Daniel Smith Smokin’ Hot Bassoon Blues

The bassoon is an instrument that is associated with classical music and it is out of the classical music world that Daniel Smith has emerged into the jazz world. I was not familiar with him until I received his new Summit Records’ recording “Smokin’ Hot Bassoon Blues” which is his 5th jazz recording (and 2nd apparently to focus on the blues).

He is backed on this by a solid rhythm section of Robert Bosscher-Piano/Arranger, Michael O’Brien-Bass, and Vincent Ector-Drums. There are also guest artists Ron Jackson-Guitar, Efrat Shapira-Violin, Neil Clarke-Latin Percussion, Greg ‘Organ Monk’ Lewis-Jazz Organ, and Frank Senior-Vocalist. They handle a program of blues (and blues-associated numbers that include Jimmy Forrest’s “Night Train”; Charles Mingus’ “Better Get Hit In Your Soul” Jimmy Smith’s “Back At The Chicken Shack”; Ray Charles’ "What’d I Say"; and “Hallelujah I Love Her So”: Sonny Rollins’ “Blue Seven”; Horace Silver’s “Senor Blues”: Duke Ellington’s “C Jam Blues”; and Bobby Timmons’ “Moanin’.”

I have no issue with Smith’s technical command of what is a somewhat cumbersome instrument to play, much less swing. The issue is the bassoon has a sour sound to these ears which may limit its audience. This is not to say that there is some very intriguing playing, including from those of Smith’s rhythm section as well as his guest artists. I find Shapira’s violin quite engaging and the unison parts of her and Smith provide more comfortable listening. She certainly makes distinctive contributions to “Night Train” and Senor Blues” for example. On the latter number, pianist Bosscher has a nice break.

Senior adds some vocals to a couple of Ray Charles numbers with O’Brien taking a nice bowed solo on “Hallelujah I Love Her So,” while Lewis’ adds greasy Hammond B-3 to “Back to the Chicken Shack” and “C Jam Blues,” on which guitarist Jackson sparkles with his crisp, clean fretwork. Smith is brave to handle the challenges of the Mingus and Rollins compositions and his playing on a lesser known Nat Adderley composition “Hummin’” is fascinating with some bluesy single note playing from Jackson and the rendition of Bobby Timmons’ “Moanin’” is also is also engaging with significant contributions from Jackson and Shapira along with a tight solo from O’Brien.

The reservations about this recording lie in the bassoon’s sonority that makes listening to “Smokin’ Hot Bassoon Blues” a challenge, despite the high level of musicianship as the novelty of a jazz bassoon may wear off for some. This might be best sampled a few tracks at a time.

A publicist provided my review copy. This review appeared in the September-October 2014 Jazz & Blues Report (Issue 356). Here is a video of Smith captured in performance.

Greg Lewis' Organ Monk and American Standard

Greg Lewis’ Organ Monk, an organ led group that has focused on the music of Thelonious Monk, has an unique focus in their third album, American Standard (self-produced). While previous recordings have interpreted Monk’s compositions, American Standard plays songs that Monk did not write but did perform. Those who have heard Monk’s renditions of songs from Duke Ellington as well as songs such as Liza, Between the Devil and the Deep Blue Sea, Dinah and Just a Gigolo know how distinctive Monk's renditions of these songs are. Lewis takes Monk’s renditions as inspiration and a starting point for his group’s performances on this recording.

For this recording, organist Lewis’ Organ Monk includes tenor saxophonist Reggie Woods, guitarist Ron Jackson, drummer Jeremy "Bean" Clemons and trumpeter Riley Mullins. This writer is familiar with some of Monk's recordings of these standards with his angular lines, his spare phrasing and what he omits in his stride-rooted piano. The Hammond B-3 does not lend itself to such an attack, but the group does provide distinctive renditions in the performances heard here.

I was very impressed by the playing throughout. Lewis is a strong organist with a punchy attack on Nice Work if You Can Get It, that also displays gritty tenor sax by Reggie Woods. Mullins displays fire on Lulu’s Back In Town, while he takes a bit softer and rounded approach on “Dinah” before Woods plays in a bit more gut-bucket manner. The ballad, “I Should Care,” is a showcase of Mullins as well as for the leader. “Tea For Two,” in contrast is a trio number that showcases the nimble, fleet guitar of Jackson. On “Everything Happens To Me,” Woods helps construct the mood with some bluesy-playing against the leaders organ backing. 

Drummer Clemons sounds heavy handed at a few points, but it is not a serious issue on this strong, fascinating organ jazz recording.

I received my review copy from a publicist. Available from cdbaby.com, this has a street release date of January 7, 2014. Here Greg Lewis talks about this project.