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.

Sharel Cassity Is Vibrant New Saxophone Voice

An Oklahoma City native, saxophonist Sharel Cassity has become a presence on new York City’s scene, having obtained Degrees in Music from The New School and Julliard. She has honored by the late IAJE’s Sisters in jazz and Betty Carter’s jazz Ahead programs and her compositions have won Downbeat Music Awards and ASCAP’s Young Jazz Composer Award. She is an educator as well as work with such small groups as Harry Whitaker, Ingrid Jensen and Mark Whitfield to DIVA and Jimmy Heath Big Bands.

Looking at the cover of her recording Just For You, (DW Records), one does not know what to expect. Once the music starts, one is taken by the clarity and focus of her alto playing (although she plays multiple saxophones). It is produced by Michael Dease (who also contributed three originals to the seven song program) who has brought some of the musicians she regularly works with in the New York club scene. these include Tom Barber on trumpet (who contributed one number) and flugelhorn; Pete Reardon-Anderson on tenor sax, Adam Birnbaum on piano, Paul Beaudry on bass, and Vincent Ector on drums.

Cassity really draws attention with her bluesy tone which will suggest Sonny Stitt as much as Charlie Parker with a bit of Lee Konitz tossed in. Dease’s Phibe’s Revenge, is a brisk hard bop number that kicks off this release. The bouncy title track has a dreamy flavor before Cassity enchants with her chops and tone followed by Barber’s Irazu (Wish You Were Here). Again more standout playing from her along with the marvelous ensemble work. The rhythm section supports her so well and the full ensemble playing is tight.

On the quartet rendition of Ram Ramirez’s Lover Man, her tone is a bit drier with less Charlie Parker and more Lee Konitz. It is followed by Lennie Tristano’s Wow, with its intricate interplay between the horns as well as intriguing solos. Dease’s Roditi’s Dream, has a Latin accent, before the album concludes with her tearing into Cherokee, with shorter spots allotted to her bandmates, but throughout the superb music here, she burns the brightest on this superb album of hard swinging bop.

Sharel’s website is www.sharelcassity.com, and this disc is available from cdbaby.com, amazon.com and other better retailers.

I likely received this from Jazz & Blues Report or a publicist for this release. It was written for Jazz & Blues Report but may not have been published. Here is a video of her performing .