Perry Smith Peace

Perry Smith
Peace
Smith Tone Records

About his new album "Peace," Perry Smith states, "I had been interested in recording a trio album of standards to really draw the listener in through classic melodies, dynamics and the natural sound of my Gibson ES-175. Using a traditional archtop hollow body, my style of jazz guitar can really work with a sensitive and swinging rhythm section like Schnelle and Minaie. I chose to record a variety of standards that have meant a lot to me over the years, and what I discovered is that as my own life experiences have unfolded, my connection to these songs, and what I have to offer musically has only gotten deeper."

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, although on this recording, his playing is directed more to the straight-ahead tradition. Six of the nine songs were recorded when Perry was in Los Angeles with bassist Sam Minaie and drummer Dan Schnelle. He has a long association with both members of his trio, and they recorded those tracks on an off-day from their playing together. The other three selections are solo performances that he recorded in Los Angeles a few months later before the pandemic struck. This album is Smith's 5th full album as a leader.

The music is thoroughly delightful with Smith's exquisite tone, clean and nuanced phrasing, and lyrical playing complemented by Minaie and Schnelle. Indeed, the beautiful rendition of Richard Rogers' "This Nearly Was Mine" shines with his crystalline single note runs mixed with chords carefully played over Minaie's light bass and Schnelle's use of brushes. The repertoire is not limited to the Great American songbook as heard in the take of Sam River's "Cyclic Episode." Perry and trio readily negotiate the leaps and twists of Rivers' melody with some energized guitar. As marvelous as Smith is throughout, his playing on "Darn That Dream" is gorgeous, with Schnelle again adeptly playing brushes. Also striking is the rendition of Horace Silver's "Peace" with Smith's careful and precise placement of notes as well as chording behind Minaie's bass solo.

The three solo performances that close this album, "A Child Is Born," "I Remember You," and "Alone Together," are gems of melodic improvisation. They complete a thoroughly engaging and marvelous jazz guitar album. It is available at bandcamp, https://perrysmithmusic.bandcamp.com/album/peace.

I received my review copy from a publicist. Here is a solo guitar performance from Perry Smith.

Ricardo Silveira Solo

Ricardo Silveira
Solo
Moondo Music LLC

This album is Brazilian guitarist Ricardo Silveira's first solo recording. Born in Rio de Janeiro, he started playing guitar at the age of 11; he was initially inspired by rock and blues acts, like the Beatles, Jimmy Hendrix, Led Zeppelin, Cream, and BB King. He also started exploring jazz artists like Dave Brubeck, Miles Davis, Joe Pass, George Benson, and Wes Montgomery. He developed chops jamming and began studying classical guitar and music theory to pursue music studies in college. Brazilian universities at that time offered courses in music. They didn't offer courses specifically designed for guitar, so Silveira signed up for a summer course at Berklee College.

The summer course at Berklee would change his life. After the summer course, he got a scholarship to continue studying at Berklee. In Boston, he met Bill Frisell, who recommended him for a salsa band. This began his professional career. Herbie Mann hired him after Claudio Roditi told Mann about Silveira. He quit Berklee and left for New York to play with Mann. He played and recorded with several greats in New York. After recording his first album as a leader in 1984, he moved to Southern California, where he recorded more albums and established himself on that scene.

Quarantined at home during the pandemic, he decided it was a good opportunity to record a solo album. Silveira included six of his original tunes, all of which he recorded on previous albums but re-
imagined here for solo guitar. He also interpreted songs by great Brazilian composers Marcos Valle & Paulo Sergio Valle, Antonio Carlos Jobim, and Johnny Alf, along with a rendition of Rodgers & Hart's "My Romance." The Rogers & Hart number is the only one this listener is familiar with.

He plays unaccompanied electric guitar; The album opens with Silveira's "Rio Texas," a lovely slow composition that showcases his attention to detail, careful selection of notes and chords that linger in the air. "Preciso Aprender A Ser Só" is a gentle song from Marcos Valle & Paulo Sergio Valle that Silveira provides a delightful take on. "There is a folk-like quality to his charming original "That Day in Tahiti," with more appealing guitar. "Tango Carioca," has a funky bass line over which he spins a subtle but impressive improvisation. Even if the performances are generally at a slow tempo, one forgets this listening to the gorgeous rendition of Jobim's "Luiza," which brings out every bit of the romanticism of Jobim's song. The same can be said about his performance of "My Romance," where he embellishes the melody and lyrics of the standard. Then there is the haunting beauty of Johnny Alf's "Eu E Brisa," again where it seems he plays every note to bring out its full significance.

Listening to "Solo" is like being at an intimate house concert with a guitarist of the highest level who is concerned not about displaying his technique but rather displaying his ability to create an evening of melodic enchantment. All one needs is a glass of their favorite beverage while savoring this recording.

I received my review copy from a publicist. This review appeared in the July-August Jazz & Blues Report (Issue 397). Here is "Tango Carioca" from this album.

Dave Stryker With Bob Mintzer and the WDR Big Band - Blue Soul

Dave Stryker With Bob Mintzer and the WDR Big Band
Blue Soul
Strikezone Records

Guitarist Dave Stryker's latest recording dates from March 2019 when he recorded with the WDR Big Band with tenor saxophonist Bob Mintzer. Mintzer, who serves as the principal conductor for the renowned Cologne, Germany band, provided the arrangements. The material here includes several songs in the vein of the Eight-Track soul and pop songs Stryker has featured in some recent recordings. Also heard are Stryker's originals that are in a similar groove-based manner.

Obviously, there is a difference between Stryker's usual organ jazz combo and a big band. However, the finger-popping, soulful feel of these performances is similar, in part due to Mintzer's handsome arrangements. Stryker is terrific with his lithe single note, horn-like solos set against a relaxed swinging groove. There are several standouts in the big band, including the keyboards of Billy Test (whose organ playing is excellent), drummer Hans Dekker and Mintzer himself.

Standout tracks include renditions of a couple Marvin Gaye songs, "Trouble Man" and, "What's Going On." Karolina Strassmayer is impressive on alto sax while Billy Test plays some funky organ. Stryker's jaunty original "AHA" has a robust Mintzer solo along with one from Stryker. Another original "Blues Strut," has a relaxed marching groove and showcases Test and Mintzer in addition to Stryker's scintillating playing. An unexpected delight is the performance of "Prince's "When Doves Cry," with Stryker's lyrical statement of the melody set against brassy horns. In addition to Stryker's nimble fretwork, alto saxophonist John Hörlén exhibits a dry, bluesy tone.

Against the relaxed swing of "Wichita Lineman," Stryker makes use of the lower register of his guitar to state the theme before Andy Hunter's surging trombone. Mintzer and Stryker are the soloists on Stanley Turrentine's "Stan's Shuffle," that closes this recording. With varied music, Mintzer's terrific arrangements, and the first-rate backing of the WDR Big Band, Dave Stryker's "Blue Soul' is his latest memorable recording.

I received my review copy from a publicist. Here is "Blues Strut" from  this CD.

Doug MacDonald Live in Hawaii

Doug MacDonald
Live in Hawaii
Dmac Music

Guitarist Doug MacDonald began his career in Hawaii before establishing himself in Southern California. His latest recording comes from a November 2019 performance at The Atherton Performing Arts Studio of Hawaii Public Radio. Joining him are Noel Okimoto on vibraphone, Dean Taba on bass, and Daryl Pellegrini on drums. MacDonald notes the unusual presence of a vibraphone in a guitar-led quartet. "Replacing piano with vibraphone lends a different artistic expression, and the harmonic constraints of four mallets offers me a different space to solo and develop chord melodies." On MacDonald's website, he likens this quartet to the Red Norvo Trio with drums added.

The album starts with an effervescent take on "My Shining Hour," which provides all four opportunities to solo. MacDonald impresses with his cleanly shaped lines and crystal clear tone. Okimoto's shimmering vibraphone provides an open base for MacDonald as well his solos as MacDonald comping. Bassist Taba anchors the music while also laying down robust solos, while Pellegrini ably propels the music while also taking crisp, focused drum solos. MacDonald contributed a couple of originals like the breezy "Cat City Samba" with Okimoto's crystalline solo followed by the leader's well-shaped, prickly solo. Then there is the easy rocking treatment of Oscar Pettiford's "Blues in a Closet" that bassist Taba takes the lead on. Like all the tracks here, the pace of the performances is spot on. "Star Eyes" is given a Brazilian-bebop fused performance. The performance of "Lester Leaps In" may be the highpoint of this set, with Okimoto dazzling as is MacDonald when the two trade fours.

Doug MacDonald's band is first-rate and sounds like they have been playing together for some time. With the strong selection of tunes, and top-flight soloing, he has produced another excellent album.

I received my review copy from a publicist. Here with a slightly different quartet, Doug MacDonald performs "Lester Leaps In."

Dan Petty Two Guitars

Dan Petty
Two Guitars
Self-Produced

A guitar player and producer living in Los Angeles, Dan Petty has been a session player and touring musician. "Two Guitars," a gypsy jazz-inspired record focusing on his acoustic playing, is his first recording with him playing both the lead and rhythm parts. One selection features bassist Tim Lefevre, whereas another features the vocal group, The Goods (Lucy Woodward, Holly Palmer, and Michelle Lewis).

Petty certainly is a capable jazz guitarist in the manner of the legendary Django Reinhardt as is audible on the Django compositions that open this recording, "Blues En Mineur" and "Django's Tiger," the rendition of "Tiger Rag" that Reinhardt and Stephane Grappelli put together. Set against his vigorous rhythm guitar, Petty displays his adept, clean, and often dazzling, single-note runs and his thoughtfully structured improvisations. Then there is his gorgeous, graceful interpretation of Reinhardt's "Melodie Au Crepuscule." Stephane Jean Wrembel is one of today's leading guitarists in this vein, and Petty lends his talents to a lively rendition of Wrembel's "Bistro Fado." Also outstanding are the Gypsy jazz treatments of Charles Parker's "Donna Lee" and Cole Porter's classic "You'd Be So Nice to Come Home To."

Not every track is in the 'Gypsy Jazz' mode. "South American Way," with a vocal from The Goods, has a south of the border flavor indicated from its title. The vocal is adapted from The Andrew Sisters rendition, with Petty playing scintillating guitar behind the vocal and his break. Then there is a stunning interpretation of "Tico Tico." In a completely different vein is a precious rendition of Pat Metheny and Lyle May's "James." Bassist Lefevre is added to the feverish rendition of Mike Stern's "Chromazome."

A charming, graceful take on Reinhardt's waltz "Choti" is the concluding selection on Dan Petty's marvelous, highly appealing debut album.

I received a download to review from a publicist.

Matt Panayides - Field Theory

Matt Panayides - Field Theory - Pacific Coast Jazz

New York-based guitarist-composer Matt Panayides leads a quintet through a fascinating jazz recording based on the jazz tradition but also exploring new sonic landscapes by mixing electric and acoustic sounds in a set of modern, highly original compositions. "Field Theory" is a departure from Panayides' previous releases that were acoustic, straight-ahead projects. Playing on this recording are Panayides-guitar/comp, Matt Vashlishan-wind synth, Rich Perry-tenor sax, Bob Sabin-bass, and Mark Ferber-drums.

There is a vitality of the performances, starting with the opening "Kite Flying." Vashlishan's organ-sounding comping cushions Panayides scintillating single-note runs while Sabin and Ferber swing the performance. "Disturbance" has an anxious feel between Panayides' agitated guitar riff and Perry's stormy solo. There is an impressive use of guitar effects for the moody "Closer Now," along with a well-crafted crystalline guitar solo as Ferber's drumming helps build the intensity. Sabin's bass line underlines the energetic title track with the rhythm generating a propulsive foundation for a white-hot solo. 

"Energy Mover" is aptly titled with the leader and Perry heating things with their solos. Vashlishan is showcased on "2.27.20," which refers to the date this album was recorded. It is an atmospheric if unstructured performance. This recording's centerpiece may be the four-part "Penta Folk," with a mix of relatively open structured, and structured parts with proactive solos and splendid interplay by the quintet. It is representative of the first-rate, absorbing music on this recording.

I got my review copy from a publicist. Here is a performance by Matt Panayides' Field Theory

Juan Carlos Quintero - Caminando

Juan Carlos Quintero - Caminando - Moondo Music

Guitarist-composer Juan Carlos Quintero was born in Columbia but came to the United States as an infant. When eight, he traveled led with his family (his father was an Army physician) to Belgium. He started playing guitar during this time. When the family returned to the United States, he continued his musical education at Berklee and the New England Conservatory studying with Gary Burton, Michael Gibbs, and George Russell. At Berklee, he first met the legendary session guitarist Tommy Tedesco who would mentor Quintero. After moving to Los Angeles in 1986, Tedesco would introduce Quintero to the West Coast studio music community, and eventually, this led to his first recordings.

The present recording is a rerelease of his 1997 album, "The Way Home." On this album, Quintero's acoustic guitar is supported by pianist Joe Rotondi and either bassist Eddie Resto or Alec Milstein. There are also a host of percussionists (Munyungo Jackson, Walter Rodriguez, Tiki Pasillas, Angel Figueroa, and Ron Powell). Quintero composed all ten compositions (one with Kenny Hudson). 

While inspiration may be from Latin American folk music, Quintero brings an appealing pop-flamenco-jazz feel to this recording. This feel is evident in the opening "El Baile," based on the cumbia folk style of his native Columbia. Here, and throughout, his excellent technique, melodic embellishments, and tone are supported by pianist Rotondi and the percussion. The title composition sounds like an acoustic Santana rendition of the cha-cha-chá, with marvelous bebop runs mixed for perhaps his most intriguing solo. Then there is the surging Latin flavor of "Hermandos," the dramatic tone to "Libre," and a lovely ballad, "The Way Home." 

The music varies from the calm, relaxing mood to The Way Home" to the exhilarating feeling engendered by the title track. His playing is outstanding with substance yet still very accessible. This recording may be older, but its new release is most welcome. It is available at Bandcamp,  https://moondorecords.bandcamp.com/album/caminando.

I received my review copy from a publicist. Here he performs "Caminando."

Dan Rose - Last Night & New Leaves

Dan Rose - Last Night - Ride Symbol Records

Dan Rose & Claudine François - New Leaves - Ride Symbol Records

Guitarist Dan Rose is heard on an album of solo guitar interpretations of standards and an album of duets with a longtime musical friend, French pianist Claudine François. Rose has a long career going back to regularly playing with Paul Bley and being part of the New York loft scene. Living in Europe for several years, he met Ms. François, and they recorded a duo album for Enja, one of several projects Rose recorded for Enja. His varied career has had him perform and record with Perry Robinson, Jay Clayton, Billy Hart, Thomas Chapin, Arthur Blythe, Rashied Ali, John Abercrombie, Connie Crothers, Eric Reed, Steve Turre, Cyrus Chestnutt, and many others. Claudine François was classically trained before becoming interested in jazz. She has formed a free jazz ensemble and composed for theater and dance. Her ensembles have included Jim Pepper and Jane Burnett, and she has worked in groups with Marion Brown, Hamid Drake, Lee Konitz, and others. 

"Last Night" is a recording of considerable allure. Rose states he has long wanted to do a solo album, and while initially, he intended to do original compositions, but when he began playing, the songs heard emerged. They are familiar songs like "Body and Soul," "Darn That Dream," "Tenderly," "What's New," "If I Loved You," and "Moonlight in Vermont." There is an Ellington Medley of "Prelude to a Kiss," 'Things Ain't What They Used To Be," and "Sophisticated Lady," along with another medley of "Guess I'll hang My Tears To Cry," Detour Ahead," and "Dreamsville." With a beautiful tone and a clean, precise attack, we are treated to renditions built upon the lyrics of these classic songs. Rose has provided us with an exquisite solo guitar recording.

Rose brings this same warm tone and guitar styling to the musical conversations with pianist François with whom he has played with for thirty years. "The New Leaf" is an original he wrote with her in mind and is a lovely ballad with her measured solo following his guitar solo with her use of block chords as he comps with soft chords. It is followed by one of the standout performances here, their bouncy rendition of "Monk's Dream." Other standout performances include the light Latin-tinged "Lady in Mercedes" and François' "Le Desert," with her rumbling and then dreamy introduction. This is followed by Rose's thoughtful, spare pinched note solo. There is playfulness in the duo's handling of Horace Silver's "Senor Blues." Another intriguing performance is François' "Mr. Slaint," a tribute to Steve Lacy and a composition with a touch of Monk, whose music was a significant inspiration to Lacy. Life Rose's solo album, this album of duets, is full of performances of charm and considerable appeal.

I received review copies from a publicist. Here is a performance from Dan Rose & Claudine François in 2013.

Henry Robinett Quartet - Jazz Standards Volume 2: Then Again

Henry Robinett Quartet - Jazz Standards Volume 2: Then Again - Nefertiti Records

Henry Robinett is a guitarist, composer, bandleader, and recording engineer whose recording career began in 1986. Born in Sacramento, California, he was inspired by Jimi Hendrix when 13. He first studied with a couple of classical guitar teachers. He had to learn to play Bach, Paganini, Mendelssohn, and Rimsky-Korsakov on an electric guitar using a pick. Later he would study with jazz guitarist Warren Nunes. Robinett played a variety of music back in Sacramento before moving to San Francisco. 

He spent a year in Germany, and upon returning, he started playing his music and leading his own group. He recorded three albums for the Artful Balance label. Wanting more control over his music, Robinett learned to be a recording engineer and recorded his music and others for his label. This album is the second album released from 2000 sessions with Joe Gilman on piano, Chris Symer on bass, and Michael Stephans on drums. Like "Volume 1: Then," this was not released at the time. In 2019, the quartet got together again and recorded another two CDs worth of material to be released in the future. 

About the earlier volume, I wrote, 'It was as much a real pleasure listening to this marvelous recording, and one looks forward to these future releases." The same can be said about the present recording. Robinett leads his swinging, straight-ahead quartet on a repertoire of songs from Lehar & Loehner, Van Heusen & Burke, Van Heusen & Mercer, Alan Jay Lerner, Miles Davis, Cole Porter, Thelonious Monk, Thelonious Monk, and others. 

On these recordings of standards, Robinett shows himself to be a melodic guitarist with a gorgeous tone. He mixes scintillating single-note runs and judiciously played chords against the tasty grooves of the rhythm section. In addition to his comping, Gilman is a sterling soloist, as heard on his lively solo during "On the Street Where You Live." Robinett himself exhibits his familiarity with the song's lyrics with his statement of the theme and solo. Then there is the charm of "Like Someone in Love," where Stephans deft touch on the cymbals accents the leader's solo. 

The quartet provides a relaxed treatment of Miles Davis' 1st version of "Milestones," with Robinett's imaginatively crafted solo. A beautiful performance of "Body and Soul" features a dexterously played, well-shaped solo that showcases his considerable technical mastery in addition to his creativity. There is also a reflective quality to the treatment of "Darn That Dream," and the scintillating playing on the briskly paced "It Could Happen To You."

Closing this recording are excellent versions of Thelonious Monk's "Monk's Mood" and "San Francisco Holiday." The performance of "Monks Mood" is particularly memorable for the delicacy and restraint exhibited by Robinett and rhythm. These two tracks conclude another excellent album that was a pleasure to listen to. The exquisite music on this and the earlier volume may lead listeners to have strong anticipation for the forthcoming volumes. These volumes will be devoted to the more recent sessions by this splendid group.

I received my review copy from a publicist. Here is a performance by Henry Robinett with saxophonist Jeff Alkire. 

Henry Robinett Quartet - Jazz Standards Volume 1

Henry Robinett Quartet - Jazz Standards Volume 1 - Nefertiti Records

Henry Robinett is a guitarist, composer, bandleader, and recording engineer whose recording career began in 1986. Born in Sacramento, California, he was inspired by Jimi Hendrix when 13. He first studied with a couple of classical guitar teachers. He had to learn to play Bach, Paganini, Mendelssohn, and Rimsky-Korsakov on an electric guitar using a pick. Later he would study with jazz guitarist Warren Nunes. At home, he explored the record collection of his father, Charles Mingus' first cousin. He, in fact, spent three months living with Mingus. Robinett played a variety of music back in Sacramento before moving to San Francisco, where he would play at the Keystone Korner. 

After a year in Germany, he returned to start playing his own music and leading his own group. They recorded three albums for the Artful Balance label. At this time, he wanted more control over his music and learned to be a recording engineer. Robinett then recorded his subsequent albums and albums for others, as well. He also started his own label, Nefertiti Records. This present album was recorded in 2000 with Joe Gilman on piano, Chris Symer on bass, and Michael Stephans on drums. For whatever reason, it was not issued at that time but finally is available.

It is a most welcome CD with Robinett leading a swinging, straight-ahead quartet on a repertoire of songs from Mancini, Fields and Kerr, Arlen and Koehler, Mal Waldron, Bronislaw and Webster, Hammerstein and Kern, and Wayne Shorter. I understand that Robinett often is a more electric player than here, where he is in a traditional bebop-rooted approach. He has a gorgeous tone, plays scintillating single-note runs, and judiciously played chords against the tasty grooves of the rhythm section. There is a focus on the melody as his playing sings on such songs as "I Hear a Rhapsody," 'The Days of Wine and Roses," "The Way You Look Tonight," "East of The Sun" "Invitation," and "Soul Eyes." Pianist Gilman is splendid as well with his comping and well-conceived solos. Bassist Symer provides the musical axis while drummer Stephans adds his rhythmic embellishments to these tuneful and lively performances.

There is another volume of recordings from 2000 forthcoming, and then a further two volumes from 2019 when this quartet got together again. Robinett says in his CD notes." It's been a real pleasure playing this music with these remarkable musicians." It was as much a real pleasure listening to this marvelous recording, and one looks forward to these future releases.

I received my review copy from a publicist. This review appeared in the May-June 2020 Jazz & Blues Report (Issue 390) although erroneously not credited to me. Here is a recording from Henry Robinett's first album.

Nelson Riveros - The Latin Side of Wes Montgomery

Nelson Riveros - The Latin Side of Wes Montgomery - Zoho Music

New York guitarist Nelson Riveros provides a Latin accent on seven of Wes Montgomery's compositions and two originals. Riveros is joined by Hector Martignon (piano), Mark Walker (drums), Andy McKee (bass), and Jonathan Gomez (percussion) for this different twist on Montgomery's music. This project took place after he played a gig that involved performing some of Montgomery's songs. The gig inspired Riveros to reimage Montgomery's music in a Latin American style. Riveros said, "I started to hear all kind of rhythms, bass lines, and melodic variations to some of his tunes. The next day, I started writing arrangements, and this very project began to take shape." 

Riveros is an impressive player and does provide an imaginative gloss to the Montgomery compositions. He and pianist Martignon stand out throughout with fresh inventions. The rhythm section on this recording is top-flight. "West Coast Blues" may be the only arrangement that the Latin coating on Montgomery's loping blues doesn't completely jell to these ears, yet his fleet, sophisticated playing still sparkles. "Jingles" is a terrific, briskly paced performance with sterling piano along with Riveros' mix of single notes runs, octaves, and chords. Riveros' original, "Nelson's Groove," is inspired by "Wes' Tune," and he mostly employs octaves during the bridge. His interpretation of "Wes' Tune" has one of his most inspired improvisations, including his use of octaves. Bassist McKee takes a robust solo on this number.

There are standout renditions of Montgomery's "Road Song" and "Four On Six." The album closes with a lovely, relaxed unaccompanied performance of "Leila," played on a nylon-string guitar. It caps an auspicious and outstanding Zoho Music debut for Riveros that also is an excellent tribute to Wes Montgomery.

I received my review copy from a publicist. Here is "Road Song."

Doug MacDonald Duo - Toluca Lake Jazz

Doug MacDonald Duo -  Toluca Lake Jazz - Self-produced

The latest album from guitarist Doug MacDonald is of duets with bassist Harvey Newmark. Now located on the West Coast, MacDonald is a Philadelphia native who was inspired by such guitarists as Joe Pass, Johnny Smith, Howard Roberts, and Wes Montgomery while forging a personal style. About his playing, I remarked, "He impresses with his clean, fleet and imaginative attack and thoughtfully constructed solos." Bassist Newmark was born in Hollywood, California, who took up the bass in middle school. His experiences include working with the Buddy Rich Big Band, Lew Tabackin, Carmen McRae, Joe Henderson, and many others. He also has played with various classical orchestras as well. 

The intimacy provided by a guitar-bass duet allows MacDonald's beautiful tone to shine as much as his creative mix of single-note runs and chords, while Newmark provides a rhythmic anchor with his fat lines. The recording starts with a delightful rendition of "Flamingo," a song associated with the one-time Ellingtonian Herb Jeffries with whom MacDonald worked. The pair take listeners to Brazil for a lovely samba, The Little Boat," as MacDonald chording while Newmark solos. Among other charming performances are the beauty of "These Foolish Things" and "Easy Living," which showcases bassist Newmark.

MacDonald says he wrote the title track for a big band. I have not heard the big band rendition, but the performance here suggests this song is a contrafact of "Cherokee." "Is This It" is a solo guitar featured based on the chord changes of "What Is This Thing Called Love." "De-Ha," with its boogaloo rhythm, is an interesting original that is structured differently for the melody and the solos. Then there is an intriguing interpretation of Coltrane's "Village Blues." 

A lively original, "New World" serves to close out a most delightful recording.

I received my review copy from a publicist.

Larry Newcomb Quartet Featuring Jake Newcomb Love, Dad

Larry Newcomb Quartet Featuring Jake Newcomb
Love, Dad
Essential Messenger Records

Reviewing a prior recording by guitarist Larry Newcomb I wrote, "Newcomb captivates with his beautiful tone, single-note lines and carefully placed chords with his swinging backing band … ." His new album, "Love, Dad" teams him up with his son Jake for a high-quality straight-ahead jazz quartet set. They are joined by pianist Thomas Royal and drummer Dave Marsh and six originals and four standards.

It is a captivating set of straight-ahead, swinging jazz starting with a delightful, relaxed, "You Stepped Out Of A Dream," with Newcomb displaying his tone, relaxed horn-like lines, and fertile imagination, and closing with the lively interpretation of "The Song Is You." Newcomb's original "Essential Messengers" is set against a light Latin groove with chording and guitar lines evoking Wes Montgomery.

There is the quirky "Cliffhanger Blues" with a strong two-handed piano solo. The title track follows. It is a contrafact of "Stella By Starlight," and includes a prickly guitar solo that displays the restraint New comb plays with." His son is showcased on Oscar Pettiford's "Tricotism," with memorable playing. An unexpected selection is the cover of the 60's TV show theme, "Secret Agent Man," with Newcomb playing with a bit of treble.

Newcomb's ballad "Hearts in Suspension" is particularly memorable. The melody and the performance hint at Thelonious Monk's "'Round About Midnight." Newcomb shines with his restraint and thoughtful note placement. His son also shines on his solo over Larry's light chords. It may be the standout track of a solid, swinging, and thoroughly entertaining jazz guitar album.

I received my review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits. Here is a performance by Larry and his son Jake.

Hazar Reincarnated

Hazar
Reincarnated
Immersive Audio Network

Las Hazar, known simply by his last name, will undoubtedly awaken many ears with his superb acoustic guitar as represented on this CD/Blu-ray Disc release. On a musical program ranging from bebop to Brazilian music to Gypsy swing, he displays not simply impressive technical fluency but a melodic and improvisatory sense that, at times, is astonishing. He is joined on one selection by Al DiMeola. Others heard on this release include pianist Mike Roelofs, bass clarinetist Piotr Torunski, and percussionist Mehmet Katay.

The clarity of his tone, phrasing, and inventiveness is immediately evident on the opening "Made For Wesley," where he quietly builds his solo throwing in dazzling single note runs over the airy backing. Chick Corea's "Spain is a superb duet with DiMeola, who also plays the cajon on this track. There is more astonishing guitar on Dorado Schmitt's "Bossa Dorado." What is impressive is that no matter how fast Hazar plays, the melody remains the roots of his improvisation. At the same time, his ability to add to the beauty of a piece is shown on the rendition of "Black Orpheus," which is also a showcase for Roelofs' romantic lyricism. Some of these same qualities are also evident in the performance of "Summertime."

After a scintillating performance of Charlie Parker's "Donna Lee," this album closes with a superb solo rendering of the traditional "Le Vieux Tzigane." It caps a recording of a remarkable, virtuosic guitarist whose technique, if often startling, never betrays the music's melodic foundation. As observed, this release comes with a Blu-ray Disc of the performances. Not having a Blu-ray player I was not able to evaluate that portion of this package.

I received my review copy from a publicist. Here is the performance of "Bossa Dorado."

David Sills Double Guitar Quintet Natural Lines

David Sills Double Guitar Quintet
Natural Lines
Gut String Records

David Sills is a Los Angeles based reeds player based who a prolific recording career, both as a leader and with others. Influenced by saxophonist Gary Foster with whom he studied privately, the LA Times has called Sills' sound "as a meeting of Stan Getz and Joe Henderson." The double guitar quintet arose from Sills playing venues where there was no piano, so he added a second guitar, which "seemed to open up many musical possibilities and allowed for an interesting mix of musical colors." Sills is heard on this recording playing tenor sax and alto flute. The other Double Guitar Quintet members are guitarists Larry Koonse and Mike Scott, bassist Blake White, and drummer Tim Pleasant. Sills composed five tunes, Scott and Koonse, one each, while Sills, Koonse, and Scott collaborated on one. The other four songs are covers.

Sills is a wonderful player as well as a composer with a striking band on this strong bop-laced date. Things start with Scott's bright, bouncy "Minor Monk." I presume that Scott takes the guitar lead and solo here while Koonse chords and adds fills. Sills' full-bodied tenor follows Scott's clean-toned, fluid lines. Sills also displays a fluidity in constructing his solos. The rhythm section is sterling with Pleasant takes a short drum solo. Koonse contributed "Sync or Swim" with an intriguing melodic line. Koonse's scintillating solo is supported by Scott's chordal backing, followed by the leader's robust solo.

Sills' "Sonny's Side" is a salute to Sonny Rollins with more sweet-sounding guitar followed by more strong tenor sax. Excellent guitar backing is present backing Sills' superb ballad playing on "Lover Man." "Foggy Daze," a contrafact of "A Foggy Day," is a terrific swinging performance. Another contrafact, "Mellow Daze" (based on "In a Mellow Mood"), is another sublime performance with precious guitar and warm tenor sax. "All The Little Things" is a brief, imaginative free improvisation between Sills, Koonse, and Scott based on the structure "All The Things You Are."

Sills' lovely alto flute is showcased on Alan Broadbent's "Quiet As a Star." This performance also has exquisite interplay between the guitarist in support. Sills also plays alto flute on a rendition of Miles Davis' "Nardis," that begins sounding like free jazz before bassist White bridges the group into the Davis melody. Other selections are similarly of a high level.

Sills' Double Guitar Quintet has produced this marvelous straight-ahead bop recording of great appeal with the superior musicianship and strong material.

I received my review copy from a publicist. Here is a performance by David Sills with a group that includes Larry Koonze.

John Scofield Swallow Tales

John Scofield
Swallow Tales
ECM

With all the recordings over his esteemed career, "Swallow Tales" is John Scofield's first album as a leader for ECM. The present album is a celebration of the bassist Steve Swallow who Scofield has known since he was studying at Berklee some four decades ago. Swallow has played and recorded with Scofield over the years and Scofeld notes their rapport is such that "Sometimes when we play it's like one big guitar, the bass part and my part together."  Filling out the trio is drummer Bill Stewart. Scofield states about Stewart that What Bill does is more than ‘playing the drums,'" Scofield says. "He's a melodic voice in the music, playing counterpoint, and comping, while also swinging really hard."

This recording is devoted to Swallow's compositions which Scofield observes "make perfect vehicles for improvisation. The changes are always interesting – but not too interesting! They're grounded in reality with cadences that make sense. They're never just intellectual exercises, and they're so melodic. They're all songs, rather than ‘pieces'. They could all be sung." The performances of these nine tunes display the emphatic interplay suggested by Scofield's comments above.

Scofield's touch and technique is immaculate throughout while his solos are ingenious and thoughtfully constructed. Certainly there is a delicious precious quality to the opening selection "She Was Young" where Scofield's crafted lyrical playing is subtly supported. His guitar tone is exquisite while Stewart is adding a counterpoint with his rhythmic accents. Swallow himself adds a melodic solo on this softly played tune. Stewart's propulsive playing kicks off "Falling Grace" with the composer's neat bass line as well as Scofield's scintillating, twisting solo. Then there is the free-flowing bluesy feel of "Portsmouth Figurations," that was originally performed on Gary Burton's "Duster" album. There is effervescent playing on "Eiderdown," which also has a noteworthy drum solo. Another song to take note of is the lovely ballad "Away," with some pretty playing from the leader and Swallow with Stewart deftly and softly using brushes. "In F" is Swallow's contrafact of a Cole Porter number with  drum breaks featured in its head.

Besides being marvelously played, the performances are uncluttered with plenty of space for the music to breathe. There is so much to enjoy with the intriguing compositions, the imaginative and thoughtful playing and the rapport the three showcase. "Swallow Tales" is a gem of a jazz guitar recording.

I received a review download from a publicist. Here is a 2010 performance by this trio.

 

Max Light Trio Herplusme

Max Light Trio
Herplusme
Red Piano Records

I write this on the day (April 16, 2020) Max Light was supposed to perform at the Smithsonian American Art Museum as part of the Museum's Take 5 series. Alas, the performance was postponed because of the COVID-19 pandemic. Light, a guitarist from the Washington DC area, is now resident in New York City. Light finished in second place in the 2019 Herbie Hancock Institute of Jazz International Jazz Competition. The rest of the trio consists of Simón Willson on bass and Matt Honor on drums. Light has written eight compositions with performances that emphasize ensemble interplay. The inspiration for many of these is growing up and childhood memories.

There are moments where Light leads with some abstract pointed phrases. Other moments find him sounding more lyrical. There are some echoes in Simón's bass solo, while Honor deconstructs and restores a groove on the opening "Boy." One might suggest Light's approach is part of a post-Abercombrie generation of guitarists. By the end of "Boy," there is a mesmerizing quality to the performance. "Overcrooked" is inspired by a skateboarding trick as well as subdivision. This latter point is shown by Light's shifting between subdivision of 4, 5, 6, and 7 sixteen notes per quart note. The result is an unstable, unsettling groove but intriguing track. In contrast, Light plays in a more genial, lyrical manner on a ballad, "Pumpkin Pie."

Other selections bring together shifting rhythms with melodic phrases that sometimes segue into no-time changes segments. They also may employ unusual time signatures with the trio's members playing off each other in an engaging manner. For example, "Baby's Hard Times," utilizes a 13/8 meter, but also has some of Light's most imaginative soloing. "The Things You" is a radical recomposition of the standard "All the Things You Are." This recomposition involved the removal of some bars from the piece. A result is that the song seems familiar yet strange.

This is Light's debut recording and brings forth a fresh and unique approach. It is a recording that had me awaiting the now-postponed performance. Hopefully, the wait for his live performances will not extend too far in the future. His website is MaxLightGuitar.com.

I received my review copy from a publicist. Here is Max Light's semi-final set at the Hancock Institute Jazz Guitar Competition.

Gloria Reuben & Marty Ashby For All We Know

Gloria Reuben & Marty Ashby
For All We Know
MCG Jazz

Vocalist Reuben and guitarist Ashby have provided us with a delectable album of songs dealing with the beauty, pain, and unexpected twists of love and relationships. Reuben's first album on MCG Jazz, "Perchance to Dream," ended with a duo the hat sparked the present recording. Inspiration was found not merely from the connection they experienced, but also the duet albums by Sammy Davis, Jr. with Mundell Lowe and Laurindo Almeida, and by Ella Fitzgerald with Joe Pass. Reuben has a career as an actress and singer with credits spanning television, film, theater, and concert halls. Among these credits, she sang backup for Tina Turner on tour and received Emmy nominations for her acting on ER. Guitarist Ashby is also the executive producer of MCG Jazz, which he started in 1987.

Listeners will be charmed by Reuben and Ashby's intimate and romantic renditions of the ten songs about love and people. Reuben has a soft, melodious voice, and delivers the lyrics with clarity and a soothing feel. Ashby's accompaniment provides a foundation for her vocals with his mix of chords and single-note runs that also embellish these performances. The songs include such songs as 'Time After Time," "I'll Close My Eyes," "A Time for Love," "I'll Get Along Without You Very Well," and "How High the Moon," and Reuben enchants the listeners with her singing.

While the renditions are straight-forward, the warmth and clarity of her singing backed by Ashby's lean, sympathy backing make for delightful listening. This is a perfect album to listen to while having a candlelight dinner.

I received my review copy from a publicist. This review appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here is Gloria Ruben performing "I'll Close My Eyes."

The Coachella Valley Trio Mid Century Modern

The Coachella Valley Trio
Mid Century Modern
dmacmusic

A guitar trio featuring guitarist Doug MacDonald takes its name from the fact that MacDonald and his fellow musicians settled in Palm Springs, in California's Coachella Valley. Besides MacDonald, the trio consists of Larry Holloway on bass and Tim Pleasant on drums. They started playing a regular gig in 2016 at A.J.'s on the Green, and they really clicked, inspiring MacDonald to capture the trio on tape. Big Black playing djembe is a guest on 6 of the 11 selections, four of which are MacDonald originals.

As MacDonald observes in his brief liner notes, the trio soon found they had a close rhythmic connection, that is evident in the performances heard here. MacDonald is an excellent bop-styled guitarist with a melodic core to his playing with a deft touch. His playing echoes the message of Lester Young of knowing the lyrics of the tunes one plays, while he ably constructs very sophisticated solos. His bandmates complement his performances, which include charming renditions of such standards as "My Shining Hour," "What's New," "Give Me The Simple Life," "Woody 'N You," and "The Way You Look Tonight."

MacDonald adds in delightful originals, including "Lance Or Lot," and "Cat City Samba." This latter song, with a percolating drum solo, is one of two Brazilian-oriented compositions that the trio give scintillating performances to. It complements the interpretations of the standards on a first-rate bop-styled jazz guitar recording.

I received my review copy from a publicist. This review appeared in the March-April 2020 Jazz & Blues Report (Issue 389). 

Vinicius Cantuaria & Bill Frisell
Lagrimas Mexicanas
One Music

“Lagrimas Mexicanas” is a new collaboration between Brazilian guitarist and vocalist Vinicius Cantuaria and American guitarist Bill Frisell. I am familiar with Frisell who has engaged in many interesting projects over the years, but Cantuaria is a totally new name, He brings his vocals, acoustic guitar and percussion while Frisell brings his guitar and tape loops to this recording.

The music is in part a result of Cantuaria moving to New York from his native Brazil and being struck by an amalgamation of sounds emanating from the streets of New York City. In particular, the diversity of Spanish-speaking people affected him.

Cubans, Puerto Ricans, Colombians, Venezuelans, Mexicans and countless others formed a rich multicultural collage which is reflected in the songs here. The two collaborated in fusing traditional Latin rhythms with improvisational jazz methods.

Cantuaria’s vocals convey a dreaming romanticism with his guitar and soothing vocals supported by Frisell’s atmospheric painting of sound with his guitar both from his own runs and his use of effects.

The results are delightful and enchanting performances with a light Brazilian rhythm often underlying the performances. The delights include “Calle 7” inspired by Cantuaria’s strolls down 7th Avenue in Park Slope Brooklyn as well as the lightly textured instrumental “La Curva.”

The title track has an irresistible and infectious rhythm with Cantuaria overdubbing his vocals against the loops and mesmerizing interplay between the guitars.

While I am not conversant in Spanish or Portuguese (although the closing “Forinfas” is in English which had a definite untutored charm), “Lagrimas Mexicanas” captivated me throughout. Recommended.

I received my review copy from a publicist. This review originally appeared in the May 1- June 15, 2011 Jazz & Blues Report (Issue 335). Here is a video of Vinicius Cantuaria & Bill Frisell