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.

Manuel Valera New Cuban Express Big Band José Martí en Nueva York

Manuel Valera  New Cuban Express Big Band
José Martí en Nueva York
Greenleaf Music

Cuban-born pianist Manuel Valera leads his New Cuban Express Big Band in a marvelous song cycle inspired by José Martí, the famed Cuban writer and independence hero. "José Martí en Nueva York" features Valera's original music based on nine poems from Martí's seminal 1891 collection, "Versos Sencillos." As Kabir Sehgal observes in his album notes, this book was one "Martí wrote during his fifteen year stay in New York as a journalist, as he helped to fund the ongoing struggle for independence in Cuba. The poems address a range of political and societal issues."

For this recording, the New Cuban Express Big Band consists of (VOICE): Camila Meza, Sofia Rei (TRUMPETS): John Walsh, Brian Pareschi, Michael Rodriguez, David Smith, Alex Norris (REEDS): Michael Thomas, Roman Filiu, Joel Frahm, Charles Pillow, Andrew Gutauskas (TROMBONES): Matt McDonald, John Yao, Andy Clausen, Jeff Nelson, and (RHYTHM SECTION): Manuel Valera, Alex Goodman, Ricky Rodriguez, Jimmy Macbride, Samuel Torres, Mauricio Herrera.

This album is a wonderfully orchestrated, sung, and played recording of these poems. While I am not fluent in Spanish, the vocals by both Camila Meza and Sofia Rei are captivating with the clarity and purity of their voices and immaculate phrasing set against the luxurious musical settings Valera provides. Furthermore, he develops each of the seven tracks with shifts in tempos and orchestral colors. The opening "Odio La Mascara Y El Vicio," begins as ballad spotlighting Mesa's vocal before transitioning into a more heated instrumental passage. The transitions in tempos and musical temperature are seamless. In addition to her ardent also, there is Andy Clausen's impressive, smoldering trombone solo.

Sofia Rei is as engaging a vocalist as shown on "Es Rubia, El Cabello Suelto," with the brass and reeds riffing against each other over a tropical rhythm. This recording is music for one's feet and one's head. One can easily imagine dancers filling a dance floor while Alex Norris' trumpet is spotlighted on a lyrical solo. Many of the members get to display their talents and be part of the marvelous ensemble playing. For "Por Sus Ojos Encendidos," the leader's piano is in the spotlight along with the trumpeter, Michael Rodriguez. Among other delights, Joel Frahm's husky tenor sax and David Smith's trumpet are featured on the spirited medley of "Yo Quiero Salir Del Mundo / Yo Pienso Cuando Me Alegro."

With all the superb singing and playing, Andrew Gutauskas's barreling baritone sax and Valera's piano solo on "Si Quiere Que De Este Mundo," are favorite moments on this outstanding recording. The performances are so genuine and naturally sung with the New Cuban Express Big Band's exquisite backing making for truly sublime listening.

I purchased this recording.  Here is a selection from the CD which is available from Greenleaf Music on bandcamp.

Susan Tobocman Touch & Go

Susan Tobocman
Touch & Go
Self-produced

Born in Detroit, Susan Tobocman has had a circuitous route to her present career as a jazz vocalist. It was not until she was nearly 30 that she gave singing a chance. She spent a year playing keyboards with the new wave band, Tom Tom Club. She discovered a love for jazz and fell under the spell of singers like Shirley Horn and Andy Bey, who seemed to embody the lyrics and tell stories. She has recorded four previous albums dating back to 1998 while becoming established in the New York Scene playing such clubs as Birdland, Small's and the Zincs Bar.

She has become a songwriter of note and a superb interpreter of standards and contemporary pop gems. For this recording, she has assembled a fine group of musicians, including Joel Frahm (saxophone); Dave Eggar (cello); Pete McCann (guitar and co-producer), Henry Hey (piano & Fender Rhodes); Matt Pavolka (bass); and Michael Sarin (drums). In his liner notes, Mark Stryker writes, "'Touch & Go' isn't just a collection of tunes played by quality musicians. It's a unified statement from beginning to end in which Tobocman's vision and personality help shape and color the music even when she's not singing."

Susan Tobocman certainly impresses singing Irving Berlin's classic "What I'll Do." The rhythm sets up an infectious samba groove, and one becomes struck by the beauty of her voice, the clarity of her delivery of the lyrics, her timing, and vocal dynamics. The backing is exquisite. McCann's acoustic guitar solo adds to the charm followed by Hey's choice Fender Rhodes solo. From a superb straight jazz vocal, Tobocman is heard on a folk-jazz rendition of "Wichita Lineman" with Eggar's cello adding to the flavor of her mellifluous vocal. Her interpretative skills are displayed on a brisk interpretation of Gershwin's "The Man I Love," with a spirited Frahm tenor sax solo. Sarin's use of brushes on this lively performance and Hey's fluidity on his piano solo also merit praise.

As a composer, Tobocman contributes songs that one could easily mistake as a lost classic from the American songbook. One standout song is "Make Believe" with her lyric, "When the world is asleep/ And the stars have gone dim/ That's when I make believe/ Beneath the sky there's only him." In addition to her sweet singing, Frahm and McCann solo. Frahm is fabulous on another excellent original, "I Could Get Used To This," as well as on a cover of a James Bond movie theme, "You Only Live Twice." On the latter number Frahm's sonorous, twisting soprano sax is heard

There are two renditions of the Beatles' classic "Help," with Eggar's cello adding to the mood from her arrangement and her soft yearning vocal. She also composed two instrumentals. "Leaves of Absence" has Frahm's serpentine soprano sax set against a Brazilian groove. The spirited title song evokes "Love For Sale" and showcases Frahm and McCann's fleet, single note electronic guitar.

Listening to "Touch & Go," this listener was enchanted by Tobocman's voice but equally delighted by the first-rate musicians on a first-rate selection of songs. It is an excellent recording from a superlative singer.

I received my review copy from a publicist. Here Susan sings "The Man I Love."

Samuel Torres Alegria

Samuel Torres
Alegria
Blue Congo Music

The latest album by Torres, the Columbian percussionist/composer/bandleader. About this CD, his fifth, Torres says "Alegria, which means "happiness" or "joy," presents eight original compositions that captivate and inspire." He elaborates, "in these somewhat dark and divisive times we need light and joy, and we need to share these things with each other to combat hate. On this project he has assembled a band of Michael Rodriguez & Alex Norris (trumpet & flugelhorn); Marshall Gilkes (trombone); Will Vinson (alto & soprano saxophones); Joel Frahm (tenor & soprano saxophones); Ivan Renta (baritone saxophone, bass clarinet & flute); Luis Perdomo (piano & Fender Rhodes); Ruben Rodriguez (electric bass), and Pablo Bencid (drums). Torres himself plays (congas, bongos, kalimba, log drum, cajon, maracas llanera, djembes, talking drum, güiro, timbal, tambourine, clave, shekere, shakers & EFX.

Torres not only has quite an ensemble assembled, but his compositions inspired the superlative performances. Among the eight stirring performances are "Salsa, Jazz y Choke," which certain will get pulses elevated. Salsa Choke is a Pacific Columbian urban music style that incorporates a Cuban pilon groove. There are excellent solos from trombonist Gilkes, pianist Perdomo, and Torres on congas, along with the punchy, spirited ensemble playing. Then there is "Barretto Power," A boogaloo dedicated to Torres' hero Ray Barretto with ear-catching solos from Ivan Renta on the baritone sax and drummer Bencid. "Little Grasshopper" is a feature for Torres on the Kalimba. It has a simple melody over a 6/8 rhythmic pattern with more fine ensemble playing. In addition to Torres on kalimba, the selection features Renta's lyrical flute. The title track is a spirited Cumbia which Torres also states has "elements of South American indigenous music." There are ebullient solos by pianist Perdomo and alto saxophonist Will Vinson here.

The other performances on "Alegria" are similarly full of high energy as well as scintillating solos and ensemble playing. Samuel Torres and his ensemble have put forth some top-notch Latin Jazz.

I received a review copy from a publicist. Here is Samuel Torres recently performing "Barretto Power" at Dizzy's in NYC.

Ernesto Cervini's Turboprop Abundance

Ernesto Cervini's Turboprop
Abundance
Anzic Records

About his band Turboprop, Ernesto Cervini observes " “although I am the band-leader, Turboprop truly feels like a collective due to the passion, commitment, and love everybody brings to each performance.” This sextet is a formidable one with some exceptional talents from Toronto and New York City: Tara Davidson on Alto and Soprano Saxophones and Flute (Toronto), Joel Frahm on Tenor Saxophone (New York), William Carn on Trombone (Toronto), Adrean Farrugia on Piano (Toronto), Dan Loomis on Bass (New York) and Ernesto Cervini on Drums (Toronto). Ms. Davidson is an addition to the personnel that was on their last recording "Rev," that I found full of "strong solo voices and first-rate ensemble work.

The present recording has a mix of 5 originals by band members (including two by Cervini) and three standards. It opens with Davidson's original "The Queen," with a slightly exotic flavor and strong solos from her and Farrugia. The pianist is also sterling on a terrific rendition of Tadd Dameron's "Tadd's Delight" which has riveting tenor sax from Frahm while Loomis and Cervini push this sterling performance along with the two trading fours. A fresh arrangement of "My Shining Hour" was derived from Geoffrey Keezer's recording with sterling ensemble playing and a shift into a Latin groove. Carn's melodic ballad playing graces the interpretation of Charlie Chaplin's classic "Smile."

Loomis' "Abundance Overture" opens with Cervini playing with his sticks before Davidson on flute and Frahm on tenor sax play a playful figure and then Cervini plays his entire kit before Loomis, Farrugia, and Carn join in for an exuberant performance. Farrugia contributed "The Ten Thousand Things" which opens with Loomis bass in addition to the composer's far-ranging piano solo followed by Frahm's fiery tenor sax.

Cervini contributed the final two compositions. "Gramps" is a lovely ballad dedicated to his late grandfather and has Davidson's charming, graceful alto saxophone set against an exquisite ensemble arrangement. The closing "For Cito," dedicated to the former Toronto Blue Jays manager Cito Gaston, is a robust performance with imaginative solos from Carn and Farrugia and fresh, creative arrangements.

As on "Rev," Turboprop impresses with their tight ensemble playing; inventive, fresh arrangements, and impressive soloing. The result is this striking recording.

I received my review copy from a publicist. This review appeared in the March-April 2019 Jazz & Blues Report (Issue 383), although I have made corrections and minor changes. Here is a video of Turboprop playing.

Dafnis Prieto Big Band Back to the Sunset

Dafnis Prieto Big Band
Back to the Sunset
Dafnison Music

Cuban-born drummer, composer, bandleader, and 2011 MacArthur “Genius” Fellow, Dafnis Prieto leads the Dafnis Prieto Big Band’s (DPBB) for their debut album. This was recorded after the DPBB debuted for three nights at the Jazz Standard. Immediately after this engagement, the DPBB recorded in Brooklyn August 28-29, 2017, joined by special guests Henry Threadgill, Steve Coleman, and Brian Lynch. The 17-piece DPBB showcases some of the world’s best Latin jazz musicians, many of whom have previously played Prieto’s music in his other bands.

The ensemble features three horn sections (saxophones, trumpets, and trombones) and a rhythm section of piano, bass, congas, and Prieto on drums. The personnel are: Trumpet and Flugelhorn - Mike Rodríguez, Nathan Eklund, Alex Sipiagin, and Josh Deutsch; Reeds - Román Filiú, Alto Sax, Soprano Sax, Flute, Clarinet, Michael Thomas, Alto Sax, Soprano Sax, Flute, Piccolo, Peter Apfelbaum, Tenor Sax, Soprano Sax, Melodica, Joel Frahm, Tenor Sax, Soprano Sax, and Chris Cheek, Bari Sax; Trombones- Tim Albright, Alan Ferber, Jacob Garchik, and Jeff Nelson; Manuel Valera, Piano; Ricky Rodríguez, Acoustic & Electric Bass; Roberto Quintero, Congas, Bongos, Percussion; and Prieto, Drums & Music Director

This is Prieto’s seventh recording as a leader, and is a deeply personal, handcrafted statement, as well as an acknowledgment of the musical figures that shaped his development. For it, he composed and arranged nine works, showcasing his compositional talents while honoring his musical heroes and mentors including Eddie Palmieri, Chico O'Farrill, Bebo Valdés, Jane Bunnett, and Michel Camilo (in addition to Threadgill, Coleman, and Lynch, among others). Prieto collaborated with GRAMMY and Latin GRAMMY-winning producer Eric Oberstein, heralded for his work producing large ensemble recordings, on this.

All the performances are dedicated to influences and masters. The disc opens with the volcanic Afro-Cuban "Una Vez Más" which is (dedicated to Tito Puente, Eddie Palmieri and Brian Lynch), with Lynch contributing the searing trumpet. Cheek's' unaccompanied baritone sax opens "Out Of The Bone" (dedicated to Steve Coleman & Michel Camilo) which has unusual twists and voicing while Coleman is featured with his alto sax on "Song For Chico" (dedicated to Chico O’Farrill, Arturo O’Farrill & Mario Bauzá), with the musical fires smoldering behind him (pianist Valera is outstanding in driving the rhythm).

The variety of influences can be seen on "Back to the Sunset" (dedicated to Henry Threadgill and Andrew Hill), which features Threadgill's acerbic, angular alto sax set against Pietro's orchestration and a languid tempo. The lengthiest performance is, "Danzonish Potpourri" (dedicated to Bebo Valdés, Art Blakey & Jane Bunnett), with the Big band easily navigating tempo shifts. A spirited soprano sax solo set against the stormy orchestration stands out as does Apfelbaum's melodica that closes this out.The closing "The Triumphant Journey," (dedicated to Dizzy Gillespie & Chano Pozo), has a memorable melodic line along with a number of excellent solos.

The other performances are of a comparable level with this Big Band delivering first-rate performances of the varied and challenging compositions that are heard on this exceptional Latin Big Band recording.

I received a download to review from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here is the opening track, "Una Vez Más."

Adrean Farrugia & Joel Frahm Blued Dharma

Adrean Farrugia & Joel Frahm
Blued Dharma
GBRecords

The well respected saxophonist Frahm and the Canadian pianist Farrugia have been musical compatriots since 2008 as part of various groups of drummer (and publicist Ernesto Cervini). As Cervini observes in his liner notes for this release, the two display a very sympathetic relationship playing off each other, almost like they are finishing off each other's sentences, on these intimate, duet performances.

The performances of five Farrugia originals and two standards (there are two performances of "Cherokee") display charm as well as considerable musical vision and inspiration. Farrugia's title track is a lovely composition with Frahm on soprano saxophone as both build their solos upon Farrugia's alluring melody. Then there are the two very different takes of "Cherokee," with the two taking apart and reconstructing the classic Ray Noble melody in each case.

Frahm imbues his tenor sax with a sensuous tone that hints at Ben Webster on a lovely ballad "For Murray Gold," while Farrugia's introduction to the standard "Nobody Else But Me," has a Monkish flavor, before his precise accompaniment to another lovely Frahm tenor saxophone solo, It is followed by Farrugia own choice solo here with his mix of arpeggios and well-placed chords. Farrugia's "Cool Beans" sounds like a contrafact to John Coltrane's "Equinox," and is a spirited blues duet with more excellent tenor sax by Frahm along with Farrugia's tasteful, inventive solo.

This piano-saxophone duet recording by Adrean Farrugia and Joel Frahm is a superb display of the musical magic from these two close musical collaborators.

Received as a download from a publicist. This review appeared in the July-August 2018 Jazz & Blues Report (Issue 379). I have made minor revisions to the published review. Here the two are playing together as part of Ernesto Cervini's excellent group, Turboprop.

Joel Frahm Quartet’s Live at Smalls

Small’s Live, the label associated with the Greenwich Village Jazz venue Small’s has issued several new CDs, one of which is Joel Frahm Quartet’s Live at Smalls. Tenor saxophonist Frahm is joined by guitarist Kurt Rosenwinkel, bassist Joe Martin and drummer Otis Brown III (although the cover lists him as playing piano, he is pictured behind his drum set.

Recorded the weekend of February 28 and March 1, 2011, the album consists of five Frahm originals and interpretations of Billy Strayhorn’s Chelsea Bridge and Charlie Parker’s Steeplechase. I have been impressed by what I have heard by him in the past and was not surprised by the blues-drenched opener Short Rack that is in the spirit of some of the great instrumentals by the likes of Hal ‘Cornbread’ Singer and King Curtis with Rosenwinkel a nice solo foil for Frahm’s strong blues tenor.

It was some varied music at Smalls that weekend with interesting compositions such as A Little Extra with an unusual time signature followed by the groove inflected What’s You Beat? that includes some surprising twists and turns as the performance unfolds with Rosenwinkel’s guitar outstanding on this. Chelsea Bridge features some lovely playing from Frahm and the closing rendition of Steeplechase gives it a imaginative arrangement with Rosenwinkel opening up with an discursive solo followed by the leader’s spirited exploration of the theme.

As typical with Smalls Live recordings, sound in quite good and enhanced by the simple presentation with the black and white photography of Michelle Watt who also designed the cover in the attractive format of recordings on the label. This is another excellent album of contemporary jazz performances. Like other recordings in this series, it likely will have some look forward to visiting Small’s when in New York City.

This was a purchase. Here is Joel Frahm among a group performing at Small's.

Cyrille Aimée's Captivating Jazz Voice

Watching the recent Thelonious Monk Institute Vocal Competition on a webcast, I was very intrigued by one of the finalists, a lady originally from France by the name of Cyrille Aimée. Shortly thereafter there was a New York Times story about her appearing at the Greenwich Village, NYC club Smalls Jazz Club. The story focused on her duets with pianist Spike Wilner who I believe is responsible for programming music at Smalls. He is the main person behind the club’s label, Smalls Live which has issued a number of live recordings from the club and amongst the latest releases is Cyrille Aimée & Friends Live at Smalls”

Wilner is the producer of this disc which was recorded late September 26 and 30, 20l0, and anchored the band that includes bassist Philip Kuehn, drummer Joseph Saylor, tenor saxophonist Joel Frahm, and trumpeter Roy Hargrove. There is a playful informality about the performances that add to its appeal. In the New York Times piece, Ben Ratliff described Ms. Aimée, “She’s alert and thoroughly engaged in the logic of moving harmony when she improvises, one of those singers whom nonsinging musicians call “a musician.”

From the opening notes of September In the Rain, she impresses despite (or perhaps because of) a somewhat limited vocal range (suggestive of Billie Holiday, but no way imitative of Lady Day) with horn like phrasing both in delivering the lyrics and scatting. And the band is terrific with Frahm shining on September, while Hargrove embraces the melodic qualities of Que Reste-t’il, which many of you will know from the English rendition, I Wish You Love. It should be noted that, unlike Roberta Gambarini whose vocals usually display no trace of her native Italian, Aimée’s French accent is evident, but adds delightful flavoring to her voice.

After the initial verse of a brisk Yesterdays, she takes a scat solo followed by Frahm and then Wilner, before she scats fours with drummer Saylor who sounds like he is using brushes. Ellington’s I Was Beginning to See the Light” starts as a duet with bassist Kuehn before Frahm enters on tenor for a solo followed by Kuehn’s solo. When Aimée returns with her vocal codaFrahm softly caresses her vocal. Love For Sale, opens with a drum intro with Kuehn joining in to set a second-line styled groove, followed by a brief call and response by Hargrove and Frahm. AImée enters at home with the lively groove “advertising her love” and her scatting set off by nice cymbal work by Saylor. Hargrove takes a nicely focused and short solo, followed by Frahm who is rocking and wailing. This is the longest track but seems to go so quickly. Other highlights include her rendition of Monk’s I Mean You, and the closing Stand By Me, where it sounds like she is joined by several other voices who are not identified.

Since first downloading this recording (I received the hard copy a few days later, along with several other Smalls Live CDs that I have purchased), I have found myself completely captivated by Cyril Aimée and this recording. There is a wonderful mix of material and a freshness to her treatment of the most familiar numbers. I trust you can sense my enthusiasm this recording, and look forward to the opportunity to see her in person (have to figure how to get to New York perhaps). This is available from the Smalls Live website, www.smallslive.com as either a download or hard copy (which includes the download).

Roland Vazquez's "The Visitor" Is Superb Big Band Jazz

Composer-Arranger-Drummer Roland Vazquez has been on the scene for sometime and in the late 70s was a member of Clare Fischer’s all-star band “Salsa Picante.” Later working in New York, he attended the Manhattan School of Music, obtaining a Masters in Music and while continuing to play, lead ensembles and compose, he also started teaching at the Manhattan School. He has also taught at University of Michigan and the American Academy in rome to illustrate his experiences. His compositions have not been limited to jazz, but also chamber music, and have been performed in a number of contexts including one that was for a string quartet and orchestra. His new recording, “The Visitor” (RVCD/Roland Music) is a big band recoding that includes several of his compositions that he has been performing, but with the help of a grant from The Aaron Copland Fund For Music, he was able to get this recording memorialized in a studio and issued.

Besides composing six of the seven selections, Vazquez conducts the wonderful big band heard here. I confess not being familiar with most of the musicians on this recording. Joel Frahm on saxophones was the most familiar name but many of the participants have made a strong impression including the rhythm section of pianist Luis Perdomo; guitarist pete McCann; electric bassist James Genus; drummer Ignacio Berroa; and percussionist (also on congas) Samuel Torres. The compositions are inspired, the arrangements vital and the solos are striking.

The opening composition, “ Urantia” is taken for a mythical name for earth and after an opening section with some wonderful piano by Perdomo, both Aaron Heick on alto sax and Alex Norris on trumpet solo propelled by the Afro-Cuban rhythmic foundation laid by the rhythm section. “Thru a Window,” opens with a languid unaccompanied piano by Perdomo section before the tempo kicks up a notch with Christos Rafaelides adding coloring on the vibes with e composer’s exhilarating arrangement for the reeds and brass. There is also strong tenor from Dan Willis, soprano sax from Roger Rosenberg, and with striking percussion playing from Berroa and Torres. Torres’ percussion evokes the ocean tide coming ashore at the beginning of the title track which is a feature of Frahm’s saxophone and Perdomo’s piano. One is delighted by Vazquez’s layering of sounds and the interplay between the brass and reeds.

One might find it impossible not to be at least tapping one’s feet on “ Whirlpool” with its driving and funky latin rhythm, with Heick’s strong alto playing benefiting from the imaginative musical colors Vazquez’s has provided him. “Sevilla” is a reflection of a time in medieval Spain when their was co-existence between Christian, Jewish and Muslim communities and the inspiration of that time compared to contemporary intolerance with some exquisite playing by Perdomo. Clare Fischer’s “Guarabe’” was part of a Grammy Award winning recording, “Salsa Picante,” and this lively big band recasting serves as a fitting salute to a mentor with more spirited piano and alto saxophone, with Perdomo introducing a tempo change introducing a blustery baritone sax solo by Rosenberg followed by the horns soaring behind Norris’ fiery trumpet and to the performances exciting conclusion.

The concluding “ The Path of Change” is described as “an episodic ‘Latin rhythmic chamber jazz,’” that was more recently translated from small group to full big band orchestration and provides guitarist McCann to take the forefront with some Santana inspired playing prior to Berroa and Torres taking the spotlight as a baritone sax and responding horns provide a musical backdrop. This is a strong conclusion to one of the best big band recordings I have heard in some time. Highly recommended. This is available from cdbaby and downloadable at itunes. His website is http://www.rolandvazquez.com.


For purposes of FTC regulations, I received a review copy from the publicist for this release.

Tobias Gebb's Upper West Side Blues

Drummer Tobias Gebb and his piano trio, Trio West, derive their name from being from New York City’s Upper West Side, which is reflected by the title of the trio’s new recording, An Upper West Side Story (Yummy House Records). The trio provided a fresh take to Poinciara, done as a tribute to Ahmad Jamal, with pianist Eldad Zvulun playing a rather deliberate tempo while bassist Neal Miner and Gebb both play at different, faster tempos. Still,  everything holds together. Gebb’s original Brasil Bela, is a light bossa nova, followed Gebb’s “The Barnyard,” opening with some animal effects, on a lively blues burner that features some strong tenor from guest Joel Frahm, but also benefits from the trio’s restraint.

It is followed by a lovely rendition of Billy Strayhorn’s Star-Crossed Lovers, with nice brush work from Gebb. Saxophonist Frahm guests again on Autumn Serenade, with a light tango feel and a lovely vocal from another guest, Champion Fulton. Neal Hefti’s Cute, was part of Basie’s book in the 1950’s and Zvulun’s restrained, thoughtful piano is quite appropriate to this number, as Miner and Gebb keep it swinging nicely. Gebb rigged up castanets for the marvelous trio rendition of Will ‘O the Wisp, whose melody will be familiar from Miles Davis’ classic orchestral album, Sketches of Spain, while Fulton and Frahm return for a modern take on “What a Little Moonlight Will Do. Fulton does not try to emulate Billie Holiday, rather injecting her own style and then scatting and trade fours with saxophonist Frahm with the trio pushing things along. Two By Two is an original slow ballad with the trio’s members playing off each other.

Seamless tempo shifts is one intriguing aspect of the rendition of Irving Berlin’s How Deep Is the Ocean, while Gebb’s The Monument marks Frahm’s final appearance here on an intriguing melody that is a tribute to the Upper West Side New York Sailors and Soldiers Monument. A cha cha beat provides a fresh take to Lennon and McCartney’s And I Love Her, and further demonstrates the trio’s reflective invention and marvelous interplay throughout.

Not listed on the album cover or the liner notes is a bonus track (at the end) of animal effects (sounds like some sick geese), “Bird Sounds,” which one can easily skip. “An Upper West Side Story,” is a recording which will get more retellings from my CD player. It is available at cdbaby, amazon as well as their website, http://triowestmusic.com/home.html.


This review originally appeared in the November 2008 Jazz & Blues Report (Issue 310) at page 11.

I am not sure of the source of my review copy of this CD, whether recived from Jazz & Blues Report or the artist or a publicisit for the label.

Lauren Kinham's Delights With "Avalon"

Vocalist Lauren Kinhan is best known as a member of the vocal group, The NY Voices, as well as two other vocal ensembles, Moss, and JaLaLa. With JaLaLa, she was part of the memorable tribute to Johnny Mercer, "That Old Mercer Magic." She has just issued her second solo recording, "Avalon," (E1 Music), which displays her talents as a songwriter, and not simply a singer.

She has done this with some of her closest friends who happen to be some of New York’s finest musicians, including drummer and percussionist, who co-produced this with Lauren, and bassist Peter Nowinski who is on most of this. Peter Eldridge, fellow New York Voices band mate, plays piano and co-pens some songs. Jonatha Brooke joins her on “Here After” while Romero Lubambo guests on “Until You’re Mine” and “Here’s My Avalon” and Donny McAslin and Joel Frahm add their signature horn handiwork. Andy Ezrin is also featured on piano and B3 organ.

There is plenty of Brazilian accents heard throughout this as on the opening “Until You’re Mine,” with its light rhythms, and the marvelous song “Here’s My Avalon,” with a bit more fervent rhythm and some terrific horns (Joel Frahm’s alto sax is very impressive throughout as is Romero Lubambo’s guitar) on a love song she wrote for her daughter while away from home.while her scatting dances along with the band as the song rides out. “Here After,” is a dreamy pop number wonderfully sung with Jonatha Brook’s duet vocal, while “Move Over Sunshine,” has an uptown, bluesy flavor with brassy horns as she belts out the lyric in a most graceful manner.

An engrossing rhythm drives “Hide the Moon and Stars,” with lovely flute from Aaron Heick and a hint of flamenco in this romantic song. “Screaming Savoir Faire,” co-written with Andy Ezrin who plays piano as she sings, somewhat disconsolately, about her lover leaving and not keeping the promises he made. On a song like this one appreciates how she avoids coming off as maudlin, with her timing and phrasing of the lyric being enchanting. A bit of funk in the groove with some slide guitar accents on “Writing on the Wall,” as she effortlessly glides from whispering to trumpeting the lyric with vocal chorus support and Ezrin soloing on Fender Rhodes. “Savor the Wine,” is a rock styled number with Ben Butler setting the tone with his guitar against Eldridge’s piano, while the rhythm on “Dory and a Single Oar,” struts with Denny McCaslin adds some atmospheric tenor sax. The next two performances, “As If,” and “There Alone Go I,” have a bit more intimate backing and more lovely singing.

As she has showed over the past two decades, Lauren Kinham is a marvelous singer, able to handle pop and rock flavored material as effortlessly and heart fully as Brazilian sambas and Johnny Mercer standards. With the seamless backing and wonderful playing by the musicians behind her, she delights and enchants throughout with her songs and vocals on “Avalon.”

This review originally appeared in the June 2010 Jazz & Blues Report (issue 326) at pp.16-17 (www.jazz-blues.com). The review copy was supplied by a distributor for the recording label.