic solo here. It is followed by the bouncy "Mirth," with a solo that suggests Sonny Fortune and other Coltrane-influenced alto saxophonists. Mobley adds some mid-range heat on his trumpet on this selection.

Eckroth opens the swinging interpretation of Oscar Peterson's "L'impossible," with Shanker exhibiting fluidity along with his melodic tone over the entire range of the alto sax. Abe's guitar chords help set out the walking tempo for Shanker's lyrical playing on "Without a Song." A charming rendition of "I'm Old Fashioned," where Abe takes solos crisply and cleanly. "Like Someone In Love," an alluring duet with Waki on bass, is another choice track.

Thelonious Monk's "In Walked Bud" opens as a duet between Shanker and drummer Fischler. Eckroth and Waki join the performance halfway through. Eckroth also solos before Fischler does, with Shanker riding the performance out over Fischler. Shanker's title composition closes the recording in a beautiful manner (pun intended). Kenny Shanker plays thoughtfully, displays a beautiful tone and fluid technique, and is backed by a splendid band on an outstanding recording.

I received my review copy from a publicist. Here is a promotional video for this recording.

Slide Attack Road Trip

Slide Attack
Road Trip
SACD

Led by trombonists Howard Levy and Alan Goidel, Slide Attack is a quintet inspired by the group led by J.J. Johnson and Kai Winding. They bring an ebullient, straight-ahead swinging bop approach to their all original repertoire. The group's other members are Hiroshi Yamazaki on piano, Michael Goetz on bass, and Charles Zueren on drums. The two leaders have experience playing in various settings, including big bands, Broadway shows, and more. Levy contributed five originals, Goidel three compositions, and pianist Yamazaki one.

Things kick off with Yamasaki's "Spring Roll," which was written over the chord changes of Sonny Rollins "Airegin. Pianist Yamasaki takes the first solo, followed by Goidel's wooly solo and Levy's fluttering one before Zeuren showcases his stick work. Goidel wrote the title track that has a bubbling feel featuring Levy's expressive plunger mute solo. Jobim's "Sa Danco Samba" is the foundation for Levy's "Clauditti," dedicated to his wife. He brings a solid drive to his playing, followed by a sparkling Yamasaki solo and Goidel's more gravelly playing. Levy's "Struttin'" is based on Herbie Hancock's "Watermelon Man," with some fascinating interplay between the two during the opening of this playfully funky performance.

Goidel's "Look Within" is a beautiful ballad that showcases bassist Goetz before the composer's feathery playing. "Owens" was inspired by Levy's Aussiedoole. It is a take on "I Got Rhythm" that opens with a spirited Levy spirited followed by Yamasaki's crisp, fluid piano solo, Goidel's measured one, and another melodic bass solo by Goetz.

"Bluesdemic," derived from the challenging changes of Charlie Parker's "Blues For Alice," is a swinging blues with more top-flight solos. The other selections are equally fascinating. "Road Trip" is an outstanding recording with first-rate tunes, a tight swinging ensemble, and superb soloing.

I received my review copy from a publicist. Here is a video clip of Slide Attack.

Nicholas Brust Frozen In Time

Nicholas Brust
Frozen In Time
Fresh Sound Records

Nicholas Brust is part of the current New York scene. He attended the New England Conservatory in Boston, where he studied with Jerry Bergonzi, Frank Carlberg, Ran Blake, John McNeil, Donny McCaslin, and Miguel Zenón. Before that, he attended the Eastman School of Music, where he studied with Walt Weiskopf, Harold Danko, and Chien-Kwan Lin. This young alto saxophonist, composer, and bandleader has other influences, including Michael Brecker, George Coleman, Robert Glasper, Kurt Rosenwinkel, Kenny Garrett, Roy Hargrove, Frank Strozier, and Bob Berg. On his first full album, Brust is backed Ben Eunson on guitar, Tuomo Uusitalo on piano, Josh Allen on bass, and Jay Sawyer on drums.

From the opening notes of "Work Ahead," one is impressed by Brust's imposing dexterity and sound, as he casts forth ingenious improvisations backed by a first-rate group. The opening track is performed at a breakneck pace, yet he spins his thoughtful ideas with apparent ease. Brust calls "Hearts and Spades" an attempt to draft a pop-jazz tune. It is a lovely ballad starting with a counterpoint line between piano and bass. Bassist Allen solos over Uusitalo's chording before Brust's own melodic blues-inflected ballad playing. Eunson solos over the ostinato while Sawyer's light playing adds rhythmic accents. Another lovely performance is "Brooklyn Folk Song," with more exquisite alto sax. "Frozen in Time" captures one's attention with a bass riff that loops around with Brust and Eunson, jointly laying down the main melody.

"Adversity" is one of several compositions that Brust has written as a homage to the New York scene. Its theme is evocative a Woody Shaw's compositions and features a scintillating guitar solo. Brust dazzles with the fluid development of ideas before the tempo changes to a crawl and sax and horn riff supporting Uusitalo's solo. "Something Like a Storm" is another memorable performance with tempo changes, turbulent musical sections, and Brust's use of dynamics in building the intensity in his solo. The final track, "A Shifting State," is a drummer-less trio with Eunson and Allen. It has a catchy melody set against a shifting rhythmic framework that Allen's bass provides.

"Frozen In Time' is an auspicious debut. Nicholas Brust has crafted ear-catching tunes, which are the foundation for his imaginative and skilled improvisations in the company of a first-rate band.

I received my review copy from a publicist. Here is a 2015 performance of "Brooklyn Folk Song."

Steve Fidyk Battle Lines

Steve Fidyk
Battle Lines
Blue Canteen Music

"Battle Lines" is the third album from drummer-composer-leader Steve Fidyk. Fidyk was for 21 years drummer and featured soloist with the Army Blues Big Band, a premier 17- piece jazz ensemble stationed in Washington DC. He also performs throughout the US with small groups led by tenor saxophonist Walt Weiskopf and guitarist Jack Wilkins, and he is a member of the Jazz Orchestra of Philadelphia, a big band led by trumpeter Terell Stafford. He is an educator who is a member of the jazz studies faculty at Temple University and serves as an educational consultant for Jazz At Lincoln Center‘s Essentially Ellington program. For "Battle Lines" Fidyk leads an all-star band with an impressive front-line of trumpet legend Joe Magnarelli and tenor titan Xavier Perez, alongside the rhythm team of pianist Peter Zak, and bassist Michael Karn.

A simple, superficial description of the music here might be hard bop in the manner of Blakey, Louis Hayes-Woody Shaw, Cannonball Adderley, and others. The opening tune, Eddie Harris' "Ignominy," certainly is a stunning performance in this vein opening with Perez's robust tenor, followed by Magnarelli, and then Zak. Karn anchors the groove as the leader propels this excellent performance. It is the first of this album's splendid performances. This quintet shines on with the heat of Fidyk's title track, or the funky groove of his "Loopholes," where Fidyk dazzles while not overshadowing the front-line. Then there is Dave Brubeck's Chopin-inspired "Thank You (Dziekuje)," with a gorgeous melody and some sublime saxophone. Fidyk's drum teacher was Joe Morello, a member of Brubeck's legendary quintet, which adds a personal connection to this performance.

Fidyk's drums kick-off "Bebop Operations," which is a performance that conjures up classic Dizzy Gillespie. Magnarelli is in top form on this. It is followed by the oddly titled "Bootlicker's Blues," with its intriguing time shifts. Perez and Zak are featured before Fidyk solos with Zak comping. A ballad written for his parents, "Lullaby for Lori and John," places the spotlight on Magnarelli's hauntingly beautiful flugelhorn. A rendition of Charlie Parker's "Steeplechase," features a spirited Perez solo. Also of note is "Social Loafing," a relaxed swinging performance evocative of Gigi Gryce's "Social Call."

Steve Fidyk is quite impressive as a leader and composer, which is displayed superbly on this program of engaging originals and jazz chestnuts. Fidyk and company have produced a superlative recording in “Battle Lines.”

I received my review copy from Steve Fidyk. Here is a video of Steve with the Army Blues performing "Love For Sale."

The THEK Jazz Quintet Plays the Music of Sam Jones

The THEK Jazz Quintet
Plays the Music of Sam Jones
TNEK Jazz LLC

Bassist Kent Miller leads a quintet drawn primarily from the Mid-Atlantic on a musical exploration of the music bassist-composer Sam Jones. The other members of the quintet are pianist Darius Scott, drummer Greg Holloway, saxophonist Benny Russell, and saxophonist Antonio Parker. Jones wrote six and the great Kenny Barron one, of the compositions on this album.

Several of the numbers will be familiar to many from the great Cannonball Adderly groups that Sam Jones was a member of. The disc opens with a driving rendition of "Unit 7," that producer Ron Kearns observes was Adderly's unofficial theme song. Kent anchors a terrific rhythm section while Parker (on alto sax) and Russell (on tenor and soprano sax) are strong blues-rooted soloists. This and other performances evoke those great Adderly bands. Drummer Holloway kicks off "Bittersuite" trading fours with Scott, before the horns and Miller dive in. There is plenty of swagger in Russell's brawny solo on this. Miller establishes the groove with his energetic bass riff on "Some More of Dat," and Miller' displays his considerable technique as thoughtful playing on his solo. Then there is a lovely ballad, "Lillie," that showcases Parker's ballad style. "i" is another steamy performance that may be familiar from Adderly's recordings and performances.

Kenny Barron's "Tragic Magic" closes this recording with Russell standing out on tenor sax. Kent Miller picked some worthy tunes and led an excellent band on an exceptional hard bop recording.

I received my review copy from a publicist. Here is a performance by The Kent Miller Quartet with everyone on this CD but Antonio Parker.

 

Louis Hayes and the Cannonball Adderley Legacy Band Live at Cory Weeds' Jazz Club

Louis Hayes and the Cannonball Adderley Legacy Band
Live at Cory Weeds' Jazz Club
Cellar Live Records

As many know, drummer Louis Hayes was a cornerstone of the Cannonball Adderley Band for several years. In honor of the great saxophonist, he has led a Cannonball Adderly Legacy Band. This live recording from Cory Weeds' Vancouver, BC club has him joined by Dezron Douglas on bass, Rick Germanson on piano, Vincent Herring on alto sax, and Jeremy Pelt on trumpet. Cory Weeds adds tenor sax on one selection.

Not much to say, but this quintet captures the blues-drenched hard bop soul that characterized Adderley's great band. Indeed, things get off to a terrific start with "Exodus." The performances throughout are outstanding with the rendition of "Dat Here," with a superb Germanson solo being a specific highlight. Hayes and Douglas drive the hot grooves here while Herring and Pelt are characteristically exceptional. The closing notes of "Sack Of Woe" conclude a superb performance.

This recording is available as a download from Bandcamp, https://louishayes.bandcamp.com/album/live-at-cory-weeds-jazz-club.

I purchased this download. This review appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here is the Louis Hayes and the Cannonball Adderley Legacy Band performing at Cory Weeds' Jazz Club in 2013.

Ginetta's Vendetta Pocketful Of Cool

Ginetta's Vendetta
Pocketful Of Cool
Kickin Wiccan Music

Pocket trumpeter, vocalist, and composer, Ginetta Vendetta, leads a quintet on a solid set that might be superficially labeled 'hard bop.' The title of this CD "Pocketful Of Cool" is a pun on the fact that she plays the compact pocket trumpet, but the music is far from compact. She is joined here by four top-notch players: Danny Walsh: tenor saxophone, Jon Davis: piano, Eric "The Big O" Halvorson: drums, and Belden Bullock: bass. They are heard on seven covers (two also presented in alternate takes) and two originals that evoke such classic bands as Cannonball Adderly, Miles Davis, and Horace Silver.

Ms. Vendetta is a lyrically based trumpet, at times evoking Miles Davis' haunting sound as on her original "All Choke & No Slide." and other places the warmth of Nat Adderly and Clark Terry, as on the Jobim classic, "Corcovado." The and is superb backing her with bassist Bullock providing an anchoring ostinato bass figure for Horace Silver's "African Queen," a number on which Halvorson also shines with his crisp, varying attack. Saxophonist Walsh is a robust post-Coltrane player, whether playing wonderfully in a ballad mode as on the two takes of "Come Rain or Shine" where Vendetta plays with a mute, or in a more energized manner on "African Queen." With Halvorson and Bullock laying down a Latin groove, Vendetta and Walsh (sounding more like Hank Mobley than Coltrane) shine on Charlie Parker's "My Little Suede Shoes." Vendetta's trumpet here has a definite charm with her mix of moans and slurs, while Davis takes a thoughtful, deft, and concise solo.

Perhaps the high point is a dynamic performance of Nat Adderly's "Work Song," which displays more of Walsh's powerful playing and maybe Davis' most potent piano solo. Here, Vendetta quotes "Straight No Chaser" as the horns trade fours with Halvorson. In addition to the charm of Vendetta's trumpet, she impresses as a singer with her arrangement of Little Willie John's classic "Fever." Her adaptation is more influenced by Peggy Lee's rendition, as reflected in her sultry approach and Davis' understated, nimble playing. Walsh takes a short, robust solo on this number and also on the other vocal, "Black Coffee."

"Pocketful Of Cool" is Ginetta Vendetta's 5th album as a leader. With a terrific band and an engaging, varied program, she has put out quite a pocketful of musical gems.

I received a review copy from a publicist. Here is a video of recording "All Choke & No Slide."

Doug MacDonald & the Tarmac Ensemble Live at Hanger 18: Jazz Marathon 4

Doug MacDonald & the Tarmac Ensemble
Live at Hanger 18: Jazz Marathon 4
dmacmusic

This is the fourth recording of a "jazz marathon" event put on by Don Thomson. Alternating between two separate ensembles, one has the format for continuous music for the event held at the Hanger 18 restaurant at the Marriott LAX Hotel. The Tarmac Ensemble is, of course, a play on the fact this takes place at an airport hotel. I have been quite impressed with guitarist MacDonald's recent recordings. He is the leader here joined by vibes player Charlie Shoemake, pianist Joe Bagg, alto saxophonist, flutist and arranger Kim Richmond, trumpeter Ron Stout, trombonist Ira Nepus, and tenor saxophonist Rickey Woodward. Harvey Newkirk and John B Williams are on bass, and Kendall Kay and Roy McCurdy are on drums. There are 14 jazz classics and standards performed, and MacDonald contributed two originals. In the brief liner notes, the contribution of Kim Richmond to the West Coast jazz scene of the 196s is stated.

This is a collection of sixteen wonderfully played straight-ahead jazz starting with MacDonald's swinging "San Fernando Boulevard." MacDonald is a fluid, fleet, and inventive guitarist, whether soloing or chording behind Richmond on flute. It is followed by a lovely ballad, "Dreamsville," with Shoemake's crystalline vibes adding to the delight of this elegant performance. There is a playful "Lollipops and Roses" that again features MacDonald and Shoemake. "I Thought About You" is an excellent solo guitar performance. Except for the opening track with Richmond and the solo performance, these selections are only with the rhythm section, including Harvey Newkirk and Kendall Kay.

Herbie Hancock's "Maiden Voyage" has John B Williams and Roy McCurdy as part of the rhythm section. It is taken slightly quicker than Hancock's original recording. Stout takes a fiery trumpet solo, after which MacDonald displays his taste and creativity, and followed by saxophonist Woodward's robust tenor sax. There is the hard-swinging "Pennies From Heaven," that opens with trombonist Nepus soaring over the other horns over a performance graced by Richmond's exquisite arrangement.

While the back cover indicates the Gershwins' "Strike Up the Band," closes the first CD, it, in fact, opens the second CD, which returns us the same group that began this recording. Shoemake and the leader are featured while bassist Newkirk anchors and propels this rendition. Richmond's flute adds to the charm of MacDonald's other original, "LL." The rhythms sway like a breezy day on a Rio beach for the bossa nova, "Someone To Light Up My Life." It is a feature for MacDonald while Shoemake's vibes provide a shimmering backdrop. Richmond did the handsome arrangement for a relaxed interpretation of "Body and Soul." This is a feature for Stout's romantic trumpet and Richmond's alto sax. On "Where or When," Woodward shows what a superb ballad player he is.

Everybody takes their turn on a rousing "Tune Up" that provides a coda on nearly two hours of outstanding jazz that took flight from Hanger 18 that memorable July 2019 evening.

I received my review copy from a publicist. This review originally appeared in the January-February 2020 Jazz & Blues Report (Issue 388). Here is "Tune Up" from this recording.

Johnny Griffin-Eddie 'Lockjaw' Davis Quintet At Onkel Pö's Carnegie Hall

Johnny Griffin-Eddie 'Lockjaw' Davis Quintet
At Onkel Pö's Carnegie Hall
NDRinfo

Onkel Pö's Carnegie Hall was a Hamburg Germany music venue in the 1970s and 1980s that presented a wide variety of music. This CD by the quintet led by the two famous tenor saxophonists, Johnny Griffith and Eddie "Lockjaw' Davis is one of a number of releases of live recordings by such artists as Johnny 'Guitar' Watson, Albert Collins, James Booker, Elvin Jones Jazz Machine, Louis Hayes-Junior Cook Quintet, Louisiana Red, The New Woody Shaw Quintet, Esther Phillips and others.

The present album has the very dynamic saxophonists backed by the trio of Tete Montoliu on piano, Niels-Henning Ørsted-Pedersen on bass, and Art Taylor on drums. There is nothing fancy here, just a hard-swinging set of swing and bop standards with seven performances (roughly 100 minutes) spread across the two CDs, starting with Davis on cymbals and bass drum kicking off a rousing, relatively brief "C Jam Blues." Its a friendly battle as the two joust playing "On Green Dolphin Street," with Ørsted-Pedersen and Montoliu introducing the theme before the two jointly state the theme and take off, both playing robustly on this lengthy performance. Then there is a winsome rendition by Griffith of Ellington's "Sophisticated Lady" with a lengthy, melodious piano solo and a tight bass solo. The first disc concludes with a spirited rendition of Monk's "In Walked Bud."

Lockjaw Davis is featured with some splendid ballad-playing "I Can't Started," opening the second disc followed by a lengthy, high-spirited "Stomping at the Savoy." The two blast off on the simple motive of Benny Green's "Funky Flute" with Griffith's high energy matched by his fellow tenor sax master with Taylor exploding with bombs in support as Montoliu once again demonstrating why he was so highly regarded. After Ørsted-Pedersen solos, Taylor's takes an explosive drum solo, before the horns ride it out. It concludes this excellent straight-ahead set by the two tenor sax giants.

I purchased this. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386) although I made minor stylistic changes. Here is a video of Johnny Griffin and Eddie 'Lockjaw' Davis performing. Incidentally, a new CD by the two, "Ow! Live at the Penthouse,"is coming out on Black Friday, Novermber 29, 2019 on Reel to Real Recordings.

Perry Smith Quartet Live in Brooklyn

Perry Smith Quartet
Live in Brooklyn
Smith Tone Records

For 4 years, guitarist and composer Perry Smith, with bassist Matt Aronoff, has been organizing, cultivating and growing this jam session an all-inclusive, everyone-is-welcome "hang." It is now called "The Nest Session," because it is situated currently at The Nest in Brooklyn's Leffert's Gardens. This present recording was recorded at The Nest and has Smith and Aronoff joined by saxophonist Melissa Aldana and drummer Jay Sawyer.

Born in the San Francisco Bay area, Smith has degrees from the University of Southern California (where he studied with Joe Diorio) and New York University (where's he studied with John Scofield). As a guitarist, he generally blends the traditions of jazz with contemporary sounds. About this recording, he states that Wes Montgomery's "Full House" was a significant inspiration. Over the years I've always come back to it because the energy of the band is so joyful. The interactive playing is incredible and the scope of repertoire includes swinging tracks, straight grooves and beautiful ballads . . . a lifetime of inspiration," He notes that this recording is "more straight-ahead than my previous recordings."

A superficial comparison can be made of the performances here to the Sonny Rollins Quartet with Jim Hall. This is only a reference point as Smith and Aldana bring their own vibrant musical voices here. The opening "Starlit Skies" (one of 3 Smith originals) opens with Smith lyrical horn-like lines followed by Aldana's full-throated thematic soloing. Note should be made of the swinging accompaniment throughout by Aronoff and Sawyer. Sawyer kicks off the heated "Premonition" (another original with Smith and Aldana again both in full flight. Smith opens the standard "Don't Worry 'Bout Me" with some honeyed playing followed by Aldana's exquisite solo. The rendition of "All The Things You Are" is equally sublime. Another original, "Golden Days," an appealing contrafact of "Yesterdays," opens as a duet with bassist Aronoff with another engrossing solo from Aldana. Perhaps the highpoint of this CD is a fabulous interpretation of Sonny Stitt's "Eternal Triangle," taken at a blazing tempo with Aldana and Smith both at the top of their game. Sawyer takes a high energy drum solo here.

Listening to this recording makes me want to check out Perry Smith's earlier albums. He is excellent in the straight-ahead vein of this recording. Melissa Aldana astonishes and indeed has established herself as one of today's foremost jazz tenor saxophonists (not to mention a composer as she displays on her own recordings). With a tight band and their superb playing, "Live in Brooklyn" is simply outstanding.

I received from a review copy from a publicist. Here is a slightly different version of the Perry Smith Quartet performing Charlie Haden's "Waltz For Ruth."

 

Carol Sudhalter Quartet Live At Saint Peter’s Church

Carol Sudhalter Quartet
Live At Saint Peter’s Church
Alfa Music

A pioneering woman in jazz, Carol Sudhalter since the early 1970s been advancing the cause of women in jazz as a musician (she is among the finest baritone saxophonists of the past several decades but also quite accomplished on tenor sax and flute), big band and combo leader, producer, and educator. She played with the first female Latin band and founded the Astoria Big Band (still active for 33 years). She had a discography of over ten albums which this new release, recorded at a performance at New York’s famed St. Peters Church is a welcome addition.

She is backed by a tight quartet that includes Patrick Poladian-Piano, Kevin Hailey-Upright Bass, and Mike Campenni-Drums and they perform fresh renditions of songs by Jobim, Sonny Rollins, Benny Golson,  Tadd Dameron, Bill Evans, Hank Mobley, Don Redman, and two originals. The opening rendition of Tadd Dameron’s “On a Misty Night” quickly establishes the authority and inventiveness she brings to the baritone sax with her robust, brawny attack while the backing trio provides strong support throughout this swinging, modern jazz set. There is a haunting Benny Golson ballad “Park Avenue Petite,” that exhibits her emotional range on the baritone sax while Hailey contributes a melodically grounded solo. There is a lovely flute solo on Bill Evans’ “Time Remembered.” There is a bit of swagger to her playing on Hank Mobley’s “Funk in Deep Freeze” along with some stunning piano which leads into a crisp drum solo.

She sings with a certain charm on “Colin Blues” which is dedicated to one of her students. It should be noted that the vocal, along with spoken announcements, is not well miked. Poladian is terrific here as is the leader on flute. There is a strong rendition of Sonny Rollins’ “Valse Hot” along with Poladian‘s swinging “Fun in the Alley” with the leader’s playful flute. Bassist Hailey is featured on “Gee Baby Ain’t I Good To You,” set against some excellent piano while Campenni varies his stick work to complement the two. A short melodic reading of Jobim’s “Luiza” closes this strong live recording by a woman who should be much better known.

I received my review copy from a publicist. This review originally appeared in the March-April 2019 Jazz & Blues Report (Issue 383). Here is “Park Avenue Petite,” from this album.

3 Nights in LA with George Garzone, Peter Erskine, Alan Pasqua, and Darek Oles

George Garzone, Peter Erskine, Alan Pasqua, and Darek Oles
3 Nights in LA
Fuzzy Music

"3 Nights in LA" documents a January 2019 performance at a new Los Angeles club, Sam First. Peter Erskine took to the bandstand with pianist Alan Pasqua and bassist Darek Oles, his fellow faculty members at University of Southern California's Thornton School of Music joined by tenor saxophone player George Garzone, in town to teach a master class, for three nights, two sets a night. The result is this three-disc release, with each disc representing a different night with a total of 20 tracks and over three hours of music.

Erskine is likely the best known of these players from his time with Weather Report as well as playing with the likes of Steps Ahead, John Abercrombie, Kenny Wheeler, and Marc Johnson. Pianist Pasqua, a veteran of the New Tony Williams Lifetime and Allan Holdsworth, and bassist Oles, one of the most sought after bassists on the West Coast, have been playing with Erskine for over a decade. Tenor saxophonist Garzone, besides being a formidable master of the saxophone is a revered educator, with noted students including Joshua Redman, Branford Marsalis, and Donny McCaslin. Garzone first played with Erskine in 1998, an experience that left a deep impression and they have crossed paths several times since.

Those three nights in January produced some superb music. Erskine and his trio would be delightful to hear by themselves, but add Garzone's tenor saxophone, and the music is excellent in the vein of the classic John Coltrane Quartet as well as the '70s and '80s music of Dexter Gordon and Art Pepper. One may hear elements of Coltrane, Sonny Rollins, Dexter Gordon, Johnny Griffin, Hank Crawford and others in Garzone's full-toned, robust playing. The Coltrane tone may be most evident on the excellent rendition of the blues, "Equinox," the lovely ballad "I Want To Talk About You," but also on Garzone's "Tutti Italiani," where he builds his solo with fire followed by Pasqua's lyrical solo. There are three superb, different interpretations of "Have You Met Miss Jones?" and a rousing rendition of Bronisław Kaper's "Invitation."

There is also Garzone's original "Dedicated to Michael Brecker," which sounds like a contrafact of Lerner and Loewe's "If I Ever Would Leave You" from "Camelot." Garzone is fabulously complemented by Pasqua's rhapsodic solo and the support by Oles and Erskine (who takes a thoughtfully constructed solo here). The remaining music of these discs is also superb making "3 Nights in LA" a terrific release.

I received a download to review from a publicist. There is more on this recording at Peter Erksine's website, https://petererskine.com/featured-album/3-nights-in-la/. Here is a promo video for this recording.

Here is a video from the Sam First engagement.

Cannonball Adderley Swingin' In Seattle

Cannonball Adderley
Swingin' In Seattle, Live At The Penthouse 1966-67
Reel to Real Recordings

This is one of two initial recordings on Real To Real which was launched in early 2017 by jazz impresario (and musician) Cory Weeds and renowned producer Zev Feldman. The label will be focused on important archival jazz releases. Feldman may be known as co-president of Resonance Records, and these releases may be ones that Resonance has passed on. If so, it was not because of the quality of the performances.

The music here comes from radio broadcasts over four nights at the Seattle club where Cannonball and his alto sax lead a quartet with brother and cornetist Nat Adderley, pianist Joe Zawinul, bassist Victor Gaskin and drummer Roy McCurdy, the same band heard on the classic Capitol album, "Mercy, Mercy, Mercy! Live at 'The Club.'" It includes some radio intros from Seattle radio DJ and the original engineer of the Penthouse, Jim Wilke, along with Cannonball's spoken comments and some exceptional music.

It is a fabulous CD of music by this terrific band starting with the explosive opening tune, Jimmy Heath's "Big 'P,'" taken at a breakneck tempo with scorching solos from the brothers. What is refreshing is that the songs selected here are not the familiar Adderley classics like "Work Song," "Mercy Mercy, Mercy!," "Jive Samba," "This Here," or "Unity 7." Instead, there is a marvelous swinging performance of "The Girl Next Door," with spirited muted cornet, earthy alto sax and rhapsodic piano that transforms this into a relaxed waltz. "Sticks" and "Hippodelphia," were both on "Mercy, Mercy, Mercy!" but heard here in lengthy, fiery gutsy performances.

Among the earliest to embrace bossa nova, Cannonball's rendition of "The Morning Of The Carnival (Manhã de Carnaval)" by Luiz Bonfá and Antônio Maria is an energetic one in contrast to Stan Getz's lighter attack. Other pleasures heard include the somewhat understated interpretation of Leonard Bernstein's "Somewhere," Zawinul's mesmerizing "74 Miles Away," and the dazzling bebop of Charlie Parker's "Back Home Blues," on which brother Nat sits out.

While the chief attraction is the music, this comes with a booklet with rare photos by Lee Tanner, Tom Copi, and others. Music journalist Bill Kopp contributes an essay placing Cannonball's music in historical context, including discussing the songs included. An interview with Jim Wilke by Seattle-based saxophonist and jazz writer Steve Griggs delves into what the scene was like at the Penthouse in the 1960s and Cannonball's relationship to the club over the years. There are also interviews with Cannonball's widow and head of the Julian Adderley estate, Olga Adderley Chandler, and acclaimed saxophonist Vincent Herring. It is an excellent booklet to go with the superb music on a fabulous release.

I received my review copy from a publicist. This review originally appeared in the January-February 2019 Jazz & Blues Report (Issue 382). Here is a video of this same band playing in Europe a couple years later. 

Jared Sims The New York Sessions

Jared Sims
The New York Sessions
Ropeadope

While his prior album, "Change of Address" focused on his baritone playing, Jared Sims' new release presents him also on tenor sax as he focuses on what New York City meant to him when he lived there and performed regularly at clubs like The Knitting Factory, Wetland's, and Brooklyn's Tea Lounge. Now Director of Jazz Studies at West Virginia University, he leads a quartet of Chris McCarthy on piano, Alex Tremblay on bass and Evan Hyde on drums for what is simplistically described as a straight-ahead, hard-bop recording.

Sims opens with "Tribeca Tap Bar," a swinging performance with a Brazilian tinge begins with Sims taking a relaxed, energetic solo followed by solos from McCarthy and Tremblay. The rhythm section gets an emphatic groove going on "Wetlands Preserved," with Sims playing forcefully on a number that commemorates a now closed venue. "Brooklyn Tea" has a reflective quality as the pace cools with Sims playing authoritatively on baritone sax. From the title, "The Bodega," one might expect a salsa groove, but the performance is a charming number on which Sims exhibits a lyrical and romantic quality.  The closing "Pelham" is enlivened by an imaginative drum solo.

In addition to Sims' robust saxophone, his rhythm section deserves applause in how they support and complement him along with thoughtful and well-constructed solos. These ingredients make for an impressive recording.

I received a review copy from a publicist. This review originally appeared in the January-February Jazz & Blues Report (Issue 382), Here is "Tribeca Tap Bar," from "The New York Sessions."

Richie Cole Cannonball

Richie Cole
Cannonball
Richie Cole Presents

Julian 'Cannonball' Adderley is the veteran alto saxophonist Richie Cole's favorite alto sax player, and this new recording is Cole's homage to the legendary Adderley. Cole leads an ensemble drawn from his home base in Pittsburgh, including Cole's frontline partner on "Cannonball," trombonist Reggie Watkins who is a surrogate for cornetist Nat Adderley. Tenor saxophonist Rick Matt and trumpeter J.D. Chaisson, are present four of the album's 13 tracks, while guitarist Eric Susoeff, keyboardist Kevin Moore, bassist/producer Mark Perna, and drummer Vince Taglieri fill out the rhythm section. There are a dozen songs associated with Adderley along with a Cole original "Bell of the Ball," dedicated to Adderley.

Highlights include Bobby Timmons' "Dat Dere," with Cole preaching here, and a stunning "Matchmaker, Matchmaker," with Cole alludes to Coltrane's "Moment's Notice" in his solo. There is the driving "Jeannine" with the full horn section followed by a relaxed treatment of "Jive Samba." Cole's original, "Bell of the Ball," has the feel of an unrecorded Adderley tune, while "Sack o' Woe" has a guest appearance from former Horace Silver drummer, Roger Humphries.

While Scott Yanow's liner notes suggests turning "Mercy, Mercy, Mercy" into a swinging number is innovative, these ears found this transformation not very convincing. Much more satisfying is a bossa nova accented rendition of Buddy Johnson's classic ballad, "Save Your Love For Me," warmly sung in Portuguese by Kenia. Cole and Watkins play sublimely on this performance that guitarist Susoeff arranged. After a barnstorming rendition of Sam Jones "Unit 7," the album closes a bonus track of Kenia singing "Save Your Love For Me" in English.

Cole and his ensemble may not play with the bite of Adderley's original recordings, but how many musicians have the force of nature presence Adderley and band had including a terrific rhythm section that included bassist Sam Jones and drummer Louis Hayes. Still, these are extremely enjoyable performances with excellent solos and a first-rate backing band.

I received my review copy from a publicist. This review originally appeared in the November-December 2018  Jazz & Blues Report (Issue 381) to which a few minor changes have been made. Here is a video promoting this recording.

Jorge Nila Tenor Time: Tribute to the Tenor Masters

Jorge Nila
Tenor Time: Tribute to the Tenor Masters
Ninjazz

Saxophonist Jorge Nila began playing music in Omaha, Nebraska in 1965 and moved to New York in 1978, studying with George Coleman, and working with Eddie Palmieri, Jack McDuff, Paul Simon, and others. He returned to Omaha in 1990 where he is a music educator and performs in Colorado, Kansas City, and the Midwest. On this recording, he is accompanied by guitarist Dave Stryker (who was also playing in the Omaha scene in the 1970s), drummer Dana Murray (also a long time friend whose home studio is where this was recorded), and organist Mitch Towne (who also has worked with Nila, and become one of the strongest B-3 players in the Midwest). They provide the backing for Nila's homage to a number of tenor players he has listened to.

While Lester Young is not represented here, Nila writes that he is the apple tree that has led to the fruit of the tenor players he salutes here. It opens up with a nicely paced version of Dexter Gordon's "Fried Bananas." We get introduced to Nila's warm, fluid playing with Stryker bright single note playing and Towne's straight-ahead organ grease all played at a relaxed, swinging groove that Murray puts down before trading fours with Nila on an exemplary performance. The blues-drenched funk of Hank Mobley's "Soul Station" follows.

In honoring John Coltrane, Nila picked a Tadd Dameron composition, "On a Misty Night," and there is a strong tenor sax solo with his full tone and nicely developed solo, although he displays little Coltrane influence. It is followed by a beautiful rendition of Wayne Shorter's "Infant Eyes," with Towne adding an excellent solo. Stanley Turrentine is honored on a relaxed interpretation of Stevie Wonder's "Rocket Love," with Stryker adding a neat riff in his accompaniment. It contrasts with the strong drive of Joe Henderson's "Inner Urge." Sonny Rollins' "The Everywhere Calypso" allows for a bouncy, Caribbean flavor and a thoughtfully developed thematic solo that suggests Rollins' influence in how Nila solos. Stryker adds a solo here in the manner of Jim Hall with Rollins. Sonny Stitt's "The Eternal Triangle," takes us from bebop to hard bop with more thoughtful and inventive soloing.

Harold Vick's "Our Miss Brooks," is a relaxed, bluesy tenor-organ group shuffle with Towne outstanding followed by Nila playing in a more gutbucket manner followed by Stryker's energetic solo with the band then slowly building the intensity of this gem that closes an excellent recording. Nila has picked some interesting tunes to honor a number of tenor giants and with the superb band, shows himself to be a most formidable saxophonist.

I received my review copy from a publicist. This review appeared in the January-February 2018 Jazz & Blues Report (Issue 382), although I have made minor changes. Here Jorge is heard with Richie Love performing "On Green Dolphin Street."

Ernie Watts Quartet Home Light

Ernie Watts Quartet
Home Light
Flying Dolphin Records

What a career Ernie Watts has had, including a stint in the Tonight Show Orchestra, 25 years doing studio work for films and recordings (including those by Marvin Gaye and others on Motown), three decades in Charlie Haden’s Quartet West. And with all this, he has produced many excellent recordings as a leader. The saxophonist’s excellent Quartet has been together for 18 years, and consists of includes Heinrich Koebberling on drums, Rudy Engel on bass and Christof Saenger on piano. Of their previous recording, "Wheel of Time," I observed that The Quartet was a terrific band.

Watts contributed three compositions of the nine tunes heard here opening with a hard-driving composition that is a contrafact of “I Remember April,” “I Forgot August.” As on the prior record, Watts asserts himself with his robust, driving and imaginative soloing while Saenger's dynamic piano, as well as the propulsive rhythm section, contribute to this fine performance. Drummer Koebberling contributed "Cafe Central 2 AM," a bluesy number with a nice walking tempo with Watts providing a lesson in blues saxophone and conveying the late-night ambiance suggested by the title with thoughtful solos from Saenger and Engel. On Oscar Ruiz's "Distant Friends," Watts is heard on soprano as well as alto sax. Saenger is especially impressive with the fluid eloquence of his playing, while with Koebberling quite dynamic in propelling this along.

Watts' energetic "Frequie Flyiers," has an Ornette-like feel to it with Koebberling spectacular here in support of Watts husky playing. In contrast is the Watts-Saenger collaboration, "Horizon," a gorgeous ballad with lyrical playing and marvelous backing by the rhythm. Then there is the bouncy interpretation of Sam Jones' tribute to Oscar Pettiford, "O.P.," that showcases Engel's fine pizzicato playing and tone before Watts, and Saenger solo. After the charming "Spinning Wheel," there is Brad Goode's tribute to Joe Henderson, "Joe," a percolating performance with an Afro-Cuban groove. Watts has a burly alto sax solo but is also heard on soprano (overdubbed?) at the beginning and end with intriguing inter-weaving horn lines.

The title track, Watts' "Home Light" is a heartfelt performance with a gospel tinge and dedicated to watts friend, the late drummer, and percussionist, Ndugu Chancler. This sincere tribute provides a close to another excellent album of straight-ahead jazz by Watts.

I received my review copy from a publicist. This review appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I may have made some minor changes. Here is an extended video of the Ernie Watts Quartet in performance.

Tim Armacost Time Being

Tim Armacost
Time Being
Whirlwind Recordings

Saxophonist Tim Armacost, who recently impressed this listener as part of the NYSQ has his Whirlwind Recordings backed by a crackerjack rhythm section of Robert Hurst (double bass), and Jeff "Tain" Watts (drums) with David Kikoski (piano) on a few selections. The result is a striking album from start to finish as Armacost comes across as a player with tone and intensity, imagination and drive starting with the opening "Alawain" with a sound that has hints of Coltrane, Hank Mobley and others. This is simply an analogy, but Watts comes across as explosive as Elvin Jones while Hurst is a rock anchoring this performance.

The title track is begins as a smokey lament with Armacost employing an effective vibrato in his dark tone with Watts in a free pulse accenting the sax before a slight shift in tempo and a looser mood before the first of three interlude-type numbers titled in part "Sculpture." Kikoski adds his lyrical touch to "The Next 20," a lovely ballad performance from the quartet with some affecting playing from Armacost. The trio next is heard playing authoritatively on Monk's "Teo," which wonderful solo and responsive backing. Kikoski is also present on "One in Four," an attractive composition that might hint at the classic Coltrane Quartet with Armacost delving in the lower reaches of the tenor with Kikoski's chording and Watts being particularly explosive. Ornette Coleman's poignant "Lonely Woman," has his aching tenor interacting with Hurst's urgent bass lines on a superb interpretation and followed by a solid hard bop original "53rd St. Theme."

"Sculpture #3: All the Things You Could Become in the Large Hadron Collider," finds Kikoski's bebop piano set against the leader's jarring tenor sax as they both solo off the chords of the standard "All the Things You Are," before they reach a harmonious accord. Its is an invigorating and imaginative conclusion to a terrific recording. Armacost is superb as is his stellar band mates on a recording that stands out among even so many excellent recent ones.

I received my review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is a clip of Tim Armacost in performance.

Andy Adamson First Light

Andy Adamson
First Light
Andros Records LLC

Ann Arbor, Michigan based pianist-composer-bandleader Adamson's influences include John Coltrane, Mahavishnu Orchestra and Chick Corea and over 50 years worked, and composed, in a variety of styles. This new release has nine of his straight ahead and jazz fusion compositions with a band including Brennan Andes on bass; drummer Jonathan Taylor; trumpeter Ross Huff and saxophonist Dan Bennett.

This is tight quintet that plays strongly on a varied program that opens with the Coltrane-flavored title track that showcases the leader's fluid piano style along with Bennett's robust, high intensity tenor sax. "Corner Store" is a latin-accented number with a nifty piano riff underlying this high-spirited quintet performance with shifting musical textures with Adamson and Bennett soloing. The opening of "Twilight in the Making" has a romantic tone before it transitions into a fusion evoking mode. Bennett's free-sounding tenor interacting with the leader's piano is at the front of "Velvet Sunset," followed by "Divided We Stand." "High Street Roundabout" is another engrossing performance with spirited tenor sax and piano with bassist Andes and Taylor ably backing and complementing them through shifts in tempo and textures from that the Adamson's lyrical improvisation to the more buzzsaw, vibrato-laden tenor of Bennett.

If Bennett and Anderson have most of the spotlight on "First Light," Huff's blistering trumpet is featured on the vibrant hard bop "Sunny Side Up," which also has a brief, taut solo from Taylor. It is a strong conclusion to this very memorable recording of modern jazz.

I received a download to review from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is Andy Adamson in performance.