The Manuel Valera Trio Live at Diese Onze

The Manuel Valera Trio
Live at Diese Onze
AZis Recordings

"Live at Diese Onze" is the first recording made available on AZis Recordings. Publicist Chris DiGirolamo established AZis as a label/facilitator/marketer for live material. Artists provide AZis with a live recording of a past performance for which AZis provides all artwork, marketing, PR, and facilitates digital distribution. The initial relation features the trio of Cuban-born pianist Manuel Valera from April 6, 2019, at Montreal's Diese Onze Jazz Club. Besides Valera, the trio consists of bassist Hans Glawischnig and drummer Clarence Penn.

While born in Cuba, Valera grew up in South Florida and attended the New School in New York City. Manuel Valera has a prodigious technique, acute rhythmic feel, who can startle listeners with his attack and move them with a more restrained approach as appropriate. Things kick off with his breakneck approach to Monk's "Rhythm-a-ning," which is a virtuoso, stunning performance. However, the performance lacks the angularity and space of Monk's approach to his composition. Much the same can also be said about his mesmerizing take on "Evidence." Penn solos explosively on this selection. In contrast, his approach begins lighter, almost delicate at times, on Benny Golson's "Whisper Not." His solo here is a master class in thematic improvisation as well as the use of dynamics in building up the intensity.

Also of note is the lyricism and romanticism of the performances of Luis Miguel's "Tres Palabras," with Glawischnig and Penn providing impeccable backing. "But Not For Me" begins melodically before transitioning into a whirlwind display of Valera's touch, technique, and ability to craft his improvisation at warp speed. Penn empathically responds to changes of tempo and intensity. The beginning of "Searching" puts the spotlight on bassist Glawischnig before Valera starts with his magic. As Glawischnig anchoring the trio, Penn adds fiery percussion backing of the leader's dynamic piano.

Give the excellence of the Miguel Valera Trio, and one should not be surprised how outstanding "Hans Glawischnig" is. If future AZis releases are half-as-good, listeners have much to look forward to.

I received a download to review from a publicist. Here The Manuel Valera Trio performing "All of Me," with Mark Whitfield Jr. on drums in place of Clarence Penn.

The Lost Melody - New Songs For Old Souls

The Lost Melody
New Songs For Old Souls
Tie Records

The members of the piano trio, The Lost Melody, have been playing nearly two decades together. Comprised of pianist Joe Davidian, bassist Jamie Ousley, and drummer Austin McMahon, until recently, they performed as the Joe Davidian Trio. Over the years, the band became more of a collective, and the focus changed from playing jazz standards towards their own original music. In so doing, they champion a 'melody first' approach to composition and improvisation.

The three provided ten compositions for this CD. Davidian composed six, while Ousley and McMahon each contributed two. One can detect a variety of influences from Bud Powell, Bill Evans, Jimmy Rowles, and Oscar Peterson in their performances, starting with the energetic opening "Leaving Montserrat" and the enchanting ballad "Sol," by McMahon. Davidian is a striking pianist with his crisp, fluid playing and melodic improvisation. Ousley and McMahon are marvelous in their support as they complement and enhance Davidian's piano." Ousley contributed the waltzes, "A Minor Waltz," and "A Sea of Voices." These are alluringly performed with restraint and eloquence. On Davidian's "Ready Or Not," the pianist's effervescent lead leads to the sympathetic, responsive backing. Then there is the romanticism exhibited on "When First We Met," for which one can imagine lyrics being written for.

"New Songs For Old Souls" is a splendid piano trio recording with plenty of melodic charm, first-rate musicianship, and memorable compositions.

I received my review copy from a publicist. Here is "A Minor Waltz."

Ray Gallon Make My Move

Ray Gallon
Make My Move
Cellar Live

It is possible that I may have met Ray Gallon when perusing the jazz stacks at J&R Music World in lower Manhattan decades ago. In any event, this is the pianist's long-awaited debut that has attracted praise from the likes of Ahmad Jamal and Ron Carter. Carter, in fact, wrote a brief liner note, "Welcome to the world of the music of Ray Gallon…extraordinary pianist…college professor…talented composer and arranger…and my dear friend… ." Gallon has been playing for many years, with a period he dealt with his health and that of his family and his resume includes playing with Ron Carter, Art Farmer, T.S. Monk, Dizzy Gillespie, Milt Jackson, Harry "Sweets" Edison, Wycliffe Gordon, Benny Golson, Frank Wess, and The Mingus Big Band. On this trio date, he is joined by bassist David Wong and Kenny Washington.

Listening to Gallon, one is struck by echoes of Hank Jones, Thelonious Monk, Barry Harris, Bud Powell, and others, but it is distinctly him backed by a first-rate rhythm section. Highlights on a consistently excellent recording include "Out of Whack" with its off-kilter, Monkish flavor with some nice stick work from Washington. Then there is an intriguing blues "Craw Daddy," with his use of dynamics and touch matched by Wong and Washington. "Harm's Way" showcases not simply his technical virtuosity with the almost frantic tempo but also the fluidity of his playing and his imagination and skill in constructing a solo. Both Wong and Washington solo here as well.

Gallon originally conceived of interpreting "I Don't Stand a Chance With You" as a bossa. Still, it has evolved into an exquisite and poignant ballad rendition played with a light touch. In contrast, on a memorable treatment of "Yesterdays," Gallon acknowledges employing some of the devices Art Tatum used (although not directly emulating Tatum), such as the transitions from rubato into a spirited tempo through an ostinato bass line and remarkably dissonant voicings. Other selections include the dazzling "Plus One," a contrafact based on Fats Waller's "Honeysuckle Rose," where he also trades fours with Washington. Hank Jones was perhaps the strongest influence on Gallon. Gallon, in fact, studied with Jones. "Hanks a Lot" is his tribute to the late piano great and has some of the energetic eloquence that Hank Jones brought to his music.

As a composer, Ray Gallon crafts melodic themes that keep resonating with the listener while the performances take surprising, but engrossing twists and turns, resulting in this excellent recording that leaves listeners wanting more.

I received my review copy from a publicist. Here Ray Gallon performs "Hanks a Lot."

Max Haymer Whirlwind - Live at Sam First

Max Haymer
Whirlwind - Live at Sam First
Emerald City Records

Pianist and composer Max hammer leads his trio on a spectacular piano trio release. Bassist David Robaire and drummer Dan Schnelle joined him for this live recording at the Los Angeles club, Sam First in June of 2019. "Whirlwind" is Haymer's first album in twelve years, in part because he has been busy touring with Arthur Sandoval and is also the West Coast accompanist for Jane Monheit. Originally classically trained, he later studied jazz performance. He was a Division 1 soccer player in college, and he finds his athleticism an asset in performance,

Given Haymer's time with Sandoval, one should not be surprised by the Latin feel of the interpretation of "So In Love" that opens this album. It starts dreamily before the trio launches into a mambo groove. With first-rate support, Haymer showcases not merely his technique but his inventiveness as he moves from delicate segments into spellbinding mixes of chords and arpeggios. Haymer composed the title track, a relaxed jazz waltz that serves as a showcase for Robaire. The influence of Herbie Hancock and Wayne Shorter is heard on "Proof of Evil," a dazzling performance influenced by Hancock's "Actual Proof" and Shorter's "Speak No Evil." Haymer dazzles with the fluidity and crispness of his playing. Perhaps the highpoint of this recording is the Kurt Weill standard "Speak Low," which starts in a subdued fashion but slowly builds in intensity. In contrast, Haymer's "Gold Plated Dome" brings a different tone with plenty of fiery playing. "Welcoming," inspired by the birth of his first daughter, is a lovely ballad performance.

A rendition of Porter's "Love For Sale" closes this album. Taken at a frenetic tempo, it is a dazzling, virtuoso performance with a Schnelle also taking a strong drum solo. It is a coda on a superb jazz piano recording.

I received a CD to review from a publicist. Here is "Proof of Evil."

Chick Corea Plays

Chick Corea
Plays
Concord Jazz

On this compilation of mostly solo piano performances, Chick Corea engages audiences with a program that includes surprising pairings of his favorite influences as well as spontaneous improvisations, and his own compositions. Corea, these performances engage with a wide swath of musical history before enthusiastic audiences in concert halls across Europe and the U.S. The performances here are from concerts in Clearwater, Florida; Paris, and Berlin.

There are deep dives in the classical repertoire for pieces by Wolfgang Amadeus Mozart, Domenico Scarlatti, Alexander Scriabin, and Frédéric Chopin. Also performed are compositions by formative jazz influences Bill Evans and Thelonious Monk mixed with the bossa nova beauty of Antônio Carlos Jobim. Corea also explores The Great American Songbook through songs by the Gershwins and Jerome Kern and the more modern pop of Stevie Wonder.

Corea remains a virtuoso, so it is a delight to hear him perform Scarlatti's "Sonata in D Minor K9, L413, Allegro," with a subtle precise touch. He then segues into Kern's "Yesterdays," with equal clarity in an improvisation. It is not the only unexpected delight of mixing the classical tradition with the American songbook. The program started with a Mozart piano sonata transitioning into the Gershwins' "Someone to Watch Over Me." Corea himself has noted, "To me it fit so well, but I found that, to audiences, it was a little unusual for me to put together a Mozart piece with a Gershwin tune. What do Mozart and Gershwin have to do with one another? That's up to you as a listener, but they're analogous to me."

Adding to the charm of many of these performances is Corea's introductions to some of these performances. He talks about finding and displaying links between music such as between Mozart and Gershwin. His brief talks are playful and informative, as he introduces the captivating performances of Bill Evans' "Waltz For Debby" and Antonio Carlos Jobim's "Desafinado." After assured, lovely renditions of pieces from Chopin and Scriabin are followed by a trio of Monk compositions that he introduced as a tribute to Monk. The performance of "Pannonica" is particularly sterling.

In addition to his inventive rendition of Stevie Wonder's "Pastime Perfect," Corea dazzles on his "The Yellow Nimbus," performed as a tribute to the great flamenco guitarist Paco de Lucía with whom he recorded this composition in 1982. There are two spontaneous performances inspired by audience members, followed by two piano duets with audience members. The duets involved the conservatory-trained French classical pianist Charles Heisser and the French-Israeli jazz pianist Yaron Herman. When they were chosen, they were simply audience members.

The album closes with Corea revisiting some of the Children's Songs he composed in the 1970s. It continues the exploratory and playful character of these performances. "Plays" is another recording that displays Chick Corea's virtuosity and musical brilliance.

I received my review copy from a publicist. Here is "Waltz For Debby" from this album.

Take 5 With Earl 'Fatha' Hines

Earl 'Fatha' Hines was one of the great jazz pianists. His trumpet style of playing was highly influential. Addirionally, he led one of the great big bands which in its later incarnation hosted some of the bebop pioneers such as Dizzy Gilespie and Charlie Parker. We start off this short playlist with a duet with Louis Armstrong, "Weather Bird."

While not known as a boogie-woogie pianist he did record a classic "Boogie Woogie on St. Louis Blues." This is a solo performance in France.

One of the Hines Big band's most famous number was "Second Balcony Jump." The great Budd Johnson takes the tenor sax solo.

Next up is Hines playing "Rosetta" in 1939.

Last in our short playlist is a marvelous rendition of Eubie Blake's "Memories of You" from 1965.

As a bonus we have a video of Earl Hines describing his influences and technique.

John DiMartino Passion Flower: The Music of Billy Strayhorn

John DiMartino
Passion Flower: The Music of Billy Strayhorn
Gemini Music Co.

As Russ Musto observes in the liner notes to pianist John DiMartino's new recording, the music of Billy Strayhorn "has become recognized as one of the most important bodies of work in 20th Century American music." DiMartino, a pianist some may know from his stints with David 'Fathead' Newman and Houston Person, first got acquainted with Billy Strayhorn's music when, as a 15-year-old, an older cousin requested he learn a tune. Later he heard Grover Washington's recording of "Passion Flower," Bobby Tucker gave him the music for "A Flower Is a Lonesome Thing." In recent years, he has been performing this music with Paquito D'Rivera.

DiMartino leads a quartet of Eric Alexander on tenor saxophone, Boris Koslov on bass, and Lewis Nash on drums. Raul Midón sings on one selection. From the swing of the opening "Johnny Come Lately" to the haunting beauty of "Chelsea Bridge" and "Passion Flower," the quartet develops the inherent melodic qualities and beauty of Strayhorn's music. Alexander is in excellent form as a ballad master and storyteller in the tradition of Johnny Hodges, Ben Webster, Houston Person. At the same time, bassist Koslov and drummer Nash add their own contributions.

Whether soloing or adding his flourishes comping behind Alexander, DiMartino displays grace and taste. His solo rendition of "A Flower is a Lonesome Thing" is one of delicate beauty. Then there is his exquisite accompaniment to Midón's vocal on "Lush Life." He also adds a new veneer to such classic tunes as "Star Crossed Lovers," played as a bossa nova, the spirited "Raincheck," and "Take the A Train." With the outstanding backing provided as well as his marvelous piano, John DiMartino's "Passion Flower" is a sublime recording that does justice to Billy Strayhorn's superb music.

I received my review copy from a publicist. Here is "Chelsea Bridge" from this recording.

Eldar Djangirov Rhapsodize

Eldar Djangirov
Rhapsodize
Twelve Tone Resonance, LLC

Pianist Eldar Djangirov came to this country from the former Soviet Union and soon established himself as a child prodigy, appearing on Marian McPartland's piano jazz at the age of 12, and had released two albums before he attended the University of Southern California on a full scholarship. He signed with Sony at the age of 17 and released several critically acclaimed recordings for that label. About 2011's "Three Stories," a solo piano recording, I observed, "Eldar's virtuosity and command of the classical and jazz traditions is astonishing." Listening to this recording reinforces that observation.

On "Rhapsodize," Djangirov leads a trio with Raviv Markovitz on bass and Jimmy Macbride on drums. They complement and add heat on this recording that opens with a tour de force rendition of "A Night in Tunisia." On this, Djangirov inspired playing conjures up Bud Powell crossed with Chucho Valdes with a breathtaking improvisation with him handling the breakneck tempo and tempo shifts with the preciseness of his touch, like a Gold Medal skier negotiates a shalom course. "Anthemic" is an original built upon a captivating left-hand riff for an exciting performance set against a tumultuous backing. His further showcases his ability to develop a solo over a simple motif is also displayed on "Airport." A relaxed, lyrical take on "Willow Weep For Me," provides a welcome contrast.

Other selections include the percolating bop of "Burn," a meditative interpretation of Soundgarden's "Black Hole Sun," and the startling "Variations on a Bach Prelude" where his virtuosity is on full display. The remaining selections are similarly impressive. Djangirov's extraordinary technique and musical inventiveness, along with the first-rate backing provided, result in this outstanding recording.

I received my review copy from a publicist. Here is Eldar Djangirov playing "Night in Tunisia."

Hank Jones Live at Jazzhus Slukefter 1983

Hank Jones
Live at Jazzhus Slukefter 1983
Storyville Records

Recorded at a Copenhagen jazz club, this location recording has the great pianist Hank Jones leadings trip with bassist Mads Vinding and drummer Shelley Manne on a selection of standards and bebop classics. Ably supported by Vinding and Manne, Jones was in full mastery of his skills and interpretative powers this night. He dazzles on Charlie Parker's "Scrapple From the Apple" and "Au Private," as well as on Bud Powell's "Budo." At the same time, his lyricism is to the fore on standards such as "Just Friends," "It Could Happen To You," and "What's New." 

"Live at Jazzhus Slukefter 1983" is a wonderful addition to Hank Jones' recorded legacy.

I purchased this recording as a download from Bandcamp.com. It is also available as a CD from there and other sources. Here is a video, with a different trio from the CD, of Hank Jones performing Charlie Parker's "Au Private."
 

Eldar Djangirov Three Stories

Eldar Djangirov
Three Stories
Masterworks Jazz

The piano virtuoso, Eldar Djangirov has a new CD, “Three Stories” (Masterworks Jazz), which is his first solo recording. The title of this recording refers not only to one of the tracks which is a three-movement composition but also that the recordings consist of his “interpretations and arrangements of predominantly three musical facets: standards, originals and classical.” So we have some original compositions, performances of Gershwin and Bach and interpretations of Sammy Cahn, Jimmy Van Heusen, Thelonious Monk, Chick Corea, and Charlie Parker, all displaying his amazing technique.

Comparisons to Art Tatum might be suggested by the marvelous playing on “I Should Care,” but even that display is exceeded by the astonishing rendition of Johann Sebastian Bach’s “Prelude in C# Major.” It is not simply the dazzling speed, but the preciseness of his playing and his touch that astonishes. On “Darn That Dream,” he uses a sparser piano attack, along with an impressionistic approach in deconstructing the melody of the standard, and followed by a rendition of Chick Corea’s “Windows” that again displays his facility as well as restraint. His background in the classical tradition is not always a positive. His rendition of “In Walked Bud” is a fascinating breakdown of the Monk classic but, to these ears, it lacks the warmth and playfulness that Monk, among others, brought to this composition.

After the title composition, he interprets Dave Matthews’ “So Damn Lucky,” with a light, skittering approach that suggests Chick Corea to this listener. His rendition of Gershwin’s “Embraceable You,” is an intriguing mix of virtuosity and wistfulness that is fascinating to listen to while his “Russian Lullaby,” builds, in an understated manner, upon folkloric elements and is quite charming. Another original, “Impromptu,” is followed by “Rhapsody on Blue” in which he has added original cadenzas for a virtuosic performance of this Gershwin classic. It is the lengthiest performance here (just under 15 minutes) and one is dazzled by the preciseness of his touch and dynamics, not simply how cleanly he executes his playing and the original elements he has incorporated here. The album concludes with a dazzling rendition of Charlie Parker’s “Donna Lee.”

Eldar’s virtuosity and command of the classical and jazz traditions is astonishing, although I suspect I am not alone in finding some his solo jazz performances to be more interesting as technical exercises, and occasionally missing the heart. Still, this is most impressive.

I received a review copy from a publicist. This review originally appeared in the May 1- June 15, 2011 Jazz & Blues Report (Issue 335). Here is a trio performance of "Donna Lee."

 

Lafayette Harris Jr. Can't Lose With the Blues

Lafayette Harris Jr.
You Can't Lose With the Blues
Savant Records

Baltimore native Lafayette Harris has become a fixture on the New York scene whose resume includes stints in Max Roach's 1990s band, vocalist Ernestine Anderson and currently with saxophonist Houston Person. Person produced this piano trio with a superb rhythm section of Peter Washington on bass and Lewis Nash drums. Underlying this recording is to "expand the language of the blues" as well as play "some standards with 'blues pride inserted in the song form.'"

With this superb trio, Harris handles a variety of songs that have been recorded by Sarah Vaughan, Bull Moose Jackson, Louis Jordan, Ray Charles, Duke Ellington, and others. The set kicks off with a brisk walking tempo swinger, "He's My Guy," where Harris develops several variations on the theme. A lovely interpretation of the Bull Moose Jackson hit ballad, "I Love You, Yes I Do," is taken at a lazy tempo. It is followed by the effervescent original, "Blues For Barry Harris," with Harris scintillating with Nash's accents helping drive this along. Nash and Washington both solo with distinction here. Harris' touch and phrasing capture the reflective quality of the Louis Jordan hit, "Don't Let the Sun Catch You Crying." A similar feeling is captured on the Cole Porter classic "Ev'ry Time We Say Goodbye," an exquisite duet with Washington. An energetic rendition of the classic Mercer Ellington number, "Things Ain't What They Used To Be," follows.

Other standout selections include an imaginative rendering of Charlie Parker's "Bloomdido," that shows, like his tribute to Barry Harris, that he has learned the lessons of Bird and Bud Powell. The title track is a down-home as Harris gets, and then there is a superb solo rendition of Percy Mayfield's "Please Send Me Someone To Love. "The Juicy Blues," is a brisk, rollicking original that again showcases Lafayette Harris' superb blues exploration and caps this excellent recording.

I received my review copy from High Note/ Savant Records. Here is Lafayette Harris, Jr. from a few years back performing Charlie Parker's "Moose the Mooch."

Chick Corea Trilogy 2

Chick Corea
Trilogy 2
Concord Jazz

The first "Trilogy" album was a three-CD collection of performances of the stellar trio of pianist Corea, bassist Christian McBride and drummer Brian Blade from two tours by the trio. About "Trilogy," I wrote in 2014 that Corea displayed "his continued combination of intelligence, imagination, technique, and passion. Collaborating with McBride and Blade, and the quests, his brilliance shines here." This can be said about the present double CD collection of twelve compositions performed during a 2016 tour.

The program on this double-CD release includes standards, classic jazz compositions and three of Corea's compositions. Corea unaccompanied opens "How Deep Is the Ocean" before McBride and Blade make their presence heard in on a terrific performance of this standard. It is followed by a spectacular performance of Corea's "5 Miles High" from his first Return to Forever recording. Listening to the three is listening equivalent to watching the Harlem Globetrotters do their basketball warmups. Corea's interpretation of Monk's Thelonious Monk's "Crepuscule With Nellie," is full of invention and surprise. After another wonderful ballad, "But Beautiful," with excellent brushwork from Blade and there is an animated rendition of "La Fiesta." Other standout selections include a stellar performance of Steve Swallow's "Eidertown" with stunning interplay between Corea and Blade and a superb McBride solo and a briskly-paced treatment of Miles Davis' "All Blues" with Corea dazzling.

"Now He Sings, Now He Sobs," was the title track of Corea's first trio album with Miroslav Vitous and Roy Haynes. McBride and Blade requested it for the tour, and the performance is its first official performance since 1968. Blade opens in with a parade-like groove before Corea enters on another lively performance with a lengthy, impressive Blade solo.  There are also terrific renditions of tunes from Stevie Wonder, Joe Henderson, and Kenny Dorham on another outstanding recording from Corea, McBride, and Blade. Whether this latest recording wins a Grammy or not, "Trilogy 2" is terrific.

I received my review copy from a publicist. This review appeared in the November-December 2019  Jazz & Blues Report (Issue 387. Here is the trio performing Bud Powell's "Tempus Fugit."

 

Dave Miller Trio Just Imagine

Dave Miller Trio
Just Imagine
Summit Records

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

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

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

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

Sullivan Fortner Moments Preserved

Sullivan Fortner
Moments Preserved
Impulse

I was aware of pianist Sullivan Fortner from recorded accompaniments to vocalist Cécile McLorin Salvant. The New Orleans-bred pianist and composer has a gem of a new recording that certainly should delight many. With a career that has already had him playing with Ms. Salvant, as well as Roberta Gambarini; trumpeters Roy Hargrove (in whose band he was in for 8 years), Etienne Charles, and Ambrose Akinmusire; and guitarists John Scofield and Peter Bernstein, he sparkles on this recording with a trio that includes bassist Ameen Saleem (who played with him in Hargrove's band for seven years) and drummer Jeremy "Bean" Clemons. It also includes a couple of numbers with Hargrove.

There is a range of material including standards, imaginative interpretations of themes from television shows and poignant originals, starting with the lively rendition of "Changing Keys," the theme of TV's "Wheel of Fortune." Fortner's touch, inventiveness and his articulation might suggest Barry Harris who he studied with, but he is no Harris clone. He also benefits from the splendid rhythm section. Bud Powell's influence, through Barry Harris' mentoring, is evident on Fortner's original "Pep Talk," that also places the spotlight on Saleem and Clemons. "Elegy For Clyde Kerr" is an alluring ballad that was dedicated to the late New Orleans trumpeter and educator. Fortner's thoughtful, restrained playing is complemented by the rhythm. Bassist Saleem composed and kicks off "Beans and Cornbread," with its jaunty melody, Fortner's spirited playing and Saleem's own strongly played solo.

Roy Hargrove, on flugelhorn, joins the ensemble for a hauntingly lovely rendition of Elmo Hope's ballad, "Eyes So Beautiful As Yours," followed an exquisite reading of Duke Ellington's "In a Sentimental Mood." Fortner's original "Barbara's Strut," displays echoes of Monk and Bud Powell. He follows it with a dazzling, Tatum-esque rendition of "Just in Time." Saleem and Clemons both also are featured on this breakneck performance. Then Fortner takes us to the Caribbean with the jubilantly performed calypso, New Port," followed by his solo impressionistic interpretation of Earth Wind & Fire's "Fantasy," with his mix of cascading passages and dissonance.

Other performances include a marvelous duet with Roy Hargrove "Monk Medley" which was comprised of Monk's "Ask Me Now" and "Monk's Mood." Fortner's beautiful solo rendition of a traditional gospel hymn, "The Solid Rock," also displays his taste as well as technique. It is another wonderful performance on a terrific recording.

I received a download to review from a publicist. I have made some minor stylistic edits to the review that originally appeared in the September-October 2018 Jazz & Blues Report (Issue 380). Here is a performance of him at Blues Alley in Washington DC for "Beyond Category with Eric Felton."

Bill O'Connell Jazz Latin

Bill O'Connell
Jazz Latin
Savant Records

Pianist O'Connell scores with his latest release with selections from his excellent trio, with Lincoln Goines on electric bass and Bobby Ameen on drums, with whom he played with as part of the Dave Valentin Band. Guests here include Randy Brecker, Craig Handy, and Conrad Herwig. The eleven selections include seven originals and cover a range of styles and instrumentation.

The disc opens with a celebratory salute to the 44th President, "Obama Samba" with all three soloing. There is a solid, hard swinging rendition of the Cole Porter standard "Just One of Those Things," before O'Connell switches to electric piano with Craig Handy joining in for "It's OK," followed by the trio paying respects to their late leader Valentin on winsome reflective interpretation of Wayne Shorter's "Footprints." Goines sounds excellent on this. Next is a ballad that slowly builds its tempo, "Goodbye My Friend." On this Randy Brecker employs the lower register of his trumpet. After a very appealing piano solo, Daniel Carillo adds some excellent guitar.

Flautist Andrea Brachfeld enhances "Quicksand," with is percolating groove and skittering electric piano, while "Tip Toes" is a Monk influenced original with interesting intervals and chording with some of O'Connell's most inspired playing. With Conrad Herwig adding his trombone, O'Connell provides a latin arrangement for a dazzling reinvention of Irving Berlin's "Puttin' on the Ritz." Ameen's drumming is most noteworthy here, along with an appropriately heated trombone solo from Herwig.

A tribute to his mother, "Mom's Song" includes some hauntingly beautiful guitar from Carillo along with O'Connell's moving piano. Carillo is also heard on the jazz waltz interpretation of Antonio Carlos Jobim's "Zingaro." The brief, galloping original "What Is This," brings to a close this outstanding recording.

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is "Puttin' on the Ritz," from "Jazz Latin."

The Billy Lester Trio Italy 2016

The Billy Lester Trio
Italy 2016
Ultra Sound Records

Yonkers, NY native Billy Lester recorded this latest recording (not sure if this is his seventh or eighth over 20 years) in Italy after meeting and touring with bassist Marcello Testa and drummer Nicola Stranieri starting in 2014. Lester grew up listening to the likes of Bud Powell, Art Tatum, Charlie Parker, Louis Armstrong and Roy Eldridge while showing an affinity for piano as a young child. He was mentored by Sal Mosca and studied with Lennie Tristano, and he cites these two as his biggest influences. While under Mosca's tutelage, he studied and absorbed aspects of Lester Young's style.

One can certainly hear Tristano's influence in how Lester plays and develops his solos and the arhythmic sense of the rhythm section at times on this program of six originals, but his technique and drive in his playing also evokes Bud Powell's at times. This is a fascinating set of terrific piano trio music. "To Julia," a contrafact of the standard "Body and Soul," on which bassist Testa also solos while Stranieri keeps a fluid pulse going on the lengthiest of the performances here. The driving "Consolidation" is another strong effort by Lester and his trio, but all the music here is of a consistently high level on a superlative CD.

I received my review copy from a publicist. Here is Billy Lester performing.

Hiromi and Edmar Castaneda Live in Montreal

Hiromi and Edmar Castaneda
Live in Montreal
Telarc

Recorded at the 2017 Montreal Jazz Festival, this new release brings together the Japanese pianist/composer and the Colombian harpist. The two first met when the harpist opened for Hiromi's Trio project at the 2016 Festival. Catching each other's set, they were enthralled with each other's music. Hiromi herself recalled, "I didn't really know what to expect. When I heard Edmar play I couldn't believe what I was witnessing. It was a jaw-dropping experience. I didn't realize the harp could create such rhythm and groove." Castaneda had a similar reaction to her music observing, "The energy that she produced was the same as I like to play. I realized that we share the same passion for our instruments.”

The pair first played together for a week at the Blue Note in New York City, and they recall the almost instantaneous chemistry that happened and evident in these Montreal performances starting with Castaneda's "A Harp in New York" where they move from tranquility to propulsive drive with their mix of virtuosity and melodic invention and their playing off each other with Castaneda playing harp almost like a manic finger-style guitarist with his flamenco accents, and driving chording complemented by Hiromi's dazzling arpeggios as the two shift tempos and feeling. On his tribute "For Jaco," the two play with each other at the lower register of their instruments before joining in a playful romp in tribute to the bass legend. Hiromi's lovely "Moonlight Sunshine," written in response to the devastating tsunami and earthquake suffered by her native Japan in 2011, exhibits the lyrical side of both before an exhilarating romp through a composition from "Star Wars," John Williams' "Cantina Band," sort of a boogie woogie on hyperdrive.

The centerpiece of the performance was a four-part suite Hiromi composed, "The Elements," that was written specifically with his jazz approach to harp in mind. She explained, "“I was imagining Edmar’s sound and it reminded me a lot of sounds in nature.” Each part imaginatively reflects its subject: the weightless of “air,” the gritty, deep-rooted groove of “earth,” the shimmering fluidity of “water,” the roiling simmer of “fire.” And the four parts each have their own flavor, the light, dancing quality of "Air"; the rumbling undercurrent to "Earth"; the tranquility of "Water"; and the heated intensity of "Fire."

Their inspired playing as well as how they complement and interact with the other, results in some brilliant, enthralling performances, that concludes with a vigorous take on Astor Piazzolla's "Liberating," adding fieriness to the romantic core of the tango. "Live in Montreal" is a superb debut of a duet that one hopes to have more to enjoy in the not too distant future.

I received my review copy from a publicist. Here is the performance of "Fire," from the Montreal Jazz Festival.

Bill Evans Another Time: The Hilversum Concert

Bill Evans
Another Time: The Hilversum Concert
Resonance Records

This is a follow-up to Resonance Records' highly acclaimed "Some Other Time" that similarly documented the short-lived Evans trio of bassist Eddie Gomez and drummer Jack DeJohnette (who would leave Evans when recruited by Miles Davis). While that album was a studio recording, this was live recording made at the studios of the Netherlands Radio Union two days after the studio album. Like all Resonance reissues, the production is exquisite with a wonderfully illustrated booklet containing essays from Marc Myers on the music contained; Dutch music critic Bert Vuijsje; producer of the radio broadcast, Joop De Roo; recollections of the concert and performing in Holland by Gomez and Dejohnette and pianist Steve Kuhn's recollections on Evans and his piano style.

The music is sublime with Evans brilliance and dynamic lyricism evident from the opening moments of Andre and Dory Previn's "You're Gonna Hear From Me," with Gomez's brawny bass anchoring the performance while DeJohnette's use of brushes adding accents while Gomez takes a dynamic solo. It is followed by Evan's waltz, "Very Early," that opens slowly before quickly accelerating into a brisk frolic. Evans' romanticism and intelligence is evident on the treatment of the standards, "Who Can I Turn To," "Alfie," and "Embraceable You."  After Evan swings "Who Can I," Gomez is superb on his solo, with DeJohnette helping drive things along, and then DeJohnette's brush work is impeccable on "Alfie." A brilliant Gomez bass solo opens the Gershwin classic and after stating the theme, Evans and Dejohnette enter but serving as support for the bassist. A lovely "Emily" is followed by an energetic interpretation of Miles' "Nardis," with DeJohnette imaginatively, and vigorously, soloing.

A spirited "Turn Out the Stars," and a quick "Five," close this recording. It is another superb Resonance reissue of musical history that has been lovingly been made available for contemporary audiences and certain to receive the same accolades that were given to "Some Other Time."

I received my review copy from a publicist. This review appeared originally in the September-October 2017 Jazz & Blues Report (Issue 374).  

 

Bill O’Connell Monk's Cha Cha

Bill O’Connell
Monk's Cha Cha
Savant Records

Bill O'Connell 40 year career, where he has contributed substantial to both jazz and the Afro-Cuban musical traditions, including a stint with Mongo Santamaria and engagements with such hallowed improvisers as Sonny Rollins, Chet Baker, Gato Barbieri and Emily Remler. He also has a long working relationship with the late bassist Charles Fambrough that produced four recordings. Bill O'Connell latest recording is a solo recording from a solo performance at the Carnegie-Farian Room at the Nyack (NY) Library. Five of the nine selections are O'Connell originals, with four interpretations of standards.

The swinging opening "The Song is You" provides the first taste of the lyricism and improvisatory invention that O'Connell invests in his performance with his chords mix in with flowing arpeggios as he explores the familiar melody in several fashions. The following rendition of "Dindi" is a more pensive approach to Jobim's classic that illustrates his use of dynamics. The classic ballad, "It Could Happen To You" also exhibits his ability to extract so much from a melody, yet play in  a spare manner. The title track intertwines an evocation of "Misterioso" and "Well You Needn't," with him providing spicy Afro-Cuban flavor with his right hand. One might imagine the joyfulness of a performance by The Latin Jazz All-Stars, that he leads, on this composition. The striking, "Zip Line" has a lively tone, while "Hither Hills" is a lovely, reflective performance.

Among the remaining performances is a scintillating rendition of Mongo Santamaria's classic "Afro Blue." This is a fine homage to the gentleman who allowed him as a young man to hone his skills as a pianist, composer and arranger. Decades later, the performances here show just how he has further developed, producing this exceptional solo piano recording.

I received my review copy from a publicist. Here is a Latin Jazz band rendition of the title track of this solo piano recording.

Herbie Nichols Honored In DownBeat Hall of Fame

Herbie Nichols recording of The Third World

"It's about time" was a common comment on Facebook regarding the selection of Herbie Nichols to DownBeat's Hall of Fame. Nichols was one of three selected by the Veterans Committee (the others being Eubie Blake and George Gershwin) and it is gratifying that he is receiving such recognition so long after his early death from leukemia in 1963 at the age of 44.

Perhaps at the time of his passing, he was perhaps unfairly compared to his friend Thelonious Monk. I became acquainted with his story from the chapter devoted to him in A.B. Spellman's classic book,Four Lives in the Bebop Business. Recently we are fortunate that Mark Miller wrote a full biography of Nichols, Herbie Nichols: A Jazzist's Life. 

Herbie Nichols recording of Lady Sings the Blues.

He was born in San Juan Hill area of Manhattan and grew up in Harlem. Wikipedia succintly observes  that "During much of his life he took work as a Dixieland musician while working on the more adventurous kind of jazz he preferred, and he is best known today for these highly original compositions, program music that combines bop, Dixieland, and music from the Caribbean with harmonies derived from Erik Satie and Béla Bartók." 

The quirkiness of his compositions perhaps leads to superficial comparisons to Monk. He became friends of Monk while working at Minton's, although he was not fond of the competitiveness of that venue. He became friends of Monk then and was also a journalist who was perhaps the first to write about Monk.

Herbie Nichols playing 2300 Skidoo.

After serving in the Military during World War II, he pursued his career as a composer and pianist. Mary Lou Williams was the first to record his compositions, and after "several years of to persuade Alfred Lion at Blue Note Records to sign him up, he finally recorded some of his compositions for the label in 1955 and 1956, some of which were not issued until the 1980s. His tune Serenade had lyrics added, and as Lady Sings the Blues became firmly identified with Billie Holiday. In 1957 he recorded his last album for Bethlehem Records." His Blue Note Records are compiled on The Complete Blue Note Recordings of Herbie Nichols, and his Bethlehem recordings available on Love, Gloom, Cash, Love.

His efforts to work as a modern musician were limited, and as noted he often had to play Dixieland, which is where he met Steve Lacy and Roswell Rudd, both who were champions of his music after his passing and who were involved in various recordings of his compositions, including a number that were not recorded during his life. Miller notes his music was viewed by his contemporaries as a bit out and also his straight personality contributed to him being outside the jazz scene at the time. 

Misha Mingelberg is heard leading a group playing Herbie Nichols music.

Spellman's chapter is well worth reading nearly five decades later and Miller's biography fleshes out his remarkable, if tragic, life. A sampling of his recordings and an interview with Miller discusses his life and music is on an archived radio broadcast, http://indianapublicmedia.org/nightlights/herbie-nichols-world/.

In 2015, the Smithsonian Museum of American Art presented the US Army Blues to celebrate the music of Herbie Nichols. A couple days later, the US army Blues presented the same program. This second performance was broadcast on video, which is available on youtube. They have presented the Music of Herbie Nichols additional times as well. in 2019, it is likely the Take 5 series held at the Museum of American Art will have another celebration of Herbie Nichols and his music.