THE ASIAN JAZZ ALL-STARS – “POWER QUARTET” (Live recording, on the edgy side, with a mix of
jazz tunes, standards and originals).
AllAboutJazz.com (Ian Patterson): Jazz-fusion—for want of a better term—is alive and kicking in Asia, as this excellent recording demonstrates. So far, only Asian audiences have been fortunate to see this incendiary quartet on tour. Hopefully, it will go into the studio with some original material soon and launch itself beyond Asia.
CORINA BARTRA – “CIELO SANDUNGUERO” (Female vocalist, backed by a big band, doing Latin
tunes, and Latin versions of other tunes).
PowerderFinger Promotions: Corina Bartra from Peru. Corina Bartra is an original. When she proposed to blend jazz with Afro-Peruvian & Creole music from Peru, her sound was unprecedented. She has pioneered a ground-breaking fusion of jazz and Afro Latin music with her releases: Corina Bartra Quartet, Son Zumbon, Travelog, and Bambu Sun, where for the first time one could hear the incorporation of the cajon (Peruvian percussive box) and the festejo groove blended with jazz. Corina was the first vocalist to blend Afro-Peruvian criolla music from Peru with Jazz.
TONY BENNETT – “DUETS II” (Legendary vocalist, with a very eclectic mix of duet partners, singing
the Great American Songbook).
Pop & Hiss (LA Times Music Blog, Mikael Wood): Some of these May-December cuts sound great, particularly Bennett and Gaga’s “The Lady Is a Tramp,” in which he can’t stifle his amusement with her drama-kid shtick. (“I love to rowboat with you and your wife in Central Park Lake,” Gaga ad-libs pricelessly.)
DAVID BUDWAY – “A NEW KISS” (Pianist, leading a very edgy session, with mostly originals and a
couple of standards).
Critical Jazz: A thoroughly engaging and at times electrifying performance by one of the most gifted if not sadly overlooked pianists of our time.A New Kiss makes it easy to understand how such a dynamic talent caught the ear of Liza Minnelli with Budway going to perform with such jazz legends as Dizzy Gillespie, Joe Pass and Jimmy Heath.
A release of three dimensional sound and texture, a musical tapestry that gives off new and subtle shades with each listen.
TITO CARRILLO – “OPENING STATEMENT” (Trumpeter, leading a variety of band configurations,
doing mostly straight-ahead originals).
Origin Records: A confluence of the post-bop trumpet legacy of Miles, Hubbard, & Shaw, along with the complexities of Cuban rhythms, lyrical ballad phrasing, and boundary-breaking free exploration, "Opening Statement" is a powerful recording by one of the more prominent fixtures on the vibrant Chicago jazz scene of the past 15 years. Though having appeared on over 20 CDs alongside luminaries such as Willie Pickens, Chuchito Valdes, and even pop icon Phil Collins, this project marks trumpeter Carrillo's first recording as a leader, revealing a singular modern trumpeter with an expressive and original compositional voice.
EDDIE DANIELS/ROGER KELLAWAY – “LIVE AT THE LIBRARY OF CONGRESS” (Clarinet/piano
duet, doing mostly standards).
Audiophile Audition: Both of these highly-respected performers are equally at home in the classical or jazz genres and most anything else. Together and separately they already account for a half dozen releases on the IPO label. And this is actually a sequel to their earlier IPO duo album, A Duet of One. This is not one of those historical concerts from the Library of Congress issued by Bridge, but a new recording made February 25, 2010 in the Library’s Coolidge Auditorium.
“RYAN DAVIDSON TRIO” – (Progressive Texas Swing, if you will).
Audiophile Audition (Robbie Gerson): As a member of the six-time Grammy-nominated One O’clock Band Lab Band, Ryan Davidson shared the stage with jazz artists like Dave Brubeck, James Carter, Eddie Gomez and George Garzone. All of this was accomplished as a student at the University of North Texas, where he earned a degree as a Master of Music in Jazz Studies. Within the community of country music, he has done sessions with dozens of acts. His project with the One O’clock Lab Band (Lab ’09) received two Grammynominations. The alchemy of country and jazz is complex, but interesting.
DOUG EBERT – “POOR DOG” (Bassist, leading a quartet, doing all straight-ahead originals).
McCORMACK & YARDE DUO – “PLACES AND OTHER SPACES” (Sax/piano duet, doing all
originals, but one).
The Guardian (John Fordham): When the conversation between pianist Andrew McCormack and saxist/composer Jason Yarde began on CD two years ago, the pair showed they could read and expand each other's thoughts with an impulsive empathy. The My Duo album's followup finds Yarde concentrating on soprano sax a little less, now applying a wider tonal range to a similar repertoire of seductively hooky, Keith Jarrett-like piano vamps embroidered by adventurous sax lines, swoony lyricism and minimalist sax-pattern whirlings reminiscent of Portico Quartet.
SAM PANNUNZIO TRIO – “GOIN’ HOME” (Straight-ahead piano trio, doing all originals, but one).
ENRICO RAVA QUINTET – “TRIBE” (Trumpeter, leading a quintet/sextet, doing low-key, but edgy
PopMatters.com (George de Stefano): Trumpeter Enrico Rava, born in Trieste in 1939 and raised in Torino, has had a distinguished and varied career spanning five decades. He has played on nearly 100 recordings and as a leader on 40. Rava commands virtually the entire history of jazz, from classic New Orleans styles – he started out as a Kid Ory-influenced trombonist – to bebop to avant-garde, “free” playing. Rava’s career began in the early 1960s, as a sideman with Leandro “Gato” Barbieri, the Argentine saxophonist of Italian roots. Later in the decade, Rava recorded and performed with many of the leading exponents of the free jazz movement.
Now, at 72, Rava has made one of the best albums of his career, Tribe, and certainly the best since he returned to ECM. Tribe is both a summation and an extension of his art, a mature work that points to new directions for the veteran player, composer, and bandleader. The album’s mood is, for the most part, contemplative, even dream-like; the tempos mostly run slow to medium. The music rarely breaks a sweat, but is nonetheless compelling. Eichner’s typically crystalline production, with every instrument well defined, perfectly suits Rava’s music, with its emphasis on space and texture.
MARCUS ROBERTS TRIO – “NEW ORLEANS MEETS HARLEM” (Pianist, leading a straight-ahead
trio, with a mix of tunes from composer heralding from both cities). 2009 Release
New Orleans Meets Harlem, Vol. 1 underscores this history, but the album is not merely a tribute. With each of the classic songs that Roberts performs with his trio (consisting of bassist Roland Guerin and drummer Jason Marsalis), the old melodies are played with a fresh approach that is consistent with the piano jazz tradition by blending old and new.
GEORGE SCHULLER’S CIRCLE WIDE – “LIKE BEFORE, SOMEWHAT AFTER” (Drummer-led
quintet/sextet, with an edgy mix of Keith Jarrett tunes and originals).
): 2008 Release. It might seem like adulation of the highest order to state that by the end of the piece, heart rates will quicken and pupils will dilate, but why not praise what is praiseworthy? Increased heart rate is nothing but a physical symptom of something called love and falling in love with Like Before, Somewhat After is one physical phenomenon that even the left-brained among us can understand with ease.
Spero is hosting a National Music Video Competition, "Make Hills, Win Bills" a $1000 Video Challenge for his new single, "Hills".
A panel of renown film and music professionals will judge the submissions, and we will announce the winner on December 12th at 12:01AM (midnight). The winner will receive a $1000 cash prize and his/her work will be premiered at the album release show on December 16, 2011, in Chicago.
TRI-FI (FB)– “THREE” (Straight-ahead piano trio, doing all band originals).
CHRIS WEST – “TRILOGY 3” (Very edgy collection of traditional and contemporary originals).
Examiner.com: Saxophonist Chris West has released "The Surprise Trilogy" a 3 CD set of all original material, featuring some of Nashville's finest including Jeff Coffin, Don Aliquo, Rod McGaha, Derek Phillips, Pat Bergeson, Adam Agati, Greg Bryant, Charles Treadway and many others.
DEBORAH WINTERS – “LOVERS AFTER ALL” (Vocalist, backed by a big band, doing mostly the
Great American Songbook).
AllAboutJazz.com (Dan Bilawsky): On Lovers After All, the Bay Area-based vocalist establishes herself as a ballad singer with which to be reckoned. She can sing over swing with confidence ("Get Out Of Town") and sway to the subtle sounds of the bossa nova ("Haunted Heart"), but her ballad work eclipses all else. Her voice has depth and warmth that instantly soothes and seduces; her use of vibrato is rare and judicious, and her pacing, clarity and diction are perfectly suited to this particular style of song.
NOTE: THESE WILL BE THE LAST NEW RELEASES FOR THIS YEAR. NEW ADDS WILL
New music being added to the Jazz 88 Playlist Monday, November 21, 2011 and debuted Monday, 11/21/11 6-8 PM PT on The New Jazz Thing with Vince Outlaw: Luis Disla, Hal Galper Trio, Yoko Miwa, Michael Pedicin, Kate Reid, and Sunnie.
Check out album artwork thumbnails, artist website, Facebook, Twitter, and select album reviews after the jump...
Here are the tunes picked out for adding to the Jazz 88 Music library this week by Assistant Music Director for Jazz 88 Chad Fox (sitting in for our esteemed director and traveler Joe Kocherhans). We will be debuting as many as we can on The New Jazz Thing, Monday, November 14, 2011.
GREG ABATE - "HORACE IS HERE" - (Straight-ahead tribute album to Horace that consists of all standards, re- harmonized with new/fresh arrangements).
RAY CHARLES (FB, @RayCharles_TM ) - "SINGULAR GENIUS / THE COMPLETE ABC RECORDINGS" – (No description really needed, but as the title implies, this is a compilation of hits and B-sides during this prolific period, 1960-1972).
Blogcritics.com (Greg Barbrick): While preparing to review the new Ray Charles box set, Singular Genius: The Complete ABC Singles,
I had a look at what Dave Marsh had to say about Charles in 1978. In
essence, his opinion was that Ray had committed virtual artistic suicide
by leaving Atlantic Records for ABC-Paramount in 1959.
Wow. Maybe the guy was suffering from some form of rock-crit
inferiority complex or something, because nothing could be further from
the truth. The set contains 106 tracks, laid out over the course of five
CDs, and presents a pretty convincing case that Ray’s time with
ABC-Paramount Records was one of the strongest and most productive
associations of his career.
TED CLOUSER (@ToddClouser, FB)- "A LOVE ELECTRIC" – Contemporary guitarist, doing an edgy mix of all originals, many cuts for nights/evenings, but some accessible for AM and afternoons; read the notes).
AllAboutJAzz.com (Chris May): Musicians and painters from the US have long since been relocating to
Mexico, hoping to deepen their art through immersion in a slower pace of
life. Guitarist Todd Clouser is a recent emigré, who moved south in
2006. A Love Electric is his third post-relocation album. It catches
him in transformation from a straight ahead rock player to one embracing
jazz—specifically, hard bop and the Rhodes-spiked crossover of pianist Herbie Hancock and trumpeter Miles Davis' early 1970s bands—and old-school rhythm & blues.
EVAN COBB (@EvanCobbJazz, - "FALLING UP" – (Nashville-based saxophonist, featuring a set of eight original straight-ahead tunes in a quintet setting; debut release).
AMIR ELSAFFAR (@AmirElSaffar, FB) - "INANA" – (Trumpeter-led outing, doing all progressive originals with influences of Middle Eastern music. Follow-up to his critically acclaimed 2007 release, Two Rivers; recently added to the progressive drawer. Check it out as well).
AllAboutJazz.com (Troy Collins): Named after the ancient Mesopotamian goddess of carnal love and warfare, Inana
blends the ceremonial intensity of maqam with the polyphonic melodies,
contrapuntal harmonies and syncopated polyrhythms associated with
sophisticated jazz structures. More fully realized than many similar
ethnic fusions, ElSaffar's incorporation of maqam's microtones, flexible
pitches and meter-less bar lines yields a highly personalized language
that reaches well beyond the confines of Western pedagogy for
inspiration. Gracefully poised between two worlds, Inana builds upon
ElSaffar's previous accomplishments, establishing an impressive
precedent for the creative possibilities of a new global jazz aesthetic.
DELFEAYO MARSALIS (@Delfeayo, FB) - "SWEET THUNDER" – (Acclaimed trombonist, backed by a variety of all-star personnel, streamlining Ellington & Strayhorn’s original charts from the 1957 theatrical production of Such Sweet Thunder.)
Acclaimed trombonist and member of the first family of jazz, Delfeayo Marsalis launches Sweet Thunder: Duke & Shak,
an original theatrical jazz production culled from live performances in
thirty-six locations across the country. The play was born from
Marsalis' affinity for the music of Duke Ellington and the poetry of Shakespeare: first brought to the musical stage in the 1957 production of Such Sweet Thunder at the Shakespeare Festival I Stratford, Canada. Both Ellington and Billy Strayhorn were invited to compose music in tribute to The Bard, and came up with 15 compositions for that date.
streamlines Ellington and Strayhorn's original charts into a
12-movement suite, bringing an all-star list of players, including
brothers Branford and Jason. for the recording.
CHRISTIAN MCBRIDE (@McBridesWorld, FB)- "CONVERSATIONS WITH CHRISTIAN" – (Straight-ahead release with each cut featuring jazz greats and others, e.g., Corea, Hargrove, Ron Blake, Regina Carter, Dr. Billy Taylor, and oh yes, an appearance by Sting. Mix of originals & other jazz tunes. Contains 3 vocal tracks).
LATimes Blog (Chris Barton): Bassist/bandleader Christian McBride isn't a guy who likes sitting
still. The L.A. Phil's Creative Chair for Jazz from 2006 to 2010, the
39-year-old McBride has recently toured with the jazz-fusion super-group
Five Peace Band
as well as his throwback acoustic ensemble Kind of Brown, which
released a sharp debut in 2009. This year marks another active one for
McBride with September's rambunctious big-band album "The Good Feeling"
and this month's "Conversations With Christian," a collection of duets
that rose out of a 2009 podcast series of the same name.
JACQUI NAYLOR - "LUCKY GIRL" - (Vocalist/songwriter in a quartet setting, doing a mix of jazz tunes).
Jacqui hosted a gathering of about ninety people where she performed
twenty-five songs and let the listeners rate them on a scale of 1 to 5.
Without exception, the top fifteen rated songs did become the cuts
selected for the new album. Jacqui said that there was a little bit of
nervousness in letting her fans choose the songs, but when it was all
said and done, the fans made excellent choices.
“I think that a lot of the time fans are pretty much
right on. At least mine. I feel like they know me. And in this
particular case I wanted them to really know my heart in this album, and
I think that comes through.”
“Acoustic smashing” continues
Jacqui Naylor made famous what she defined as “acoustic smashing,” or
taking a jazz tune and a rock tune, and singing one while the band
plays the other in a seamless fashion. On this album, Jacqui smashes Surrey with the Fringe on Top with George Benson’s Breezin.
THE DANIEL ROSENBOOM SEPTET (FB) - "FALLEN ANGELS" – (Progressive release, composed and arranged by this trumpeter. Some cuts day friendly).
JazzCorner.com: The Los Angeles that Daniel Rosenboom illustrates on his latest album, Fallen Angeles,
is a ghost. They're portraits in spectral black and white, a collection
of film noir images that unreel with barely contained vigor and
THE DAVE SHANK QUINTET - "SOUNDPROOF" – (Vibraphonist, known for his fusion style play, leads a quintet that showcases ten new compositions; all straight-ahead).
Something Else!: The project also includes pianist Barry Miles and drummer Terry
Silverlight, a pair who first worked together on Miles’ 1971 fusion
delight White Heat. Bassist John Patitucci, a longtime member of
Wayne Shorter’s Quartet and former member of Chich Corea’s Elektric and
Akoustic bands, was part of the same LA jazz scene with Shank in the
late 1980s and early ’90s, but this album is the first time the two have
RANI SINGAM (FB)- "WITH A SONG IN MY HEART" – (Singapor’s vocalist sensation in Asia with her debut release, (now out of print), on the JazzNote imprint).
RANI SINGAM first started
creating a stir in the Singapore jazz scene in the year 2000 when she
started doing performances at corporate parties and community concerts.
In 2002, a few prominent Singaporean and visiting American musicians
were sitting in the Blue Note in Singapore and one of the musicians put
on demo CD of Rani without telling the other who it was. One of the
musicians said "hey...this sounds like an early Billie Holliday
recording, except that the sound quality is too clear to be from that
era." It was then revealed that the recording was by Rani Singam. All
present were extremely impressed and they asked someone who knew her to
ask her to come down to the Blue Note and perform that very night as a
WADADA LEO SMITH'S ORGANIC - "HEARTS REFLECTIONS" – (2 disc set featuring one of Smith’s many working bands “Organic”, a fourteen-piece group marked by four guitarist. Sound can be described as part fusion and part jazz-rock orchestra).
AllAboutJazz.com (Mark Carroto): Organic, one of Smith's numerous working bands, is a continuation of his Yo Miiles! project with guitarist Henry Kaiser, the jazz/rock love child of Miles Davis' electric era. Organic was first recorded as the second disc on Smith's Spiritual Dimensions
(Cuneiform, 2009), and is positioned to take Yo Miles! one step beyond
with an electric sound that begins with the blues and funk, then evolves
into modern composition. Smith also updates the Milesian electric sound with two laptop computer artists,
TYSHAWN SOREY (FB) - "OBLIQUE - 1" – (Progressive session, led by this drummer/composer, doing all originals. First drummer to release a record as leader on the PI label).
TRIO THIS - "THAT" – (Collaborative project featuring a traditional mix of originals and re-examinations of works by Wayne Shorter, Henry Mancini and Les McCann. Note; an earlier 2010 release).
REZ ABBASI’S INVOCATION (FB, @RezTone)– “SUNO SUNO” (Progressive session, led by this guitarist, with an all-star band of progressive artists).
AllABoutJazz (Something Else!): More important, in particular as it relates to this album, must have
been the impact of Coltrane—especially in the way this group often works
toward an almost unbridled release without losing musical coherence. That was the risk as Coltrane struggled through his spiritual awakening on the career-defining A Love Supreme,
and it remains so here—as Abbasi tries to blend his native country's
praise song forms and jazz. Invocation's exultations, in particular on
the more overtly Qawwali-influenced numbers like “Thanks for Giving" and
“Onus On Us," walk the same fine line—and they emerge with a statement
of similar artistic breadth, religious wonder and musical intrigue.
EMMET COHEN (@EmmetCohen)– “IN THE ELEMENT” (Debut release by this 20-year old pianist, mostly trio stuff, with trumpeter Greg Gisbert guesting on 3 tracks).
AllAboutJazz.com (Edward Blanco): At the ripe old age of 21, jazz piano prodigy Emmet Cohen has already racked up an impressive list of awards among them, Downbeat's
Best Jazz Soloist and Best Jazz Combo (for the Emmet Cohen Trio),
placed first in the Kathleen T. and Philip B. Phillip's Piano
competition at University of West Florida and was selected as a finalist
for the 2011 American Pianist's Association's Cole Porter Fellowship.
JazzWrap (Stephan Moore): This is the first album on DiRubbo's own label and its a great way to begin. Four Hands, One Heartis
a wonderful contemporary album that merges both the talent of a
legendary pianist and the already accomplished and well respected
saxophonist. This is great stuff that deserves everyone's ears...
HARRIS EISENSTADT – “CANADA DAY II” (Drummer, leading a quintet, with a mix of contemporary and straight-ahead originals).
AllAboutJazz.com (Mark Corroto): If you believe most recordings by drummer/composers are positive statements, then Harris Eisenstadt's Canada Day II is more than a glass half full. It is a brimming cup of music. The disc follows 2009's Canada Day, on Portugal's Clean Feed label, with the same lineup. The glue here is the perpetual groove, be it applied by the drummer,
bassist, or vibraphone as on "To Be," someone is always carrying the
freight. That makes for better solos and a crisp accessible sound.
KALI Z. FASTEAU (FB)– “AN ALTERNATE UNIVERSE” (Progressive, pianoless trio, recorded in the 90’s, newly released).
Squidco: "A recording of three musicians with superlative and fascinating
careers. The musical lineage of multi-instrumentist and composer Kali.
Z. stems from her musician grandparents hosting sessions with the
Gershwin brothers and Kali's college and graduate studies of world music
and jazz. Her musical trajectory then flows through her marriage and
musical partnership with the great multi-instrumentist and composer Don
Rafael Garrett (he recorded 4 albums with John Coltrane), and decades of
living in 16 countries, leading ensembles of wonderful musicians,
recording some 18 albums of her world jazz, and performing on more than a
dozen instruments.On this recording, these extraordinary artists deliver their unique
powers to the collective sound, combining their creativity in fiery
sessions recorded in the first days of 1992. An Alternate Universe, finds these musicians roaring along the high energy road.
KEITH JARRETT – “RIO” (Double-disc solo piano improvisation concert, complete with humming).
The Guardian (John Fordham): The story goes that Jarrett was on the phone to ECM boss Manfred Eicher
barely before the applause had died down, convinced this was his best
gig in years – and he's right. Warmer and less abstract than his
still-remarkable 2006 Carnegie Hall solo show, a constantly changing
(and totally improvised) soundscape of rocking African and Latin vamps,
fragile love songs, guitar-like blues and sparingly deployed free jazz, Rio represents Jarrett at his most exuberant.
NATE JARRELL (FB) – “THE NEXT CHAPTER” (Local guitarist, in an edgy outing, with a mix of originals and jazz tunes).
San Diego Reader (Robert Bush): The Next Chapter is an excellent example of modern electric jazz guitar, which, in it's best moments, veers slightly to the left of center. Creative stuff, highly recommended.
AllAboutJazz.com (Mark F. Turner): About halfway through the aptly named "Killer," it becomes apparent that saxophonist Rudresh Mahanthappa's Samdhi
is up to something just a little different. Amid the track's impossible
changes and blistering tempo, the saxophonist's alto undergoes
acoustic-electric alterations that are processed through a laptop. Samdhi is the product of Mahanthappa's receiving a Guggenheim
Fellowship in 2008, which allowed him to explore the fusion of
electronic music, ancestral Indian music and jazz. It spawned a new
group with a number of early dates and the results are striking. From start to finish, the music never abandons its flavor. Stimulating,
open-minded, and never pretentious, this is Mahanthappa's most
accessible release to date.
JEREMY MONTEIRO – “COMPOSITIONS: GOLDEN YEAR INAUGURAL, VOL.1” (A variety of guest artists, performing his original compisitions).
AllAboutJazz.com (Ian Patterson): Jeremy Monteiro has come a long way since starting out as a professional
jazz pianist when not quite seventeen, back in 1977. As a leader, he's
recorded over twenty albums, though it wasn't until Homecoming (Jazznote, 2007) that he released one of all-original compositions. Released as part of his fiftieth birthday celebration, the original
material here stretches from his much vaunted Montreux appearance in
1988 to a performance in Borneo in June, 2010. Whether playing a blues, a
lilting samba or soul-inflected jazz, or heating up the keys on a
straight-ahead workout, Monteiro's music always swings.
OSCAR PEREZ NUEVO COMIENZO – “AFROPEAN AFFAIR” (Straight-ahead originals, with a Latin vibe, 3 vocal tracks).
PAT MARTINO – “UNDENIABLE” (Groovin’, straight-ahead live recording, with Eric Alexander, Pat Bianchi and Tain Watts).
HENDRIK MEURKENS – “LIVE AT BYRD’S EYE” (Harmonica player, also playing vibes on Brazilian-influenced tunes).
MILES ESPANOL – “NEW SKETCHES OF SPAIN” (2 disc set of interpretations of “Sketches of Spain” and some originals by band members).
AL NAYLOR – “LEGACY” (Trumpeter, leading a quintet, in a straight-ahead session of mostly originals).
ORGANAMIX – “GROOVIN’ AT GROOVE JUNCTION” (Organ/guitar trio, doing a collection of standards).
AllAboutJazz.com (Ian Patterson): Groovin' at Groove Junction captures the trio, nominally led by veteran pianist/organistJeremy Monteiro, in a live setting in Kuala Lumpar running through a set of standards with great aplomb. Although Monteiro is known as a pianist, here he returns to his roots as he started out teaching Hammond over thirty years ago; there are few signs of rust. Conceived very much as a group of equal billing, Organamix is the latest in a long line of Hammond-based groups which stretches from Wild Bill Davis, through Jimmy Smith, Jack McDuff and on down to today's practitioners like Joey DeFrancesco and Jeppe Tuxen. To that list add Monteiro, and his partners Lim and Hong.
LEONARD PATTON – “EXPRESSIONS” (Local vocalist, backed by Geoffrey Keezer, doing a very nice collection of originals, jazz tunes and new standards).
HOUSTON PERSON – “SO NICE” (Straight-ahead mix of jazz tunes and standards).
Lots of new names in this weeks Adds to the JAzz 88 Music Library, but some familiar also with Marsallis and Mehldau bring the New! Speaking of that, we'll be debuting this on The New Jazz Thing with Vince Outlaw, Monday, October 24 6-8 PM PT!
JD ALLEN – “VICTORY!” (Sax player, leading a pianoless trio, doing all originals).
AllAboutJazz.com(Dan Bilawsky): Many artists seem to move rapidly through different ensemble
configurations, as if they're trying to finish off a career to-do list. When an exceptional artist is willing to take the time to fully explore a
specific format, like the saxophone-bass-drums trio, and develop an
ensemble identity, it's a true Victory! and cause for celebration. Victory!—his third trio outing for the Sunnyside label—is indicative of the fact that Allen keeps getting better with age.The saxophonist's fascination with sonata form, which deals with a
theme, development and recapitulation, plays a big part in his
compositional approach and the overall structural arc of the album, but
the brief duration and architectural integrity of the music aren't the
only notable aspects. General Patton once addressed the need to "accept the challenges so that you can feel the exhilaration of victory," and this Victory! is, indeed, exhilarating.
GERALD BECKETT – “STANDARD FLUTE” (Flute player, doing a collection of jazz tunes. Depends how you feel about electric piano).
PATRICK CORNELIUS (@PCorneliusJazz, FB) – “MAYBE STEPS” (Alto sax player, leading a quintet, doing mostly originals. A little on the edgy side, but generally accessible).
TheJazzWord (John Barron): Cornelius' playing can be cutting and bold in one moment and soft and
wistful in another. Capable of drawing out lengthy, winding lines,
shaped with sense and purpose, he demonstrates schooled technique and
JEFF GAUTHIER GOATETTE – “OPEN SOURCE” (Viola player, leading a progressive session, doing mostly original compositions).
LATimes Culture Monster (Chris Barton): Somewhere between running the forward-looking local jazz label Cryptogramophone and
co-organizing the Angel City Jazz Festival, violinist Jeff Gauthier
finds time for his own ensemble. Now on the cusp of its 20th year, the
Goatette again features Gauthier with longtime collaborators Nels and
Alex Cline, twin brothers who have helped anchor the L.A. improvised
music scene with Gauthier since the '70s. Add in a 14-minute title track that closes things out with a journey
from ambient improvisation to an electrical storm of melodic drive and
there's much to be said for Gauthier still making time for old friends.
WYNTON MARSALIS (@WyntonMarsalis, FB) – “SELECTIONS FROM ‘SWINGING INTO THE 21ST CENTURY’” (Redux, from a soon to be released boxed set of some of his previous recordings).
To celebrate Wynton’s 50th birthday, highlights from those nine albums
plus his career-defining masterpiece All Rise have been selected by the
artist for one new compilation: SWINGINGINTOTHE 21st!
BRAD MEHLDAU (FB, ) / KEVIN HAYS – “MODERN MUSIC” (Piano duet recording, featuring mostly originals, with a couple of classical pieces).
The Guardian (John Fordham): This fascinating session is therefore not only a mix of jazz
and modern compositional materials (pieces by Zimmerli, Steve Reich and
Philip Glass join the pianists' own originals), but an exploration of
what happens when a non-jazz composer's approach shapes the frameworks
AllMusic.com(Rick Anderson): Formerly the New West Guitar Quartet, the New West Guitar Group
(now a trio) also used to be more or less a jazz ensemble. Those who
have been paying attention to the group's evolution, however, won't be
surprised at the almost complete lack of anything that seriously
resembles jazz on this album. Everything is so pleasant and inviting that unless you're paying close
attention you're liable to miss the jagged complexities that sometimes
lurk underneath these tunes' shimmeringly lovely surfaces -- like the
nasty 7/8 time signature on which the lovely "Crooked Railroad" is
built. Every track features a rich blend of acoustic and electric
textures, and the arrangements are so expertly put together that the
trio's sound sometimes verges on the orchestral.
PHIL NORMAN TENTET – “ENCORE” (Large ensemble, doing originals and fresh takes on classic big band tunes).
Summit Records (Jersey Jazz): Phil Norman leads his
critically acclaimed Tentet (the cream of the crop of LA-based session
men; Carl Saunders, Andy Martin, Ron Stout, Roger Neumann, Larry
Koonse, Rusty Higgins, Scott Whitfield, Tom Rizzo, Christian Jacob,
Kevin Axt, Dick Weller, and Brad Dutz). Their previous MAMA release stayed, which was 'live', stayed on jazz radio's Top 50 chart for 24 straight weeks. The songs are first rate, the arrangements sublime, and the blowing will knock your socks off. This is music that will settle easily on the ears of diggers of fine jazz sounds.
ERIC REED – “SOMETHING BEAUTIFUL” (Piano trio, doing a mix of old and new standards and originals, straight-ahead).
AllMusic.com (Ken Dryden): In a world where so many young jazz artists feel the need to feature
programs consisting exclusively of originals on their debut recordings
as leaders, it is refreshing to hear a veteran like pianist Eric Reed,
who plays a wide range of forgotten gems, some standards, and jazz
favorites along with inventive renditions of songs from gospel, pop, and
his own compositions. Eric Reed's Something Beautiful showcases a seasoned artist who is very much at the top of his game.
KENNY SHANKER – “STEPPIN’ UP” (Alto saxophonist, leading a quintet, doing mostly originals).
AllAboutJazz.com(Bruce Lindsay): Kenny Shanker has worked extensively since graduating from the Manhattan
School of Music in 2001, playing with the New World Symphony, and the Tommy Dorsey and Nelson Riddle Orchestras, among others. The young alto saxophonist recorded his debut album as leader, Steppin' Up,
in April 2009 but it's taken almost two-and-a-half years for it to be
released. It's a shame that it has stayed in the vaults for so long, for
Shanker's melodic and accessible brand of straight-ahead jazz is
immediately enjoyable, with enough twists and turns to reward repeated
STRANAHAN / ZALESKI / ROSATO – “ANTICIPATION” (Piano trio, doing an edgy mix of mostly band originals).
Ottawa Citizen (Peter Hum - Jazzblog): Anticipation, which was released last week, also features the
kinds of complex and contemporary rhythmic and harmonic ingredients that
younger players take to like catnip. However, tastefulness and
musicality always come first for the trio — complexity and trendiness
aren’t the points of the music.Stranahan is 25, and his studies include stints at the Brubeck and Monk
Institutes, as well as at the New School University. He’s performed with
Herbie Hancock in India and toured globally in Kurt Rosenwinkel’s trio.
Zaleski is a 24-year-old who went to the Brubeck Institute and the New
School, where he is now an adjunct faculty member. (He also competed
this year in the Cole Porter and Thelonious Monk jazz piano
competitions.) Rosato, a 23-year-old Montrealer, studied at the New
School, is finishing his Master’s degree at McGill University and has
shared stages with Ari Hoenig and Aaron Parks.
DWIGHT TRIBLE – “COSMIC” (Male vocalist, doing an eclectic mix of tunes. Suitable for Nights Only).
Burrell, Carter, DeFrancesco...and that's only the first 3 of the great discs being added this week to the Jazz 88 Music Library! I will be debuting as many as I can get to in 2 hours during The New Jazz Thing, Monday October 17, 2011 6-8 PM PT!
KENNY BURRELL – “TENDERLY” (Live solo recording by one of the greats).
I'm amazed that Kenny doesn't have some sort of bigger web presence. Or any press / information on this release out. JazzDepot (HighNote Records): Beginning with his recording debut with Dizzy Gillespie on "Tin Tin Deo"
and "Birk's Works" guitar master Kenny Burrell has recorded well over
100 records as a leader and countless more as a sideman with the likes
of Oscar Peterson, John Coltrane, Frank Foster, Kenny Clarke and others.
Recorded live in concert, "Tenderly" features Kenny alone on stage in a
solo guitar recital with an array of instruments from which he selects
to suit his concept of the music at hand. Whether he is swinging on a
blues, caressing a ballad out of his six strings or stringing together
garlands of songs into leisurely medleys, Kenny Burrell remains one of
the most popular and respected guitarists in the history of jazz.
JAMES CARTER ORGAN TRIO – “AT THE CROSSROADS” (Saxophonist, in straight-ahead, somewhat edgy groove, with some vocal tracks).
AllAboutJazz.com (Brent Black): these two mighty forces, Carter leaves the labeling of this release
to the listener. After the groundbreaking fusion of European classical
with jazz improvisation and Afro-Caribbean rhythms on Caribbean Rhapsody
(EmArcy, 2011), Carter continues to defy standard categorization while
focusing on a more roots-oriented release that may well be a look at his
hybrid musical soul.
At The Crossroads finds
Carter organic and raw yet razor sharp, with a defined focus and passion
that not only makes it a noteworthy release, it may well raise the bar
for jazz overall.
KEN FOWSER / BEHN GILLECE – “DUOTONE” (Typically good, straight-ahead session of originals from the saxophonist/vibes leaders).
SaxShed: Ken Fowser has entered a world of jazz riddled with well-trained,
technically proficient and creative tenor saxophonists. Somehow his
sweet sound is his own, never sounding like anyone but himself. He
and Behn Gillece have surrounded themselves with a cohesive ensemble of
like-minded musicians who can make their case within only a few, well
DANNY FOX TRIO (FB)– “THE ONE CONSTANT” (Piano trio, with a lot of edgy moments. Good, but not suitable for mornings). JazzWrap (Vern): The One Constantis
an excellent debut from an American trio with bold, expressive ideas.
The Danny Fox Trio might be one of those under-the-radar groups that you
better get to know quickly because we may be talking about them for a
long time to come.
Music Life: Mark’s goals for the Quintet and for their latest CD are very simple. “I
want to chart our own territory in the jazz world, by creating
substantive and interesting music that is accessible to the ear of the
listener”, says Mark, “I’m thrilled when people come to our shows who
are not diehard jazz fans, and yet they still feel our grooves and hum
our tunes when they leave”.
MARY LOUISE KNUTSON – “IN THE BUBBLE” (Pianist, leading a trio, in straight-ahead standards and originals).
Jazz Police (Andrea Canter): It all flows so easily that it is hard to imagine the sweat and
frustration that challenged Mary Louise as she wrote the music for this
project. “During the months I spent composing and arranging, there were
times where my creative well seemed bone dry,” she admits. “I couldn’t
come up with any satisfying ideas for tunes or even ideas that would
develop or complete tunes. That was very frustrating and frankly, a bit
depressing. I just had to show up everyday and try to compose something
and trust that eventually the inspiration would be there...and luckily
AllAboutJazz.com (Dan Bilawsky): While Macdonald graciously shares space with his band mates and guests,
it's his own unique voice that really defines his work. His saxophone
can be a beacon of clarity ("Community Immunity") or a bird of prey
("Second Guessing"), depending on his mood, but his ideas are always
intriguing. With Community Immunity, Curtis Macdonald
establishes himself as one who stands apart from the rest but, with a
such a unique musical statement, he just might be embraced by the jazz
community at large...if such a thing exists.
DAVID MURRAY CUBAN ENSEMBLE – “NAT KING COLE EN ESPANOL” (Latin big band grooves to Nat’s tunes, with 4 vocal tracks).
ANTHONY E. NELSON, JR. (FB)– “TENOR FOR TWO” (Saxophonist, leading a quartet, with a straight-ahead mix of standards and originals).
CDBaby: Nelson’s sound is
distinctive, developed, pure and soulful. At his age of thirty-three
this is a real achievement. Though he plays other saxophones, when
asked, why he chose to play tenor only he explained, “tenor saxophone is
my main instrument, the one I feel the most comfortable with.”
SEAN NOWELL (@NowellSounds)– “STOCKHOLM SWINGIN’” (Saxophonist, leading a quintet, doing a mix of jazz tunes and originals).
JazzWrap: With Stockholm Swingin'you get the feeling if you've been listening to Sean Nowellfor
awhile and that he really let the wheels off the wagon and just went
for it this time. This is a live session that works on many levels. It's
perfect for many traditionalists and a nice opening for new fans. This is the sound of modern standard jazz. It is good for all. Enjoy...
PILC-MOUTIN-HOENIG – “THREEDOM” (Edgy piano trio, doing a mix of standards and improvisations).
@CriticalJazz: This is not jazz that you embrace. This is jazz that embraces you. If you listen.
PopMatters (John Garratt): As for the remainder of the album, it’s not really fair to say these two
are disconnected. In fact, it’s hard to make that call at all since
these lighter-than-air vignettes don’t convey any special telepathy. And
it doesn’t help that Jen Shyu is constructing her songs while her head
is in academic la-la land. So many of her texts come from obscure
origins, ones that destroy any chance you would have for diving into and
surrendering unto the music.
AllAboutJAzz.com (Tim Niland): the real focus of the music is the blending of their particular voices, weaving and blending the hues and colors of sound and occasionally dancing around each other in a hypnotic and unique arrangement that is uniquely improvisatory but calling forth other music from around the world and across time. While this album can be quite a challenging listen, the two musicians represented here are truly trying to break new ground, and ask people to re-think the nature of jazz and improvised music in general.
JEREMY UDDEN’S PLAINVILLE – “IF THE PAST SEEMS SO BRIGHT” (Very eclectic and edgy mix of sounds from this saxophonist).
AllAboutJazz.com (Troy Collins): Overblown jazz fusion clichés are largely a thing of the past among
younger performers like Udden, who have come of age exposed to a diverse
array of genres and aesthetic approaches; Plainville is a prime example
of how once seemingly disparate styles can inspire subtly tasteful new
hybrids. If the Past Seems So Bright enhances sophisticated
jazz structures with the emotional candor of contemporary roots music,
expanding the possibilities of both traditions in the process.
WELLSTONE CONSPIRACY – “HUMBLE ORIGINS” (Great quartet recording, with all band originals except for one Beatles’ tune).
Origin Records: Now in their 6th year of performing together, the collective of
saxophonist Brent Jensen, pianist Bill Anschell, bassist Jeff Johnson,
and drummer John Bishop continue to display their richly empathetic
approach to melody and rhythm as they explore a new set of originals on
their third recording together. From Jensen's swinging tribute to
mentor, Lee Konitz, "All of Lee," to Bill Anschell's completely original
take of the Beatle's "Fixing a Hole," the group allows the music to
flow, unhurried and displaying a patient rapport that reveals moments
worthy of many repeated listens.
YOTAM – “BRASIL” (Guitarist, leading a variety of band configurations, doing great Jazz versions of the Great Brazilian Songbook).
Here's what we are adding to the Jazz 88 Music Library and debuting on The New Jazz Thing, Monday, October 17, 2011...
DEE BELL (FB)– “SAGACIOUS GRACE” (Female vocalist, doing a straight-ahead mix of standards and jazz tunes, backed by an all-star band).
FREDDY COLE – “TALK TO ME” (Male vocalist, doing a straight-ahead mix of obscure and new standards).
Critical Jazz: Instead of taking a victory lap of exclusive club and festival dates or
perhaps cooling his heels in Las Vegas, Freddy Cole releases a follow up
to the Grammy nominated "Freddy Cole Sings Mr. B" that may just bring
home the Grammy some argue he should have received last year. Sophisticated in style and as comfortable as a favorite pair of jeans, Freddy Cole continues to please!
MAC GOLLEHON – “ODDYSSEY OF NOSTALGIA” (Trumpet-led sessions, doing some vintage tunes and originals, with some vocals by Amina Claudine Myers).
TIM HAGANS (FB )– “THE MOON IS WAITING” (Trumpeter, leading a progressive session. 2011 Grammy Nomination for Best Instrumental Composition "Box of Cannoli" on The Avatar Sessions).
AllABoutJazz.com (Dan Bilawsky): Hagans has proven to be a master compositional architect in more formal
settings, but his ability to let loose with this small group is the key
to its success. The Moon Is Waiting is a marvel of elastic expressions from one of the most shrewd and intelligent minds in jazz today.
LENORA ZENZALAI HELM (FB)– “I LOVE MYSELF WHEN I’M LAUGHING…” (Female vocalist, doing a mix of original and jazz tunes, on the edgy side).
AllAboutJazz.com: the award-winning, Chicago-born vocalist, composer, lyricist, arranger,
educator and former U.S. Jazz Ambassador Lenora Zenzalai Helm
brilliantly illuminates the jazz world with this soulful and spectacular
13-track CD. It features music and lyrics inspired by two
Chicago storytellers, and by writers Zora Neale Hurston, Neale Donald
Walsch and Alice Walker, Robert Kennedy, biographers Gene Santoro and
Ross Russell, poets Rudyard Kipling and Sam White, and the music and
lyrics of Duke Ellington, John Coltrane, Charles Mingus, Thelonious
Monk, Jon Hendricks and Joni Mitchell.
JASON KAO HWANG – “CROSSROADS UNSEEN” (Extremely progressive collection of originals).
AllAboutJazz.com (Karl Ackerman): The notion that the next great force in new jazz could be a violinist may seem a bit incongruous, but Crossroads Unseen is fresh, exciting and creative, and one of the best recordings of the year.
MIKE LeDONNE – “KEEP THE FAITH” (Straight-ahead organ grooves, with Eric Alexander playing sax).
Music and More (Tim Niland): The whole album is played quite well and will be a treat for fans of
organ based jazz. There are excellent solos throughout the music, but it
is the groups compatibility and their ability to work together toward
and ego-less common ground that is most noticeable.
MIKE LONGO TRIO + 2 – “TO MY SURPRISE” (Mostly quintet, with some trio tracks, playing a mix of originals, standards and jazz tunes).
FAME Review: a CD loaded up with nothing but first-rung talent: Bob Cranshaw on bass,
Lewis Nash on drums, Jimmy Owens on trumpet and flugelhorn, and Lance
Bryant on tenor sax. That's it. No guest sit-ins other than that '+2'.
No sweetening. Just a quinteted-up trio playing its extremely
sophisticated brains out.
Blogcritics.org (David Bowling): Rene Marie may not be a well-known name, but she has quietly built a
catalogue of music that can match most jazz singers active today. If you
are in the mood for some interesting and well sung jazz, then Black Lace Freudian Slip is an album for you.
Here's something you don't read in album liner notes every day: "We
recorded in Shawn's apartment...using only blankets wrapped around music
stands for audio separation." New Tricks has seemingly recorded Alternate Side... in some no-frills circumstances, but there's truth in the old saying that adversity sometimes brings out the best in people. This
piano-less collective, featuring a trumpet and tenor sax front line,
plays an energetic brawl of traded solos, hard bop melodies, and freely
constructed harmonization. Likely because of the way it was recorded, Alternate Side... has a live-in-studio feel to it—four guys just playing in a room—and they sound like they're really enjoying the session. The result is a truly creative record that trades in spontaneity rather than polish.
BILL O’CONNELL – “TRIPLE PLAY PLUS THREE” (Pianist, backed by all-star Latin musicians, doing mostly originals).
The New discs being added to the Jazz 88 Library this week include familar names (Benson, Scofield, McBride), upcoming interviews/shows (Stanley Jordon on TNJT 10/10, at Anthology 10/14), old friends (Ali Ryerson played Jazz Live San Diego September 2006), big band (!), guitar, vocal (Milman!), and more! I'll be debuting much of this on The New Jazz Thing with Vince Outlaw, Monday October 3, 2011 6-8 PM PT...Listen Now!
GEORGE BENSON (FB, @GBGuitar) – “GUITAR MAN” (Mix of contemporary and straight-ahead tunes, with some vocals. A mix of old and new standards).
Guitar International (Vince Lewis): George Benson is a true chameleon, but mostly one of the finest jazz
guitarists of all time. His masterful interpretation of pop tunes and
jazz standards has long been a source of inspiration to aspiring
musicians. He has been active for over five decades and has over 30
recordings as leader, and to top it off, he’s been awarded ten Grammy
awards. His ability to cross over into the “commercial” arena while
still maintaining a quality improvisational approach is matched only by
the late Wes Montgomery. Benson’s moving vocal stylings are developed
from his terrific sense of instrumental phrasing, and they are equally
impressive. This recording is a “must have” for any George Benson fan. It is also a
terrific introduction for those listeners who may have grown up just a
little later than some of us. It is an opportunity to hear a fine
musician and vocalist do what he does best…a variety of crowd pleasing
but substantive material.
MAUREEN CHOI (FB,@MaureenChoi) – “QUARTET” (Violinist, leading a quartet, doing a mix of straight- ahead originals and standards).
JazzCorner.com (Robert Sutton): It's like a siren's call, a lush, hypnotic melody that reels in the
senses and then stimulates them. The sound of Maureen Choi's violin has
that kind of effect. On the Maureen Choi Quartet's self-titled latest
album, the worlds of classical and jazz unite in a harmonious marriage,
and her gorgeously expressive violin is the bridge that connects them.
AllAboutJazz.com (Edward Blanco): Cecilia Coleman never set out to become a big band leader, stating that it was "never a dream of mine to have a big band," but the Cecilia Coleman Big Band is her new reality—and Oh Boy!, what a swinging affair, this very first recording effort turns out to be. This is classic big band music infused with a bolt of raw energy and mounds of excitement. STANLEY JORDAN (FB) – “FRIENDS” (Virtuoso guitarist, doing a mix of contemporary tunes and straight-ahead standards).
AllAboutJazz.com (Larry Taylor): His virtuosity and improvisational prowess are a given, and on Friends,
he also shows his skill on piano on two numbers. Primarily, he brings
in old pals from various backgrounds and delivers terrific arrangements,
ranging across the jazz spectrum, mixing in originals with swing, post
bop, samba, blues, pop and a couple from Bartók and Chopin. Jordan makes
roughly two appearances with each main guest, with all the pairings in
different styles; all are great. In a press release, Jordan says that this collection truly speaks to his
belief that ..."when you integrate styles, you combine them into
something new while still remaining true to the original sources." His
best argument is this recording.
KEVIN KIZER QUARTET – “ASPECTS” (Saxophonist, leading a quintet with violin and guitar, doing and edgy collection of originals).
LISA MAXWELL (FB)– “HAPPY” (Female vocalist, doing the Great American Songbook).
Jazz Lives: Lisa has all the virtues any singer could ask for. Her voice is
appealing; her rhythm glides; her phrasing is all her own. She knows
that each song is its own little playlet. Without dramatizing, she lets
the song itself take center stage.
AllAboutJazz.com (Something Else!): there is the sense that this record has been
percolating for some time and, like most worthwhile things that are
given that chance, The Good Feeling is far better for it.
Exystence: Milman covers the full range of styles without ever leaving the romantic
jazz oeuvre.Throughout In the Moonlight, Milman’s voice is it‘s great
asset, giving the songs a light sexy touch. She has a voice I can listen
to all day, but that lets the songs shine. And while it’s nothing you
haven’t heard before, it’s one of the better examples of the vocal
As she was en route to the studio on that beautiful spring day, the
world took on a new look. The warm, sunny, vibrant colors were all
shaded in a lovely and surprising way. She kept remarking about it, and
one by one, the musicians all tried on the blue glasses. At some point,
while listening to a playback, Carol remarked, “Blue Glass Music.” Just
another example of why Carol Morgan is one of my heroes. That emotional
availability, that “in the moment” mentality is exactly what makes her
such a unique voice in jazz, and of course, exactly what we all should
be striving for. It keeps me coming back again and again.
JOHN SCOFIELD – “A MOMENT’S PEACE” (Usually edgy guitarist, in a relatively subdued session, featuring mostly standards).
AllAboutJazz.com (John Kelman): A Moment's Peace might be perceived by some, a least on the
surface, as an album of little risk—without Scofield's usual fire and
grease, set that might appear to coast when it ought to soar—but it may
well be Scofield's biggest gamble. Those prepared to accept the album on
face value, as an hour's respite from life's normal hustle and
bustle—or, who are patient enough to dig deeper for its beyond-the-norm
look at a handful of potentially worn-out standards, here reinvigorated;
a quintet of perfectly dovetailing originals; and a couple of truly
surprises song choices—will find plenty to love about A Moment's Peace—an album whose greatest charms are revealed not after one or two listens, but after ten or twenty.
AllaboutJazz.com (John Kelman): Unlike most duo recordings, Bollani and Corea are not split
into left and right channels; instead, the two instruments converge
towards the center of the mix from lower register to upper, giving Orvieto
an even greater "you are there" feeling—but "there" isn't in the
audience, it's right up there with the pianists. Those familiar with
either player will have no difficulty in identifying them here; for
those who aren't, does it really matter? Instead, it makes Orvieto
all the more appreciable for its remarkably empathy, telepathy and
synchronicity—symmetry, even, at times—less a duo, and more the
remarkable melding of musical minds for a most singular purpose.
CARLO DE ROSA’S CROSS-FADE – “BRAIN DANCE” (Bassist, leading a quartet, doing progressive originals).
AllAboutJazz.com (Mark F. Turner, March, 2011): There are "musician-for-hire" gunslingers—professionals employed at a
moment's notice to bring their skills to a gig or recording. But the
mercenary analogy is only a small part of their repertoire, as many of
these invaluable side musicians are leaders and composers just awaiting
the opportunity to release their own material. Such is the case with Brain Dance, by bassist Carlo De Rosa, who has performed with The Chico O'Farrill Afro Cuban Jazz Orchestra, Yo-Yo Ma, Rudresh Mahanthappa, and many others. Of the seven tracks, "Terrane / A Phrase" is the most revealing of De
Rosa's abilities: a contemporary opus of expansive writing and
improvisation, filled with extensive individual spots, aerial flight
patterns, and harmony and dissonance. Its conclusion prompts the
question of why it's taken De Rosa so long to record this music. More,
ESP (@ESPJazz, FB) – “REACH” (Not the San Diego band, doing all originals with a mix of straight- ahead and contemporary).
TIM HORNER – “THE PLACES WE FEEL FREE” (Very nice straight-ahead session, with a variety of band configurations, doing all originals).
Mark Sherman's Blog (the vibest on the date): Horner not only writes in an assortment of time feels, he plays each
style with the up-most capability. He is one of our modern masters when
it comes knowing what the music needs from the rhythm section. His
contributions are played with passion and conviction! His time feels so
good. It makes you want to play if you’re a musician. It makes you want
to move if you’re a listener. He is a superb musician!
CLAY JENKINS QUARTET – “GOOD SIGNS” (Trumpeter, leading a quartet, doing mostly straight-ahead originals).
TISH ONEY (@TishSings)– “SWEET YOUTH” (Female vocalist, with guitar accompaniment, doing a mix of standards and originals).
TED ROSENTHAL TRIO – “OUT OF THIS WORLD” (Piano trio, doing all straight- ahead standards).
AllAboutJazz.com: On Out Of This World (Playscape Recordings), the new collection featuring Rosenthal on piano, bassist Noriko Ueda and Quincy Davis on drums, 10 timeless classics from the golden era of American song craft are rendered in an impeccably lyrical, colorful manner that compels the listener to rethink them. Rosenthal and crew embrace the familiar tunes—reliable standards like “Embraceable You," “People Will Say We're In Love" and “Cry Me a River"—and, without ever losing sight of the melody at the heart, reimagine them from the ground up. Rosenthal thrives on re-creating these cultural cornerstones in his own image.
PONCHO SANCHEZ AND TERENCE BLANCHARD – “CHANO Y DIZZY!” (Two modern day icons, paying tribute to the progenitors of Latin Jazz).
Latin Jazz Network: While the album includes songs originally written and performed by the two legends, it also showcases compositions crafted by other writers that capture the flavor of traditional Latin jazz. “To me, Latin jazz is the world’s greatest music,” says Sanchez. “It has the melodic and harmonic sophistication of jazz and American standards, and the flavor and energy of Latin American music. What I’m most proud of is that this music – while it may sound exotic at times – is from America. It was born in New York City, when Chano Pozo met Dizzy Gillespie for the first time in the mid-1940s. They created something that didn’t exist before in this country. I’m very proud to take this music all over the world all the time.”
STARLICKER – “DOUBLE DEMON” (Rob Mazurek, leading a trio, doing all progressive originals).
PopMatters (John Garratt): If you are able to keep up with Chicago trumpeter Rob Mazurek’s various side projects, you will know that his new band Starlicker is comprised of three members from his Exploding Star Orchestra. So if you take a 14-piece supernova group and reduce it to a trio, you have something that licks stars. Do with that what you will.
JOHN STOWELL & MICHAEL ZILBER – “SHOT THROUGH WITH BEAUTY” (Guitarist and saxophonist, leading a quartet, with an edgy mix of originals and standards).
The Urban Flux: Master musicians guitarist John Stowell and saxophonistMichael Zilber team with the Bay Area’s first-call rhythm team of bassist John Shifflet and drummer Jason Lewis, crafting a unique and dynamic recording of modern jazz that transcends the whole. Telepathic exchanges are in abundance as the group tackles a compelling mix of originals and compositions from Kenny Wheeler & John Scofield.
CORY WEEDS – “JUST LIKE THAT” (Typical straight-ahead grooves from this saxophonist, doing mostly originals).
CDBaby: Cory Weeds is at it again this time featured on the alto saxophone with the stellar piano trio led by pianit Tilden Webb backing him up. It features award winning bassist Jodi Proznick and drummer Jesse Cahill. An eclectic mix of originals, a swinging standard and a reworking of a classic John Hiatt tune.
Here are the tunes we are adding to the Jazz 88 New section and library AND I will be featuring on The New Jazz Thing with Vince Outlaw this Monday, September 12, 2011 between 6 and 8 PM PT (in addition to interviewing Josh Nelson and Tierney Sutton who we added last week).
RAHSAAN BARBER (FB, @rjbsax)– “EVERYDAY MAGIC” (Young saxophonist,
leading a group of young musicians, doing all original material).
Blogcritics (The Dirty Lowdown): This is a great debut for the label and a more than fine sophomore
effort from Rahsaan and Everyday Magic. It may not be elevator music,
but it is going nowhere but up.
SHARON DuBOIS (FB)– “HERE I AM” (Local vocalist, backed by local
musicians, doing all original tunes.Lots of overdubs of her voice).
San Diego Reader (Robert Bush): In its strongest moments, Here I Am floats along with a jazz-funk groove reminiscent of the 70s Crusaders, or, on some tracks, the sophisticated feel of 80s era Steely Dan. It takes a tight band to pull that off.
ECHOES OF SWING – “MESSAGE FROM MARS” (New takes on early
swing classics.Neo-swing, if you will).
The Jazz Society of Pensacola (Norman Vickers): This group combines the styles of small-group combos of the ‘20s and
‘30s with modern techniques with wonderful toe-tapping result. There is
a mix of jazz standards with their own compositions. I’m also a fan of
classics which are “swung.” Three examples of this style are
“Butterfly Chase” based on a Chopin Etude, Fritz Kreisler’s “Liebesleid:
and Shostakovich’s “Gavotte.”
PRIX DE L'ACADÉMIE
GERMAN RECORD CRITICS' AWARD
BILL FRISELL (FB, @BillFrisell) – “ALL WE ARE SAYING…” (Edgy guitarist, paying
tribute to John Lennon, with interesting and faithful takes, on familiar
AllAboutJazz.com (Music and More by Tim Niland): In guitarist Bill Frisell’s liner notes to his most recent LP, he writes
about being contacted to perform a special concert of John Lennon
compositions. He and the band enjoyed it so much that they continued to
tour, playing mostly of the music heard here to an excellent response,
and then entered to studio to record. Overall this album works pretty well and could serve as an excellent
gateway or conduit to fans of pop music that are interested in exploring
jazz. The band understands that Lennon’s music speaks for itself, and with a
few modifications they allow it to do so quite beautifully
YARON GERSHOVSKY - “STATE OF MIND” (Manhattan Transfer’s
pianist, leading a trio, doing mostly standards, with the group guesting on one
track, and Janis Siegel on another).
Earthworks Audio: A Summa Cum Laude graduate of Berklee College of Music, Yaron has
launched his musical career touring with Pharoah Sanders, and recording
with Wayne Shorter on his album “Atlantis”. Since 1979, Yaron has been
the Musical Director and Pianist/Keyboardist for the world-renowned
vocal group The Manhattan Transfer. Yaron’s work was featured on the Broadway stage as well.
ALLAN HARRIS (FB,@AllanHarris) – “OPEN UP YOUR MIND” (Male vocalist, backing
himself on guitar, doing mosty originals.Some track border on smooth jazz).
Powerderfinger Promotions: Always known as a singer’s singer, in Open Up Your Mind Harris also gets
the opportunity to show off his deep songwriting talent while letting
the music world know that he can hold his own on guitar. Harris has a
rich history in the jazz world, CNN referred to him as one of the “three
best male jazz vocalists in the country.”
PAMELA HINES – “LUCKY’S BOY” (Pianist, leading a trio, with
vocalist April Hall, singing all Pamela’s originals).
CDBaby: Jazz pianist/ composer Pamela
Hines presents nine new vocal jazz originals that are sure to be part
of the contemporary American Songbook. Soulful and Blues- oriented
April Hall puts her vocal stamp on these clever, fun and inspiring
tunes. John Lockwood is on bass with Les Harris, Jr. on drums. The
result is and outstanding selection of jazz music that is sure to make
an impact with jazz fans. Hines has made a solid contribution to
the history of jazz piano with her seventh CD on the Spice Rack label
and more works on other labels. She was a guest on Piano Jazz with
Marian McPartland in 2000, thanks to a critically acclaimed debut CD in
1998 with Bob Moses, Rick McLaughlin, Darren Barrett and Jaque
JazzReview.com: Reprise Records captures the magic of these unprecedented shows from
earlier this year on CD and as a CD/DVD combo that both feature
selections taken from the two public concerts (April 8-9), as well a
special performance for Jazz at Lincoln Center's annual gala (April 7). Marsalis says the group combined the sound of an early blues jump-band
with the sound of New Orleans jazz to accommodate the integration of
guitar/trumpet lead, a combination that gave the musicians the latitude
to play different grooves, from the Delta to the Caribbean and beyond.
RENOLDS JAZZ ORCHESTRA (FB) – “THREE PENNY OPERA-LIVE IN AARAU”
(All-star big band, playing Kurt Weill’s music from his most famous work).
FAME (Mark S. Tucker): As before, the band here includes honored vets Randy Brecker and
Miroslav Vitous, though every member is a superior musician. Many are
the solos and just as numerous the influences and stylings—catch the
Brubeckian take on Instead of Song, f'rinstance. One is also as likely to encounter a ululatingly enthralling Pharaoh Sanders cum Anthony Braxton voicing (Wedding Song for the Poor)
as the aforementioned Dave, with Freddie Hubbardisms, Steve Coleman
inflections, and of course the personalities and mindsets of the players
themselves tossed in for a constantly morphing landscape. Everything is
a kaleidoscope of surpassing skill and coloration.
JOAN STILES – “THREE MUSICIANS” (Joel Frahm and Matt Wilson
join her, in mostly progressive versions of familiar tunes).
Amazon.com: Three Musicians is NY-based pianist/composer, Joan Stiles' 3rd
CD, a joyful, interactive outing with Joel Frahm (sax) and Matt Wilson
(drums). The trio glides and grooves through various jazz styles in
brilliant but accessible explorations of standards, show tunes, Monk,
Strayhorn, Mary Lou Williams, and even some Beatles and Clapton.
Highlights include collages on LOVE - My Funny Valentine meets Sunshine of Your Love and MONEY - Brother, Can You Spare a Dime? meets Can't Buy Me Love. Stiles' compositions - West End Boogie, a soulful, rhythmic blues, and the Gillespie/Dameron inspired Bebopicity add to the eclectic mix. Hurly-Burly (Stiles' last CD) garnered a 4-star Downbeat review and topped Jazz Week Radio charts.
SUSANNAH (Martin) & PABLO – “TROPICOS SUR” (Female vocalist,
doing the great Brazilian songbook).
CUONG VU (FB)– “LEAPS OF FAITH” (Pat Metheny’s trumpeter, in a
very progressive outing).
AllAboutJazz.com (C. Michael Bailey): The stark juxtaposition of the familiar with the chaotic deepens
understanding of the melody. Vu introduces what he is trying to do with
the familiar before venturing into the unfamiliar, to provide a better
understanding of his vision. This music is the collision between the secure and consonant with the
disruptive and dissonant: meaning it reflects real life, where there are
no white picket fences, only chain-link ones protecting paradise.
Critical Jazz: "Parallel Lives" is an evocative sound scape collection ranging from
Broadway to jazz beatnik to bebop and it is this very proud collection
of music that defies standard categorization that makes it so
captivating to enjoy. "Parallel Lives" is a celebration of musical diversity at its very
finest. A vocal master class for where jazz vocalists should be heading
About.com (Jacob Teichroew): Augmented Reality is lush and yet subtle, and with a range of
stylistic influences, it achieves a sophisticated, understated presence.
It is exciting to imagine how the music will sound as the band grows
more seasoned around it, begins to take bigger risks while continuing to
use melody as its inspiration.
CHRISTIAN FABIAN – “WEST COAST SESSION” (Bassist, leading a core trio, with all-star guests, doing straight-ahead originals and jazz tunes).
AllAboutJazz.com (Larry Taylor): With the release of her fifth album, Embraceable, vocalist Nicole Henry pleasingly brings together a range of styles—smooth and mainstream jazz, along with pop and gospel. Henry's stated mission with this record is to take large steps in new
directions, and she accomplishes this with a sweet, accessible voice
that serves up lyrical ballads, as well as dishing out large helpings of
soulful blues and gospel.
The Jazz Word: Jake Hertzog, now with a handful of recordings under his belt, is one of
the very few prolific young guitarists to convincingly embrace the
potential of blending a jazz and rock style of performing. What stands
out in Hertzog's playing, aside from a comprehensive knowledge of his
instrument, is a willingness, regardless of style, to put it all on the
TIM MAYER – “RESILIENCE” (Saxophonist, with many all-star guests, doing a collection of straight-ahead jazz tunes).
Mitch's Muse: Mayer's platter swings from the get-go. A few tracks have additional players
for a richer sound-a bit plush, a hair away from lush, with thoughtful
yet vigorous arrangements in the vein of Tadd Dameron, Don Sebesky, and
pre-1965 Gil Evans.
JOSH NELSON (FB)– “DISCOVERIES” (Pianist, leading a variety of configurations, doing all but one straight-ahead originals).
Critical Jazz: Cerebral
jazz? In an incredibly unique if not personal release, Nelson takes his
appreciation for the writings of Jules Verne among others and
transforms this literature into a conceptualized presentation of sonic
imagery that lives and breathes on its own. An incredibly thoughtful
organic pulse drives the forward motion of this sonic adventure with
great care and artistic touch. Nelson's
music is (for me) not Ipod friendly, no good jazz worth listening to
is. "Discoveries" contains intricate and involved interplay between
Nelson and his musical companions that is exciting, fresh and alive to
the point where mere headphones could not possibly transfer the musical
CDBaby: On this outing, Bob Shimizu
has shown real bravery by not allowing the influence of the Smooth Jazz
broadcast idiom's whimsical rules or, the tradition and "commandments"
of the Jazz Police to alter the musical vision. Bob Shimizu has simply
recorded a true contemporary jazz record in the most honest sense and,
most importantly, he's simply made great music!
TIERNEY SUTTON – “AMERICAN ROAD” (Female vocalist, doing a mix of show tunes, gospel and Americana).
Critical Jazz: Organic but deep rooted in tradition this exquisite release is perfect from start to finish."...take on her own unique, slightly eclectic but incredibly accessible spin
on the Great American Songbook thus releasing an almost instant
classic." Challenge Records: “We first started looking at an ‘America’-themed CD three or four years
ago,” says Sutton, whose vocal style has been described as “soft as silk
and smooth as fine bourbon” by the Chicago Sun Times. Circumstances led
the group in a different direction at the time, the result being 2009’s
Desire, which earned the group its third consecutive Grammy nomination
for Best Vocal Jazz Album.
But the concept that gave ultimately
gave rise to American Road stayed with Sutton and the band—Christian
Jacob (piano), Kevin Axt (acoustic and electric bass), Trey Henry
(acoustic and electric bass) and Ray Brinker (drums and
percussion)—until, having spent countless days and nights traveling
America’s roads and playing in her towns and cities, they were able to
finally bring it to fruition. All of the arrangements on American Road
were conceived by the entire band, which, said The New York Times, has
“refined the kind of rapport that could only be achieved over
time…providing a continuous flow of support, strength and inspiration.”
BILLY WHITE – “FIRST THINGS FIRST” (Straight-ahead octet, doing all originals).
AllAboutJazz.com (Dan Bilawsky): First Things First is as apt a name for a debut album as
anybody could come up with. While this marks pianist Billy White's first
leader date, he already has plenty of impressive musical experience
under his belt: spending his college years earning a degree in
ethnomusicology from UCLA; working with a jazz/hip-hop hybrid group
Heezbus, while living in Paris; studying Gnawa trance music in Morocco;
and writing some music for films. Eventually, the San Francisco native
landed in Brooklyn, NY and began focusing his attention on writing and
playing piano. This album is the fruit of that labor and it's rife with
exciting compositions and strong group interplay.
CHIP WHITE – “More DEDICATIONS” (Drummer, leading an all-star band, doing his originals, with a disc of poetry included).
CDBaby: This recording is Chip’s
fourth as a leader and composer. The others are "Harlem Sunset"
(Postcards, 1994), "Music and Lyrics" (Dark Colors, 2005), and "Double
Dedication" (Dark Colors, 2008). The poems on Chip’s CDs come from his
book of more than 100 poems for famous jazz musicians, "I’m Just the
Drummer in the Band."
ARMEN DONELIAN – “LEAPFROG” (Pianist, leading a quintet, doing all originals, very edgy).
AllAboutJazz.com (Dan Bilawski): While cohesion and individuality, by their very definitions, may seem to be at odds with one another, the music on Leapfrog
reconciles these two opposing ideals without a problem. For his ninth
date on the Sunnyside label, pianist Armen Donelian has together a
program of strikingly modern originals that showcase the cutting edge
talent and simpatico sensibilities of his band. Leapfrog proves to be light years beyond many other albums that
wear the modern jazz label, because the individual contributions and
the confluence of the group are of equal value, and Donelian deserves
plaudits for balancing that equation and producing such a work.
KYLE EASTWOOD – “SCENES FROM THE CHATEAU” (Bassist, leading a straight-ahead session, with funky undertones).
AllAboutJazz.com (Bruce Lindsay): yle Eastwood's career encompasses the writing of film soundtracks, as
well as the life of a jazz composer, bandleader and bassist. On those
seemingly rare occasions when he isn't working, Eastwood spends much of
his time in France. Songs From The Chateau is his fifth album since 1998's debut, From There To Here
(Sony), and his fourth for British Candid label. It finds Eastwood
recording in the country he loves, at the 15th century Chateau
Couronneau in the Bordeaux region. The range of styles is wide, demonstrating the influences from across
the world that Eastwood has absorbed into his writing and playing. It's full of strong compositions from Eastwood, and virtuoso playing
from every musician, but never feels forced, or competitive: no
showboating, no unnecessary technical complexity.
FLUTEUS MAXIMUMS – “ONE SESSION-ONE TAKE” (Funky versions of many familiar songs). CDBaby: 16 songs were recorded in 4 hours, live, in a tiny, one room studio in northern California. All songs were done in one take including Hammond B3 (dubbed in the same session).
BIELLO/WEYAND – “FOURTHOUGHT’ (A quartet, doing mostly originals. Way out sax solos deem it appropriate for nights only).
DAN JACOBS QUINTET – “PLAYSONG” (Trumpet-led ensemble, doing a mix of tunes, straight-ahead).
JAZZ LINKS ENSEMBLE – “THE DRIVE” (Ensemble of the Jazz Institute of Chicago, doing a collection of jazz tunes).
CDBaby: This two year labor of love
features an ensemble of the next generation of jazz performers whose
debut on this CD project is just the beginning. "The Drive" aptly titled
after one of the original compositions on the CD, signifies what it
takes to be a young jazz performer. The selected tunes exemplify the
passion of these young musicians for this ageless music. Accompanied by
Producer and Mentor for the project, Robert (Baabe) Irving, III; with
Ari Brown and Corey Wilkes on some numbers, the performers not only had
an opportunity to "shine" but to do so along-side world renowned Jazz
VINCENT LYN – “HEAVEN BOUND” (Pianist, leading a variety of ensembles, doing an eclectic mix of jazz, latin and classical).
Heaven Bound: indeed, what an appropriate choice of words to
title pianist Vincent Lyn's project. The album is a wonderful
collection of jazz, bossa nova, samba, Afro-Cuban rhythms and delicate
classical interpretations. The fourteen-piece repertoire is an even
blend of melody-rich originals and well-chosen, uncommon jazz standards.
The music is engaging, sophisticated and highly pleasurable from start
to finish, with no fillers, as every tune is a keeper and deserving of
Lyn is an interesting professional,
whose love for music does not really define the person behind it. Lyn is
a martial arts expert—a Kung-Fu star and teacher with his own academy—a
kickboxing champion, model and Hong Kong film star, with nineteen
movies to his credit. But music has always been one of his first loves.
and to that end Lyn honed his skills through studies at the renowned
Boston Conservatory of Music, Yale University Music School and Manhattan
School of Music.
FRANCISCO MELA & CUBAN SAFARI – “TREE OF LIFE” (Progressive session, featuring a couple of vocals by Esperanza Spalding).
JazzTimes.com: Drummer Francisco Mela presents his second release on Half Note, a tour-de-force featuring 10 newly conceived compositions. With the help of his band, Cuban Safari, Mela offers a passionate fusion of Cuban polyrhythms and propulsive modernism. Renown for his play with Joe Lovanoʼs Us Five, Mela and the full scope of his musicianship take center stage with an unexpected turn as a vocalist, duetting with pianist Elio Villafranca, and trading improvs with Special Guest Esperanza Spalding. Tree Of Life is spirited evidence of Melaʼs distinguished place among young group leaders.
JASON RASO – “THE RED ARROW” (Guitarist/bassist, leading a variety of ensembles in a straight- ahead session).
EarShot (Shelley Gummeson): It has been said Jason Raso has a jazz head and a funk heart. The two have been introduced in The Red Arrow. Jay comments on the duality, “The head can sometimes play games and push you away from some things. I still want a groove and my hope is that those two sides continue to blend.”
GREG REITAN (FB)– “DAYBREAK” (Nice, straight-ahead, jazz piano trio).
Critical Jazz: "Daybreak" is the third release for Reitan on the Sunnyside label whose artistry may be best compared as a musical frame of refernce to a cross between Keith Jarrett and Dave Grusin. Subtle nuances on a grand scale. This small yet mighty trio gives us something new with each subsequent spin of the disc.
CLAUDIO RODITI – “BONS AMIGOS” (Nice straight-ahead release from this trumpeter, with brazilian undertones).
AllAboutJazz.com (Andrew J. Sammut): Roditi's high note displays and mixing board effects sound as though he's smiling from behind the horn. He's having fun and is not out to impress. Claudio Roditi and his amigos don't have to worry about showing off, unless warmth, melody and humor sound intimidating.
ERNIE WATTS – “ALIVE” (Saxophonist, recorded live in Europe, with his quartet, doing originals and couple of jazz standards).
ErnieWatts.com: (2004) Released on Watts' own Flying Dolphin label, ALIVE begins a new chapter for the artist. "This is my first recording where I had complete control," notes Watts, "All the creative decisions were mine, from the tunes to the final mix. That freedom produced this CD. It shows who I really am as a musician."
JazzTimes: "The Brussels Jazz Orchestra (BJO), led by founder and Artistic Director Frank Vaganée, once again reinforces its reputation as one of Europe’s premier big bands, a group that “manifests love,” according to Grammy-winning arranger Maria Schneider. Kenny Werner and the BJO have joined forces to create the perfect canvas for Wernerʼs lush compositions and arrangements. TheInstitute of Higher Learning features 5 tracks, among them the opening “Cantabile,” a three-movement suite showcasing Wernerʼs progressive touch. It was inspired by and dedicated to Bob Brookmeyer. Liner notes by Maria Schneider."
JACK WILKINS – “THE BLUE & GREEN PROJECT” (Saxophonist, doing great straight-ahead interpretations of American roots music).
JazzLoft: This project involved researching Appalachian Mountain culture and environment as the inspiration for a series of new compositions, which combine the musical inspiration of American roots music—blues, gospel, jazz, mountain music, New Orleans traditions—with the subjective inspiration of Appalachian Mountains. Jack Wilkins is the Director of Jazz Studies at the University of South Florida in Tampa. An accomplished jazz saxophonist, he has released two CDs as a leader and appears as a sideman on a number of other jazz and commercial recordings.
Here's what's going into the New section of the Jazz 88 Music Library this next week and will be debuted during The New Jazz Thing on Monday, August 22, 2011, 6-8PM PT...Tune In!!. It's all about the New!
LAILA BIALI (@LailaBiali, FB)- "TRACING LIGHT" (Female vocalist/pianist, with a straight-ahead mix of standards, obscure tunes and originals).
Israbox: "Laila Biali has had quite a year – a new gig as backing vocalist with Sting, a new baby and now a new CD. Tracing Light is the third solo album for the Vancouver-raised, Toronto- and New York-based performer and composer." NORMAN DAVID & THE ELEVENTET (FB)- "AT THIS TIME" (Large ensemble, doing all straight-ahead originals).
Free MP3 AllAboutJazz.com: "David has been leading this group for a few years, and as they find their groove and release their first CD, At This Time
(Norman David/Coolcraft, 2011), they are deservedly being heard all
over the Delaware Valley and beyond. They deliver a relentlessly
swinging and ear-popping sound while at the same time offering nuances,
subtleties, and creative ideas that generate interest for the more
serious listener. David's lightly leavened "emcee" persona is deceptive,
dissimulating as a somewhat shy suburban outcast, with wry humor so bad
that it's good. Thus, it's a shock at first to hear how well this band
delivers its grooving sophisticated sounds. David, known also as a
clarinetist, plays a mean soprano sax with this band, while contributing
superb arrangements of originals and standards that evoke echoes of
great predecessors (for example, the Maynard Ferguson band, as well as shades of Duke Ellington, Glenn Miller, and the Gerry Mulligan
Concert Jazz Band, perhaps its closest ancestral cousin), while
maintaining a distinct sound of its own. That sound has the precision,
timing, and expression of a small group along with the dynamic energy of
a big band."
Digital Jazz News: Sammy spent roughly two decades in New York working with the likes of
Miles Davis and Sonny Rollins with whom he is currently touring. One day
Sammy decided to roll the musical dice and he headed to South Florida.
Figueroa landed firmly in the middle of one of the hottest Latin jazz
scenes anywhere which naturally jump started his musical creativity
which has earned the two Grammy nominations previously mentioned and
with this release perhaps the third time will indeed be the charm! MIKE GARSON (@MikeGarson, FB) - "THE BOWIE VARIATIONS" (Nice solo interpretations of the music of David Bowie, for whom Mike used to play).
Independent Ethos - Mike Garson talks about David Bowie Variations (interview with Hans Morgenstern: "I had been thinking about the Bowie album for a very long time, and I
was thinking of doing it as a jazz treatment with a band and guitar and
sax, but that didn’t feel good. I was thinking of doing covers with a
lot of great singers I worked with, and that didn’t fly for me. So each
time I’d let it go for months and months. I even talked, 10 years ago,
to Tony Visconti
[a longtime producer of Bowie’s albums] about a concept, and he was
into it, but some record company at the time, I don’t know who they
were, they didn’t have the budget I was looking for, and I was not going
to do it with a small budget. It had to be done right. Then, a good
friend of mine who’s a journalist in France and also a singer/songwriter
and has written a book on David Bowie, his name is Jérôme Soligny,
he said, ‘Mike, the obvious thing is playing solo piano. Just play the
music how you feel,’ and I said, ‘Jesus, why didn’t I think of something
so simple?’” (laughs).So it’s a very honest album, Hans … because that’s all I do. I’m an improvising musician." GIACOMO GATES - "THE REVOLUTION WILL BE JAZZ" (Vocalist, with straight-ahead interpretations of the music of Gil Scott-Heron).
Jazz Wax (Marc Myers): You listen to this album and it could easily have been recorded
in 1964. Giacomo brings a Greenwich Village feel to this music—the
summer strum of acoustic guitars in Washington Square, the gentle energy
of Vespa scooters and the toy-like grind of the old VW Bug engine
accelerating at a traffic-light change.
Amazon.com: For their second Half Note issue, the power trio of Donald Harrison, Ron
Carter and Billy Cobham declare themselves spokesman for a kind of
exploratory improvisation and interplay known only to seasoned jazz
professionals. Staunch individualists all, they come together with a
unified voice - at once steeped in jazz's richly variegated traditions
yet forward-thinking in the cause of new creative expression. The group
play here is all about a stylized vision of call and response, featuring
guys with excellent listening skills and the means to keep the
ROGER HUMPHRIES - "KEEP THE FAITH" (Drummer, leading mostly a quintet, in a straight-ahead session).
CDUniverse: "It's not about me. It's about the music,"
says Roger Humphries. "I've had the idea to do this album for a long
time. It was just a matter of getting the right tunes and the right
flow." The album is entitled "Keep the Faith" and appropriately reflects
Roger's deep and abiding respect for the musical gift he has and his
ability to share that gift with others. His name and his musical
reputation as a national and international icon are why we as a
listening audience or fellow musicians understand Roger when he says,
"It's about the music."
CDBaby: The CITYSCAPE album is like a
musical tour through the neighborhoods of a major city. THE WALK is a
jazz-rock piece with a catchy melody and a good beat. SPENDING TIME WITH
YOU is an upbeat Bossa Nova with a good hook. You will find yourself
singing this melody. GLIDING is a Jazz Waltz that is free-flowing
similar to a bird soaring through the air. BAJA CALIENTE is Hot, Hot,
Hot. This Latin Jazz piece makes you want to get up and dance. CITY
LIGHTS is a Straight Ahead jazz piece that gives you the feel of going
out for a night on the town. SANTA MONICA SUMMER is a Bossa Nova with a
happy sound that feels a summer vacation. LONELY CITY has a haunting
melody and beat. It gives you the feeling of being alone in a new city
and not knowing anybody yet. BLUES FOR DARLENE is not really a blues but
rather an upbeat Samba that is sure to have you dancing in your seat.
WALKIN' THE PARK is just what the title says like a walk in the park.
This Reggae-Swing piece will have you visualizing a day in the park with
all of the families having picnics and enjoying the day. TIME SQUARE is
like a trip back into the city with all the hustle and bustle you might
find in Time Square. FUNKIT is a funk tune that sounds like it could
have come out of the 70's, it's got a good strong beat that's sure to
get you moving. LA CABANA is a Bolaro that was written on a beach in
Mexico during a vacation. SWINGADELIC (FB, YouTube) - "THE OTHER DUKE-TRIBUTE TO DUKE PEARSON" (Big band versions of Duke Pearson compositions).
AllAboutJazz.com (Dan Bilawsky): Another Duke served as an A&R man for Blue Note records from 1963 to
1971, performed as a sideman on piano on a slew of recordings for the
label during this period, wrote such classics as "Cristo Redentor" and
"Idle Moments," and released a string of fabulous, but underappreciated
recordings under his own name. This Duke often gets slighted or
overlooked, but not this time." "The genesis for this project was bassist Dave Post's love for Pearson's
music, but the entire band and its regular audience at Maxwell's in
Hoboken, New Jersey, had no trouble buying into the pianist's
compositions, so an album-length tribute seemed to be in order." CEDAR WALTON (FB)- "THE BOUNCER" (Pianist, leading a quintet, in another solid straight-ahead session, doing mostly originals).
BBC (Martin Longley): The Bouncer "is totally not a security guy," says Cedar Walton, the venerable 77-year-old Texan jazz-pianist who’s played beside John Coltrane, Max Roach and Art Blakey.
This latest documentation of his art opens with a title-track that’s
spirited and, yes, bounces along with a bright, airily optimistic
swagger, rippling with ebullient horns. This is how Walton's using the
term, and his description remains apt for the entire disc. MIGUEL ZENON (FB, @MiguelZenon, YouTube )- "ALMA ADENTRO: THE PUERTO RICAN SONGBOOK" (Saxophonist, doing mostly latin tunes, with some orchestral backing).Schedule: Playing UCSD in November! AllAboutJazz.com (Dan Bilawsky): While calling somebody a "star" in jazz might seem like an oxymoron,
when considering the lower-than-deserved profile of the genre on the
national and international stages, Zenon fits the bill like few others.
As of the recording of this 2011 album, Zenon, only in his early
thirties, has already carved out a place as one of the defining
saxophone voices of his generation. Having already received a Guggenheim
Fellowship and MacArthur Fellowship (a.k.a. the "genius grant") at such
an early age, some feel that he has been wrongfully fast-tracked in a
genre where the experience of elders is usually prized over the
enthusiasm and creative spirit of youth; but his solo albums and
continuing work with the SFJAZZ Collective, as the only remaining
charter member of that groundbreaking group, have confirmed how
deserving he really is of all of the positive press, awards and honors
that have been thrust upon him.
Here are the discs we are adding to the Jazz 88 Playlist and Library the week of August 15, 2011. Great to see San Diego represented well with new discs by Russell Bizzett and Candy Kayne / Sue Palmer, along with some personal favs like Avishai Cohen and Sam Yahel.
I will be debuting as much of this new as possible on The New Jazz Thing, Monday, August 15, 2011 between 6 and 8 PM PT, so tune in!!
JOHN BASILE (– “AMPLITUDE” (Guitarist, playing solo with overdubs, with a mix of old & new standards and originals).
AllAboutJazz.com: Though initially intended as references for performances with perhaps
another guitarist or instrumentalist, the process became so creatively
challenging and intriguing, that I ultimately decided to seize this
opportunity to overdub all the tracks in what made musical and
conversational sense. Years ago, Bill Evans' Conversations with Myself
was a great inspiration in this regard With the iPhone revolutionizing
our pop-culture, I thought why not use it and see where it takes me? RUSSELL BIZZETT – “DREAM STREET” (Local trio, doing all standards, straight- ahead).
AllAboutJazz.com (NeNad Georgievski): Seven Seas is another exceptional chapter in the Cohen catalog,
one that showcases a willingness to stretch itself to the breaking
point and open up the music to a wider array of approaches. It is one of
his most spontaneous recordings, with both disciplinarian and
freewheeling sense of adventurous interaction. In general, there is a
spirit of true exploration on his records which is also evident here,
with adventurous improvisation added to that blend of Mediterranean
melodies (with touches of Ladino/Judeo-Spanish heritage) and the art of
TIM COLLINS – “CASTLES AND HILLTOPS” (Vibraphonist, leading a quartet, doing all but 2 originals, those 2 were written by Bjork and Tom Petty).
Candy Kane and Sue Palmer's telepathic musical rapport (George Varga): Kane, a boisterous, sometimes bawdy singer, with a big voice and an
even bigger heart, first began playing with ace pianist Palmer in 1991
at the Belly Up in Solana Beach. Their near-telepathic musical rapport
was immediately apparent, fueled by their shared passion for blues,
boogie-woogie, swing, jump-blues and other earthy American music styles.You can savor that rapport on the recently released “One Night in
Belgium,” an intimate live duo album Kane and Palmer recorded in 1999 in
SmoothJazzDaily: Tweety Records is proud to present Chuck Loeb’s latest CD Plain ‘n’Simple,
his seventeenth as a solo artist. It is an organ trio project,
featuring Pat Bianchi on the keys and pedals, and Chuck’s fellow
Fourplay band member Harvey Mason on drums. The CD represents a new
direction for Chuck, while at the same time harkening back to his
earliest influences as a jazz guitarist. From the beginning, he was
drawn to the organ trio sound by his love for the early Wes Montgomery
records, as well as the hallmark Jimmy Smith recordings of the 1960’s.
The repertoire includes eight Loeb originals, two gems penned by Mason,
and a couple of standards too. The music is swinging, funky, lush and exciting from note one, and stays
that way to the very last drop. Chuck’s fans will find the excellence
in playing, sound, and production that they have come to expect from
him, as well experiencing a side of the artist that they may have never
LARRY VUCKOVICH – “SOMETHIN’ SPECIAL” (Pianist, leading a quintet, doing jazz standards).
Amazon.com: Something Special, this newest offering from Larry Vuckovich,
creates a strong 'Blue Note' flavor of soulful, swinging jazz. The
selections reflect the pianist's important early influences, honoring
the jazz masters who inspired him when he first began playing jazz.
Vuckovich runs his deft fingers across the keys on some rare
compositions, such as Horace Silver's languid Enchantment and Sonny Clark's Somethin' Special,
the album's title track. He presents guest artist, classic tenor
saxophonist Scott Hamilton, in a slightly different light from Scott's
past recordings. Hamilton shines as he plays compositions of the bebop
masters, newly introduced to him, such as Dexter Gordon's Cheese Cake, as well as the Clark piece, and the funk classic of Ben Tucker's Comin' Home Baby. This studio recording developed out of a 2011 Northern California tour Vuckovich helped arrange for Hamilton.
WESTCHESTER JAZZ ORCHESTRA (FB) – “MAIDEN VOYAGE SUITE” (Big band versions of Herbie Hancock tunes). NYTimes.com (Philip Lutz): The recording made last month at Bennett Studios, “Maiden Voyage Suite,”
will consist of original arrangements of tunes from Mr. Hancock’s 1965
album “Maiden Voyage.”
The suite was enthusiastically received twice in concert, though it
became a candidate for recording only when the orchestra won a $10,000
grant from the Aaron Copland Fund for Music. The award was announced last June. The recording session, Mr. Holober said, was “definitely overdue.”
SKIP WILKINS – “AFTER” (Pianist, following up his standards release, with an edgy collection of originals).
Philly.com: The current Lafayette College jazz professor, who is relocating to Europe, says he made After for
his grown children who had left home. The intuitive set with drummer
Jeff Hirshfield and bassist Scott Lee projects a warm, rich tone and a
questing vibe at times. The title track certainly produces righteous
WARREN WOLF – “WARREN WOLF” (Vibraphonist, leading a straight-ahead session).
The Urban Music Scene: It's no exaggeration to state that the release of Warren Wolf, the eponymous debut album for Mack Avenue Records by Warren Wolf,
will make it as apparent to jazz fans as it already is to jazz insiders
that the 31-year-old vibraphonist is the next major voice on his
instrument. Joined by a unit of authoritative swingers (bassist Christian McBride, pianist Peter Martin, drummer Greg Hutchinson, alto and soprano saxophonist Tim Green, and, on two tracks, trumpeter Jeremy Pelt),
Wolf offers a ten-piece program that admirably represents his singular
blend of efflorescent chops, muscular attack, lyric sensibility,
harmonic acumen, encyclopedic knowledge of hardcore jazz vocabulary,
tireless groove and downright musicality.
trying to bring forth what most cats did back in the day, coming out
right at you swinging, nice and hard, not a lot of hard melodies or
weird time signatures," Wolf says. "I like to play really hard, fast and
kind of flashy. I like to take it to a whole other level."
SAM YAHEL – “FROM SUN TO SUN” (Pianist, playing organ on some tracks, doing mostly originals. A little on the edgy side).
Origin REcords: After establishing himself as one of the world's foremost organists over
the last decade, Sam Yahel showed off a new side in 2009 with a
critically acclaimed piano trio recording that highlighted his broad
musical interests and the dynamic interplay of his seasoned band. Now in
their tenth year, bassist Matt Penman and drummer Jochen Rueckert again
join Yahel as he engages with both the Hammond B3 and piano for an
inspired album of fresh originals, and classics including "So in Love"
and "A Beautiful Friendship." "...as elegant as anything you've ever
heard from an organist. Larry Young would be proud." JazzTimes
AllAboutJazz.com (Greg Simmons): "In places it seems as much indebted to rock 'n' roll as to jazz, with
Korzin pumping out solid grooves—playing with the same economy as
Apicella, sticking with keeping time, but almost never throwing in so
much as an accent roll. It's that restraint—the precedence of the group over the individuals—that makes The Business
a good record. This is simple, toe-tapping, head-nodding music—mostly
blues and R&B-based. It's not flashy or especially innovative, but
it is fun, and that seems more to the point."
Allmusic.com (William Ruhlmann): There is a long tradition of jazz trumpeters putting aside their horns and singing into the microphone, dating back to Louis Armstrong and including Chet Baker, and Rick Braun belatedly joins this confraternity on Sings with Strings. " Braun certainly doesn't embarrass himself as a singer. He has a light, breathy tenor that marks him as a sort of little brother to Mel Tormé, and he is sufficiently assured to try a few note substitutions and time variation..." The album is not the revelation that Chet Baker Sings was, and it does not suggest that Braun should hock his horns. But it is a more than respectable side project.
The Jazz Word: "the disc is a toe tapping, swinging affair with nine interpretations of
classic Wonder material, featuring the soulful renderings of guitarist
Bobby Broom, organist Chris Foreman and drummer Greg Rockingham.Wonder's reputation as a master craftsman of melody and harmony has been
secured for some time and jazz musicians recording his music is nothing
new. What makes this recording stand out is the convincing and
seemingly natural way the trio presents familiar pop tunes in a
straight-ahead manner. The groovy swing heard on "If You Really Love Me"
and "As" and the crawling ballad tempo of "My Cheri Amour" bring
freshness to the material, enhanced by the band's signature, greasy
allure. The dirty funk treatment given to the Wonder-penned hit for
Rufus "Tell Me Something Good" is worth the price of admission."
AllAboutJazz.com (Dan Bilawsky): "The music itself, despite a title that might indicate otherwise, is
actually Evans most conventional output in quite some time. The spiky
intensity of The Captain Black Big Band
and the left-leaning, in-and-out esthetic of Tarbaby's work is nowhere
to be found on this date. While Evans still injects his own personality
into these pieces, his mission here is to honor others. Swing is a
central element on a large number of the tracks, but it isn't all that
Evans has to offer. Dewy balladry built with glacial grace (Evans'
"Dita"), a rhythmically engaging workout on Shirley Scott's "Oasis," and
an album-closing, solo piano take on Herbie Hancock's "Just Enough" all exhibit different sides of the indefatigable Orrin Evans."
SIR ROLAND HANNA – “COLORS FROM A GIANT’S KIT” (Previously
unreleased solo piano collection of mostly originals).
JazzTimes.com (David Whiteis): "These selections were recorded during the 1990s and as late as 2002 by
IPO’s Bill Sorin, before his label came into being. They showcase
pianist Sir Roland Hanna, the label’s first artist, at the height of his
powers. Hanna’s playing resonates with an authoritative, almost regal
forcefulness yet it’s also graceful. Despite his deft technique, he
never sacrifices meaning for display, and there’s a sense of joy and
discovery at every turn—life-affirming melodic and harmonic richness,
deep emotion without bathos." "Hanna brings to bear the full arsenal of his technical and imaginative
gifts, yet his playing is infused with an emotional immediacy that cuts
to the core of blues expression. A balance of strength and soul this
effective was remarkably rare, and makes Hanna’s absence—he died in
2002—all the more unfortunate."
JazzReviews.com (Samira Blackwell): "The unexpected, elastic sparkle of brilliance shimmers through every
song - an endless tingle that dances down your spine and begs repeated
listening over and again. Kensington Suite makes such
contribution and Richard’s artistry positively equals the transcendent
peaks made by Parker, Coltrane, Henderson and Brecker. This is jazz at
its finest and being a veritable collector, I make no apologies for
TOM WOPAT (@tomwopat, FB, YouTube) – “CONSIDER IT SWUNG” (Former “Dukes of Hazzard”
star, singing a collection of old and new standards and originals.Well done).
JazzTimes.com (Christopher Loudon): Now, another five years having passed (since 2006 Harold Arlen tribute Dissertation On the State of Bliss), Wopat is back with Consider It Swung, a far more wide-ranging album. New York Times
music critic Stephen Holden, whose knowledge of jazz and cabaret
singers is likely unequalled, has aptly compared Wopat to the
later-career Sinatra. His gravelly baritone is singularly engaging and,
like Sinatra, he has an actor’s ability to fully embrace a lyric,
digging to the roots of each song’s story. "...Wopat is equally, if not more, appealing when he ventures beyond the
Great American Songbook. Bobbie Gentry’s delta mini-drama “Ode to Billie
Joe” is particularly well suited to his story-weaving skills, as are
Joni Mitchell’s wistful “2 Grey Rooms” and “You’d Rather Have the
Blues,” Dave Frishberg’s delightfully cynical portrait of a perpetual
pessimist. His bluesy retelling of Delbert McClinton’s “Maybe Someday
Baby” is a first-rate scorcher that swings with Joe Williams gutsiness,
his hazy reading of “Deacon Blues” is earthier than the Steely Dan
original and there’s plenty of soulful swagger in his “A Natural Man.”
AllAboutJazz.com (C. Michael Bailey): So unique and fresh are these interpretations that their paying tribute to a singular talent is but the gravy in this recording. The two singers weave harmonic lines carefully managing the intended
tension. Cassidy's show-stopping "Wonderful World" proves the same on
this, one of the finest recordings of the year.
FRED FRIED AND CORE – “ENCORE” (Acoustic guitarist, leading a trio, doing all straight-ahead originals).
Jazz Sensibilities: “Leanne’s Number” is today’s focus.Beginning
with the clear tones of two beautifully voiced chords, then Matsuki
enters with a light straight eight figure, followed by Lavoie holding
down double stops to add to the suspense.The tension is released by a fast unison figure that falls into the next statement.Fried
masterfully develops the motif through this section, with ever evolving
harmony and a play on notes, the listener flows through various feel
changes and then the form is repeated.However, Fried surprises us with a flawless transition into a mid-up swing at the end of the form for the solos.
MONTY ALEXANDER – “HARLEM-KINGSTON EXPRESS-LIVE!” (Monty paying homage to his Jamaican roots, with a wide variety of songs).
TERI LYNNE CARRINGTON – “THE MOSAIC PROJECT” (A vocal album, featuring a variety of female vocalists, with an extremely varied choice of material).
The Guardian (John Fordham): Anyone who caught American drummer Terri Lyne Carrington's performance at the recent Barbican show featuring Dianne Reeves, Angelique Kidjo and Lizz Wright will want to check out this star-packed session. Parlato's diametrically different and resonantly intimate accounts of I Got Lost in His Arms and the Beatles' Michelle follow.
ETIENNE CHARLES – “KAISO” (Mostly straight-ahead session from this trumpeter, with small group, orchestral and vocal tracks).
JOHN DAVERSA – “JUNK WAGON: THE BIG BAND ALBUM” (Very progressive big band session, with strong use of electronics).
ELLEN KAYE – “3AM-THE DOGS, THE MILKMAN & ME” (Female vocalist, with a distinct mix of old and new standards).
CHUCK REDD – “THE COMMON THREAD” (Vibist, leading a straight-ahead session, doing mostly jazz tunes and standards).
SCENES – “SILENT PHOTOGRAPHER” (Edgy guitar trio, doing mostly originals, with a few jazz tunes).
THE YOUNG LIZARDS – “OUR MODERN LIFESTYLE” (Sax/organ quartet, doing mostly jazz tunes, with a couple of originals).
Did I say “ME”?…..I meant “us”…because there is no “me” in “famous”;) So we are working on the production end of a new CD, meaning the tracks are selected, EQ’d and mixed and now it’s just all that other stuff like artwork, liner notes, etc. All the stuff that I hate to do and aren’t much good at such as:
The latest additions to the Jazz 88 Music Library and debuted this Monday, July 11, 2011 on The New Jazz Thing with Vince Outlaw!
JAY ASHBY / STEVE DAVIS – “MISTAKEN IDENTITY” (Two trombonists collaborating on a straight-ahead session).
Innovative Entertainment Solutions:A New York Yankees fan and a Boston Red Sox fan make an odd coupleon
the bandstand. How do you get them to play nicely with others and how
do you deal with the issue of two virtuoso jazz trombonists who are
often mistaken for each other, even causing fellow jazz musicians to do
the occasional double take?
The answer to this little dilemma might find Jay Ashby and Steve Davis
collaborating in a musical setting where one would be for the other,
or one for all.
That’s what you’ll hear on this CD, where orchestral tone, effortless
three octave range, and gorgeous legato lines with saxophone-like speed
are the standard on this most difficult of instruments. As an example,
check out the stablemates on the smoking tootin’ for Toots. These two musicians have advanced the jazz trombone far into the 21st Century.
Adding Randy Brecker, Dr. Michael White, Live Eric Harland (recent TNJT guest), Terry Vosbein Big Band, and lots more! Debuting loads of this on The New Jazz Thing with Vince Outlaw on Monday, June 27, 2011!
STEPHANE BELMONDO – “THE SAME AS IT NEVER WAS BEFORE” (Trumpeter, leading a quartet, doing mostly originals. Some progressive tracks).
Great bunch of new additions to the Jazz 88 Music Library on Monday, June
20, 2011. These discs will be featured on The New Jazz Thing on
Jazz 88 with Vince Outlaw, Monday, June 20, 2011, 6-8 PM PT! Click on the
Listen Now link to listen live over
the internet or tune into 88.3 FM in San Diego!
DIEGO BARBER – “THE CHOICE” (Acoustic
guitarist, leading a quartet, doing all original material).
Adding a great mix of vocal, big band, contemporary, latin, progressive into the Jazz 88 music library next week with some Jazz stalwarts like Jim Snidero, Laszlo Gardony, Stefon Harris, David Sanchez (those last two playing at Playboy Jazz Festival 2011 this weekend!), Bobby Shew, and some new names! We'll preview as many as we can on The New Jazz Thing with Vince Outlaw, Monday, June 13, 2011 6-8 PM PT!
AIMEE ALLENFB Page)– “WINTERS & MAYS” (Female vocalist, with an interesting mix of tunes, backed by great musicians).
Here's whats getting added to the Jazz 88 Music Library the week of 5/30/2011 (with a few programming tips from Joe...thanks!). As many of these as possible will be debuted on The New Jazz Thing (by me!) on Monday, May 30, 2011 between 6 and 8 PM PT, so tune in and get turned on to The New!!!
ANGIE DOCTOR & DAN SCHUMACHER – “HE SAID, SHE SAID” (A Capella vocal duet recording, with an eclectic mix of songs).
Here's the latest adds to the Jazz 88 Music Library which will be debuted on The New Jazz Thing with Vince Outlaw on Monday, May 9, 2011 6-8PM PT on Jazz 88.3 FM KSDS San Diego, Webcast at http://Jazz88.org!
BILL BEACH - "BUZIOS" ( All original, with Brazilian influences. Mix of
vocal and instrumental tracks, featuring Rebecca Kilgore in duet on track 2).
Here is the new music in the Jazz 88 Music Library that you will hear
sampled on The New Jazz Thing on Monday, May 2, 2011 and added to
regular rotation on Tuesday, May 3, 2011. Thanks to Jazz 88 Music Director Joe Kocherhans for the great new music and comments to help us get this music to you!
KARRIN ALLYSON – “’ROUND MIDNIGHT” (Another great one from her, mostly in a ballad style).
Here is the new music in the Jazz 88 Music Library that you will hear sampled on The New Jazz Thing on Monday, April 25, 2011 and added to regular rotation on Tuesday, April 26, 2011. Thanks to Jazz 88 Music Director Joe Kocherhans for the great new music and comments to help us get this music to you!
AllAboutJazz.com (Dan Bilawsky): "...it's
safe to say that these four musicians have seen it all, and this
breadth and depth of experience helps bring new life to the
under-explored jazz-world music percussion ensemble format utilized to
great effect on Bones & Tones."
BILL ANSCHELL – “FIGMENTS” (Solo outing by this pianist, with an eclectic mix of old and new standards).
Origin Records: Throughout Figments, pianist Bill Anschell’s creative, abstract approach
takes each song to unexpected places without ever leaving his audience
behind. Self-recorded over a series of late nights, after gigs, when
Anschell’s "internal supervisor had clocked out." The result is twelve
genre-bending, near stream-of-consciousness takes covering a mix of jazz
standards and pop songs from the 60s and 70s. Highlights include Arlo
Guthrie’s protest song "Alice’s Restaurant," a meditative take on the
Rodgers and Hart standard "It Never Entered My Mind," and a
prepared-piano version of Joni Mitchell’s "Big Yellow Taxi."
3/15/11 release coming out on Origin Records. "Human Spirit" features Versace on B3
organ as well as Mark Taylor (alto) and drummer Matt Jorgensen.
Earshot Jazz (Seattle Jazz Supporter) 2010 Golden Ear Nominee's Best Artist and Band (Flexicon): Awards given out last night (March 20, 2011)
"East West Trumpet Summit" with Ray Vega, #1 on Jazz Week Jazz Chart in 2010. Jazz Week: "Rather than an instrumental battle or cutting contest, "East-West
Trumpet Summit" underlines the artistry that results when great
musicians from diverse backgrounds find common ground rather than seek
to establish a pecking order or spotlight rivalries.
" Featured on NPR Morning Edition.
"Constraints and Liberations" (links to reviews), first release of all original material (5th as leader), November 2010. AllMusicGuide: "Not only does he focus exclusively on originals for
this session, but his approach to the trumpet has moved away from a
forceful pop style to a more reserved, yet emotional technique. "
MONTY ALEXANDER – “UPLIFT” (Straight-ahead piano trio by one of the masters).
AllAboutJazz (Dr. Judith Sleshingher): "...this is an exceptional collection, which also crackles with that special, open energy only a live performance can deliver. Uplift is an apt title, since that's precisely what this music does."
LYNNE ARRIALE – “CONVERGENCE” (Pianist, with a sax sitting on some tracks, doing a mix of originals, old and new standards).
JazzPolice (Andrea Canter): "Nuance, as fits the title, did not leave trademark Arriale
devotion to melody and accessibility behind, yet the arrangements were
often far more assertive, the shadings bolder, the improvisations
crossing into more distant territories than the more “nuanced”
explorations of the Lynne Arriale Trio. Thus Convergence is,
in one sense, a continuation of that freer trajectory, a set combining
Arriale originals and reimagined covers, a set that again brings a horn
(this time Bill McHenry’s tenor sax) into the mix, yet another
expansive emotional palette. It’s a “convergence” of the lyrical
simplicity and elegant harmonies of the trio years and the
harder-hitting assertions of her recent quartet journeys."
RONDI CHARLESTON – “WHO KNOWS WHERE THE TIME GOES” (Female vocalist, with an eclectic mix of standards and originals).
JazzInSpace (Nick Bewsey): "Singer and songwriter Rondi Charleston makes music that’s close to jazz nirvana. Her own music is
rife with passionate passages of optimism (inspired by a meaningful
trip to Israel as related in the liner notes) and she embraces a
charming confidence and joie de vivre. Her closest musical partner on
the album is guitarist Dave Stryker, a soloist of pronounced
musicality, and their arrangements allow plenty of space for indelible
piano accompaniment by either Brandon McCune or Lynne Arriale."
DEARDORF – “TRANSPARENCE” (Great bassist, leading his own session, with
various band configurations doing mix of standards and originals).
Origin Records: "Veteran acoustic & electric bassist Chuck Deardorf brings together
a broad collection of musical friends to create an album full of
spontaneous interaction, gritty grooves and melodic beauty."
FRANKLIN – “THE SOUL OF THE WORLD” (Prolific bassist, fronting a
sextet, with local trumpeter Gilbert Castellanos, grooving
straight-ahead. 2 vocal tracks).
Dusty Groove America: "An incredible record – a set that sparkles with all the brilliance and
soulful energy we first came to love in Henry Franklin's music back in
the 70s! The album's a recent one, but it's got a timeless quality –
rich grooves, filled with modal rhythms – soaring to the skies with
searching, spiritual vibrations – wonderfully righteous, and the kind
of record we could easily believe was a lost gem from a few decades
WAYNE GOINS – “CHRONICLES OF CARMELA” (Nice, straight-ahead groove, led by this guitarist, doing all originals).
WG CDs&Books: Wayne Goins’ first release on Little Apple Records since 2006, Chronicles of Carmela, is a brilliant showcase of Dr. Goins’ guitar and writing chops. Carmela is Wayne’s guitar. BEN KONO – “CROSSING” (Multi-reed player, with an edgy sound, doing all originals).
The Urban Flux: "Throughout this project the musicians in my band have been an integral
part of the compositional process and have kept the whole thing fun.
Henry Hey and I have been writing, playing, sailing boats, and drinking
lots and lots of coffee together since our days at University of North
MARRIOTT – “HUMAN SPIRIT” (Trumpeter, in a sax/organ quartet, with
another edgy mix of material, some accessible enough for daytime play).
MARGIE NELSON – “HUNGRY GIRL” (Female vocalist, with a great back-up band, doing an eclectic mix of tunes).
JazzTimes (Wilbert Sostre): "Even though she is a singer with lot of experience Hungry Girl is
Margie Nelson debut album. A singer with a sultry voice, Margie can be
funny, classy and romantic. Impossible to listen to the lyrics of the
song Hungry Girl witout smiling"
O’CONNOR – “SUSPENDED REALITY” (Not the violinist, a young saxophonist,
in front of a quintet, doing all straight-ahead originals). MarkOconnorJazz.com - "It’s been a long wait, but Suspended Reality is finally a …reality (bad
humor, I know). All of us had a great time in the studio and I was
excited to be able to record with Mark Maegdlin, Ben Lewis, Jon Paul,
Tom Hipskind again. Our new addition to the band is Victor Garcia – a
wonderful trumpeter who grew up in Chicago. And working with recording
& mixing engineer Brian Schwab and mastering engineer Scott
Steinman was a pleasure too!!"
KEN PEPLOWSKI – “IN SEARCH OF…” (Great, straight-ahead swinging, from the clarinetist/saxophonist, backed by an all-star cast). WorldsRecords: "Ken
Peplowski shows his diversity on this blending of two sessions, the
first 8 tunes reuniting him with pianist Shelly Berg with rhythm
support of Tom Kennedy and Jeff Hamilton and the remaining 3 tunes
pairing off with bassist Greg Cohen, drummer Joe Ascione and vibist
Chuck Redd. Peplowski's clarinet playing is unrivaled with the purist
tone and most urbane facility around today. His tenor sound, while
reminiscent of Coleman Hawkins and Ben Webster is easily
distinguishable as his and his alone. The tunes are seldom heard
standards ripe for rediscovery and a few originals by his fellow band
members. Peplowski helps keep true mainstream jazz alive while always
adding a fresh perspective."
REDS – “SIGN OF FOUR” (Edgy, baritone sax-led group, doing all originals by band members).
MELVIN VINES – “HARLEM JAZZ MACHINE” (Mostly edgy tunes, all originals).
Melvin Vines is a jazz trumpeter working out of Harlem. Recently he has been concentrating on arranging and performing with his group Harlem Jazz Machine, touring the United States, Russia and Japan.
JERRY BERGONZI - "Convergence" (Straight ahead set of mostly original
compositions, with one classic Gershwin tune tossed in for fun. Great
quartet, various tempos.)
T.K. BLUE - "Latin Bird" (In the pocket Latin jazz set from the
saxophonist/flutist. Features Charlie Parker compositions, with a couple of
original compositions, as well. Steve Turre and Lewis Nash check in as
RENE MARIE - "Voice of My Beautiful Country" (New released by a seasoned
vocalist, featuring a number of traditional American tunes in the public
CHAD McCULLOUGH & BRAM WEIJTERS- "Imaginary Sketches" (another solid release
from the trumpeter, pairing with pianist Weijters on great original
compositions. Truly new "new" music!)
TITO PUENTE MASTERWORKS (MANHATTAN SCHOOL OF MUSIC AFRO-
CUBAN JAZZ ORCHESTRA) -"Live" (Awesome Puente tunes with the band under
Bobby Sanabria's leadership. A seriously cookin' live recording in tribute
to a Latin Jazz master)
CHERYL PYLE -"Inside Dialogue" (All original set, featuring flute and bass.
PM hosts, take note...some of this is very atmospheric and cool. Cheryl is
San Diego native now based in NYC.)
HOUSE & SINNETT (Jae Sinnett) -"OLD SCHOOL LOYALTY" (A very unique project
from long-time New York based drummer Jae Sinnett. This pays tribute to the
old school soul sound. It's very specific in dayparting, so please be
mindful when programming. However, properly worked in, this adds some real
groove flavor to the jazz mix.)
RALPH BOWEN – “POWER PLAY” (Straight-ahead saxophone quartet, doing all but one original, on the edgy side). AllAboutJazz (Bruce Lindsey): Power Play
is an apposite title: for saxophonist Ralph Bowen is certainly one of
the most powerful players in contemporary jazz. But power alone is
seldom, if ever, enough, and Bowen combines power with exceptional
control, feeling and tone. The rest of the quartet shares Bowen's
characteristics, ensuring that this collection of tunes is constantly
ROYCE CAMPBELL – “MAKE ME RAINBOWS” (Guitar/organ trio, doing mostly standards, recorded in 1995, but newly released). JazzLoft: This is the same rhythm section featured on the classic Wes Montgomery
recording "Boss Guitar." This CD contains three originals by Campbell
along with such standards as "Ruby," "You Go To My Head," "If I Should
Lose You," "Softly, As in a Morning Sunrise," and a seldom recorded Cole
Porter tune called "Could It Be You."
FRANCIS COLETTE/JONAS TAUBER – “PORT SAID STREET” (Guitar/cello, doing interesting arrangements on originals and standards).
LUIS CONTE – “EN CASA DE LUIS” (Percussionist, leading a hard-core latin session. Lots of vocal tracks, mostly originals).Amazon: En Casa de Luis is the 7th release for Multi-Grammy Winner Luis Conte,
an acknowledged master of percussion. His celebrated career includes
touring and or recording work with some of the greatest names in
contemporary music including Madonna, Eric Clapton, Phil Collins,
Santana, Jackson Browne, Celine Dion, Barbara Streisand, Ray Charles,
Tony Bennett, Pat Metheny, James Taylor, Shakira. Ozzy Osborne and Cuban
legends Arturo Sandoval and Cachao.
JERY COSTANZO – “DESTINATION MOON” (Male vocalist backed by a big band, doing all standards. More of a lounge vibe, but great arrangements).
BENOIT DELBECQ TRIO – “THE SIXTH JUMP” (Progressive piano trio, doing all originals).
MONIKA HERZIG – “COME WITH ME” (Pianist, leading a variety of band configurations, with originals, standards and new standards).
RICK HOLLAND-EVAN DOBBINS LITTLE BIG BAND – “TRILBY” (A swingin’ collection of jazz standards and originals). Lazaro Vega, Radio Host, Blue Lake Public Radio :Rick Holland’s flugelhorn improvisations flow with a seasoned musician’s
imagination and a hard working trumpeter’s ability to play whatever
comes to mind. His piquant touches to the top of the staff (or above)
from wherever he happens to be in the improvised melodic line are a
great example of where daily practice can take you.
VIJAY IYER WITH PRASANNA/NITIN MITTA – “TIRTHA” (Pianist acknowledging his Indian roots, with tabla and sitar, doing all originals). CMJ (Brianne Galli): Composed by Iyer and Prasanna, Tirtha communicates a spiritual
journey free of labels. The music does not submit to any one type of
music that each of its members creates, and does not fit neatly into
just one genre. For the group, the collaboration celebrates India’s
freedom by representing a more global sound as a result of independence.
ANDREI KONDAKOV – “BLUES FOR 4” (Russian pianist, backed by a great band, doing all originals, straight-ahead).
BRIAN LYNCH – “UNSUNG HEROES” (Trumpeter paying tribute to under appreciated fellow trumpet players, straight-ahead groove). Elements of Jazz (Atane Ofiaja): Lynch says, "Unsung Heroes pays tribute to and features the
compositions of jazz trumpet giants such as Joe Gordon, Tommy
Turrentine, Idrees Sulieman, and other greats who have flown under the
radar of popular acclaim despite their artistry and influence on players
such as myself."
RENEE MANNING – “ALL GROWN UP” (Female vocalist doing a mix of standards and new standards, with a couple of originals).CDUniverse: Renee Manning's life has been quite a musical odyssey. Transitioning
from a classical soprano to a soul/funk stylist (with a range comparable
to Minnie Ripperton) and finally into a Jazz and Blues Contralto, her
vocal journey has been phenomenal. The truth is, anything with a touch
of the blues (or that depth of feeling), is well within her domain of
expression. Couple Manning's musical style with that of her becoming an
incredible vocal coach and educator along the way, and you have an
inspirational force to be reckoned with.
DADO MORONI – “LIVE IN BEVERLY HILLS” (Piano trio, doing a straight-ahead mix of standards and originals).
EDDIE MENDENHALL – “COSINE MEETS TANGENT” (Piano/vibes quartet, doing all but one original, straight ahead).
THE NIGHTCRAWLERS – “DOWN IN THE BOTTOM” (Mix of straight-ahead and big band tracks, with organ, guitar and drums providing hard driving rhythm). Vancouver Sun - The Nightcrawlers Top Up Their Bottom: We did some concerts in the summer [of 2010] where we had an organist
from Montreal visiting and she brought all these big band charts with
her because there are all these great Jimmy Smith records on Verve from
the ’60s with great arrangements,” Cahill says. “We played a whole bunch
of that and Cory [Weeds] said, ‘Why don’t we do the next record half
with a big band and half as a quintet?’ And I was like, ‘How the heck
are we gonna do that?’ ”
ARTURO O’FARRILL & THE AFRO LATIN JAZZ ORCHESTRA – “40 ACRES AND A BURRO” (Great big band latin grooves, can also be aired in straight-ahead segments). AllAboutJazz (Dan Bilawsky): Throughout
the program, the Afro Latin Jazz Orchestra demonstrates a signature
flair for all things spicy, and Arturo O'Farrill continues to define the
sound of his own creation, which can simply be called all-inclusive
ONE FOR ALL – “INVADES VANCOUVER” (Live recording of this all-star ensemble, doing mostly their originals).
JANE STUART – “DON’T LOOK BACK” (Female vocalist, doing the Great American Songbook and new standards).
HRISTO VITCHEV QUINTET – “THE PERPERIKON SUITE” (Guitar/vibe quintet, doing all straight-ahead originals).
YELLOWJACKETS – “TIMELINE” (Mostly straight-ahead outing, with some contemporary tracks).
ZZYMZZY QUARTET – “ZZWING!” (More gypsy jazz from local musicians).
ERNEST STUART – “SOLITARY WALKER” (Very edgy trombonist, with a mix of originals and standards).
Reviews and Quotes:
Ernest Stuart - Album Preview: Solitary Walker is the product of my
attempt to create music that is a true reflection of myself and my
musical experiences which ranges from gigs with The Roots to The Village
Vanguard Jazz Orchestra. I also wanted to present a jazz album that is
steeped in the tradition of Philadelphia soul. During it’s production, I
set out to capture an honesty that I feel most over-produced jazz
albums now lack. I believe the over-use of technology to erase
“mistakes” can leave an album without character. The album boasts a
slight rawness from the use of acoustic instruments and as few
microphones as possible (the horns share one microphone as well). In
keeping with my vision of honesty, the listener is drawn into the
album’s sound and sophistication unpretentiously.
AllAboutJazz: "The CD title Solitary Walker comes from the book Reveries of the Solitary Walker
written by French philosopher Jean-Jacques Rousseau. Stuart discovered
the book during a somewhat tumultuous time while living in New York
City. The book's theme resonated deeply with him, though his “exile" was
totally self imposed. He learned a lot about himself during this
relatively short period, but also about the nature of ordinary people,
music and musicians."
Anthony Smith Bio: "...also the Common Ground Theatre’s world premiere of “Jazz Queens Cast Blue
Shadows,” for which Anthony wrote the original score to accompany the
standards of Billie Holiday and Dinah Washington. The music from “Jazz
Queens” was then recorded in the studio by Anthony and his four-piece
band, for a forthcoming Bluport Records release (early 2011)."
PIKET – “SIDES, COLORS” (Mostly progressive outing, with a variety of
band configurations, doing mostly originals, with a couple of
Reviews and Quotes:
AllAboutJazz.com (Wilbert Sostre): "she demonstrates her different musical sides and colors. Piket shows her classical, lyrical side on "Billy's Ballad" and Bill Evans "Laurie," while the classical feel is accentuated by the addition of clarinet, flute and strings—a concept similar to Esperanza Spalding's Chamber Music Society (Heads Up, 2010)."
AllAboutJazz.com (Dan McClenaghan): "Side, Colors
features a mix of styles, but is sequenced perfectly. "Side A" is
mostly with strings; "Side B," a freer, mostly piano trio affair. Piket
takes some chances here, and it pays off nicely."
Huffington Post (Joseph Vella): "What makes his solo outings and the Live at Marciac recording
so exciting is the repertoire that he incorporates into his
performances. His blend of jazz and classical styles, the American
Songbook, unique covers of pop tunes and originals all seamlessly blend
into a fulfilling and varied musical experience. His breathtaking
command of his instrument is undeniable. But what he is able to say
musically as a soloist within the context of each song combined with his
improvisations is simply masterful. "
CDBaby: "Beautiful As The Moon is a
very personal statement from the band--all of the music comes from the
band members or is inspired by their families and their influences." "With all but one song
recorded at the Saville Theater, San Diego City College for a live
concert on KSDS Jazz88 radio in San Diego, this is an excellent
opportunity to experience some great Latin Jazz live without any edits
or tricks so common on many studio produced sessions where the music is
recorded overdub by overdub. Not here, this is the real deal--seasoned
Jazz and Latin Jazz musicians running risks to create great art,
passionate rhythms and beautiful melodies resulting in music that is as
beautiful as the moon."
FRED HERSCH – “ALONE AT THE VANGUARD” (Solo live piano recording, with a mix of originals, jazz tunes and standards).
Reviews and Quotes:
AllAboutJazz (Dan McClenaghan): "Hersch
has what it takes to ignore the "never open with a ballad" advice: a
supple and exquisitely-refined touch; a sharp focus on the melody; a
deep sense of classical harmony; and a magical ability to get inside the
tune and make it his own. Hersch's sound here has a uncommon
fragility/strength dynamic, and it is serious and cerebral, with an
opposing simplicity buoyed by a rich complexity, born of a lifetime's
immersion in the music."
DUO LARE – “IN OTHER WORDS” (Local string players, with a mixture of mostly originals and jazz tunes).
Mandolin New Music: "In Other Words is the debut release from Duo LaRé, Chris
Acquavella on mandolin and Nate Jarrell on guitar. The duo performs
contemporary music influenced by jazz, contemporary classical and
eastern European folk traditions with about half of the tracks being
FRANK BUTREY – “MALICIOUS DELICIOUS” (Joe @Jazz88: Very edgy guitarist, all tune authored or co-authored by him).
AllAboutJazz.com (Victor Schermer): "Jazz
guitarists will find Butrey's rich improvisational capabilities of
great interest. He likes to play with possibilities and demonstrates
rich motivic and chordal development. There is an ingenuity repeatedly
occurring as he and his cohorts try on new "skins" in chameleon-like
adaptations. After several listens, the head spins from exposure to the
myriad musical changes that, in turn, evoke changes in the psyche. In
that sense, the music is transformational, provoking changes in the
sense of self much like a psychedelic drug."
NEW THIS WEEK FOR 2/17/11 - Finally adding the Mingus Big Band 2010 Grammy Winner for Best Large Ensemble Jazz Album...hoo ray! New Charlie Haden music and new music from Art Hillery, the pianist for our last Jazz Live with Red Holloway and Plas Johnson.
BANN – “AS YOU LIKE” (Saxophone/highly electrified guitar quartet, doing mostly originals and some standards).
PETER ELDRIDGE – “MAD HEAVEN” (Vocalist/pianist, doing mostly straight-ahead, original material).
DIRK FISHCER & GEORGE STONE – “COMING OF AGE” (Swinging big band, with a mix of originals and jazz tunes).
CHARLIE HADEN QUARTET WEST – “SOPHISTICATED LADIES” (Straight-ahead quartet, with all-star females on vocal tracks, backed by strings).
CURT HANRAHAN QUARTET – “SOULJOURNER” (Saxophonist/flutist, recorded live. Mix of originals and jazz tunes).
ARET HILLERY – “WORKS OF ART” (Pianist, leading various band configurations. All originals, with 3 vocal tracks).
MAD ROMANCE – “AIM HIGH” (Vocal ensemble, doing Great American Songbook, with a couple of new standards).
TONY MESSINA – “LIVE IN NEW YORK AT THE IRIDIUM JAZZ CLUB” (Male vocalist, with a good voice, doing mostly standards).
MINGUS BIG BAND – “LIVE AT THE JAZZ SHOWCASE” (2010 Grammy winner, recorded live, mostly progressive performances).
ALON NECHUSHTAN – “WORDS BEYOND” (Hard driving piano trio, doing all originals).
PLUNGE – “TIN FISH TANGO” (Various horns, backed by only a bass, doing all originals).
PopMatters: " The album lacks for nothing as far as musical talent, with Hakim’s deft
handiwork on drums, Rachel Z’s rollercoaster waves of piano movements,
and Royce’s rumbling bass lines. They even manage to add flavor to some
of the original compositions with flourishing solos and tempo changes,
as in the Trio’s revisit of “Angry Chair” by Alice in Chains. " "The downside is that the Trio doesn’t always mesh as a single unit. At
times, their collaboration seems more like three soloists playing at
once, each one elbowing the other for coveted space."
Sea of Tranquility (John Neudorf): "The trio produces a full rich sound that will have all jazz fans
reaching for their wallets. This may in fact be my favourite jazz CD
this year and when you look at the players it is not hard to see why." "What makes this album a little different is the choice of songs the trio
chose to tackle. Instead of the usual standards of the past, they have
mostly reworked recent rock and pop compositions, making this a
completely refreshing and rewarding listen. Although I encourage
rock/pop fans to give this a listen, this is still a jazz recording
through and through, albeit a very good one."
AllAboutJazz.com (Jeff Winbush): "The eclectic and restless musical tastes of drummer Omar Hakim and pianist Rachel Nicolazzo (aka Rachel Z) offer some mighty impressive bait to reel them in, The Trio of Oz's repertoire reading like an hour's worth of college radio station programming." "...rendering
their creation of new ways to splice the seemingly contradictory jazz
and rock idioms together into some sort of mutant hybrid—capturing the
fun of the latter without compromising the integrity of the
Some great new added by Joe, including the Marcus Shelby, Lisa Hilton...will be interesting to hear the Marcus Miller and Omar Hakim/Rachel Z things. You can hear a lot of this for the first time on radio weekly on The New Jazz Thing (http://TNJT.com), 6-8 PM PT Thursdays on Jazz 88.3 FM and http://Jazz88.org
NEW THIS WEEK FOR 2/3/11
HERB ALPERT & LANI HALL – “I FEEL YOU” (Mostly vocal album, with a contemporary vibe).
MATIJA DEDIC TRIO – “MD IN NYC” (Piano trio, with a mixed bag of standards and originals, quiet tunes and progressive jams).
PHIL DeGREG – “AMAZONAS” (Nice Brazilian grooves on originals, jazz tunes and standards).
MIKE DiRUBBO – “CHRONOS” (Saxophone-organ trio, with an edgy groove to it, doing all originals).
OMAR HAKIM/RACHEL Z – “THE TRIO OF OZ” (Piano trio, doing jazz versions of tunes by Alice in Chains, Coldplay, Depeche Mode and the like).
LISA HILTON – “UNDERGROUND” (Typically nice release from this pianist, doing all her own compositions).
AMY LONDON – “LET’S FLY” (Female vocalist doing standards and jazz tunes. Nice arrangements).
GENE LUDWIG – “LOVE NOTES OF COLE PORTER” (Great jams on Porter tunes by this organist, who died last year. Various band configurations).
MARCUS MILLER – “A NIGHT IN MONTE CARLO” (Bassist, backed by the Monte Carlo Philharmonic, with a mixed bag of contemporary, straight-ahead and Brazilian tunes).
NEW YORK ELECTRIC PIANO – “KEYS TO THE CITY, VOLS. 1 & 2” (Double disc release of vocals on one, and progressive instrumentals on the two).
MARCUS SHELBY ORCHESTRA – “SOUL OF THE MOVEMENT” (Mostly vocal big band recordings of songs made famous during the Civil Rights Movement).
DENNIS TAYLOR – “STEPPIN’ UP” (Saxophone/organ trio, funky but straight-ahead versions of originals and new standards).
DOUG WEBB – “RENOVATIONS” (Another outstanding, straight-ahead quartet release by this saxophonist, doing all standards).
Looking for feedback on the latest adds to the Jazz 88 KSDS San Diego Music Library. Got something you want to hear? Do you have a story about the artist or the release? What's the impact of this new release?
NEW THIS WEEK FOR 1/20/11
ELLIOTT CAINE SEXTET – “HIPPIE CHICKS ON ACID” (Relatively straight-ahead quintet recording, recorded live, some edgy sax work).
JAKE FRYER/BUD SHANK – “IN GOOD COMPANY” (Bud’s last recording, with fellow alto player. Magnusson, Wofford and Joe LaBarbera in the band).
CHANTALE GAGNE – “WISDOM OF THE WATER” (Pianist, backed by Joe Locke, Peter Washington and Lewis Nash, doing mostly original compositions).
JOEL HARRISON’S STRING CHOIR – “THE MUSIC OF PAUL MOTIAN” (Guitar and strings, doing Motian’s music. Strictly nights-only).
THE JAZZ PROFESSORS – “”LIVE FROM THE U.C.F.-ORLANDO JAZZ FESTIVAL” (Teachers at UCF, some familiar names, doing standards).
JAZZVOX – “IN YOUR OWN BACKYARD” (A variety of singers, some familiar, some not, backed by pianists and guitarists, doing all standards).
JOE LOVANO/US FIVE – “BIRD SONGS” (Saxophonist, in a fairly straight-ahead session, paying tribute to Charlie Parker).
DAVE MILLER TRIO – “RAPTURE” (Piano trio, doing standards and jazz tunes).
MARTY NAU GROUP – “MOOD EBONY” (Clarinetist, playing straight-ahead. Some originals, some standards).
NOAH PREMINGER – “BEFORE THE RAIN” (Saxophone-led quartet, doing originals and standards, in a progressive manner).
MARK WEINSTEIN – “JAZZ BRASIL” (Flutist, doing originals and jazz tunes, with a hint of latin flavor).