Judy Wexler - Back to the Garden

Judy Wexler - Back to the Garden -Jewel City Jazz

While vocalist Judy Wexler's prior album, "Crowded Heart," was Judy's effort to present "jazz standards for the 21st century," "Back to the Garden" has her reimagining songs from the 1960s of Love, Hope, and Change. Wexler co-produced this with Jeff Colella, who plays keyboards (and melodica on one track). Others on this recording include Larry Koonse on guitar, Gabe Davis on bass, and Steve Hass on drums. Others heard on some of this recording are Bob Thiele, Jr. on guitar, Danny Janklow on alto sax, Jay Jennings on trumpet, and Hendrik Meurkens on harmonica. There are strings present on three tracks.

Reviewing "Crowded Heart," I wrote, "Wexler has a delightful, sometimes dreamy voice that conveys joy and heartbreak with her swing, phrasing, clear diction, and sweet tone." With her excellent command of pitch and her storytelling singing these songs, "Back to the Garden" is a delightful, sophisticated jazz-pop recording. Things kick off with her revival of the Youngbloods' appeal for peace and brotherhood, "Get Together," although the moody backing has it come across more like a plea. There is plenty of charm to her relaxed reworking of The Drifters' hit (by Gerry Goffin and Carole King) "Up on the Roof." Kudos for her rendition of Paul Simon's "American Tune," with a strings section enhancing her plaintive vocal. Koonse takes a short acoustic guitar solo here. The strings also add atmosphere to the optimism expressed in her performance of Bob Dylan's "Forever Young."

Colella plays melodica (and solos) on the rendition of Dylan's protest anthem, "The Times They Are A-Changin'." It is another performance the showcases her skill in highlighting the lyrics. Cotella adds a stark arrangement for the cover of the Buffalo Springfield's "For What It's Worth. It is one of several songs for which Erin Bentlage sang background vocals. One of her top vocals here is of Fred Neil's "Everybody's Talkin'." Hendrik Meurkens contributes an enchanting solo to add to the low-key, rather reflective quality of this performance. Jay Jennings trumpet adds to a nostalgic rendition of Sandy Denny's "Who Knows Where The Time Goes." 

Judy Wexler has produced a most agreeable recording with her appealing, heartfelt vocals and solid, understated backing.

I received my review copy from a publicist. Here is Judy Wexler performing "Up On the Roof" from 2018.

David Sills Double Guitar Quintet Natural Lines

David Sills Double Guitar Quintet
Natural Lines
Gut String Records

David Sills is a Los Angeles based reeds player based who a prolific recording career, both as a leader and with others. Influenced by saxophonist Gary Foster with whom he studied privately, the LA Times has called Sills' sound "as a meeting of Stan Getz and Joe Henderson." The double guitar quintet arose from Sills playing venues where there was no piano, so he added a second guitar, which "seemed to open up many musical possibilities and allowed for an interesting mix of musical colors." Sills is heard on this recording playing tenor sax and alto flute. The other Double Guitar Quintet members are guitarists Larry Koonse and Mike Scott, bassist Blake White, and drummer Tim Pleasant. Sills composed five tunes, Scott and Koonse, one each, while Sills, Koonse, and Scott collaborated on one. The other four songs are covers.

Sills is a wonderful player as well as a composer with a striking band on this strong bop-laced date. Things start with Scott's bright, bouncy "Minor Monk." I presume that Scott takes the guitar lead and solo here while Koonse chords and adds fills. Sills' full-bodied tenor follows Scott's clean-toned, fluid lines. Sills also displays a fluidity in constructing his solos. The rhythm section is sterling with Pleasant takes a short drum solo. Koonse contributed "Sync or Swim" with an intriguing melodic line. Koonse's scintillating solo is supported by Scott's chordal backing, followed by the leader's robust solo.

Sills' "Sonny's Side" is a salute to Sonny Rollins with more sweet-sounding guitar followed by more strong tenor sax. Excellent guitar backing is present backing Sills' superb ballad playing on "Lover Man." "Foggy Daze," a contrafact of "A Foggy Day," is a terrific swinging performance. Another contrafact, "Mellow Daze" (based on "In a Mellow Mood"), is another sublime performance with precious guitar and warm tenor sax. "All The Little Things" is a brief, imaginative free improvisation between Sills, Koonse, and Scott based on the structure "All The Things You Are."

Sills' lovely alto flute is showcased on Alan Broadbent's "Quiet As a Star." This performance also has exquisite interplay between the guitarist in support. Sills also plays alto flute on a rendition of Miles Davis' "Nardis," that begins sounding like free jazz before bassist White bridges the group into the Davis melody. Other selections are similarly of a high level.

Sills' Double Guitar Quintet has produced this marvelous straight-ahead bop recording of great appeal with the superior musicianship and strong material.

I received my review copy from a publicist. Here is a performance by David Sills with a group that includes Larry Koonze.

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.

Judy Wexler Crowded Heart

Judy Wexler
Crowded Heart
Jewel City Jazz

This is the fifth album by Judy Wexler and is an effort to present "jazz standards for the 21st century," an anthology of ten timeless modern jazz compositions by contemporary songwriters. The album is arranged by piano great Alan Pasqua (who co-produced this with Wexler). It features a band comprised of some of the finest, first-call musicians in Southern California including Alan Pasqua piano, melodica, whistling; Larry Koonse guitar; Josh Johnson alto sax; Bob Sheppard alto flute; Darek Oles bass; Steve Hass drums; Aaron Serfaty percussion; and Stefanie Fife cello.

When Wexler first conceived of this project, she reached out to jazz historian Ted Gioia, author of "The Jazz Standards," for advice. He told her that jazz stays alive and becomes more than a history lesson or museum piece when a modern composition is embraced and recorded by many vocalists. Gioia himself states that this recording is a joy to listen to and commends "their astuteness in finding and featuring outstanding songs by current-day jazz composers." Some of these composers are Luciana Souza, Larry Klein and David Batteau; Richard Galliano; Kurt Elling; Gregory Porter; Fred Hersch; Norma Winstone; Alan Broadbent; Georgia Mancio; René Marie; Enrico Pieranunzi, Lorraine Feather; Larry Goldings, and Alan Pasqua.

Wexler has a delightful, sometimes dreamy voice that conveys joy and heartbreak with her swing, phrasing, clear diction, and sweet-tone. This is clear on the opening "Circus Life" (from Sousa, Klein, and Batteau), with the supple backing, including Koonse's guitar, which adds a samba-tinge, Pasqua's understated support, and whistling, and Wexler's overdubbed second vocal part. Then there is the charm of her vocal that expresses the longing inherent in Galliano and Elling's "Parisian Heartbreak." Pasqua's melodica solo adds to the allure of this performance. Then there is her rendition of the title track about a relationship ending as she realizes it is time to part which is delivered with style.

While I enjoy Wexler's interpretation of Gregory Porter's "Painted on Canvas" with Josh Jackson's sonorous alto sax, and Pasqua's ingenious arrangement, her mellifluous vocal is overshadowed by Porter's original. Bob Sheppard's alto flute adds to the allure of "The Last Goodbye," another song of remembrance and longing. Then there is Wexler's unabashed romanticism singing René Marie's "Take My Breath Away," with a stunning Koonse acoustic guitar solo. In a program of mostly ballads, the gentle swing of "I Took Your Hand," is a nice change of pace.

Pasqua collaborated with Kirk Elling and Philip Edward Galdston in writing "And We Will Fly" with the dreaming vocal supported by the lovely backing with Fife's cello adding color along with another choice acoustic guitar solo. It closes a beautiful, first-rate vocal jazz recording.

I received my review copy from a publicist. Here is "The Last Goodbye" from this CD.

Calabria Foti Prelude to a Kiss

Calabria Foti
Prelude to a Kiss
Moco Records

For her 4th CD release, vocalist/violinist Calabria Foti recorded with a large orchestra and legendary arrangers on the podium in an iconic Capital Records recording studio. "Prelude To A Kiss" is full of grand, sweeping, orchestrations from celebrated arrangers, including Johnny Mandel, Roger Kellaway, Jeremy Lubbock, Jorge Calandrelli, and Foti’s husband, Bob McChesney (also the producer on the album). There are also and small band swingers featuring a stellar ensemble of musical greats: Roger Kellaway, piano; Trey Henry, bass; Peter Erskine, drums; Larry Koonse, guitar; and Bob McChesney, trombone. Singer-guitarist John Pizzarelli guests on “It’s The Mood That I’m In.”

Ms. Foti says, "This album is so special to me because of all the elements: The mix of glorious standards with the original songs, recording in the studio where so many of my heroes have made history, a most audacious team of musicians, with my husband at the helm and my daughters in the booth as I was singing. I was so emotional! My heart was so full and is full to this day. I hope this music touches your heart and draws you closer to your loved ones."

The album is special in part because of Calabria Foti herself. She has a gorgeous voice along with her delivery with marvelous pitch and tone, along with her nuanced phrasing and flawless diction in singing each word. Matching her melodious voice is the immaculate backing, whether those selections with a full orchestra or with a small, swinging combo. This is evident from the beautiful opening title track where the sweet-sounding and the sensual romanticism of her singing is supported by Bob McChesney's lush arrangement. This selection also is one of two songs with a violin solo along with McChesney's lovely trombone solo. Guitarist Larry Koonse is featured on the bossa nova "I Had To Fall in Love With You," which was arranged by McChesney and Johnny Mandel. Koonse's acoustic guitar solo adds to the charm from Ms. Foti's vocal.

"On the Street Where You Live," is an excellent small group recording with Ms. Foti exchanging fours scatting with Peter Erskine. This is followed by a gorgeous vocal on "Waltz For Debby" with a lovely guitar solo from Koonse. Roger Kellaway wrote the wondrous arrangement for "When I Look In Your Eyes," providing a backdrop for the sensualness of her vocal and McChesney's solo. "Goodbye" is an original from Ms.Foti, not the Gordon Jenkins composition that served as Benny Goodman's theme. It is about leaving someone who she does not want to leave and heartfully sung. Another standout selection is the "Backyard Medley." It is a swinging small group mashup of "Back in Your Backyard," "Give Me the Simple Life," and "The Love Nest," which she arranged. In addition to her superb vocal, Kellaway takes a splendid solo here.

Calabria Foti calls this recording a celebration of "all of love, especially the warmth, tenderness, and feeling of belonging that comes from being with family and loved ones." It is a glorious celebration with her outstanding vocals and the impeccable backing provided. She does not record frequently, but each one of her recordings is a treasure.

I received a review copy from a publicist. Here is the EPK for this recording.

Jackie Ryan and the Night and the Music

Her new album, You and the Night and the Music (OpenArt Productions), served as my introduction to the artistry of San Francisco vocalist Jackie Ryan. A fascinating and often compelling voyage through the American songbook, Ryan impresses with faultless pitch, phrasing, and musicality. The anchor of her backing here is the trio of pianist Tamir Hendelman, bassist Christoph Luty and drummer Jeff Hamilton. They are joined on several of the selections by saxophonist Red Holloway, harpist Carol Robbins and guitarist Larry Koonse, with Robbins and Koonse each joining Ryan for a duet with her.

From the opening moments of You‘re So Nice to Come Home To, with Hendelman’s insistent piano and Holloway’s emphatic tenor to the lingering notes of the duet with guitarist Koonse, While We’re Young. She displays not only her broad vocal range, but, as importantly, her extensive, expressive range as she belts out the opening number or equally convinces on the marvelous, intimate duet with Robbins, You Are There. Her relaxed vocal on Ray Noble’s The Very Thought of You, is complemented by Holloway’s empathic tenor.

He mother was Mexican who sang to her Spanish folk tunes when she was growing up and she sings Besame Mucho in Spanish with her pleasing vocal complimented by Koonse’s striking acoustic guitar which Hendelman’s spare piano effectively complements. In addition to Ryan’s vocal and Holloway’s potent playing, bassist Luty has a strong solo playing with the bow on Let There Be Love. The Best is Yet to Come may be best known from Frank Sinatra’s classic recording, but Ryan, with her trio accompaniment, gives this classic a fresh take.

One would have to stretch to find anything to even quibble about on this truly excellent disc by a vocalist that so many have rightfully have taken notice of, and much more will be expected of in the future.

My review originally appeared in the November 2008 Jazz & Blues Report (issue 310). My review copy was provided by a publicist for the release. Here is Jackie singing The Very Thought of You with Tamir Henderson on piano and Red Holloway on tenor sax.