Steve Hobbs Tribute To Bobby

Steve Hobbs
Tribute To Bobby
Challenge Records

Marimba / vibes veteran Steve Hobbs has dedicated this new recording to Bobby Hutcherson who mentored him as a young player. The dedication came after Hutcherson's recent death shortly after this program of mostly originals by Hobbs that encompass modern mainstream examples of post bop, Latin, Funk, Calypso, and the such. Emphasis on this date is on the woodier marimba. He is joined by a terrific band including Adam Kolker on saxes, Bill O’Connell on piano, Peter Washington on bass and John Riley on drums. Hobbs himself in the booklet elaborates on the renditions of ten originals and three covers.

On the opening "The Craving Performance," one observes how tight the rhythm section is as Washington's firm bass anchors this lively swinger. Kolker's tough tenor solo is followed by Hobbs on marimba on a solo displaying imagination as well as precision. "Into the Storm" opens with Riley's drums and a short period of controlled chaos between marimba and piano. It transitions to a 5/4 on an animated performance with several metric changes and superb piano from O'Connell. On the wonderful interpretation of "Besame Mucho," Hobbs states that he "wanted a West African Naningo feel … ." This is a quartet performance with his marimba lending more of a Caribbean than Afro-Cuban flavor. Both O'Connell and Hobbs are spectacular while Washington and Riley are superb throughout. Kolker returns with authority on the vibrant, driving "New Creation," followed by Hobbs who states Hutcherson's influence on him is perhaps most evident here. Washington also solos on this selection.

The breezy latin-flavored "Tres Vias" has Kolker on soprano with a serpentine solo, followed by the lovely "Millie," with nice brush work from Riley and then, "Thelonious Funk," which has a playful, funky tone. "The Road to Happy Destiny" is a a gospel-rock-R&B flavored song having lyrics about hope and service where the backing track was recorded first and the vocals added later (including a brief scat solo). Then comes a reflective rendition of Bob Dylan's "Blowing in the Wind," a punchy latin-flavored "El Sueno de Horace Silver," with hot mallets and tenor sax. "In From the Storm," is a pop-flavored composition  having a light bossa nova groove, and vocals. It is followed by an ebullient calypso romp, "Let's Go To Abaco!"

The quartet has a brisk take on the Rodgers and Hart standard "Where or When," that is kicked off by Riley, before Hobbs' sterling marimba solo with Riley taking a crisp, drum solo. It concludes this recording in an impressive manner.

I received from my review copy from a publicist. I have edited, for clarity, the review that appeared in the November-December 2017 Jazz & Blues Report (Issue 375).
 

The Wee Trio Wee + 3

The Wee Trio
Wee + 3
Bionic Records

A new album from The Wee Trio, a Brooklyn, NY based group comprised of vibraphonist James Westfall, bassist Dan Loomis and drummer Jared Schonig. The trio is known for transcending musical genres in their material, but with their latest release they recruited colleagues Nicholas Payton (trumpet), Nir Felder (guitar) and Fabian Almazán (piano) to appear as guest soloists on individual tracks.

Discussing the guest artists, Loomis explains "Nicholas Payton is the prelude to our story as a band. We say that the trio connects so well because we had listened to so many of the same records. Mr. Payton's music was definitely an important part of all our lives. His playing, his intention as a bandleader, and his compositions were important building blocks for all of our own musical conceptions and development. Nir Felder is the present tense in the story of the band. We all met Nir very soon after we moved to the city and played with him a lot in our first years here. Our encounter with Fabian Almazán is a look to the future. Jared has known Fabian for a several years, but James and I just started playing with him for this project. Fabian plays with relentless creativity that really brings out the best side of the band. We love to play familiar material and take a lot of risks with it - push it to see what new options we can find hidden in it. With Fabian we got a chance to expand that approach to a quartet setting and bring it some new material that we wrote especially for him."

The trio opens with a chamber jazz mood with guitarist Felder on "R T 3." His guitar and Westfall's vibes initially mesmerize. Felder's solo quietly builds its heat with supple support from Loomis and Schonig. He is also heard on the closing two tracks, "Gibbs Street" and "Apparition," with marvelous interplay with Westfall, and the seamless backing from Loomis and Schonig.

With pianist Almazán, "Titan Up" is a brief, quite energetic performance followed by another performance with him, "Climb," where he displays his facility and imagination as he takes off from the somewhat reflective opening to very spirited mode followed by lively playing from Westfall. "Redwood" is a tribute to the California Redwood groves, with pianist Almazán joining on a performance of a composition that attempts to grasp the expansiveness of the feeling of walking there of being in an endless horizontal and vertical space.

Nicholas Payton is heard on a blues, "Sabotage," and then "No Justice," playing exquisitely, imaginatively and lyrically as he constructs his solos which serve as the take off for Westfall's own (marimba on "Sabotage" and vibraphone on "No Justice"). "Belle Femme De Voodoo," the last selection with Payton evokes a New Orleans parade with Payton's playful solo incorporating growls and slurs against the bouncy rhythm.

The one cover is Meshell Ndegeocello's "Lola," that Schonig arranged with Loomis bass providing the center of the performance before Westfall takes off on his solo. It is one of the two trio performances on this latest release from The Wee Trio. With their accomplished guests they have provided another fresh and highly engaging recording.

I received my review copy from a publicist.This review originally appeared in the March-April Jazz & Blues Report (Issue 371). Here is the Wee Trio with Fabian Almazán performing "Titan Up."

The title of guitarist Dave Stryker’s new recording, Eight Track (Strikezone Records) refers to the music of the 70s when 8 track tape players were in vogue. In his notes, Stryker observed that this was “a time when there was a lot of great pop music going on as well as jazz.” In addressing this material, his trio of organist Jared Gold and drummer McClenty Hunter is augmented by vibraphonist Stefon Harris.

Songs with great melodies and that evoke a great time is what Stryker sought and among the songs interpreted here are The Spinner’s I’ll Be Around; Curtis Mayfield’s Pusherman/Superfly; Glen Campbell’s Wichita Linesman; The Fifth Dimension’s Aquarius; The Association’s Never My Love; and Pink Floyd’s Bread Money. Stryker and Harris are the dominant solo voices on the delightful, straightforward performances o with Gold and Harris helping swing these performances. The interplay between Stryker and Harris is marvelous and they both make these instruments sing with their lyricism and deft, imaginative soloing.

The augmentation of an organ trio with a vibraphonist may not be frequent occurrence, but Stefan Harris’ contributions to Dave Stryker’s trio help make Eight Track such a entertaining listening experience.

I received my review copy from a publicist. Here is a little video on the making of Eight Track.

 

The Wee Trio Live At The Bistro

The Wee Trio, a Brooklyn, NY based trio comprised of vibraphonist James Westfall, bassist Dan Loomis and drummer Jared Schonig, recently issued their fourth album Live at The Bistro (Bionic Records). The trio is known for transcending musical genres (one of their prior recordings was devoted to the music of David Bowie), but this live recording made in St. Louis in February, 2013 perhaps has a bit more straight focus in a mix of interpretations of classics and originals.

The opening to Ray Noble's Cherokee is a bit dreamy until Westfall states the melody and then leading the trio on a hot interpretation of this swing era standard. Westfall displays a crisp attack with a clear lyricism in his solos as Loomis and Schonig push things along. Schonig takes a drum solo to introduce his Sabotage, with a driving groove with bassist Loomis helping state its theme before Westfall's clean, rhythmically infused solo. Westfall's White Trash Blues is a bouncy original followed by the trio's rendition of David Bowie's Queen Bitch with seamless navigation of the composition's changing motifs and tempos. Loomis' bass solo introduces the rendition of Isham Jones' There Is No Greater Love, with Westfall and him soloing with Schonig accenting their solos. Westfall's Space Jugglers is a spirited original with a bit of hi-life feel while his New Earth opens more reflectively before Schonig sets forth a more dynamic feel. Loomis' Ranthem is a number with changing tempos and dynamics. 

After a drum solo, the performance concludes with Schonig's exhilarating White Out, that is energetically and imaginatively played and further showcases the tight interplay that makes The Wee Trio's Live at The Bistro to be such serious and delightful fun.

I received my review copy from a publicist. Here is a video of The Wee Trio playing Cherokee.

Sunflower is a Milt Jackson CTI Masterwork

Milt Jackson's Sunflower (CTI Masterworks) was among the initial batch of CDs to celebrate the 40th Anniversary of CTI Records. This recording dates from late 1972 and had the great vibes played joined by a band that included Herbie Hancock on piano, Ron Carter on Bass, Billy Cobham on drums, Ralph McDonald on percussion, and Freddie Hubbard on trumpet. In addition there is a string section and classically oriented horns (alto flute, English horn, oboe, piccolo) on some of the tracks with Don Sebesky's arrangements on a re-mastered, remixed and re-edited reissue.

Jay Berliner's flamenco-styled guitar sets the mood on Jackson's For Someone I Love, with Jackson and Hubbard playing with lovely restraint on this ballad. What Are You Doing The Rest of Your Life, by Michel Legrand, and Alan and Marilyn Bergman also displays Hubbard melodic side with immaculate support with the strings creating a dreamy cushion. Hancock switches to electric piano for interpretation of The Stylistic's hit, People Make the World Go Round, providing a base for the solos by Jackson and Hubbard before taking a lengthy one himself. Hubbard contributed the lilting title track on which strings reappear and it is followed by a Milt Jackson blues, SKJ, the most straight-ahead performance here with plenty of heat generated. It is performances like this one that really get this writer’s juices going.

Sunflower may be a bit sweet at spots for this writer's taste, but it is strongly played and easy to listen to.


My review copy was provided by a publicist for the label.