Joel Frahm - The Bright Side

Joel Frahm
The Bright Side
Anzic Records

On "The Bright Side," tenor saxophonist Joel Frahm leads a trio consisting of bassist Dan Loomis and drummer Ernesto Cervini. This trio was born at a masterclass at the University of Toronto as an offshoot of Cervini's band Turboprop. During a European tour, a repertoire of recent original tunes by the band members. The present album provides a sense of the breadth of the band's repertoire.

One hears hints of trio albums by Sonny Rollins and Joe Henderson for some of this recording, starting with the opening "Blow Poppa Joe," which is dedicated to Joe Henderson. Frahm is a saxophonist with a robust tone able to improvise thematically or melodically. On this performance, he plays propulsively with Loomis as an anchor and Cervini driving things along, playing around the groove before taking a crisp solo. "Thinking of Benny" is dedicated to Benny Golson, and Frahm's playing has a playful and prancing quality to it. It is followed by Frahm's "Boo Sip Dip," a brisk performance based on a fascinating bebop-inspired line, and after an inspired sax solo, Frahm and Cervini trade fours.

 Loomis composed "Silk Road" with his bass stating the theme as Cervini adds percussive accents before Frahm enters on soprano sax on an alluring, atmospheric performance. It is followed by Frahm's salute to bassist Omer Avital, "Omer's World." Frahm and the trio play with considerable energy here. Loomis also contributed "X-Friends" a reimagining of the standard "Just Friends," with surging sax over a turbulent rhythm. Cervini composed the tone-poem "The Beautiful Mystery," with Frahm's tenor and the rhythm section inducing a sense of serenity,
 

The title track is said to be based on the opening riff of Lou Reed's "Walk on the Wild Side." It also sounds as it incorporates a bit of "Jumping' With Symphony Sid," along with Frahm quoting other compositions in the manner of Dexter Gordon. It provides an engaging close to a superb recording.
 
 I received a download to review from a publicist.Here is Joel Frahm in a trio setting.

Etta Jones - Houston Person & Dylan Cremer

(1) Etta Jones

Sings Lady Day

High Note HCD 7078

That Ole Devil Called Love/ All of me/ But Beautiful/ You’ve Changed/ I Cried For you/ Fine and Mellow/ God Bless the Child/ Them There Eyes/ You better Go Now.

Jones, vcl; Houston Person, ts; Richard Wyands, p; Peter Bernstein, g; John Webber, b; Chip White, d. New York, NY, June 21, 2001.

(2) Houston Person

Blue Velvet

High Note HCD 7090

Everything I Have Is Yours/ Wonder Why/ Blame It On My Youth/ Too Late Now/ There’s No You/ Be My Love/ I Want To Talk About You/ I Hadn’t Anyone Till You/ Blue Velvet

Person, ts; Richard Wyands, p; Ray Drummond, b; Grady Tate, d. Englewood Cliffs, NJ. July 10, 2001

(3)Dylan Cramer

All Night Long

Nagel Heyer Records CD 073

Caruso/ Estate/ Bumpin’/ Black Orpheus/ All Night long/ Stolen Moments/ Lover Man/ Clouds/ My Funny Valentine/ So What.

Cramer, as; Ron Johnston, p; Steve Holy, b; John Nolan, d. Vancouver, British Columbia. October 7 & 8, 1998.

The release of (1) occurred almost simultaneously with Etta Jones’ passing.  I was obviously conceived as a tribute to Billie Holiday and succeeds as such and also a reminder of the wonderful voice that Ms. Jones had given us for all these years.  The liner notes observe that Jones’ debt to Holiday but asserts she was no imitator, not directly pattern her approach on Holiday’s.  There are times when listening to this that I almost felt that I was hearing Holiday more in the tone of Jones’ voice than her phrasing, but even there one could observe the inspiration of Holiday’s immense legacy.  Included is a nice mix of material from a couple of numbers most associated with Holiday, “God Bless the Child” and “Fine and Mellow,” along with standards such as “All of Me,” and “Then There Eyes.” The supporting band led by her long-time musical collaborator Houston Person is superb here.  Person’s walking tempo tenor solo is a highlight on “All of Me,” while his blues mastery is evident on “Fine and Mellow.” On the opening passages of “You’ve Changed,” he plays with a romantic feeling that evokes Ben Webster.  Both pianist Wyands and guitarist Bernstein are prominent on the performance of the ballad, “But Beautiful,” with Jones’ expressiveness here rivaling that of Holiday.   The singing and playing here is exquisite and with her wonderful final recording, Etta Jones sang as well and as movingly as any point in her life.

(2) is Person’s latest High Note recording with Ray Drummond on bass and Grady Tate on drums joining Person and pianist Wyands for a disc of ballads and mid-tempoed swingers.  Person is marvelous throughout with a warm, full tone and just a touch of vibrato as is the rhythm section whether Wyands lightly comping behind Person or some nice cymbal work or use of brushes from Tate.  Person’s solos here are romantic without employing any devices like excess vibrato, his solos are wonderfully developed, and do not overstay their welcome.   Wyands contributes several nice solos with the one on “Be My Love” being a choice one.  It is followed by a short Drummond solo on bass before Person reenters to lead the song to its conclusion.  The rhythm section plays so well supporting Person that one can almost forget they are there.   While I do not claim an exhaustive familiarity with Person’s recordings, this release is as good as anything I have heard from him recently.

I am unfamiliar with Dylan Cramer, but I take it that (3) is his debut recording. In his notes, Cramer cites his indebtedness to Sonny Criss and L.A. Studio saxophonist Phil Sobel, both of whom he studied with.  Cramer plays cleanly and fluidly on an interesting mix of material.  He sounds as much at home with the almost dirge-like tempo of “Caruso,” as with a bossa nova such as “Estate” or “Clouds.” It's intriguing to hear Oliver Nelson’s “Stolen Moments” played as Cramer’s alto brings a different attack and sound to that Eric Dolphy did four decades ago.  He brings a big, forceful attack to “So What,” at times he comes across as more than one horn. Cramer imparts a nice, bluesy edge to  Wes Montgomery’s “Bumpin’” where pianist Johnston and bassist Holy both take concise solos.  It's a delight to hear such a solid new talent with solid support for a superb debut.

These reviews were written for Cadence Magazine and published in 2002. I received my review copies from Cadence. Here is Etta Jones and Houston Person performing "Fine and Mellow."

Rahsaan Barber - Mosaic

Rahsaan Barber - Mosaic - Jazz Music City

Nashville native Rahsaan Barber brings us over an hour and a half of straight-ahead hard bop on his Jazz Music City label. Barber, an educator, composer, and an authoritative saxophonist on tenor, alto, and baritone horns, leads a rhythm section of pianist Matt Erdahl on piano, Jack Aylor on bass, and Derrek Phillips on drums. Barber's twin brother Roland Barber is added on trombone for five of the sixteen tracks and plays conch shell on one other. Trumpeter Nathan Warner is added for six tracks.

This is quite an impressive double CD album, mainly in the manner of some of the classic Blue Note and Riverside albums of the late fifties through the early seventies. Of note is the quick tempoed "Catch as Ketch Can" with Warner and Barber evoking such bands as Art Blakey's Jazz Messengers or Louis Hayes-Woody Shaw with Barber's sterling tenor sax. Pianist Erdahl is impressive here as well. "The Pink Pirahna" has a prancing groove with Barber displaying his command playing this blues on the baritone. His playing is complemented by brother Roland's equally arresting trombone, with the rhythm section providing a relaxed pulse. "Down in My Soul" sounds like a Ray Charles instrumental with Barber takes us to church, evoking Hank Crawford with Roland's growling trombone recalling Tricky Sam Nanton. Erdahl is a bit spare here, but his deft use of chords in his accompaniment and his short, spare solo is marvelous. Another track in the same vein is "Sunrise Service," with Roland again in a gut-bucket vein. 

Other notable selections include "Just Jack," a brief bass solo that leads into the lovely ballad, "Koala," with Warner displaying his bright, warm tone with a mesmerizing solo from Barber. Brother Roland plays the conch shell adding to the serenity engendered by "Jambo Rafiki." "Swang That Thank' is a spirited hard bop burner with Warner followed by the calm, dreaming "The Mountain and the Clouds" with Roland Barber again singing with his trombone. Barber plays alto and tenor simultaneously on the short "Newdayrocks." "NaDJe And The Snow" is a gorgeous ballad showcasing pianist Erdahl. 

"Mosaic" closes with the elegiac "Breonna Taylor (How Many More?)." It is a haunting quartet performance whose title should be self-explanatory. It is a coda to an outstanding recording by a first-rate saxophonist-composer and a terrific band.

I received my review copy from a publicist. Here is a video for "Panic Point" from this album.

Jeff Ellwood - The Sounds Around My House

Jeff Ellwood - The Sounds Around My House -Self-produced

Jeff Elwood's "The Sounds Around My House" is an auspicious debut for the tenor saxophonist as a leader. A Southern California native, Ellwood leads a quartet of Alan Pasqua on piano, Dark Oles on bass, and Joe LaBarbera on drums. Bob Sheppard adds his tenor sax to one selection. This band is heard on a nicely programmed set of tunes that includes an Ellwood original, three Pasqua originals, and one original by bassist Oles.

Ellwood's "U-R," a contrafact based on "All the Things You Are," is the opening selection and introduces us to Ellwood's robust playing with little vibrato, backed by an excellent, swinging rhythm section. After his solo, pianist Pasqua carefully crafts his solo with a deft touch, followed by skilled solos from Oles and LaBarbara. Following this performance are two of Pasqua's originals. "Agrodolche" is an engaging ballad with charming performances by Ellwood and Pasqua. "Old School Blues" is a modern blues composition, shifting between minor and major modes. Ellwood's mastery of the saxophone's full tonal range is on display here. The title track is a lesser-known song from Alec Wilder and Johnny Mercer. Pasqua's restrained playing introduces this enchanting performance.

Ellwood pays homage to Rick Margitza, a saxophonist who had a significant impact on him, in a dreamy performance of Margitza's "Provence." With Bob Sheppard adding a second tenor sax, Ellwood pays homage to Dick Oatts on Oatts' "King Henry." Pasqua's chord work helps provide the foundation for a Coltrane-styled performance with the two contrasting saxophonists. Sheppard has a huskier tone, compared to Ellwood's more airy delivery. Pasqua writes very memorable melodies, and his "Barcelona" is another composition that allows Ellwood's lyrical playing to shine. Bassist Oles shines on this number. Bassist Oles contributed the hard, swinging "The Honeymoon," with Ellwood further displaying his playing's fluidity and clarity. Pasqua is dazzling on this, while LaBarbera is explosive on his solo. 

The album closes with Ellwood and Oles's exquisite duet interpreting "For Roger," composed by Joe Magg. It caps a superb album of robust, contemporary jazz by an outstanding saxophonist supported by an excellent band.

I received my review copy from a publicist. Here Jeff Ellwood is heard on "All or Nothing at All.

Benny Rubin Jr. Know Say Or See

Benny Rubin Jr.
Know Say Or See
Benny Jr Music

Benny Rubin Jr. is another prodigious talent coming from the Detroit area. Born in Flint, Michigan, and raised in the Motor City, he discovered jazz, graduated from the Detroit School of the Arts, and worked locally with top local players including Wendell Harrison. He moved to New York, working with such folks as Adam Rudolph, Lonnie Plaxico, Danny Mixon, and the Harlem Society Orchestra. His second album as a leader, his alto and tenor saxophones, is joined by Lex Korten on piano, Adam Olszewski on bass, and Jk Kim on drums.

The album gets its title from three of his compositions on this recording. The album opens with a blues, “Know,” that he begins unaccompanied before the bass and drums enter to support his deep blues playing. “Say,” is a free jazz styled number with impressive piano from Korten before Rubin plays robustly on this stimulating free jazz tune. He is particularly strong playing at the tenor saxophone’s lower range. From the turbulence of “Say,” he shifts gear with a scrumptious ballad playing on “Darn That Dream,” that suggest the influence of Ben Webster and others. Based on Joe Henderson’s “Inner Urge,” Rubin showcases his alto sax on “NYC Urge,” with exemplary quartet playing and a terrific Korten solo.

Rubin leads the quartet on a straight-ahead swinging rendition of Horace Silver’s “Kiss Me Right” that provides space for all the players. The original “Flint Water Crisis” refers to the still pressing issue affecting the residents of his birthplace. While starting with plenty of fire, Rubin’s solo builds in intensity as his solo, including overblowing at the tenor’s upper range as this performance develops.

The two final tracks, “Down They Go” and “Or See,” evoke the classic John Coltrane Quartet, with Korten’s Tyner-esque piano complementing Rubin’s channeling of Coltrane’s sound. Both numbers evoke the spiritual tenor of “A Love Supreme,” with each player bringing their own voice. Rubin’s playing is quite exciting here. These two tracks close this recording and displays the authority and imagination with which Benny Rubin Jr. plays. He also has composed several engaging originals and brought together a first-rate band, resulting in a superb recording. It is available on Bandcamp, https://bennysaxable.bandcamp.com/album/know-say-or-see-2.
 
I received my review copy from a publicist. Here he and his quartet performs "Down They Go."

Dayna Stephens Trio Liberty

Dayna Stephens Trio
Liberty
Contagious Music

About tenor saxophonist Dayna Stephens' previous album "Gratitude," I wrote that, "While not a perfect analogy, … Stephens reminds me of the great Ben Webster in his attention to his tone and every note he plays seems thoughtfully considered … ." That recording was recorded after his recovery from a rare kidney disease. Now free from the illness, he is heard in first trio recording backed by bassist Ben Street and drummer Eric Harland.

In his album notes, Stephens states, "Liberty is a broad term that can refer to many situations, and for this recording, it takes on a few meanings. Playing trio as a saxophonist without any chordal harmonic support can be exposing yet very liberating. … Capturing it at Rudy Van Gelder's studio … just makes this project that much more special." He also observes that "One important common definition of Liberty says: 'The state of being free within society from oppressive restrictions imposed by authority on one's way of life, behavior, or political views.' It's tough not to be aware of current events taking or losing shape within our species."

Concerning the music on this album, there is both freedom and discipline manifested throughout. This starts with the tune "Ran," which was written for a dear friend, Randi Norman. Stephens displays his full tone as well as melodic sensibility with Street and Harland providing support and their own touches. Stephens calls "Faith Leap," a reimagined 'Giant Steps,' taken at a much slower tempo and rhythm. At the same time, "Kwooked Stweet" is a contrafact of another Coltrane tune, "Straight Street." He provides a relaxed attack on this latter number while again exhibiting his robust style and keen musical sense in developing his solo. On "The Lost and Found," Stephens plays baritone with controlled robustness. The trio plays with a spirited playfulness on "Loosy Goosy," There is an African flavor to "Tarifa," which is named after a place on the southern tip of Spain closest to Africa. Street spins a mesmerizing motif with Harland's percussion laying a foundation for Stephens, who plays multiple saxophones here. then there is the graceful beauty of his interpretation of Aaron Parks "Planting Flowers."

Stephens has again displayed those qualities that have had him recognized as one of today's most significant saxophonists. With the complimentary support from Street and Harland, The Dayna Stephens Trio has produced an exceptional saxophone trio album to place with similar records from Sonny Rollins, Joe Henderson, J.D. Allen, and others.

I received my review copy from a publicist. Here the Dayna Stephens Trio performs "Loosy Goosy."

 

Brian Scanlon Brain Scan

Brian Scanlon
Brain Scan
Scan Man Music

Having worked as a studio musician for recordings, movies, and television shows, veteran saxophonist Brian Scanlon has a debut album as a leader. In addition to studio work, he has played behind some great names and perhaps is best known for his work with The Gordon Goodwin's Big Phat Band. Originally from New Jersey, it was while playing with the touring company of "Pippin," which led him to become a member of Ben Vereen's road band. Eventually, he ended up in Los Angeles, which led to his work as a studio musician.

On "Brain Scan," he plays both tenor and alto saxophones, composed eight originals, and interpreted one older tune. His backing musicians include including Tom Ranier and Ed Czach on piano, Trey Henry on bass, Peter Erskine on drums, Andrew Synowiec, Larry Koonse, and Avery Scanlon on guitar, and Joey De Leon on percussion. His compositions display a bunch of influences, including an affinity for funk and Latin grooves, with ingenious use of tempo changes.

The album starts with the title track, a playful number that evokes classic Blue Note recordings. His bright, fluid alto sax is complemented by Czach's comping and spirited guitar from his son Avery. "El Entrometido," with its percolating Latin groove, showcases his robust, driving tenor sax. Trey Henry and Peter Erskine are superb here and throughout this album, while Tom Ranier adds a choice piano solo. 'Re-Entry" takes us in more of a Grover Washington or David Sanborn funk-jazz vein while "Not Watching (For Nancy)" is a beautiful ballad performance with Scanlan on alto sax. Synowiec's guitar enhances it.

An energetic rendition of "Harlem Nocturne" is the one non-original and benefits Scanlan's arrangement for the quartet and the tempo shifts. With the rapid tempo, Scanlan impresses with his facility, clean delivery, and imaginative solo. Ranier and Erskine both solo on this number. Guitarist Koonse is present on the loping lament "Mark's Time." Scanlon wrote if for his brother who died of AIDS in 1992. Koonse adds a thoughtful solo in addition to that from Scanlon. Scanlon's son Avery returns for the closing "Scandalized," with its late-night mood.

There is plenty of excellent music to be heard on "Brain Scan." With excellent tunes, the leader's warm, and robust saxophone, and a terrific studio band, Brian Scanlon's debut as a leader is quite auspicious.

I received a review copy from a publicist. Here is a video of Brian Scanlon performing.

Eric Alexander With Strings

Eric Alexander
With Strings
High Note Records

Eric Alexander has over three decades, established himself as a tenor saxophone virtuoso with considerable technical skill. His fluent, stirring work has gained him countless fans among his fellow musicians as well as listeners. As Steve Futterman observes in the liner notes, Alexander's technical proficiency "can often obscure gifts for lyricism and openly expressive offerings… ." This recording with strings fulfills a long-held dream for Alexander. It has him and his quartet of David Hazeltine on piano, John Webber on bass and Joe Farnsworth on drums augmented by a string orchestra arranged and conducted by Dave Rivello.

This release allows Alexander's lyricism and gift for embellishing melody to shine against the lush string setting as his rhythm section pushes the performances along. Things get off to a terrific start on his original "Gently." Then there is a superb rendition of Leonard Bernstein's "Some Other Time," where he takes off on with some highly animated, not merely pretty playing. Other highpoints include the euphonic rendition of Horace Silver's "Lonely Woman," and a hauntingly beautiful version of the standard (not the B.B. King hit), "The Thrill Is Gone," with lovely flute and french horn heard in the swing orchestra.

While the playing time is relatively short, Eric Alexander's playing is terrific, placing his lyrical expressiveness at the forefront. While this CD was recorded in 2013, it was worth the wait to have it released.

I received a review copy from High Note/ Savant Records. While without strings, this video has Eric Alexander performing "Embraceable You" with a group that included the late Harold Mabern on piano, John Webber on bass and Joe Farnsworth on drums.

 

JD Allen

Americana: Musings on Blues and Jazz 

Savant Records 

The remarkable tenor saxophonist JD Allen describe’s his newest album, “Americana,” as his “personal investigation of the blues at this point in my evolution as a musician.” With the exception of two selections, his seven original compositions are based on I-IV-V-I blues progressions, although listening to earlier blues artists he realized that structurally the 12 bar blues form and the so-called blues scale actually have very little to do with the blues. 

Great blues artists such as Skip James and Bessie Smith certainly support this argument. ... “In my opinion the blues is the gateway to the past and present of American music, the well from which gospel, jazz, rock, country, rhythm & blues and hip hop are drawn. The spirit of the blues, be it subtle or overt, manages to show itself in every genre of American music. Without a doubt, it is my connection as a person and a musician to the definition of Americana.” 

I do not know if I fully agree that the Blues is the roots of all American vernacular music, but there is no question that J.D. Allen and his trio of bassist Gregg August and Drummer Rudy Royston have produced a remarkable recording of instrumental blues. Allen’s playing has been compared to Sonny Rollins and John Coltrane, although in interviews he also mentions Dexter Gordon’s influence. With respect to this recording, Coltrane’s sound perhaps is most evident. I point out the remarkable interpretation of Vera Hall’s lament that was originally recorded for the Library of Congress by Alan Lomax, “Another Man Done Gone.” The tenor echoes the field holler quality of the lament and complemented by August’s stunning Arco bass and Royston’s turbulent turns on the drums. 

“Cotton” opens with August’s bass line before Allen’s tenor brings a solemn tone as he constructs his solo here. It is followed by a brighter groove on “Sugar Free,” a blues that has a bit of Ornette Coleman’s influence, followed by “Bigger Thomas,” named after the main character in Richard Wright’s “Native Son.” Allen and the trios playing here is suggestive of Coltrane’s “Chasin’ The Trane,” with Royston, in particular, complementing Allen. A similar feel marks the closing “Lillie Mae Jones,” but “Lightnin’” also merits attention with the Middle-Eastern sonority of Allen’s playing. 

Allen, August and Royston have been playing together for sometime and this is reflected in the cohesiveness of the trio throughout this recording. It is an outstanding exploration of the blues in jazz by one of its leading artists.

I believe I purchased this. This review originally appeared in the September - October 2016 Jazz & Blues Report (Issue 368). I wanted to include a video of the current recording but for some reason there was a copyright issue so instead here is  an earlier exploration in the blues of JD Allen playing "Son House," from 2008.

Gil Spitzer Falando Docemente

Gil Spitzer
Falando Docemente
Zoho Music

The English translation of the title of alto saxophonist Gil Spitzer's debut is Speak Sweet, which is a reference to the dulcet toned saxophonists that inspired him growing including Stan Getz, Paul Desmond and Johnny Hodges. He also cites the influence of Nat King Cole's vocals as another influence. Throughout this marvelous recording one gets impressed by his own feathery lyricism and the dry martini tone (characteristic of Desmond) as well as the superb backing band behind him that includes the Brazilian bassist and producer of this session, Nilson Matta. Matta Matta assembled a like-minded crew of Brazilian compatriots — guitarist Chico Pinheiro, drummer Mauricio Zottarelli and percussionist Fernando Saci — to provide an authentic vibe on several alluring bossa novas, as well as as a number of standards.

Matta met Spitzer at his Samba Meets Jazz Summer Music Camp in Bar Harbor, Maine and the friendship deepened when the bassist invited Spitzer to an international SMJ camp in Rio de Janeiro, Brazil. Taken by the altoist’s sound, Matta later invited him to sit in with his group on gigs at Birdland back in New York City. “He’s got that lyrical thing, which is very charming,” said the bassist of Spitzer, “and also nice tone, great taste. He embraces all of those things and he plays with a lot of spirit.” Also on several selections is tenor saxophonist Harry Allen who was a guest faculty member at Matta’s SMJ camp. Listening to this, one will be astonished that Spitzer is debuting on a recording at the age of 75, but as Matta states, his debut recording at the age of 75. But as Matta, says of Spitzer, “You don’t have to be any certain age to play music. Anytime is about time.”

This is such a delightful album starting with the opening swing of "Angel Eyes" with melodic magic from Spitzer along with a delightful piano solo from Julian Shore (who also arranged strings for several selections), and the first of a number of marvelous solos from guitarist Pinheiro. There is a Getz spirit in Spitzer's playing on a light bossa rendition of "Embraceable You," with a nifty guitar solo while bassist Matta and the rest of the rhythm provide sure backing. Spitzer's only original, "Blues For Harry A." has Shore on piano as the two saxophonists display their lyrical magic and distinctive sounds (Allen has a much harder attack compared to the dry-martini, feathery playing from Spitzer). The two also are heard together on an easy going Hank Mobley hard bop number, "This I Dig of You," and "Early Autumn," a wonderful ballad performance.

Strings help create an atmosphere for Spitzer's sublime treatment of the Ray Noble classic, "The Very Thought of You," and then there is a most appealing rendition fo Paul Desmond's "Bossa Antigua," with some wonderful guitar from Pinheiro. The rhythm duo of Matta and Zottarelli shine here as well as Matta's "This Is For Luisa," with more exquisite sax, guitar (and piano on the latter number). Nat King Cole is among those famous for his rendition of "Nature Boy," and set against a string quartet setting, Spitzer produces another sublime performance. Other songs interpreted include an engaging Jobim's "Triste" and a most appealing reading of Rodgers and Hart's "My Romance."

The opening of the string arrangement for Sonny Rollins' "Valse Hot," alludes to "Over the Rainbow," before this effervescent rendition of this jazz waltz. It is a wonderful close to a delightful and superb recording.

I received a review copy from a publicist. This review originally appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is a short clip of Gil Spitzer playing.

Jared Sims Change of Address

Jared Sims
Change of Address
Ropeadope

An educator (currently Director of Jazz Studies at West Virginia University) who plays multiple reeds, Jared Sims as a performer focuses on the baritone sax. The title of this album reflects his move from Boston to West Virginia where he went to school. On this he is joined by Steve Fell on guitar; Nina Ott on organ, Chris Lopes on bass and Jared Seabrook on drums for a program of 7 tunes where he gets to display his rugged, energetic playing on seven originals.

The album takes off with the bouncy, funky groove groove of "Offer For Wilson, with Ott's greasy organ setting the mood for Sims to join in with his brawny attack. It is followed by "Seeds of Shihab," a tribute to one of his influences, baritone great Sahib Shihab, where his authoritative soloing is supported by a simple backing with Fell then taking a blues-inflected solo contrasts with the dark bottom sound of the leader's baritone. The soul-jazz flavor of this recording continues with "Ghost Guest 1979," which showcases guitarist Fell who employs a number of effects on his solo before Sims barrels in on the baritone. "Leap of Faith" is a tone poem with electronics creating aural textures that is the foundation for Sims' playing. "Forest Hills," named after a Boston neighborhood, is a spirited number with Fell's bluesy guitar making judicious use of tonal variations and effects. The opening to "Tower of Fazenda" establishes a morose atmosphere which Sims maintains as he plays with restraint followed by Fell's deliberate crafting of his solo.

"Lights and Colors," with a bouncy groove, and strong playing from Sims and Fell, closes "Change of Address," on a dance-able note. The playing, especially of Sims and Fell, captures the ear, even if the backing sometimes is only serviceable. Still an intriguing recording by a formidable baritone player.

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

The New Vision Sax Ensemble Musical Journey Through Time

The New Vision Sax Ensemble
Musical Journey Through Time
Zaki Publishing

Based in southern Florida, The New Vision Sax Ensemble is a saxophone quartet comprised of Diron Holloway on Soprano, Alto Sax and clarinet; James Lockhart on Alto Sax; Jason Hainsworth on Tenor Sax and Melton Mustafa on Baritone Sax. It was formed by Mustafa in 1999 and its members are music educators as well as musicians. While able to play all genres of music but focuses on Jazz as its core.

While inspired by the 29th Street Sax Quartet and the World Saxophone Quartet, on the present disc they play more traditionally in their renditions of jazz classics as well as material from the ragtime era to modern show tunes in a lively manner opening with a spirited bebop rendition of Bobby Watson's "Conservation" featuring Holloway's alto sax along with Mustafa's baritone which provides the bass anchor as well as takes a brief, gruff solo, followed by an equally appealing bop-flavored rendition of "A Night in Tunisia." The old classic "Won't You Come Home, Bill Bailey," has the spotlight on Holloway's twisting, at times squealing, clarinet lines, as well as the tenor sax of Hainsworth.

And here is a nice, straight rendition of Monk's "Round Midnight," along with a lengthy "Selections From Porgy and Bess" with considerable lyricism as well opportunity for each member to take the spotlight. Lockhart is featured on a lyrical rendition of "My Favorite Things," saying close to the lyrics throughout and followed by a joyful reading of "I Feel Pretty" from "West Side Story." "Selections From Scott Joplin" is a chamber ensemble medley several familiar numbers from the great ragtime composer including "The Entertainer" and "Maple Leaf Rag," before the moving closing performance of "Amazing Grace,"

As noted, the performances here are straight forward, and one is impressed by the full ensemble sound throughout so one does not miss a rhythm section when enjoying this highly engaging recording.

I received my review copy from a publicist. This review originally appeared in the July-August 2017 Jazz & Blues Report (Issue 373). Here they are in performance doing "Round Midnight."

 

Lee Konitz Frescalalto

Lee Konitz
Frescalalto
Impulse!

This is a stunning new album by Lee Konitz with a stellar rhythm section of Kenny Barron on piano, Kenny Washington on drums and Peter Washington on bass on a collection of standards that allows the alto saxophone legend to display his fruitful improvisatory skills. "Stella by Starlight" opens with Konitz playing briefly unaccompanied before the rhythm enters and both Barron and Peter Washington take choice solos along with the leader's own dry, slightly sour alto. Konitz's original "Thingin'" also allows his band to shine along with his unpredictable and fresh playing, even avoiding cliches when trading fours with Kenny Washington while the performance fades at close.

A trio record of Barron with this rhythm section would be heaven enough, but add Konitz's alto and you have some magic. Unexpectedly, Konitz scats backed by piano to open "Darn That Dream" before taking an alto solo and then scats after Barron's lovely playing on this duet. The Washingtons return on the swinging "Kary's Trance," "Out of Nowhere" provides another showcase for Konitz's ability to take a familiar number and delight us with his unexpected and fresh improvisation and then scats an improvisation between solos from Peter and Kenny.

After a lovely Konitz ballad, "Gundala," where his lyricism is on full display, there is a superb rendition of the Kaper Bronislaw and Paul Francis Webster classic "Invitation" before the album closes with "Cherokee." Rather than the breakneck tempo "Cherokee" usually is played at, Konitz leads the quartet in a medium walking tempo as he hints at its melodic theme before Kenny Barron accelerates things with a fiery break followed by Kenny Washington's explosive drum break and then the pace slows down with Konitz's reentry. This "Cherokee is a fresh, imaginative end to a fabulous recording.

I received a review copy from a publicist. This review originally appeared in the March-April 2017 Jazz & Blues Report (Issue 371), although I have made minor changes from that review. Here is Konitz playing "Cherokee" from a few years ago.

Ernie Watts' Wheel of Time

"Wheel of Time" is veteran saxophonist Ernie Watt's latest release on Watts' Flying Dolphin Records label. On this he is backed by his European Quartet consisting of pianist Christof Saenger, bassist Rudi Engel and drummer Heinrich Koebberling. This band has been together for 15 years and each members has contributed to the originals here along with four new ones from Watts. The title track is a dedication to the late Charlie Haden with whom Watts played in Haden's Quartet West for 30 years. Also included is an interpretation of Joe Henderson's "Inner Urge."

The Quartet is a terrific band su[p[orting the veteran saxophonist whose career spans from the sixties until today. Watts continues to display a vibrant, expressive sound and dynamic attack although I find his vibrato on the opening "Letter From Home," somewhat harsh which detracts from my enjoyment of the track despite his invention and the energy his playing displays. More satisfying is his energetic rendition of "Inner Urge," while "Andi's Blues" is a nifty blue performance with bassist Engel and pianist Saenger both taking solid solos. Watts' own high energy blues playing is followed by Koebberling nimbly using his brushes.

"L'Agua Azul" is a terrific Brazilian jazz performance on which Watts displays a softer side while the aptly titled "Velocity" is a torrid workout that is influenced by "Giant Steps." It further showcases the leader's virtuosity. The title track opens with Engel's bass, then becoming a lovely duet with Watts before the full quartet enters. Saenger and Koebberling exercise restraint in their accompaniment and  Saenger'ss solo is a marvelous example of taste and restraint, before Engel eloquently takes out this moving performance.

Ernie Watts continues to be a formidable saxophonist who brings considerable passion and invention to his music. His European Quartet does a superb job in accompanying him and making their own statements on a fine recording.

I received my review copy from a publicist. Here us a performance by The Ernie Watts Quartet.