Jonathan Karrant & Joshua White - Shadows Fall

Jonathan Karrant & Joshua White
Shadows Fall
JKR

"Shadows Fall" is an album of duets between vocalist Jonathan Karrant and pianist Joshua White. DownBeat has cited Karrant as among the top rising jazz vocalists, while pianist White has been praised by such artists as Herbie Hancock and was a finalist of the prestigious Thelonious Monk International Piano Competition. This 13-track album brings together standards such as "Lush Life," "So in Love," and "I Thought About You," along with contemporary songs not typically heard in the jazz genre like "Simply the Best," and "Your Smiling Face."

Karrant has a warm, tuneful delivery with a relaxed, clean diction complemented by White's accompaniment that hints at a formidable technique but doesn't overshadow Karrant's vocals. This is evident in the rendition of the Tina Turner hit "Simply the Best," which opens this recording. White's rolling chords and concise solo chorus behind Karrant's singing provide a new setting for the lyrics. The tempo increases for Richard Rogers' "My Romance" with a swinging vocal before White takes a couple of dazzling choruses. "Detour Ahead" has a moving plaintive vocal set against White's intricate backing. A similar reflective quality characterizes the rendition of Macy Grey's "I Try."

A mix of vocal and a short-spoken rap underlying a playful take on Mose Allison's "Stop This World," with a sterling piano accompaniment and solo. White's elegant backing underlies a memorable performance of Billy Strayhorn's "Lush Life." There is a spirited rendition of James Taylor's "Your Smiling Face" with a jaunty vocal enhanced by White's buoyant playing. Perhaps standing out among the consistently solid performances is Karrant's passionate singing of "I'm Afraid The Masquerade Is Over."

Other selections include bright renditions of "Wrap Your Troubles In Dreams" and "I Thought About You," along with a tenderhearted treatment of "My One and Only Love." The album concludes with Betty Carter's "Being Me." Throughout, the clarity of Karrant's singing brings the lyrics to the fore against White's eloquent accompaniments. Simply put, "Shadows Fall" is a splendid album of piano-vocal duets.

I received my review copy from a publicist. Here is a video about this album.

Ken Steele - Peter Curtis - Steele in Love

Ken Steele - Peter Curtis
Steele in Love

90-year-old crooner Ken Steele combines with guitarist Peter Curtis on this album of love songs. Steele was born in Winnipeg, Manitoba, where he started singing in clubs and radio before moving to Toronto. In Toronto, he became an in-demand singer and regularly appeared on numerous CBC radio and television programs and nightclubs around the city. As musical tastes changed to rock and roll, Ken began writing for tv and radio and eventually moved to LA. He worked on some sitcoms and won an Emmy writing for Shari Lewis and Lambchop. In 2002, Ken moved to Palm Springs and began singing professionally again. Guitarist Peter Curtis has performed internationally. As a jazz guitarist, he has performed or recorded with notable jazz and blues musicians, including Claudia Acuna, James Carter, Freddy Cole, Taj Mahal, Barbra Morrison, and James Moody. As a classical guitarist, Peter has given recitals in the U.S. and Canada. The two are joined by bassist Baba Elefante with whom Curtis has played with for years.

Listening to this recording, I would not believe Steele was 90 or so when they were in the studio. He sings in a soft, enticing manner with Curtis accompanying as well as playing solos that illustrate his facility and invention. Elefante provides a rhythmic center. As indicated by the album title, this album of love and romantic songs is delivered straightforwardly. This starts with the opening track, a rendition of "Speak Low" with a Bossa-influenced accompaniment and marvelous solo. Then there is a charming, world-weary treatment of "Don't Worry 'Bout Me" and a fresh take on "The More I See You." There is a nostalgic interpretation of "Darn That Dream," the precious romanticism of "My One and Only Love," and "It Could Happen With You," with a dazzling guitar solo.

Crooner is an apt description of Ken Steele's vocal art with the warmth he imbues the performances, as well as his relaxed phrasing and interpretive skills. The performances are gems, although the somewhat sparse backing and the narrow range of tempos of the performances make this a recording that might be enjoyed best listening to a few selections at a time, rather than through an entire sitting. Still, there are considerable rewards to listening to these performances.

I received a download to review from a publicist.

DOC CHEATHAM AND SAMMY PRICE - DOC & SAMMY

Doc Cheatham and Sammy Price - DOC & SAMMY - Sackville 3013 

Sackville has followed their wonderful Jay McShann and Buddy Tate duet album with another duet recording of two older jazz stylists. Sammy Price is one of the few true surviving boogie woogie pianists left, though his playing also incorporates some stride and swing elements. Doc Cheatham is representative of the blues-drenched trumpet stylings of the twenties. 

Together they do some wonderful earthy interpretations of traditional jazz staples like "Tishomingo Blues" and "Sheik of Araby." Fats Walter's "Ain't Misbehavin'" and "Honeysuckle Rose" receive lively takes. The empathy of Price and Cheatham is quite high and they produce a most rewarding set for which we should be thankful to Sackville and Doc and Sammy for giving us. Here's hoping Sackville continues this series of traditional jazz stylists in duo settings. 

Incidentally the order of tunes on the record label and jacket is erroneous though listening makes it clear which is "Summertime" and which is "The Sheik of Araby."

I likely received a review copy from the publication. Sackville issued this as part of a double CD. This double CD is available from Delmark Records. This review appeared in the June 1978 Buffalo Jazz Report (Issue 52). Here is Doc and Sammy from an earlier recording where they played Gershwin.

The Jim Self & John Chiodini Duo The Light Fantastic

The Jim Self & John Chiodini Duo
The Light Fantastic
Bassett Hound Music

"The Light Fantastic" is an unusual duo of tuba specialist Jim Self and guitarist John Chiodini. Both have been involved in a number of projects, including work playing on soundtracks and the like. The dup setting provides for intimate music conversations. There are several originals by Self, mixed with interesting renditions of jazz standards and the American songbook.

The musical conversations between Self and Chiodini are fascinating at the minimum. Self negotiates the melodies and constructs some intriguing solos while Chiodini comps to support him. Self also provides bass lines for Chiodini's solos. Chiodini provides a lively opening for the opening title track with Self's buzzing solo. There are several other well-performed, straight-ahead selections here. One is a remarkable interpretation of Gerry Mulligan's "Reunion," itself a contrafact of "There Will Never Be Another You," and the lovely ballad, "Here's That Rainy Day," with Self's appealing wooly solo. Also of note is the mid-tempo rendition of Joe Henderson's "Recorda Me," and the charm of Self's ballad "Pavane." On the latter number, Chiodini's backing, and his solo, is exquisite. In contrast, there is a chamber group flavor to the performance of Cesar Cameras Mariano's "Curumim."

As agile a player as Jim Self, the tuba's limited tonal range might make listening to this album in one sitting difficulty. That said, if one focuses on several selections at a time, a listener will find one's attention rewarded by these engaging performances.

I received a download to review from a publicist.
 

Evan Christopher & David Torkanowsky Live at Luthjen's

Evan Christopher & David Torkanowsky
Live at Luthjen's

I have been a fan of clarinet wizard Evan Christopher for many years. This live recording at the New Orleans venue, Luthjen's, pairs him with the highly regarded pianist David Torkanowsky. I had the pleasure to see them some years ago as part of a band backing Germaine Bazzle that included Jason Marsalis on vibes. This set of duets is a thoroughly captivating set of performances of classic jazz songs and originals that showcase their instrumental talents and the empathy they have for each other.

The bluesy, velvety tone pf Christopher's clarinet is matched by Torkanowsky's sleet, fluid piano playing that ranges from traditional jazz to bop-accented. The performances are often imaginative as what starts out as a wistful rendition of "Way Down Yonder In New Orleans" segues into a choro-inspired interpretation. On "Sid's Biz," which I believe is inspired by Sidney Bechet, Christopher's spirited playing is supported by Torkanowsky channeling the spirits of Professor Longhair and James Booker. A wonderfully paced "Make Me a Pallet on the Floor" showcases Christopher's singing playing while "Rollin' the Jent" sounds like a boisterous reworking of "Ballin' the Jack." Then there is the beguiling "Melody For Jaco," with the woody clarinet tone complemented by a delicate piano backing.

Among the other performances is a reflective "Jitterbug Waltz," and a hauntingly beautiful rendition of Billy Strayhorn's "A Flower is a Lonesome Thing." It was a marvelous evening of music at Luthjen's, the evening this was recorded as can be heard from the audience applause. Its availability is very welcome. It is available as a download from Bandcamp, https://evan-christopher-clarinet-road.bandcamp.com/album/live-at-luthjens, and as a CD from the Louisiana Music Factory (louisianamusicfactory.com). Evan Christopher's website is www.clarinetroad.com.

I purchased this recording as a download. Here the two perform "Jitterbug Waltz."

Vito Dieterle - Joel Forrester Status Sphere

Vito Dieterle - Joel Forrester
Status Sphere
Ride Symbol Records

I am most familiar with the versatile pianist-composer Forrester from the Microscopic Septet. Tenor saxophonist Dieterle is new to me. Originally from Chicago, he has been part of the New York scene for the past decade and recently been a member of Forrester's quartet. This recording is centered around the music of Thelonious Monk as the two perform 6 Monk compositions (one in two takes). Forrester wrote five originals in a Monk-inspired vein. The inspiration of Monk is also reflected in the album title and this CD's cover, which is a play on the cover of the classic Riverside album, "Monk's Music" with two spheres sitting in a red child's wagon.

Forrester is a marvelous pianist who brings a bit of stride in his playing while Dieterle impresses with his hearty, but lyrical playing. Forrester leaves plenty of space in his playing if not quite as spare or quirky as Monk himself. Dieterle plays with restraint, and the performances breathe with a relaxed lyrical quality as they nourish the roots Monk's compositions provide.

Two poignant takes of "Crepuscule With Nellie" stand out, as does the evocative beauty of the duo's interpretations of "Ruby My Dear" and "Pannonica." Of the originals, "Mock Time," one of Forrester's originals, charms with their bouncy performance. Another original "About Francoise" is a contrafact of "I Can't Get Started. It is a showcase for Dieterle's marvelous ballad playing. While the publicity materials suggest his playing recalls Charlie Rouse, I observe his playing touches the listener similarly to Houston Person or Eric Anderson as well as rouse.

The remainder of "Status Sphere" is as marvelous as the selections I have highlighted. The two are excellent interpreters of Monk's compositions who honor Monk's legacy with the splendid playing on this release.

I received my review copy from a publicist. Here are Dieterle and Forrester, as members of Forrester's Quartet performing "About Francoise."

Champian Fulton & Cory Weeds Dream a Little Dream

Champian Fulton & Cory Weeds
Dream a Little Dream
Cellar Live

In her brief liner notes to this live duo recording with alto saxophonist Cory Weeds, pianist and vocalist Champian Fulton observes that a duo is unique. It allows more freedom to play and interact with the other. "As a pianist, a duo really is one of my favourite formats. I love the looseness of it – being able to follow or lead when I want, to hear the bare bones of the song as expressed by a linear instrument, with no drums or bass to muddy the waters. It takes a special kind of horn player to be able to feel comfortable in that setting because you're so exposed." Weeds observes that they "recorded this in a house that has been the scene of many wonderful concerts over the past eight years. It is owned by two dear friends of mine, Will and Norah Johnston." The home is a comfortable setting for an intimate performance allowing, "Two good friends simply making music together: that's what it's all about."

And the friends certainly made good music today. Fulton's vocals range from hopeful to bluesy as she goes from the title track to "Fly Me to The Moon," in a rendition that is a bit more reflective than the iconic Sinatra recording. In addition to her wonderful vocal, there are some marvelous solos from both here. Fulton composed the bouncy instrumental "Lullaby For Art," which showcases both players. Another instrumental showcase for the two is the swinging rendition of "Once I Had a Secret Love." Here Weeds bop-inflected sax is accompanied by Fulton's adept use of chords.

The mix of their excellent musicianship and improvisations, and Fulton's warm, nuanced singing lead to sublime interpretations of "Darn That Dream," and "I'd Give a Dollar For a Dime." The album closes with the relaxed swing of "Save Your Love For Me," with Weeds alto lead punctuated by Fulton's piano chords. Fulton and Weeds were two good friends making some marvelous music that February 2019 night at Will and Norah's Vancouver, BC home when this was recorded. The result is this gem of a recording.

I purchased this. Here is Champian Fulton backed by a quartet including Corey Weeds performing "If I Had You."

 

Ran Blake Christine Correa Streaming

Ran Blake Christine Correa
Streaming
Red Piano Records

This is the latest recorded collaboration between Blake, the celebrated pianist and educator who is the founder and long-time chairperson of the Third Stream Department (currently called Contemporary Improvisation Department) at the New England Conservatory in Boston, MA, and Correa, the Mumbai born avant-garde vocalist who is on the faculty of The Louis Armstrong Jazz Performance Program at Columbia University. Consisting mostly of duets on material ranging from standards to Ornette Coleman's "Lonely Woman," there are also three improvised piano solos and one solo vocal.

This is not one's usual piano-vocal duet although it starts with "Don't Explain," with Blake's spare, dissonant chords providing a foundation for Correa's haunting mix of half-spoken, half-sung vocal with Blake's own solo having an evocative quality. Correa's vocal on "Out of This World" is arresting as Blake's chords and short single note runs are more a response than a simple accompaniment. Correa sounds almost like a Cantor at the beginning of Ornette Coleman's "Lonely Woman," followed by Blake's spare statement of the theme and then she explores Margo Gunyan's lyrics with horn-like phrasing and a vocal having the passion of a raucous Sidney Bechet soprano sax. After this, the first of three interpretations of George Russell's "Stratusphunk" with unusual voicings and use of silence is a relief.

The bouncy "Bebopper" is comparatively mainstream with hints of the "I Love Lucy" theme and "Lullaby of Birdland" in Blake's accompaniment and solo. The brief "Ah, El Novio No Quiere Dinero," stands out with the minimal see-saw accompaniment and a wordless vocal that evokes the Mideast. A haunting rendition of Ivan Lins "Love Dance" is the longest performance here, while "Wende," composed in part by Blake, is a striking unaccompanied vocal. This album closes with "No More," which again displays both Correa's vocal and expressive range as she opens in a defiant manner before singing more traditionally. It is set against an intriguing accompaniment. One may wish to preview a few selections, as some may not be enamored by Correa's singing. Others, including this writer, will find the performances here compelling.

I received my review copy from a publicist. Here is a performance of the two from an earlier recording.

Anat Cohen & Fred Hersch Live at Healdsburg

Anat Cohen & Fred Hersch
Live at Healdsburg
Anzic Records

This album of duets (actually musical conversations) by the marvelous clarinetist and pianist was recorded in June 2106 at the Raven Performing Arts Theater in Healdsburg, California as part of the Healdsburg Jazz Festival. It must been a delightful performance as heard here with the delightful interplay throughout the eight compositions in this intimate context. Hersch contributed three tunes, Cohen one, and there are four covers.

Hersch's "A Lark," is the first track which allows Cohen's singing clarinet to dance over the textures Hersch lays down before his own explorations. It is followed by another delightful Hersch original, "Child's Song," with the clarity and inventiveness of their playing. The overall tone here and throughout the performances is restrained elegance. Cohen's "The Purple Piece" displays the way the pair employ dynamics in unhurriedly building the intensity here. Then there is an enchanting rendition of Billy Strayhorn's "Isfahan," and Hersch's understated lyricism complements Cohen's explorations from a deep, warm chalumeau register to the upper altissimo. Hersch's "Lee's Dream," finds them in a more playful mood followed by a lovely, ruminative rendition of "The Peacocks." Then there is Fats Waller's "Jitterbug Waltz" played with a restrained buoyancy with Cohen's swirling clarinet flights set against rumbling riffs.

Duke Ellington's "Mood Indigo" served as the concert's encore with Cohen's playing displaying the warmth so invests in her playing complemented by Hersch's spare accompaniment. It is a delightful close to the beautiful musical conversations that the two performed that night.

I received a review copy from a publicist. Here the two perform Jimmy Rowles' "The Peacocks."

Vinny Raniolo Air Guitar: Songs of Flight

Vinny Raniolo
Air Guitar: Songs of Flight
Self-Produced

Guitarist Raniolo has collaborated with many folks including Tommy Emmanuel, Bucky Pizzarelli, Leon Redbone and Vince Giordano to name a few. He also has been the long-time partner of Frank Vignola with whom he has performed thousands of concerts. "Air Guitar" is his first album under his own name and finds him in duets with bassist Elias Bailey. Heard are classic songs from Jimmy Van Heusen, Hoagy Carmichael, Cole Porter, Irving Berlin, Django Reinhardt and others that show his love of flying through performance of songs.

There is plenty to enjoy in the 15 selections on this from the brisk, lively opening "Come Fly With Me," through the lovely, lyrical rendering of "Skylark." Raniolo's deft touch and lovely tone supported by Bailey's bass. There is a lively "Flying Down To Rio," as well as a charming "Blue Skies." Raniolo crafts melodic solos throughout as on John Denver's "Leaving on a Jet Plane" and "Stardust." Then there are the sparkling played "Airmail Special," as well as another Benny Goodman small group classic "Flying Home." The interplay between Raniolo and Bailey on the former number is noteworthy, as is his horn like lines on the latter tune. There is also an exquisite interpretation of Django Reinhardt's "Nuages."

Raniolo and Bailey have provided listeners here with a superb album of jazz guitar-bass duets to captivate listeners..

I received my review copy from a publicist. This review originally appeared in the May-June 2018 Jazz & Blues Report (Issue 378). Here Vinny Rniolo and Elias Bailey perform "Besame Mucho."

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.

Hilary Gardner & Ehud Asherie The Late Set

Hilary Gardner & Ehud Asherie
The Late Set
Anzic Records

I have not been to Mezzrow, the intimate Greenwich Village club but from what I understand about this small, listening jazz venue, the duo collaboration between vocalist Gardner and pianist Asherie sounds like the type of performance that is featured there. In fact, the credits include special thanks to Spike Wilner, Mitch Borden and Mezzrow, and the cover photographs were taken there.

This is a delightful, informal tour through the American songbook by the two with Gardner's, strong, tuneful alto, along with the clarity in enunciation matched by Asherie's nuanced, often restrained by deft, congenial accompaniment and solos. Another thing that stands out is the fact that the songs are not particularly well known songs except for "After You've Gone," and "Make Someone Happy."

The program opens with a couple of Al Dubin and Harry warren collaborations, "Shadow Waltz," and "Sweet and Slow." The former number opens with a stately piano chorus before Gardner starts her vocal, showcasing her nuanced phrasing and dynamics with a delightful, spare piano solo. It is followed by the unhurried,"Sweet and Slow," where she encourages her partner to take his time while the band is moaning low as Asherie is exquisite in his accompaniment with a late-night, bluesy feel.

After a wistful take on a lesser known Rodgers and Hart number, "A Ship Without a Sail," comes a remarkable rendition of a song going back to the twenties, "After You've Gone." This performance begins as a slow lament with light piano and plaintive vocal and then halfway through Asherie picks up the tempo and gives a propulsive accompaniment as Gardner sings defiantly about he will be the one suffering "after I've gone" with a superb stride piano solo.

"After You've Gone" is a performance that stands out on this mostly lovely program that also includes the cute "I've Never Seen Snow" from Harold Arlen and Truman Capote; the fetching rendition of Irving Berlin's "I Used to Be Color Blind"; the ebullient interpretation of Rodgers and Hart's "Everything I've Got"; the heartfelt, precious "Make Someone Happy"; and a captivating, reflective "Seems Like Old Times" (by John Jacob Loeb and Carmen Lombardo). Gardner's wonderful singing and Asherie's marvelous piano results in a delightful recording.

I received my review copy from a publicist. This review originally appeared in the January-February 2018 Jazz & Blues Report (Issue 376). Here is a video of the two at Small's in New York City doing "Autumn in New York."

 

Dyad Plays Puccini

Dyad is a partnership between alto saxophonist Lou Caimano and pianist Eric Olsen and the two have a new recording of duets Dyad Plays Puccini (Ringwood Records). Olsen's wife, Operatic singer Pamela mentioned to him that Caimano’s alto saxophone reminded her of an opera singer and this fact led to this duet recording which fuses the lovely melodies of the great opera composer Puccini with the jazz instincts and inventions of Dyad. Each contributed more than simply their play as Olsen contributed seven arrangements and Caimano three.

While I am not overly familiar with Puccini’s operas, there was instant recognition of Musetta’s Waltz from La Boheme, and one is struck by the lovely, almost clarinet tone of Caimano along with Olsen’s stately accompaniment and his own lyrical solo. Other of the songs the dup interpret may be less familiar to my ears but the performances are equally enchanting and one can hear echoes of his music in more contemporary music. Portions of the rendition from of Ch’ella mi credo (from La Fanciulla del West”) evoke Paul Simon’s Bridge Over Troubled Water, and lead me to wonder if Simon was a Puccini fan in his youth. Caimano’s arrangement and very vocalized playing here certainly leaves a strong impression on the listener. Their jaunty rendition of the Act I Overture for Madame Butterfly contrasts with the delicate, wistful Che gelida manna, although both are beautifully performed in their own manner with some exquisite interplay between the two.

Puccini left us a body f some of the most memorable and lovely melodies in all of music and the marvelous jazz duo interpretations from Lou Caimano and Eric Olsen make Dyad Plays Puccini one of the most intriguing and delightful surprises to come along.

I received my review copy from a publicist.  Here is a selection from this recording.