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GREG ABATE
Evolution
1201 Music Inc.
By Tom Ineck
With "Evolution," multi-reed
virtuoso Greg Abate breaks the hard-bop mold by
performing an entire set of his own compositions, without
reference to the familiar standards that most jazz musicians
rely on for audience awareness.
That's a bold move for Abate,
but it works simply on the strength of his writing
and arranging and on the musicianship and compatibility
of his colleagues-pianist James Williams, bassist Harvie
S and drummer Billy Hart. This quartet is seamless.
From the opening title track,
the Abate fan is in familiar territory, a hard-bop
anthem that builds with extraordinary intensity,
mainly due to the lead alto and overdubbed tenor sax charging
side-by-side. "Dreaming in Color" is a lovely waltz inspired
by a dream Abate had of a walk in Manhattan on a sunny,
snowy day.
Abate doubles the horns again on
"Kerry's Bossa," with the soprano sax soaring
in the lead voice. Like so many artists, Abate was deeply
moved by the events of Sept. 11. For all those who lost
their lives in the violent events of that fateful day, and
for his recently deceased parents, he penned "Dearly Departed
(September 11)," a tune of inner strength and
resolve.
The flute blends playfully in an
overdub with the lead alto on "Angelic," written
for Abate's daughter, Jessica. The alto saxophonist
returns to hard bop with a vengeance on "Living the-Dash."
The whole band swings soulfully on "K.T. Blues."
Abate's confident playing and
strong writing make "Evolution" a significant entry
in the continuing evolution of hard-bop.
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CHARLES
GATSCHET
Reflections
Barnstorm Productions
By Tom Ineck
Guitarist Charles Gatschet has that rare ability to compose
and arrange tunes with the whole sound in mind.
Certainly, his instrument is an important component in the mix, but the overall
effect has more to do with group voicings and colors than with solo excursions.
Because their contributions are so essential to the success
of "Reflections," let's start by recognizing the sidemen, all with long histories
on the Kansas City jazz scene: Danny Embrey, guitar; Bob Bowman, bass; Joe
Cartwright, piano; Todd Strait, drums; Steve Dekker, trombone; Kim Park,
flute; and Gary Helm, serdu drum. They blend seamlessly on "Little Smiles,"
"Debra Lee" and "Las Sombras."
All 11 compositions are Gatschet originals. They tend to be breezy, relaxing,
take-your-time tunes that invite repeated listening, especially on a lazy
afternoon or an early evening, that time for reflection. "Chumba Dues," however,
is a mid-tempo blues and "Contradiction" is an uptempo bopper. Gatschet also
takes the vocal on "Sorrisinhos."
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SHEILA JORDAN AND CAMERON BROWN
I've Grown Accustomed to the Bass
HighNote Records
By Butch Berman
When I booked the George
Cables Trio for Lincoln's annual Jazz in June this year,
they were a resounding success.
I never guessed it was going to be a double jackpot. Besides the
well-credentialed George Cables
and Victor, I got to meet
Cameron Brown.
From the Betty Carter "school"
to great moments with Don Pullen and George Adams,
among others, Cameron is a major player. Then, when
he handed me his latest release with renowned vocalist
Sheila Jordan, I was impressed.
Sheila Jordan's recording career
showcases great work with former bass partner
Harvie S, stints with Steve Kuhn's quartet and
her memorable duos with Mark Murphy. This CD, recorded live
in Belgium about five years ago, was her first duo gig
with a bass, but what a treat. Thus, a musical marriage
made in jazz heaven.
You're only hearing two voices,
but it might as well be a symphony, as they tease
and probe and edge each other to sheer magic. I was
so entertained by their brilliant effort that I'm
now attempting to negotiate a gig with them early
next year.
Their chops were way up that
super night, even if you only dig full jazz
ensembles. These two express total virtuosity in their
jazz improvisations. If you truly love jazz for what it
stands for, you must add this to your collection.
"Dat Dere," Irene Kral's famed
chestnut, "Better Than Anything," as well as their
incredible ability to stretch out on "Sheila's Blues"
got me off the most. There are no throwaway tracks on this
clever, sparkling and honest work. Bravo!
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THE SCAMPS 
Timeless
Music For Marillac Productions
By Butch Berman
If the
Scamps had been able to release their newest CD,
"Timeless," when it was recorded nearly 20 years, the
title might have been different.
However, the listening audience's reaction would have been
the same, and that would be, This shit is great, man! "Timeless" might have
been the original title, cuz it certainly fits these multitalented cats'
resumes.
These K.C. stalwarts formed around leader-singer Earl Robinson in the mid-40s
and still rock steady for their longtime fans to this day, putting their
unique, jazzy stamp on the material, well-chosen and crafted arrangements
of our American standards, telling their tales of love found, love lost,
and life in general, interwoven by that swinging, bluesy Scamps signature
sound.
Now, thanks to K.C.'s purveyor of the arts, Steve Irwin, and his association
with Marillac Center for Children, a wonderful nonprofit health-care center,
"Timeless" is finally available for us all, with the proceeds going to Marillac,
while the CD, like a revered, treasured book, will live forever.
Hey, good cause or not, on its own merit this gem cooks and warms your heart
at the same time. It's a must for any music lover who digs Nat 'King' Cole,
the Mills Brothers, da blues or good ole rock 'n' roll. "Timeless" covers
all bases for all ages.
If you can make it to Missouri some day, catch Lucky Wesley, Art Jackson,
Rusty Tucker, Earl Robinson and Rudy Massengale (original pianist Cootie
Dye passed in the late '70s) in some joint or another. You can't visit Kansas
City without tasting the famed barbecue and soakin' up that Scamps experience.
Nearly 400 years of combined musical magic can't go wrong.
To buy the CD, call Marillac Center at (816) 508-3311 or order it through
their website at http://www.marillac.org
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ANTIBALAS
Talkatif
Ninja Tune
By Carter Van Pelt
If you're not familiar with the work and legacy of the late Nigerian icon
Fela Anikulapo-Kuti and his Afrika 70 ensemble, the music of Antibalas might
come across as an Africanized combination of Santana and James Brown.
Antibalas' primary inspiration is Fela, and the group rightly considers itself
an afrobeat orchestra. Afrobeat was Fela's neo-African invention that combined
dense West African polyrhythms, Afro-Latin jazz, American funk and black
power politics.
Antibalas' second studio album, "Talkatif," was released in March, and the
first question to be answered was whether the group's identity would develop
from its afrobeat revival debut, "Liberation Afrobeat."
"Talkatif" substantiates the argument that Antibalas can embrace
Fela as a primary inspiration without pandering to nostalgia. Yeah, there's
a little harmless pandering to Fela here and there (the deliberately rough-edged
squawks on the sax that Fela loved), but to characterize Antibalas as strictly
derivative would be patently ignorant, considering the group's sizable body
of original compositions.
"Talkatif" begins with the beautifully concise and relatively mellow opening
statement of "Gabe's New Joint," which makes an appropriate introduction
with the horns sounding the group's confident arrival. The title track follows
and wastes no time before unleashing with all the tornadic bombast of Afrika
70. "Talkatif" and "Nyash" show that Antibalas has mastered the relentless
type of groove that Fela orchestrated in pieces like "Opposite People" and
"Zombie" but with a more precise, tighter horn section.
Both of these tracks showcase keyboardist Victor Axelrod's
skills as a soloist, revealing a strong Fela influence. Both also feature
vocals by Nigerian-born percussionist/singer Duke Amayo-the album's other
five tracks are instrumentals.
A brilliant middle section highlights "Talkatif," beginning with the deftly
percussive "Hypocrite." The initial measures feature an intricate, tasty
rhythm by drummer Phil Ballman, and then the attention turns to trumpeter
Jordan McClean, who masters the central solo with every bit the finesse of
Afrika 70's Tunde Williams.
"World Without Fear" and the utterly brilliant "War Is A Crime"
follow, making a case as to this album's superlative status. The latter track
exposes two more keys to Antibalas' identity: Del Stribling's brilliant,
octave-hopping bass lines and Victor "Ticklah" Axelrod's clever and distinctive
keyboard melodies.
Aaron Johnson's trombone solo on "War Is a Crime" provides another musical
lift. The arrangement features a conversation between the brass and woodwinds
that is worth repeated listening. The appropriate use of stereo punctuates
the call and response, which climaxes perfectly. Group co-founder Martin
Perna also deserves credit as co-author of these three tracks, and he takes
some great solos on baritone sax.
Percussionist Phil Ballman, who plays trap drums behind six of the album's
seven cuts, has in many ways the biggest shoes to fill for an ostensibly
afrobeat ensemble. Tony Allen not only defined the territory in Fela's Afrika
70, he co-created the afrobeat style itself. Ballman, and percussionist Dylan
Fusillo, who plays trap drums on "Talkatif," rise to the challenge in every
aspect throughout this release.
"Talkatif" closes with a curious, percussion-driven tune called
"N.E.S.T.A 75," a play on the manner in which Fela named his songs (more
harmless pandering), in this case "never ever submit to authority." The track's
only horn part (and only instrumental component other than bass guitar) is
a melancholy Perna sax solo that takes the album down into the sunset.
In general, the whole album is a giant step forward for the group in terms
of concept and content-from logical track sequencing to a great album package.
Ghariokwu Lemi's cover art-Lemi did most of Fela's album covers-expressively
depicts the album's contents, and Pat Hamou's design embraces the group's
strong connection to Brooklyn.
On the whole, "Talkatif," when considered as a complete artistic statement,
actually speeds past a sizable portion of Fela's work. Keeping in mind that
Fela wasn't an album-maker in the traditional sense-his releases often featured
only one or two songs, which is almost a different paradigm of music presentation.
With "Talkatif," Antibalas has put forth a work that, alongside Femi Kuti's
"Shoki Shoki" and Tony Allen's "Black Voices," is a benchmark not only for
the modern revival of the genre but the whole history of afrobeat.
At the time of this writing, Antibalas' fall tour is being
arranged and a date in Lincoln has been tentatively set for Oct. 15.
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THE JAMES COTTON
BLUES BAND
35th
Anniversary Jam
Telarc Records
By Rich Hoover
There's a party goin' on in here!!!
A dozen tunes, 10 penned by Mr. Cotton over the years, pour out for almost
an hour. It's a tribute to the 35 years since James Cotton left the Muddy
Waters band to try to make it on his own, and he has been playin' and travelin'
ever since.
He first came onto the blues scene in the early 50's thru Memphis. He was
a Sam Phillips (Sun Records) artist when, in 55, he was asked to take the
harmonica seat in Muddy Waters band, he played with Muddy for 10 years.
In 66 he signed with Buddha records and formed the James Cotton Band and
he has been a top-tier player ever since.
This CD is jam-packed with guest artists playing and showing their appreciation
for the impact Mr. Cotton has had on them and the blues genre. The regular
band members include Mike Williams, guitar; Dave Maxwell, piano; Noel Neal,
bass; and Per Hansen, drums.
The guest list includes Kenny Neal, Koko Taylor, Bobby Rush, Shemekia Copeland,
Syl Johnson, Maria Muldaur, and Ronnie Hawkins on vocals; Lucky Peterson
and Kim Wilson on vocals and guitars; and Jimmie Vaughan, Tab Benoit, G.E.
Smith and Derek O'Brien on guitars.
If you can't tell how much fun this CD might be, think again. It'll come
to ya.
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THE VOLKER STRIFLER BAND 
The
Volker Strifler Band
Bluerockit Records
By Rich Hoover
Bluesy, jazzy sounds surrounding smooth contemporary lyrics
are what Volker Strifler is offering as he steps up to the front lines of
the blues. The trio includes Claus Bubik on bass and vocal on one tune and
Stefan Bollack on drums.
Special guests include a nice B3 organ sound from Tony Lufrano, David Shrader
on sax and Garth Webber, percussion.
A native of Germany, Volker got into the blues and guitar as a child. His
interest and abilities got him to the United States, where he settled in
northern California under the tutelage of Lowell Fulson, Robben Ford and
Chris Cain.
Volker has played, recorded and toured with Robben Ford and the Ford Blues
Band, Chris Cain, Michael Osborn, and is the front guest artist with Bluezone
on their "Full Moon" CD.
Volker tastefully penned 11 of the 13 tunes here. Some come from the agony,
others from the love of the blues, some are tough and raw, others syrupy
sweet. The guy's got talent and is a pleasure to hear. I want to see his
show as soon as possible.
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BILL CARROTHERS
After Hours
Go Jazz Records
By Tom Ineck
This piano trio recording by Bill Carrothers was released
on the tiny Go Jazz label in 1998, but it was unknown to me until I recently
visited Carrothers' website. Thinking this collection of ballad standards
would be ideal for my weekly radio program "NightTown," I immediately ordered
it.
I have been fascinated by Carrothers' playing since the Berman Music Foundation
brought him to Lincoln in April 1998 as part of A Band in All Hope, a trio
also featuring Anton Denner on saxophone and Bill Stewart on drums. That
performance at Westbrook Auditorium was a revelation, largely because of
Carrothers' unusual technique and utterly unique sense of melody and time.
I also share his love of Civil War-era folk music and frequently listen to
his solo piano recording "The Blues and the Grays."
"After Hours" is similar to that release in the pianist's use of shifting,
otherworldly harmonies and a free rhythmic sense. With sympathetic partners
Billy Peterson on bass and Kenny Horst on drums, Carrothers paints these
well-known tunes in broad impressionist sweeps, hinting at the true melody,
then delving into the darker recesses of harmony and meter.
The tempos are sometimes painfully slow. On sad songs of lost love, like
"In the Wee Small Hours," "It's So Easy to Remember" and "Young and Foolish,"
the dirge-like tempos and wistful meandering of the melody seem intensely
melancholic, even suicidal. Indeed, the overwhelming despair of "Chelsea
Bridge" is enough to precipitate a leap into the nearest river. Perhaps that's
what makes Carrothers' playing so enthralling is his interpretations reveal
the immense sadness at life's core.
Even the somewhat more "upbeat" tunes here, such as "On Green Dolphin Street"
and "My Heart Belongs to Daddy," can transport the listener to an uneasy
state of mind. By their quirky moods and dark harmonies, we know for certain
that we are not in the safe, predictable hands of a George Shearing or a
Diana Krall.
As much as I love this stuff, I'm afraid that if I play it on NightTown "that
nocturnal refuge for the romantic heart" - I may have to open a counseling
hotline to handle all the calls from depressed listeners.
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MINGUS BIG BAND
Tonight At Noon
Dreyfus
Jazz
By Tom Ineck
The latest from the Mingus Big Band may be the best yet. A
loose collection of Mingus "love" songs, it also introduces the Charles Mingus
Orchestra on four of the 10 tracks. The variant is an 11-piece ensemble that
includes French horn, bassoon, bass clarinet and guitar.
"Love is a Dangerous Necessity" is not a love ballad by any stretch of the
imagination. Containing typically dense Mingus voicings, it moves along quickly
with a dramatic, leaping urgency. The orchestra makes its entrance on "Noon
Night," a gorgeous ballad arranged by the great Gunther Schuller with a lovely
tenor sax solo by Seamus Blake.
Sy Johnson's arrangement of the uptempo "Tonight at Noon" gets the full orchestral
treatment, including a solo trumpet statement by Alex Sipiagin and a blazing
alto sax solo by Alex Foster. Adam Rogers, on acoustic guitar, leads the
orchestra into a shimmering rendition of "Eclipse" complete with an exotic-sounding
bassoon solo by Michael Rabinowitz.
The final orchestral piece is "Invisible Lady," adapted by
Mike Mossman and featuring lyrics and vocals by the ubiquitous pop singer
Elvis Costello - apparently on loan from Burt Bacharach.
The lyrics read like a cheap crime novel, and sometimes those are the best:
"His body bobbed blue in the cold morning lake; admitting he knew you was
his first mistake; his chilly fixed eyes; indicated no blame; despite what
they say; no reflection remained."
The big band returns with a vengeance on the nine-minute "Passions
of a Woman Loved," with Vincent Herring on alto and soprano saxes, Sipiagin
on trumpet, Conrad Herwig on trombone and David Kikoski on piano. Ballad
romance returns with "Sweet Sucker Dance," again featuring Seamus Blake on
tenor sax. On the notorious "Devil Woman," Frank Lacy lays down a mean blues
shout to introduce the classic Mingus tune.
The grand finale is Sy Johnson's arrangement of "Black Saint and the Sinner
Lady," a classic Mingus-style exploration of love and hate, good and evil,
that extends to nearly 17 minutes.
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DON LANPHERE AND
NEW STORIES
Home
at Last
Origin
By Butch Berman
One of my fave jazz trios is Seattle's New Stories, and one
of my fave sax players is Don Lamphere, who lives in Kirkland, Wash., Seattle's
over-the-bridge neighbor.
When these four get together to play, they are ready to SAY SOMETHING. The
new Origin CD "Home at Last" is another excellent choice for any true jazz
lover of the bebop era to embrace and add to his or her record collection.
"Home at Last" simply smolders and soothes all at the same time, with an
undeniable groove that you won't get enough of. "The Night Has a Thousand
Eyes" opens with a bang, swinging mightily. The ever-crackerjack rhythm section
with Doug Miller on bass and John Bishop on drums carefully follow piano
man Marc Seales' mischievous, yet wistful keyboard stylings, letting go as
everyone gets to stretch. Then the magical horn of Don Lanphere comes in,
and you're done for.
Despite his deep Christian convictions, this cat's soul has seen hell and
his music breathes both fire and ice. Don's longtime relationship with his
lovely wife, Midge, is known throughout, yet I'm sure he's felt great sadness
and loneliness somewhere down his long, fascinating journey. His mournful
tone on the ballads chosen for this CD demonstrates such.
A true master of the fine art of playing the sax, we're all trying to get
"home at last." Don's music is already there, and possessing this little
gem just makes the whole process a damn lot more enjoyable.
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THE HOT CLUB OF
SAN FRANCISCO
Claire
de Lune
By Butch Berman
Paul Mehling is a smart man. Not only is he hip enough to
recognize the importance of the music of Django Reinhardt, but to continually
present it in such an entertaining way for a decade. Then, of course, he
has to instill his passion for this incredible gypsy music to the ever-revolving
array of musicians to help him carry this flaming torch.
I've never heard or seen the same quintet twice, nor have I ever been disappointed
or felt something or somebody was missing. The only key ingredient always
needed is Paul's grinning face, flying fingers and beautiful voice.
No exception, naturally, is the group assembled here for this 2000 live recording
date entitled "Claire de Lune," recorded at Filoli Gardens in Woodside, Calif.
Every addition to the quintet catalog is a separate work of art, crafted
and presented elegantly, yet with a slightly dry, sly humor festering beneath
the surface to mask the always so cool and collected demeanor.
These cats are a trip, and this new CD simmers and smokes.
On this August 2000 date, rhythm guitarist Michael Groh remains since 1995,
while violinist Evan Price also works with the Turtle Island Quintet. Second
guitarist Dave Ricketts and bassist Joe Kyle join Paul to round out this
talented homage to gypsy-swing.
A well balanced mix of old chestnuts, i.e. "All of Me," as well as original
Mehling tunes, stand up richly alongside vintage Reinhardt-Grappelli and
other selections.
The Hot Club of San Francisco is a fantastic group to catch live, and Claire
de Lune is the next best thing to being there. Be at Jazz in June on June
18 for the quintet's first appearance in Lincoln since the BMF brought the
band to the Zoo Bar in 1995.
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OMAR AND THE HOWLERS
Big
Delta
Blind Pig Records
By Rich Hoover
The the Delta theme is runnin' big right now, and the big
voice and guitar of Omar (aka Kent Dykes), is runnin' with the leaders.
Omar teamed with Malcolm "Papa Mali" Welbourne on guitars,
electric sitar, dobro, Roscoe Beck on bass, and B.E. "Frosty" Smith and Terry
Bozzio on drums. These guys are power romping thru the styles and feelings
of the Delta sound.
"Big Delta" contains a dozen tunes, 11 penned by Omar, including "Caveman
Rock," with a lyric advisory for using the dreaded MF term more than once.
"Bad Seed" is unique instrumentally with the electric sitar, which definitely
fits in the blues sound.
"Linin' Track" is a traditional tune with new power arrangements by Omar.
There are songs of voodoo ingredients, walking where one shouldn't, not telling
what you think you saw, dealin' with the devil and, of course, dealing with
the other half of the world.
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THE GROOVE HOGS
Wrong Side of the
Street
Trawf Records
By Rich Hoover
This is big-sound blues/soul. Nine of the 11 tunes were written
by band members. It's a modern-day, 10-member, blue-eyed soul band with everything
a good party needs. These guys put out their own production and are working
out of Manitowoc, Wis. I gotta' love these hard workin' regional bands because
they put out a lot for a little.
The boys in the band are Ron Hanson, vocals, harmonica; Pat Kiel, guitars;
John Laws, basses; Brian Gruselle, Hammond organ, piano, vocals; John Stelzer,
drums; Patrick Phalen, trumpet; Chris Anderson, alto sax, trumpet; Steve
Cooper, tenor sax, vocals; Tom Vanden Avond, trombone; and Adam Plamann,
baritone sax.
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RUSS LONG TRIO
Never
Let Me Go
Passit Productions
By Tom Ineck
It's hard to imagine a more satisfying blend of attributes
than those on "Never Let Me Go," the generous 16-track release by Kansas
City stalwarts Russ Long on piano, Gerald Spaits on bass and Ray DeMarchi
on drums, the same veteran trio that will grace the stage of P.O. Pears Feb.
28 in Lincoln.
If the trio's performance Dec. 4 at the Phoenix Bar and Grill in Kansas City
is any indication and it is listeners are in for a treat. But whether or
not you make it to the Lincoln gig, give this CD a listen.
Long, Spaits and DeMarchi have a swinging, clockwork compatibility, and Long
is gifted with a sure sense of dynamics in his playing and in his programming.
This CD is a good example, progressing from the too-rarely-heard Rodgers
and Hammerstein tune "We Kiss In a Shadow" to the bluesy Long original "Can
City," a slangy contraction of his home town name. Long applies is warm,
relaxed and supple voice to his own masterpiece, "Save That Time," which
already has been covered by Karrin Allyson, Kevin Mahogany and Joe Williams.
He returns to the blues on "It Was a Dream," a quirky tune that betrays Long's
Southern twang. "Fascinatin' Rhythm" moves things uptempo, where all three
musicians are confident and comfortable.
Long sings the title track with heartfelt emotion and a whiskey tone, then
returns to the Gershwin songbook for a Gerald Spaits feature on "The Man
I Love."
Long breezily vocalizes again on Cole Porter's "All of You," playfully playing
a unison passage that matches his voice to the piano. "Bebedo," a Long original,
has an odd, Monkish quality in its construction. "Whatever Happened to You"
is another wonderful choice for Long's casual vocal approach and wit. "Meatloaf"
is another knockoff of the "I Got Rhythm" changes, one that Long penned back
in 1959.
"Wildest Gal in Town" is another highlight, a story-song lovingly told by
Long on piano and vocal. "Surrey With the Fringe on Top" gallops along with
joyous abandon, resting only for an inventive bass solo by Spaits and a lesson
in percussion from DeMarchi.
"Opus in Chartreuse" is an elegant instrumental, followed by the greasy blues
of "Kidney Stew." The slow, bluesy "Anytime, Anyplace, Anywhere" is the perfect
nightcap to a perfect set of tunes.
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DOUG TALLEY
QUARTET
Kansas City Suite
Serpentine Records
By Tom Ineck
On their ambitious new project, Kansas City saxophonist Doug
Talley and band mates Wayne Hawkins on piano, Tim Brewer on bass and Keith
Kavanaugh on drums take the listener on an historic tour of the Midwest "City
of Fountains."
Recorded live last year at Valley View United Methodist Church in Overland
Park, Kan., Kansas City Suite captures this original music in the immediacy
of the moment, complete with appreciative applause from the audience.
Kansas City, of course, had a profound influence on jazz history. Under the
control of corrupt mayor and political boss Tom Pendergast, it was one of
the original hotbeds of swing music throughout the 1920s and 1930s. Talley
primarily pays tribute to that fabulous era and some of its most prominent
artists.
Kansas City Suite begins with a geography lesson called "1600 E. 18th St.,"
where the Blue Room jazz club now occupies the famous corner of 18th and
Vine. Talley bops along on alto sax in the style of Charlie "Bird" Parker,
who got his start as a teenager playing in the area's clubs.
"City of Fountains" has a more pastoral mood, like a stroll through
one of Kansas City's many parks on a warm, sunny afternoon. Hawkins delivers
a soul-stirring piano solo. The beautiful ballad "The Sleeping Child" refers
to one of the many sculptures in the Country Club Plaza, while the frantic-paced
"The Buck Stops Here," refers to the famous pledge by Harry S. Truman, a
native Missourian still revered in Kansas City.
Along the way we also taste the city's legendary barbecue on "Stockyard Blues
(KC Strip)" and stop into another imaginary club of long ago to listen to
"Basie and Prez." We view controversial artworks at Bartle Hall on "Sky Stations"
and at the Nelson-Atkins Gallery of Art on "Shuttlecocks (Badminton, Anyone?)."
We visit the illuminated Country Club area during the Christmas holiday for
"Plaza Lights (Plaza Nights)."
Finally, with "Pendergast," we are reminded again of how the city became
a mecca for jazz. Talley, Hawkins, Brewer and Kavanaugh work well together.
They also are superb tour guides, making Kansas City Suite a pleasant outing.
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GEORGE
CABLES
Shared
Secrets
MuseFX Records
By Tom Ineck
Pianist George Cables himself is a Shared Secret, of sorts.
Too infrequently recorded on a major label, Cables is a master musician and
composer deserving of much wider recognition. In the 1990s, he recorded primarily
for SteepleChase Records, a Swedish label with erratic distribution in the
United States. This 10-track, hour-long collection of Cables originals does
a lot to correct the lack of domestically released recorded material.
"Shared Secrets" is an sprightly and funky fusion project with a world-class
ensemble featuring Bennie Maupin on bass clarinet, Ralf Rickert on trumpet,
Gary Bartz and Larry Klimas on saxophones and flute, Abraham Laboriel and
Alphonso Johnson bass, Peter Erskine and Vinnie Coliauta on drums and Luis
Conte and Pat Murphy on percussion. In these capable hands, the playing is
never less than accomplished and the improvised passages are always imaginative.
Cables recorded several of these tunes during his tenure with SteepleChase,
including "Blackfoot," "Beyond Forever," "Phantom of the City" and "Why Not?"
Infectious Latin rhythms assert their magic spell on "5 Will Get Ya 10" and
"S.F.C.B."
The only tune not composed by Cables is the closer, the traditional spiritual
"Go Down Moses," here given a funky rendition with Cables on acoustic and
electric piano and emulator synthesizer. Gary Bartz plays the soulful lead
on alto sax.
To my ears, Cables is best appreciated in a trio setting where the listener
can bask in the full heat and glory of his piano playing. I recommend "By
George," a 1987 tribute to the music of George Gershwin with bassist John
Heard and drummer Ralph Penland.
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BOB KINDRED WITH
LARRY WILLIS
Gentle
Giant of the Tenor Sax
Maple Shade
By Butch Berman
Considering deadlines, etc., I pretty much had my current
faves to present to you all, when in the mail today came "Gentle Giant of
the Tenor Sax" by Bob Kindred with Larry Willis.
Just the vague thought of these two musical monsters collaborating on a project
gave me premature chills and goose bumps. Two of the heaviest, deepest cats
in the biz, whose chops and soulfulness combine to produce jazz so sublime
and rich with a gritty tenderness that transcends you, the listener, into
grooveland.
Mapleshade has a lot to be proud of in this new release. Kindred
whose lush lyrical style and eclectic choice of material all come off with
pizzazz. I've seen Bob's extremely lurid rendition of Billy Strayhorn's "Blood
Count" practically bring the audience to its knees with his mournful, exquisite
tone and delivery.
Willis, a master of many jazz forms, accompanies Kindred like they have been
playing together since childhood. Tight, playful, and seductive. I'll be
listening to this for a few days before returning it to my collection. Each
repeated spin takes me to different places. A truly moving experience.
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STAN
KESSLER
Jazz
Meets Chant: Jazz Adaptations of Gregorian Chants
Standing Bear
By Butch
Berman
Dig this only in my slightly wacky and jazzy world could an
old Jewish hippie like myself review another Hebrew brother (in a Renaissance
man sort of way) on recording a CD of the jazz interpretations of Gregorian
Chants, yet the last time I saw this cat blow his magnificent horn he was
wearing a straw hat and playing Dixieland for the Topeka Jazz Festival breakfast
crowd. Yes enter the world of Mr. Stan Kessler and marvel as I did of his
new Standing Bear release, "Jazz Meets Chant, Jazz Adaptations of Gregorian
Chants."
I first met Stan when with reed phenom Kim Parks was added to Karrin Allyson's
spiffy homeboy all-star band to perform at the now defunct Huey's. His on
the money techniques and superb frontline work with Parks tore me up. His
expertise and brilliance on this new work of art further emphasizes the point.
This sacred work, commissioned by John Winkles who also chose the singers
along with the perfect acoustic yet inspirational venue The Cathedral of
the Immaculate Conception laid down a potentially impenetrable obstacle for
Stan, who completed this project with perfection when recorded in September
of '99.
Backed by KC's top notch vets consisting of tenor man Doug Talley, keyboardist
Wayne Hawkins, first call drummer Todd Strait, and a bass player new to me
Bill McKerny Kessler came to the forefront and delivered a variety of jazz
melodies and time signatures to augment an amazing interwoven musical quilt
of the original chants. Then, this talented band's clever jazzy takes on
each occasionally light hearted, but always reverent solidified it all.
The "Dies Irae (Shuffle)" showcases the rhythm section's bluesy abilities
that equal any current blues band on the scene. Soloists Kessler, Talley
and Hawkins soar to great heights throughout this entire CD.
A major accomplishment done first class all the way. "Jazz Meets Chant" =
another successful creative outing for the boys, and another great CD for
your collection. I'll pray for you to grab this gem.
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ANTHONY WILSON TRIO
Our
Gang
Groove Note Records
By Bill Wimmer
Anthony Wilson's latest release, "Our Gang," focuses this
fine guitarist's playing talents with a dynamite organ trio on one of the
biggest surprise releases of the last year.
Wilson is best known for his excellent Nonet records that featured a range
of great soloists and Wilson's fine writing and arranging more than his guitar
playing. He steps out on this one and helps redefine the possibilities of
the organ trio with Joe Bagg on Hammond B-3 and drummer Mark Ferber, both
of which appeared on Wilson's last larger ensemble recording. To be honest,
I begged Butch Berman to listen to and let me review this one, and he liked
it more and more as each new number played and quickly approved of my wish.
Ferber, who's studied with Billy Higgins, has a lot of freedom and the ability
to swing really hard without ever overplaying. "Road Trip," a Bagg original
has funky overtones that shift from blues to a climbing, arching bridge that
seems to imply the stress of that road journey.
Wilson opens up "Luck Be A Lady" alone with a pretty statement that segues
into a lively 3/4 version of this old Broadway warhorse. With all of its
changes and one section arranged in straight ahead swing, this one would
do Frank Sinatra proud (he sang it in the movie).
This one really sneaks up on you from the start with the title track intro,
with some of the most subtle use of the organ I've ever encountered.
"Our Gang" is an intriguing melody with a logical hook that will stay with
you for a long time. Bagg and Ferber lay down the light Latin beat and react
to every nuance of the song and to each other. Bagg gets a particularly warm
sound on this one and solos with great taste, able to pop off the occasional
hot lick, but more likely to pull juicy, choice notes that are plucked out
of the air and an uncanny use of space.
"Chitlin's Con Carne" is an old Kenny Burrell blues tune that lets every
member of the group lay into a funky groove. This track also focuses attention
on the clarity and presence of this recording itself, which employs the Sony
Direct Stream Digital System. When Ferber plays it heavy with his insistent
snare rhythm you begin to feel like you're sitting right next to that snare
drum, and after a while you might feel almost like you're inside the snare
drum. The whole record sounds incredible thanks to engineer Michael C. Ross.
"Britta's Blues" is a slow, loping blues waltz and the next tune, "Time Flies,"
shows these guys really can fly when they choose.
"I Want You (She's So Heavy") is yes, the same song from The Beatles' Abbey
Road, is given a new sense of urgency and swing from the trio's virtuosity.
The guitar and organ play hot and cool off of each other and the trio's heightened
sense of dynamics again come into play. A beautiful reading of Ellington's
"Prelude To A Kiss" follows. Wilson's singing tone, Bagg's sensitive support
and Ferber's deft brushwork all keep this one another keeper.
I would highly recommend this record to anyone who likes jazz organ.
I think it stands strong enough on its own merit for anyone who enjoys nice,
swinging jazz and I think it is one of the best sounding recordings I've
bought in a long time. Just be forewarned, because this band is not out of
the Jimmy Smith or the funky school of organ groups he's spawned over the
years. These guys are capable of a lot more diverse and subtle colors more
in the Larry Goldings or Sam Yahel mode, and I think you will enjoy the change
of pace. This record bears repeated listening and will please with its surprises,
and it is a job well done on the music and in the recording booth.
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THE BEAT DADDYS
Delta
Vision
Waldoxy Records
By Rich Hoover
The beat daddys continue to keep it up for southern blues/rock
fans. This latest release covers the Delta styles from folksy to sweet ballads,
swing, jump, R&B, and raucous rock.
A dozen of the 13 tunes are written by Larry Grisham, the vocalist and harmonica
player of the band, and his lyrics are top notch and cover as wide a range
as the musical arrangements.
There are a couple of guest artists as well; Bob Greenlee plays bass and
acoustic guitar on a tune from his own pen titled "Ten Pounds of Love," which
has bluesman, Sonny Rhodes doin' the vocals.
The rest of the boys in the band are: Britt Meacham, guitars, percussion;
Johnny Neel, keyboards, percussion; Ronnie "Byrd" Foster, drums. From checking
out the beat daddy's web page, I find that these are growing middle-age musician
/ friends who enjoy what they are doing and want to do some more. Watch for
them in your area.
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JOE "GUITAR" HUGHES
Stuff
Like That
Blues Express Inc.
By Rich Hoover
There's some great Texas blues on this live performance by
Joe "Guitar" Hughes recorded in San Francisco. There are well placed horns
scattered throughout the CD with the occasional horn lead, and the remainder
of the band are all excellent musicians with solid rhythm tempos, impeccable
placement of accents including inspirational lifts from each and every one.
However, there is no doubt that Joe Hughes is the bluesman at the front of
the group. His last 50 years in the blues biz internationally have allowed
Hughes to become the master of the blues show. He became so popular he had
to stay closer to home to be with his wife and three kids.
He originally worked in several regional bands to the great enjoyment of
all those south Texas fans. In the mid-'80s Joe went back on tour and has
since made eight recordings and two documentaries, one about Joe and Pete
Mayes entitled "Battle of the Guitars" and another about the hot entertainment
area of Houston that Joe was influential in creating titled "Third Ward Blues."
There are 11 tunes, all written by Hughes, and an interview with him on the
CD. The band members are: Bobby Murray, guitar; Leonard Gill, bass; Tim Brockett,
organ; Dave Mathews, keyboards; Tony Coleman, drums; George Brooks, saxophone;
Mic Gillette, trombone; and, Marvin McFadden, trumpet.
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NANCY MARSHALL
Nancy Marshall Sings
Lincoln singer Nancy Marshall
performs in a variety of settings around town, including her work with the
a cappella vocal trio Baby Need Shoes. Most frequently, however, you can
catch her during Sunday evening appearances with guitarist Steve Hanson at
The Oven restaurant.
"Nancy Marshall Sings" is a new collection of 11 familiar standards performed
in the intimate style of those Oven gigs.
Hanson produced the CD and appears on seven tracks, including the Marshall
favorites "Makin' Whoopee," "Save the Bones for Henry Jones," "Fine and Mellow"
and "Frim Fram Sauce." Lincoln pianist Tom Larson sits in on three selections,
contributing solo piano work on "Blame it On My Youth" and "My Romance."
Most impressive is the duo of guitarist Gene Bertoncini and bassist Rusty
White accompanying Marshall on two seasonal tunes, "Spring Can Really Hang
You Up the Most "and "You Must Believe in Spring."
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