The Nimmons Tribute Volume 1 - To the Nth

The Nimmons Tribute
Volume 1 - To the Nth
Self-produced

Phil Nimmons, often referred to as the "Dean of Canadian jazz," is saluted in this project led by his grandson, pianist Sean Nimmons. Phil Nimmons is known for his work as a clarinetist, bandleader, composer, arranger, and educator. He led such popular bands Nimmons' N' Nine and later Nimmons' N' Nine Plus Six. His grandson, Sean, crafted new arrangements of seven of his grandfather's compositions and written one new tune. Except for one selection, Sean Nimmons leads an octet consisting of Kevin Turcotte (trumpet, flugelhorn), Tara Davidson (alto saxophone, soprano saxophone, clarinet), Mike Murley (tenor saxophone), William Carn (trombone), Perry White (baritone saxophone, bass clarinet), Sean Nimmons (piano, Fender Rhodes), Jon Maharaj (bass), and Ethan Ardelli (drums). On one selection, "Liëse," Drew Jurecka (violin, viola) and Lydia Munchinsky (cello) are added.

While familiar with Phil Nimmons' name, I was not familiar with his music. I have sampled some of his recordings online after listening to this release ( A couple of his Sackville recordings are available from Delmark Records). Like his NimmonsN'Nine, this tribute band is a big little band. His grandson has constructed a band that captures the feel of such classic ensembles as Gerry Mulligan's concert band and the sixties Basie Band. One hears echoes of Sammy Nestico, Neil Hefti, Frank Foster, and others in the handsome arrangements starting with the opening "Nufsicisum." One is struck by the crisp, clean ensemble statement of the theme with outstanding solos from Turcotte and Murley. Bassist Maharaj has a brief solo acting as a bridge between trumpet and tenor sax.

"Night Crawler" is a Basie-like blues-based swinger with Sean Nimmons deft piano taking the lead. Perry White's baritone sax solo, with the other horns riffing in support, is one of the recording's highlights. Bassist Maharaj and drummer Ardelli also get the spotlight here. "Harbours" is a lovely composition with Davidson's clarinet weaving in and out of the muted brass. Sean Nimmons adds atmospheric Fender Rhodes as the ensemble adds heat as the performance evolves. "Holly" is a spellbinding ballad that is a showcase for Carn's wooly lyricism. Then there is the aptly titled "Swing Softly," with the tone of a classic Benny Golson tune.

Strings are added to the number, "Liëse," a performance that suggests a Billy Strayhorn influence. It is an outstanding close to this tribute to Nimmons. In addition to honoring Phil Nimmons' legacy, "Volume 1 - To the Nth" is superb straight-ahead jazz.

I received a download to review from a publicist. Here is Sean Nimmons talking about the tribute.

Noah Bless New York Strong - Latin Jazz!

Noah Bless
New York Strong - Latin Jazz!
Zoho Music

On the back cover of "New York Strong," Arturo O'Farrill is quoted, "Noah Bless is New York Strong. I've seen him on the finest bandstands representing this great city, in a manner that honors that NYC tradition of purposefulness. He is equally at home in swing, rumba, or samba, but always strong." Trombonist, composer and leader Bless is a 30-year veteran of New York City's rich Latin Jazz scene. Bless, in the words of Bill Milkowski, "has immersed himself in Afro-Cuban music, soaking up mambo and rhumba while getting the clave ingrained into his DNA." He toured with legends such as Mario Bauza, Celia Cruz, Eddie Palmieri, Ray Santos, the Spanish Harlem Orchestra, and Arturo O'Farrill's Afro Latin Jazz Orchestra. On this recording, Bless leads a band of Mike Eckroth on piano, Boriz Koslov on bass, Pablo Bencid on drums, and Luisito Quintero on percussion. Alejandro Aviles adds flute to two selections.

Bless is a trombonist who can exhibit a lyrical side as own his "Chasing Normal" or add heat to the surging Afro-Cuban groove of Rudy Calzado's "Ganga." This latter number places the spotlight on Bencid and Quintero. Bencid is on electric piano on the delightful Baden Powell samba, "Canto De Ossanha," with the spotlight on Bless' cashmere wool tone trombone. There is also considerable charm to Bless' interpretation of Jobim's "Ligia," which again shows his melodic side. Bless, in fact, says, "That melodic things always been my strong suit."

Bill Mobley's "49th Street" is transformed from a hard bop composition into a relaxed Afro-Cuban performance with Aviles' flute complementing Bless fluid solo flight over the effervescent groove. Aviles is also present on Bless' original "The Key," a rhythmically charged composition with alternating leisurely and feverish tempos that provides solo space to everyone. An unexpected delight is Bless' arrangement and the group's rendition of James Taylor's well-known folk composition, "Fire and Rain." It is another selection that results in Noah Bless' long-overdue debut as a leader being such a marvelous listening experience.

I received a review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits. Here is "Sunny Ray" from the album.

The McKee Brothers A Time Like This

The McKee Brothers
A Time Like This
Self-Produced

"A Time Like This" is The McKee Brothers' third album. Only one of the brothers, Denis, is heard on "A Time Like This." This release has McKee on vocals, guitar, bass, keyboards, and percussion. He is joined by musicians from Los Angeles and Detroit. These include Bobby West on keyboards; Bobby Watson on bass; Steve Stevens or Vincent Fossett Jr. on drums; Chris Stevens on congas, vibes, and percussion; Lee Thornburg on brass; and Doug Webb on reeds. Others heard include Larry McCray, Joey Delgado, and Stan Budzynski on guitar, and Tim Douthit on harmonica. At the same time, Maxayn Lewis adds backing vocals. Bobby West contributed the bulk of the songs here (several in collaboration with Denis McKee), and Denis and Ralph McKee contribute one each song.

Denis McKee is a most appealing vocalist with a slight touch of sandpaper in his voice, while the backing is terrific. Blues may be the foundation of most performances here, but there are definite jazz, funk, soul, and rock touches. Think about elements of Chicago, Blood Sweat & Tears, Tower of Power combining for The McKee Brothers musical stew. Things start with the soul-tinged "How Can I Miss You Baby?" with its clever use of familiar stock phrases such as "You never miss your water till your cup runs dry." With a relaxed groove, Duothit's mournful harmonica, it kicks off a varied set of performances. Then there are roaring horns and Larry McCray's searing guitar to support McKee's vocal on "Whistleblower Blues."

The title track is a well-crafted soul ballad, while "The Legend of Luther Stringfellow," about a guitar picker who started going crazy. Musically, this song evokes "Ode to Billy Joe." Doug Webb's clarinet and Thornburg's trumpet lend a New Orleans jazz tinge to "Don't Cha Let It Go To Your Head," and it is followed by the swamp-pop flavored "Bluer Than You," with West's piano evoking of some of Fats Domino and Huey Smith recordings from the sixties. McKee's solo on this latter track displays his facility and taste. After the pop-flavored 'Think It Over," the blues return with the unusual "Putt Putt Hustler" about miniature golf. Perhaps not a deep blues lyric but fun nonetheless. Joey Delgado is heard with strong guitar fills and solo, and Duothit's harmonica is also strongly featured. Larry McCray's fiery guitar returns on the rollicking "Dawg" that also features Stan Budzynski's Southern-rock styled slide guitar.

In summary, "A Time Like This" is an eclectic grouping of songs with an engaging pop-blues cast to it. It is marvelously played with brassy horns over a tight rhythm section. Denis McKee is a pleasant and appealing performer who ably fronts a delightful recording. As an aside to this review, while preparing his review, I also listened to the McKee Brothers first album, "Enjoy It While You Can," which featured the strong blues-eyed soul singing of Bob Seger keyboardist Bob Schultz and highly recommend that album as well.

I received my review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits.

Damià Timoner Jerry's Smilin' - A Guitar Tribute to The Grateful Dead

Damià Timoner
Jerry's Smilin' - A Guitar Tribute to The Grateful Dead
Zoho Music

On his Facebook page, Damià Timoner writes, "I was born in Manacor, Mallorca, which is an island in the middle of the Mediterranean sea, and instead of showing preference for fishing-rods, lines and nets, I chose the strings of the Spanish guitar." He studied classical guitar but decided there were enough classical guitarists, so he decided to play his own compositions. While he has played in group contexts, he prefers playing solo and being the focus of attention. His personal listening is oriented to rock artists such as the Grateful Dead, Allman Brothers, Deep Purple, Byrds, Genesis, The Police, Led Zeppelin, Eric Clapton, and AC/DC. Jerry Garcia and the Grateful Dead's music is particularly a favorite of his. This recording has him devoting his nylon string guitar to songs associated with the legendary Garcia and the Dead.

Timoner's performances pretty much stick to the melodic themes and melodic embellishments of these themes beginning with Gracia-Hunter's "Brown-Eyed Woman" and concluding with "Touch of Grey." One can imagine Gracia singing "I will get by, I will survive" during a charming "Touch of Grey." "Ramble On Rose" is a lovely track. Then there is a sterling rendition of the Weir-Barlow penned "Cassidy," played with an eloquent precision. Then there is the bluesy flavor of Garcia-Hunter's "Loser" and the ragged-jug band flavor of Ron' Pigpen' McKernan's "Operator." The songs here span the Dead's entire timeline with a performance of "Dark Star" to "Built to Last" from the Dead's last studio album.

Kabir Sehgal provides information on specific performances that inspired specific tracks and whether he altered the pitch of specific strings or played a song in its original key. This technical information will, perhaps, be of most interest to guitarists. Regardless, "Jerry's Smilin'" is a first-rate, easy-to-listen recording that displays how Dead's songs continue to inspire and entertain us long after Garcia's passing.

I received a review copy from a publicist. Here Damià performs "Ramble On Rose."

Jacám Manricks Samadhi

Jacám Manricks
 Samadhi
 Manricks Music Records
 
Jacám Manricks was born in 1976 in Brisbane, Australia, the child of two classical musicians in the Queensland Symphony Orchestra—and the grandson of a celebrated Portuguese jazz saxophonist and clarinetist, and a Sri Lankan concert pianist. He received a degree in music performance (classical and jazz saxophone) from the Queensland Conservatorium. In 2001 he moved to New York and continued a performing career as well as further education. He relocated to Sacramento, California, in 2014, teaching and performing in a super sax style combo as well as his own big band. He also built a home studio where the present album was recorded and mixed.

"Samadhi," the title of Manricks' new album, is a Sanskrit term that refers to a state of heightened, holistic focus that allows for communion with the divine. Manricks uses that title in the sense of "Getting to that state of intense concentration where everything else disappears around you, and only the music exists." Manricks plays Manricks plays alto, tenor, and soprano saxophones. He also plays and clarinet and bass clarinet, flute and alto flute, and MIDI strings (for which he wrote the orchestrations). This release showcases not only his improvisatory abilities but his compositions. He authored all eight selections, although one is a collaboration with pianist Joe Gilman. The other members of the quartet are bassist Matt Penman and drummer Clarence Penn.
 
 The compositions and the musicians make for marvelous listening . Manricks has written  memorable musical themes with shifting tempos and colors. It starts with the opening, dramatic "Formula One" and the playful "Common Tone" with an insistent groove that Penn drives along as well as provides counter-rhythms. Pianist Gilman shines on this selection, whether his mesmerizing riff or solo, while Manricks shows here, and throughout, complete technical command and authority in his improvisations. Manricks can play with utter abandon or with contemplative restraint as he displays with his soprano sax on "New Years Day." This selection also has a terrific bass solo by Penman. The title track is a striking composition and an outstanding performance with a spiritual mood with his sax soaring over the rhythm section.
 
Other performances are equally fascinating such as Manricks' use of a bass clarinet to double up the bass line on "Schmaltz" in addition to his robust tenor sax. "Samadhi" closes with "Ethereal," a spellbinding, free-flowing collaboration by Manricks on soprano sax and Gilman. It caps this consistently outstanding recording.

I received my review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits and corrections. Here is the title track.

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."

Hendrik Meurkens Manhattan Samba

Hendrik Meurkens
Manhattan Samba
Height Advantage

The harmonica wizard Hendrik Meurkens has undoubtedly displayed the skills that have some to label him as the successor to Toots Thielemans, He is best known for his efforts in Brazilian jazz, and that is what is featured on this his release. Hendrik describes this release, "'Manhattan Samba' is a samba jazz journey that introduces some new compositions of mine, revisits a few trusted older ones and features songs by the Brazilian masters Ivan Lins, Toninho Horta and of course Mestre Tom Jobim. The band consists of the fantastic Helio Alves on piano; two great bass players, Gustavo Amarante and Fernando Huergo; and on drums the legendary Portinho, who is one of the founding fathers of samba jazz drumming in the US."

"Manhattan Samba" is a marvelous recording of Meurkens harmonica playing backed by his first-rate band. The album opens with the breezy "Clear of Clouds," with Meurkens horn-like phrasing flying over the clean, crisp Brazilian tempo. More of the same lively samba groove follows on the exhilarating title track. As a composer, Meurkens writes  very memorable melodies, such as the enchanting "One For Manfredo." In addition to the leader's adept harmonica, pianist Alves scintillates. Equally infectious is "Frenzelosa (Choro No. 2)," on which Portinho dazzles with his cymbal work in support of sterling solos by Alves and Meurkens. The exchanges between them are hypnotic. Huergo is the bassist on the lovely interpretation of the Ivan Lins and Vitor Martins composition "Dona Palmeira." Another lovely selection is the wistful rendition of "Bonita" from Jobim, Gilbert and Lees.

Meurkens' latest is a joy for lovers of jazz harmonica and Brazilian jazz. With an outstanding band and a strong musical program, "Manhattan Samba" is a musical delicacy well worth sampling.

I received a download to review from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits and corrections. Here is Hendrik Meurkens performing "Bonita."

Alabama Slim The Parlor

Alabama Slim
The Parlor
Music Maker

Born Milton Frazier, Alabama Slim was scheduled to have a breakout performance at the 2020 New Orleans Jazz & Heritage Festival. That performance never happened because the Festival was canceled as a result of the Covid-19 pandemic. He grew up "listening to the old blues since I was a child. I spent summers with my grandparents who had a farm. Them old folks would get to moanin' while they worked, and I just started moanin' with them. That's where I learned to sing. When I got grown I formed a band and we played little juke joints in the '50s and '60s."

He moved to New Orleans in 1965 and started jamming with his cousin Little Freddie King. The two have become tight as brothers and also tight musically. It was while visiting Freddie King that Tim Duffy, of the Music Maker Foundation, discovered Slim. Post-Katrina, the two lived in Dallas initially and in 2007 recorded for Music Maker's album, "The Mighty Flood." Slim is also featured in the CD that is a companion to Duffy's photography book, "Blue Muse." The album title, The Parlor" comes from the recording studio that Slim with King and drummer Ardie Dean spent recording this album. Later, Matt Baker on bass and Jimbo Mathus on piano and organ were added to this recording.

The publicity for this recording observes "Slim and King's guitars interweave between Dean's mastery of the drum kit to create a driving boogie with Slim's soothing vocals sprawled out on top, reminiscent of John Lee Hooker." The album opens with the simple driving low-key boogie flavor of "Hot Foot." Little Freddie King takes the vocal on the driving "Freddie's Voodoo Boogie," a reworking of "Boogie Chillum," with an irresistible groove. "Rob Me Without a Gun" is a strong slow brooding performance with Mathus' light organ adding to the feel of the two guitars, while "Rock With Me Momma" is an easy Hooker shuffle evocative of Hooker's recording "Dimples." There is a bit of political commentary directed at a certain President in "Forty-Jive." "Midnight Rider" has a bit of the moaning blues feel of Junior Kimbrough, while the rendition of "Rock Me Baby" has a North Mississippi juke-joint flavor.

The album closes with the swamp blues styled "Down In the Bottom." After listening to this recording several times, I agree that the music here is reminiscent of John Lee Hooker, although I might describe it as Hooker-lite. This is not a criticism but reflects that Slim ably evokes Hooker's sound; however, he doesn't bring the same amount of authority that Hooker did. Having listened to the recording several times, I doubt that listeners will be disappointed by the music here. It is a highly entertaining recording of modern down-home blues.

I received my review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits. Since writing this review I noticed that I had reviewed a previous album by Alabama Slim, "Blue and Lonesome," back in  2011 that is not mentioned in my review. This is the link to that review. Here is Alabama Slim performing "Rob Me Without a Gun."

Larry Newcomb Quartet Featuring Jake Newcomb Love, Dad

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

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

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

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

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

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

Selwyn Birchwood Living in a Burning House

Selwyn Birchwood
Living in a Burning House
Alligator Records

It is a pleasure to have a new recording by Selwyn Birchwood to warm the winter blues away with the new year. The tall, lanky Birchwood has expanded his band, adding the keyboards of Walter "Bunt" May to his band. The rest of the band consists of baritone saxophonist Regi Olivier (who also plays alto and tenor saxophones and piccolo flute on this recording), bassist Donald "Huff" Wright, and drummer Philip "Squeak" Walker. Tom Hambridge produced this album and contributed backing vocals and percussion to some tracks. One selection is a duet with Diunna Greenleaf.

There is plenty of blues with a bit of rock energy. Hambridge's production gives this a hard-hitting feel opening with the opening "I'd Climb Mountains." There is plenty of his warm, grainy, expressive baritone and searing guitar. The songs range from this fiery number to the soulful loping ballad, "She's a Dime." Olivier's baritone helps lay down a deep bass groove on "I Got Drunk, Laid And Stoned." This song also showcases Birchwood's sizzling lap steel guitar.

One of the top originals, "Living in a Burning House," has Birchwood's dealing with a hellacious relationship with his passionate singing and fiery guitar along with Olivier's raspy, raucous sax solo. Then there is the rocking shuffle of "You Can't Steal My Shine," with a rollicking guitar break. May's organ is prominent in the backing on this. Then there is the duet with Diunna Greenleaf, "Mama Knows Best," about trying to get his mama's blessing about his girl, but Diunna sings that she won't cook or clean, and listen to your mama that this girl will be the death of Selwyn. Birchwood's guitar dances in and around Olivier's riffs and fills. I would expect this track gets much airplay.

One last track to highlight is another rocking shuffle, "Through A Microphone," where Birchwood celebrates being on the stage, and the only time he is at home when he bares his soul through a microphone. It is another first-rate performance on Selwyn Birchwood's latest stellar recording.

I received a download to review from Alligator Records.  Here is a video of "Freaks Come Out At Night," from this recording.

Carla Marciano Quartet Psychosis: Homage to Bernard Herrmann

Carla Marciano Quartet
Psychosis: Homage to Bernard Herrmann
Challenge Records

This writer became aware of Italian saxophonist Carla Marciano and her Quartet from her album "Stream of Consciousness" (Alfa Music). That was her fourth album (her first three were on Black Saint). Starting with the opening "God Rest Ye Merry, Gentlemen," I was struck by how she and her band played with such tenacity and energy. Her band includes her husband Alessandro La Corte on piano and keyboards, Aldo Vigorito on double bass, and Gaetano Fasano on drums. The music was evocative of the classic Coltrane Quartet (thinking of Coltrane's rendition of "Greensleeves," for example) but performed with such vigor and belief.

Marciano (who plays alto and sopranino saxophones) explains the inspiration for this album, "This album is my heartfelt homage to one of the greatest geniuses of film score, the composer and conductor Bernard Herrmann, whose music has dazzled me since I was a child. It has been very interesting to arrange, revise and adapt, for a jazz quartet, some of the best known themes from outstanding soundtracks Herrmann wrote for equally outstanding films - all psychological thrillers (hence the title Psychosis) … . Bearing a classic feel and originally conceived for orchestras, the tracks in this album were arranged in full respect of the originals, leaving intact, for example, the beauty of the melodies, while at the same time creating new improvisational spaces that would allow our Quartet to maintain its own identity."

While having only a casual acquaintance with Herrmann's work, I was impressed by Marciano and her Quartet's capture of the dramatic aspects of Herrmann's musical themes. This starts with "Theme From 'Taxi Driver,'" where her statement of the theme initially is backed by atmospheric chords from La Corte. A dramatic opening of "Theme From 'Marnie,'" launches into a performance that illustrates her robust tone as well as musical inventions. In contrast, the performance evolves with La Corte suggesting McCoy Tyner. At the same time, Vigorito and Fasano propel this performance before Marciano reenters with further dynamic saxophone in a post-Coltrane vein. Her fiery sopranino sax captures the listener's attention on "Theme From 'Twisted Nerve,'" that showcases Vigorito and La Sorte while Fasano dazzles. La Sorte's opens "Theme From 'Psycho,'" a Vigorito performance marked by atonality, dissonance, Marciano's ecstatic playing, and a well-crafted drum solo.

After the group's memorable renditions of Herrmann's themes, the album closes in a Coltrane-ish mode. Marciano plays swirling, serpentine sopranino sax on La Sorte's arrangement of John Williams' "Theme from 'Harry Potter' (Hedwig's Theme)." It is another engrossing performance on an outstanding recording.

I received a review copy from a publicist. This review originally appeared in the January-February 2021 Jazz & Blues Report (Issue 394). I have made a couple minor edits. Here is a clip of the Carla Marciano Quartet in the studio.