Kendall Carter Introducing

Kendall Carter
Introducing
LLadnek Music

A Louisville Kentucky native, Kendall Carter is an emerging name on the Hammond B-3. Also an educator, he has caught the ear of guitarist Dave Stryker who produced this recording and played guitar. Kelly Phelps plays drums on this organ trio recording. Kendall cites Jimmy McGriff, Shirley Scott, and Charles Earland as among the inspirations and influences that led to his personal style. This session is mostly of familiar tunes to allow Kendall's audience to get a feel for his playing in a traditional context and with a familiar repertoire.

There is nothing fancy or exotic about this recording. Listeners are treated to a solid, straight-ahead organ jazz trio recording. Things start with a reworking of a Jackson 5 recording, "Blame It On the Boogie," into a striking shuffle as Carter states the theme as Stryker adds chords with Phelps subtly pushing the performance follows. Next up is a rendition of "Afro Blue," with the version quietly building in intensity with Stryker stating the theme while Carter lay down a rhythmic cushion and then solos. Bill Withers' "Lovely Day" allows more interplay between Carter and Stryker, followed by an energetic rendering of Kenny Dorham's "Short Story."

While the tunes may be familiar, Carter's selection of compositions is fresh. Carla Bley's "Lawns" is taken at a very leisurely pace, followed by a sparkling rendition of Lee Morgan's "Speedball." A lovely treatment of Sam River's "Beatrice" followed by a chicken fried interpretation of "This Masquerade Is Over." Carter's original "Punjabi Affair has an intriguing melody line, while Carter's church roots is reflected in "That's All," taken at a languid tempo.

Stryker contributed "Blues For Kendall," which is taken at a walking tempo and provides the album's final showcase for Carter's deep soul organ talents and Stryker's nuanced fretwork. This recording is a notable introduction to a distinctive new voice on the organ and a first-rate jazz organ trio recording.

I received my review copy from a publicist. Here is "Lovely Day."

Dave Stryker - Baker's Circle

Dave Stryker - Baker's Circle - Strikezone Records

I have described some of guitarist Dave Stryker's recordings as "straight-ahead jazz comfort food of a high level." This new release adds Walter Smith III's tenor sax to his organ group of organist Jared Gold and drummer McClenty Hunter. Mayra Casales adds percussion to three of the ten selections. There are four originals from Stryker and one from Gold, along with five interpretations of songs from the likes of Cole Porter, Leon Russell, and Marvin Gaye.

"Tough," a driving blues-flavored number, opens this album with scintillating solos. Stryker is first with his soulful, straight-ahead playing and well-crafted solo. Walter Smith III's tenor sax firs in like a well-tailored suit. He has a robust tone and swagger in his attack like Stryker's former boss Stanley Turrentine. Gold is perhaps overlooked among the organists playing today, but he gets the hot sauce going on this selection. The temperature cools a tad on with the relaxed Latin groove of "El Camino," Smith solos with plenty of gusto here. Then there is the late evening blues "Dreamsong," with fleet, nifty guitar, and big-toned saxophone. 

The relaxed swing of Cole Porter's "Everything I Love" showcases Smith's romanticism, while Gold's "Rush Hour" is a spirited burner with some fiery tenor sax and organ. Leon Russell's "Superstar" may be best known from the Carpenters' recording. Stryker and company deliver a delicately structured performance. The title track was composed in memory of the educator and composer David Baker. Casales provides rhythmic accents to a scintillating performance.

There is also a bluesy shuffle, "Trouble (No. 2)," that Stryker's old boss, Stanley Turrentine, recorded. This song partially evokes the Little Willie John classic "Fever" and finds the group at their soulful, groovy best. It caps another first-rate recording from Stryker and company.

I received my review copy from a publicist.  Here is an interview with Dave Stryker.

The Radam Schwartz Organ Big Band Message From Groove and GW

The Radam Schwartz Organ Big Band
Message From Groove and GW
Arabesque Records

Jazz organists have not often recorded with a full Big Band. Jimmy Smith with Oliver Nelson, and Groove Holmes with Gerald Wilson, are among the few exceptions. Holmes even played the bass part on a couple of songs on his recording. Organist Radam Schwartz, joined by Abel Mireles' Jazz Exchange Orchestra, maybe the first organist to play all of the bass lines throughout an entire big band album. He named his new Arabesque release "Message From Groove And GW." after the Holmes/Wilson album. In addition to his organ playing, Schwartz contributed three originals and five of the ten arrangements to the project. He named the album "Message From Groove and GW" after the Holmes and Wilson album.

It should be noted that the album cover highlights the presence of David F. Gibson on drums. In addition to Schwartz and Gibson, the members of the Mireles' Jazz Exchange Orchestra are trumpets- Ted Chubb, Ben Hankle, James Cage, Lee Hogans; Saxophones- Anthony Ware, Danny Raycraft-alto sax, Abel Mireles, Gene Ghee-tenor sax, Ben Kovacs-baritone sax; and Trombone- Peter Lin, Andrae Murchison; Charlie Sigler on guitar. Schwartz solos throughout, while 12 of the 13 members take some robust solos on the ten tunes.

This album is full of hot swinging grooves, blues feel, and plenty of organ grease starting with Schwartz's "Trouble Don't Last," with some hot alto sax from Danny Raycraft. Riffing horns frame solos from Raycrat, Mireles, Sigler, and the leader of a fiery interpretation of John Coltrane's "Blues Minor." Aretha Franklin's hit "Any Day Now" becomes a solid swinger with brass fire from Ted Chubb as Schwartz adds orchestral cover on the B3 while the other horns riff. Schwartz's "Dig You Like Crazy" is bebop original taken at a lightning-quick tempo with blistering trumpet from Chubb and alto sax by Anthony Ware.

Other standout selections include a rendition of the Isley Brother's "Between the Sheets," which takes the musical temperature down a touch with some lovely soloing from guitarist Sigler and alto saxophonist Ware. The title track is a soulful, straight-ahead swinger built on a memorable riff with rousing solos from Ben Kovacs on baritone sax and Andrae Murchison on trombone. Also outstanding is the performance of Charles Mingus' "Work Song." Schwartz's arrangement and steamy organ add to the passionate down-in-the alley playing, including trumpeter Ben Hankle growling mute solo, Murchinson's tailgate trombone, and Anthony Ware's bluesy alto sax.

The album closes with Peter Lin's trombone, and drummer Gibson featured on a concise rendition of Bach's "Von Gott," interpreted as a ballad. It is a refreshing change of pace on an outstanding, superbly played and arranged release. If organ jazz is thought of as the equivalent of steak and potatoes, "Message From Groove and GW" is the musical equivalent of a perfectly cooked filet mignon.

I received my review copy from a publicist. Here is Radam Schwartz with a big band performing Charles' Mingus' "Work Song."