Teymur Phell Master Volume

Teymur Phell
Master Volume
Self-produced

Teymur Phell was born in Baku, Azerbaijan in 1987, and began playing the bass guitar when he was 13. He graduated high school when 18 and continued his studies at the Jerusalem Academy of Music, studying classical upright bass with maestro Michael Klinghoffer. He came to New York in 2011, built his reputation as a vibrant and virtuosic player and has become a sought-after bassist, performing with artists such as Danielia Cotton, Alex Young, Leni Stern, Lafayette Harris, and landing major gigs with jazz greats such as Mike Stern and Arturo Sandoval. On this debut recording he is joined by varying musicians including Nitzan Gavrieli on piano and keyboards; Lionel Cordew on drums; Chad Lefkowitz Brown on tenor sax;/ Mike Stern on guitar; Dennis Chambers on drums; Daniel Sadownick on percussion; Itai Kriss on flute; Albert Leusink on trumpet; Brian Bonvissuto; on trombone; and Wisam Khoury on Darbuka.

Phell is a virtuoso on the electric bass (he also plays keyboards) that is demonstrated throughout starting on "Zero To Sixty." This composition is evocative of Weather Report, and Phell's remarkable playing suggests he is quite familiar with Jaco Pastorious. Brown plays quite energetically here. A similar hot, fusion mood is present on "Papano Kimono," with a propulsive, highly charged solos by Mike Stern and Brown. Dennis Chambers on drums helps provide the funk groove. The title track is a spirited funk performance with shifting time. Gavrieli is particularly impressive on this number. Itai Kriss' flute is spotlighted against riffing horns on "Worth the Wait" with its Latin tine, A solo bass performances, "Old Window," displays the underlying lyrical quality to his playing. "Unfinished Business" is another funky performance with Stern and Chambers joining Phell and Gavrieli, with a dazzling solo by Phell.

After a virtuosic bass solo, "Heyvanhana," the final three numbers are trio performances with pianist Gavrieli and drummer Cordew. Starting as a duet by Phell and Cordew, "Sweet Sweep" develops into a vibrant, bouncy track. It is followed by the more reflective, melodic "Chances Are," with Phell playing as if he was playing a guitar. The closing tune is the bop-flavored "Blues For Who?" where all three solos. Teymur Phell shows himself to be not only a superb electric bass player but also a composer of merit. The excellent playing and varied compositions make "Master Volume" a very engaging recording.

I received a download to review from a publicist. Here is Teymur Phell with Mike Stern performing John Coltrane's"Mr. P.C."

 

Fabrizio Sciacca Quartet Gettin' It There

Fabrizio Sciacca Quartet
Gettin' It There
Self-Produced

Fabrizio Sciacca is an Italian-born bassist who came to the United States to study at Berklee, where he studied with such teachers as John Patitucci, Danilo Perez, and Victor Bailey. After graduating from Berklee, he moved to New York, where he studied with Ron Carter and earned a Master’s Degree in Performance and Composition from the Manhattan School in 2018. On his debut recording his leads a quartet with Jed Levy on sax, Donald Vega on piano, and Billy Drummond on drums on a program of straight-ahead modern jazz.

He displays a big sound and firm, driving touch opening and anchoring Sam Jones' "One For Amos," with Vega trading choruses with Drummond on a swinging trio performance. A fellow transplanted Italian, pianist Andrea Domenici, composed the lovely ballad "Lullaby in Central Park." with Sciacca anchoring Vega's spare, imaginative solo and Drummond's light stick work on an exquisite performance. Levy's sax is added to the trio on Sonny Clark's "Zellmar's Delight." It is a hard-swinging boppish performance of a relatively obscure composition with Vega and Levy terrific before the leader displays a clean, firm touch on his solo.

"For Sir Ron" is a delightful original thatg Sciacca composed to honor his mentor Ron Carter. Vega, who is the pianist in Carter's trio, dazzles here before the leader trades fours with Drummond. With Drummond on brushes, Sciacca takes the lead in stating the theme to a charming, contemplative rendition by the trio of "A Nightingale Sang in Berkley Square." Levy is back for the quartet's performance of Levy's evocative "Lonely Goddess." A wonderfully paced performance with superb piano and sax solos. The quartet closes this CD out with a spirited take on Elmo Hope's hard bop swinger, "One Second Please." It concludes an impressive recording debut by Fabrizio Sciacca.

I received a review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is Sciacca, Vega and Drummond performing "For Sir Ron."

David Finck BASSically Jazz

David Finck
BASSically Jazz
Burton Avenue Music

James Gavin writes about bassist David Finck, that he "may be the most versatile bassist in or out of jazz, fluent in the musical languages of Dizzy Gillespie, André Previn, Rosemary Clooney, George Michael, Phil Woods, Kenny Rankin, Hank Jones, Paquito D'Rivera, Ivan Lins, and Sheila Jordan, to name just a few of the stars on his resume." in his 40 years performing, he has explored and developed a remarkable voice on the bass.

This is his third album as a leader and puts his playing in full displaying with its full sound and his passion for melody and songwriting. He is joined on this recording by Joe Locke on vibes; Jim Ridl on piano; Cliff Almond on drums; Ali Ryerson on flute; Bob Mann on Guitar; Kevin Winard on percussion; and Mike Davis on trombone. Linda Ever and Alexis Cole are guest vocalists.

The embrace of melody is captured on "Old Devil Moon," that features Joe Locke's shimmering vibes, Ridl's tasteful piano and the graceful touch of Almond. Finck bass provides an anchor for a buoyant performance. Finck's bass kicks off the brisk pace of "The Song Is You." Ridl's crisp, rolling solo leads into a brief solo by Locke before Finck showcases his touch, tone and drive on several choruses. These selections also exhibit the marvelous ensemble playing that is present throughout the CD.

Guitarist Mann, with his nylon string guitar, is added to the captivating interpretation of the bossa nova classic "O Barquinho." Finck actually played "The Summer Knows" with its composer Michel Legrand and later with Broadway's Linda Eder who sings the lovely version here. Finck plays an atmospheric bowed bass solo here. "When I Look Into Your Eyes," from the movie "Dr. Doolittle," also showcases Finck's captivating Arco bass playing. His strong Pizzicato bass technique is showcased on "Alfie." Alexis Cole, the other guest vocalist, is featured on Finck's "I Love You So" where she ably handles the unusual rhythms and changing keys. Her clean, melodious delivery is also showcased on Toots Thielemans classic "Bluesette," which features Ali Ryerson's flute along with a brief bass break.

Ridl and Locke both are excellent on the swinging rendition of John Coltrane's "Moments Notice." Finck also takes a robust solo chorus, and Almond adds a crisp drum solo. Trombonist Davis displays a gravelly melodicism on the interpretation of "Tuyo (Theme From Narcos)" with Winard providing the breezy Latin rhythms. Finck even takes a vocal showcasing an attractive low-key style on the closing "All My Tomorrows."

"BASSically," provides David Finck with a showcase of his complete command of the bass. With his marvelous ensemble and the melodic compositions, he has produced an exquisite recording.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a video of David Finck in 2006 playing "Blue Bossa" as part of The Great Jazz Trio with pianist Hank Jones.

 

RIP Butch Warren

2012-0719 Freddie Redd & Butch Warren-6323, a photo by NoVARon on Flickr.

Just heard that Edward 'Butch' Warren passed away. A legendary bassist he was brought by Kenny Dorham from DC to NY and for several years was part of the house rhythm section with Sonny Clark and Billy Higgins. He played on so many classic Blue Note albums by Joe Henderson, Herbie Hancock, Dexter Gordon, Herbie Hancock and was Monk's bassist in the Mid-1960s. He will most certainly be missed.

The Washington Post had a wonderful appreciation on him a few weeks ago, http://articles.washingtonpost.com/2013-09-13/entertainment/42036719_1_jazz-night-stanley-turrentine-nursing-home.

And here is the Washington Post obituary.

http://www.washingtonpost.com/entertainment/music/edward-butch-warren-washington-born-bassist-dies-at-74/2013/10/06/89a11a2e-2eb0-11e3-bbed-a8a60c601153_story.html

He is pictured above with Freddie Redd.  Here is a clip of him with Monk in 1963.

Belinda Underwood Is An Enchanting Jazz Bassist and Vocalist

Among the recordings I had the pleasure to review this year for Jazz & Blues Report was the following by bassist and vocalist Belinda Underwood, that was sent to me by this publication. It appeared in the February 2009 issue (#313)

As the publicity for vocalist Belinda Underwood suggests, she is unique. After all, upright bass playing female vocalists are not that common, especially one also holding a degree in Astrophysics and holding a pilot’s license. Based in Portland, Oregon, she has a delightful new release, “Greenspace ,” with some unusual covers and her originals, that sometimes are whimsical, fit the playfulness of some of the performances. Her alto voice has a bit of sassiness, yet also is quite playful, and enchants with her delivery and phrasing. She plays bass on several tracks, but for much of the disc, Phil Baker of Pink Martini handles the bass with Martin Zarzar, also of Pink Martini on drums. Benny Green is the pianist and on three tracks, Belinda’s sister, Melissa is heard on saxophones. Nancy King adds her vocals to two selections and Egyptian Alfred Gamil adds violin to one track. Green is such a marvelous accompanist; no surprise from his tenure with Betty Carter and the rhythm is first-rate throughout.

The program opens with Underwood and Nancy King scatting to John Coltrane’s “Bass Blues,” followed by her lovely reading of Stevie Wonder’s “Secret Life of Plants,” which is one of several songs indicating a concern for things natural, even if she expresses it sometimes unusually. “No Moon At All,” is a playful waltz about falling in love with Green having a choice solo. An instrumental, “Seeing Red,” on which she plays bass has a Latin rhythm with Green emphatically stating the theme before her sister comes in on tenor. Her lovely way with a ballad is exhibited on “Blue Gardenia,” which is followed by her rendition of the bossa, “Estate,” singing about Estate and how he bathes her in the glow of his caresses and turns her no’s to tender yeses. “Polar Blue,” has a playfully expressed, but sober lyric about global warming, how the icebergs are melting and wondering why no one cares about the plight of polar bears. It is followed by a whimsical song of chickens in the chicken coop, recalling their fearful youth and the “Midnight Creeper,” the raccoon who snook into their Hen House. Underwood's playful, vocal is matched by the delightful trio accompaniment. Then there is her demonstrative lyric about singing in odd time signatures, “Odd Meter Blues.” A bit of middle eastern flavor is added by Gamil’s violin on “The Oasis.” On this, Belinda plays the oud as well as bass while the rhythm conjures images of a camel caravan heading to a desert oasis.

There are plenty of pleasures on “Greenspace,” from the songs, the wonderful playing and, most importantly, Belinda Underwood’s delightful manner in delivering a song that results in these completely enchanting performances. “Greenspace” is available from her website, www.belindaunderwood.com, cdbaby.com, amazon.com, iTunes and other discerning retailers.