Matt Haviland Something To Say

Matt Haviland
Something To Say
Connotation Records

Trombonist Matt Haviland has been performing and been a featured soloist with some of the top names in been jazz since the early 1980s. Past credits include work with the Illinois Jacquet Big Band, Vanguard Jazz Orchestra, Maria Schneider, Steven Bernstein's Millennial Territory Orchestra, and the Mingus Big Band. Currently, he is a regular member of several ensembles in the New York area, notably the Pete McGuinness Jazz Orchestra, Scott Reeves Jazz Orchestra, Peter Leitch's New Life Orchestra, and Diane Moser's Composer's Big Band.

For this recording, he put together a stellar ensemble with Vincent Herring on alto sax, David Kikoski on piano, Ugonna Okegwo on bass, and Johnathan Blake on drums. Mark Gross on tenor sax and Bill Mobley on trumpet are each present on three selections. Four of the performances are by a quintet, one by a quartet, two by a sextet, and two by a septet. Whatever the format, this is a terrific contemporary jazz recording in the mode of classic sixties Blue Note recordings.

The bright sextet interpretation of Freddie Hubbard's "Arietis" gets the music off in a heated manner. Haviland exhibits a rowdy, gravelly tone while his solo develops fluidly. Gross's tenor contrasts with a somewhat dry tone followed by Herring's fiery trills kicking off an inspired solo that is energized by Blake's drums before Kikoski's follows with more spirited playing.

The leader's "Fillet of Soul" is built on a bass line with shifting minor harmonies that evokes "Body and Soul." This septet performance opens with Okegwo's statement of the bass figure over which the four horns all solo. In addition to the marvelous harmonies from Haviland's arrangement of the four horns, Gross and Mobley are exceptional here." The other septet performance is the energetic "The Way It Is," with the energy building with each of the horn solos.

Kikoski provided the arrangement for a lively rendition of Joe Henderson's "Inner Urge." Haviland and Herring are inspired before Blake provides some percussive fireworks. Kikoski provides a lovely setting for Haviland's wooly, lyrical solo on the quartet performance of Cole Porter's "Get Out Of Town." Blake adds to this splendid performance with his agile use of brushes. Haviland's imaginative arrangement of Charlie Parker's "Visa," transforms the tune into a slower tango number, with Blake's off-kilter rhythms adding to the appealing, if quirky, flavor here.

The rest of this recording is of similar quality. "Something To Say" is an outstanding recording with first-rate material and excellent, imaginative, and inspired playing that showcases Matt Haviland's talents as a composer, player, and leader.

I received a download to review from a publicist. Here is Matt Haviland leading a group at Small's in NYC in 2018.

Louis Hayes and the Cannonball Adderley Legacy Band Live at Cory Weeds' Jazz Club

Louis Hayes and the Cannonball Adderley Legacy Band
Live at Cory Weeds' Jazz Club
Cellar Live Records

As many know, drummer Louis Hayes was a cornerstone of the Cannonball Adderley Band for several years. In honor of the great saxophonist, he has led a Cannonball Adderly Legacy Band. This live recording from Cory Weeds' Vancouver, BC club has him joined by Dezron Douglas on bass, Rick Germanson on piano, Vincent Herring on alto sax, and Jeremy Pelt on trumpet. Cory Weeds adds tenor sax on one selection.

Not much to say, but this quintet captures the blues-drenched hard bop soul that characterized Adderley's great band. Indeed, things get off to a terrific start with "Exodus." The performances throughout are outstanding with the rendition of "Dat Here," with a superb Germanson solo being a specific highlight. Hayes and Douglas drive the hot grooves here while Herring and Pelt are characteristically exceptional. The closing notes of "Sack Of Woe" conclude a superb performance.

This recording is available as a download from Bandcamp, https://louishayes.bandcamp.com/album/live-at-cory-weeds-jazz-club.

I purchased this download. This review appeared in the March-April 2020 Jazz & Blues Report (Issue 389). Here is the Louis Hayes and the Cannonball Adderley Legacy Band performing at Cory Weeds' Jazz Club in 2013.

Nicolas Bearde Invitation

Nicolas Bearde
Invitation
Right Groove Records

San Francisco based vocalist Nicolas Bearde has hit the musical home run with his new recording "Invitation." This was produced by Nat Adderley Jr., who plays piano on most of this with a variety of others present, the best known being saxophonist Vincent Herring who is heard on 3 of the 9 songs. Its a nice selection of standards that should be familiar to most listeners including "My One and Only Love," "Lush Life," "Nature Boy,'" I Want To Talk About You," "Maiden Voyage" and "Save Your Love For Me."

From the first note of the swinging Lerner-Lane standard "Come Back To Me" to the closing moments of "Save Your Love For Me," the warmth of Bearde's voice along with his phrasing impresses. The likes of Billy Eckstine, Al Hibbler, Johnny Hartman, and Freddie Cole are suggested by Bearde who places his own stamp  on these performances. The delight of his treatment of Jobim's "Dindi," is followed by the romanticism of "My One and Only Love," and while it is inevitable comparisons with be made to the Hartman-Coltrane classic recording, Bearde's first-rate rendition (and Adderley Jr is marvelous in his accompaniment) stands on its own. Herring's adds some choice alto to the fresh performance of "Nature Boy."

Bearde also more than capably sings "Lush Life," another performance that will inevitably be compared to Johnny Hartman, but again the manner he delivers the lyrics set against just Adderley Jr.'s piano stands out. I have not heard lyrics to Herbie Hancock's "Maiden Voyage," so Bearde backed by a piano trio (one of two selections Adderley Jr. is not heard on) was a surprise and pleasure to listen to. This performance may be the highlight of these marvelous vocals.
I received my copy from a publicist. This review originally appeared in the May-June 2016 issue of Jazz & Blues Report (Issue 366). Here is Bearde performing "Lush Life."

Linda Presgrave - Along the Path

Pianist, composer and arranger Linda Presgrave has a new recording "Along the Path" (Metropolitan Records). The recording is her fourth and has her in the company of Harvie S – bass, Allison Miller – drums & gongs, Stan Chovnick – soprano sax (and Presgrave's husband), Todd Herbert – tenor sax, Vincent Herring – alto sax, and MJ Territo – voice/lyricist. With this ensemble, Presgrave Linda Presgrave takes the listener along on a musical journey from several ports of call in Asia to the Catalan region of France on two suites, "The Asian Suite" and "The French Suite" before the disc closes with soprano saxophonist Chovick's "Universal Freedom."

The opening title track, the first of the four-part "The Asian Suite," evokes to this listener the Ellington-Coltrane collaboration with Presgrave, Chovick, Harvie S and Miller each taking solos. Ms. Presgrave impresses with his lyricism and touch of her playing. The second part of this suite, "Where East Meets West (Macau)," is a lovely trio performance that Harvie S introduces. Chovick returns to state the theme of "Harbor Lights (Hong Kong)" and then explore the lovely melody. The closing work of this suite, "Asakusa View (Tokyo)" was inspired by a view from a Tokyo hotel of the Sensoji Temple, and is the most energetic performance of the suite with some powerful driving soprano sax and a memorable solo from Miller.

"The French Suite," a six-part work was inspired by a tour of France and includes an opening trio section, three quartet performances (with different horns); a song with all three horns and a final part with a vocalist. The opening trio, "Colors of Collioure," a light beautiful waltz with Miller's deft use of brushes under the lovely piano here. Chovick is featured on the enchanting "Bird of Céret," inspired by a bird's song Presgrave heard from her hotel balcony in the French Catalan town, with a feel to these ears akin to Brazilian jazz. Todd Herbert's robust tenor sax is featured on "You Just Never Know," a spirited performance that conjures up the classic John Coltrane Quartet. After Vincent Herring's alto is spotlighted on the atmospheric, and aptly titled, "Blues For a Rainy Night," all three horns are present for highly spirited solos on "Place Picasso," named after a lively plaza in the town of Céret. The final part of the suite is a vocal version of ""Bird of Céret," with lyrics and a vocal from MJ Territo who tells the story of the inspiration of the song.

Chovick contributed the final work "Universal Freedom" to this recording under the rubric of "Our Hope For the Future." This minor blues (again evoking Coltrane) in 3/4 time has a fiery soprano solo along with solos from Presgrave, Herbert and Miller. It is a fervent performance that provides a strong ending to the outstanding "Along the Path."

I receive my review copy from a publicist. Here is Linda and MJ territo performing "Bird of Céret."

Cedar Walton Sounds Ageless on The Bouncer

Cedar Walton has a new release, The Bouncer (High Note) that fans of hard bop and modern jazz piano will find of interest. Walton has had an impressive career starting with his days with J.J. Johnson and Art Blakey, than the numerous sessions with bassist David Williams and the late drummer, Billy Higgins. Whether leading his own sessions or backing the likes of the late Clifford Jordan or Dexter Gordon he was predictable in the sense that one would expect rhythmically swinging, solid and fresh melodic playing and music. On this date he is joined by Williams and drummer Willie Jones III with Vincent Herring on saxophones and flute on five of the eight selections, Steve Turre on trombone for two and Ray Mantilla on percussion for one.

The opening title track is a melodic Walton original based on its tempo with Walton, Herring and Turre each taking solos that establish a lively feel. J.J. Johnson’s Lament is the first time Walton has recorded this with only a trio, and his clean, relaxed touch helps establish the mood before we are engaged with his lengthy solo. With Herring featured on tenor, Walton provides another lively swinger, Bell For Bags, followed by a lovely waltz, Halo, that showcases Herring woody tone on flute. Underground Memoirs is a sextet performance with Turre, Mantilla and Herring on board for a bossa nova tinged rendition of this somber composition with Turre featured prominently here. Drummer Jones is featured on the trio swinger, Willie’s Groove, with Williams also prominent. Williams composed Got To Get To The Island, a driving number with herring in a bluesy mood before the leader’s solo over bassist Williams firm bass lines and Jones’ rock solid groove.

Another trio number, Martha’s Prize, is another lively and youthful sounding performance that closes The Bouncer in a lively mode. While Cedar Walton may be nearing eighty, but on this recording he plays with a vigor with equally engaged players for a recording that is quite striking.

This review was originally drafted for Jazz & Blues Report and my review copy was sent to me by them. The review appeared in the February 2012 Jazz & Blues Report (Issue 340). Here is a video of Cedar, David Willaims and Jimmy Cobb.

Cannonball Legacy Band Honor's Sax Great's Legacy

The following review was written for Jazz & Blues Report in October 2006 and appeared in the January -February 2007 issue (# 290).

Its been sometime since Julian ‘Cannonball’ Adderly passed away and a few since his brother Nat passed away. Louis Hayes, drummer for Adderly forty years ago has been leading a tribute band to the legendary saxophonist and the terrific band Hayes was such a part of. This writer had the pleasure to catch Louis Hayes and the Cannonball Legacy Band at the 2005 New Orleans Jazz & Heritage Festival and enjoyed their set that brought to life some of the classics the Adderly Brothers were remembered for. Savant has just issued Maximum Firepower from Hayes and the Cannonball Legacy Band that showcases there fine music. In addition to Hayes, the Legacy Band includes Vincent Herring on alto sax, Jeremy Pelt on trumpet, cornet and flugelhorn, and Richard Goods on bass. Anthony Wonsey and Rick Germanson hare the piano chair.

This is a nice overview of the Adderly Brothers’ repertoire although it omits a couple of the best known songs (Mercy, Mercy, Mercy and Work Song). There is a pretty varied group of writers represented here including Quincy Jones (Jessica’s Birthday), Bobby Timmons (This Here), Nat Adderly (Little Boy With the Sad Eyes), Charles Lloyd (Sweet Georgia Bright), Victor Feldman (New Delhi), Cannonball (Sack ‘o Woe), and Sam Jones (Unit 7) with one original from Jeremy Pelt (The Two of Them), and the performances are consistently focused and strong. Herring and Pelt play strong heads as well as solos (check out the beginning of This Here), and the band plays this strong hard bop set with plenty of heat and swing. Hayes himself remains a wonderful drummer near five decades later and the Rudy Van Gelder recording wonderfully captures his playing as well as the entire group. This is a marvelous set which will appeal to the same sort of gritty hard bop that the Adderly’s provided decades ago.

For FTC regulations, I received this to review from the publication this review originally appeared in.