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 2005
 CD Reviews

BOB RODRIGUEZ"Corridor" by Bob Rodriguez

Corridor

CreOp Muse

 

By Tom Ineck

 

Add another name to those distinguished jazz pianists who follow—with respect and admiration—in the stylistic footsteps of Bill Evans. With “Corridor,” Bob Rodriguez takes his place among such great lyrical keyboard artists as Keith Jarrett, Richie Beirach, Fred Hersch and Brad Mehldau.

 

Like those who came before, Rodriguez seems most comfortable in the trio setting, here receiving outstanding support and collaboration from the duo of bassist Mike Richmond and drummer Eliot Zigmund.

 

The pianist’s prodigious interpretative powers are most evident on the trio’s covers—including Ellington’s “Prelude to a Kiss,” Coltrane’s “Naima” and Rodgers and Hart’s “Spring Is Here.” He artfully re-imagines “Prelude,” melodically, harmonically and rhythmically. The listener recognizes the departure from convention, but is drawn irresistibly along by the pianist’s sense of adventure. In its elegiac introspection, Fritz Kreisler’s “Liebesleid (Love’s Sorrow)” is a perfect fit with the others.

 

Rodriguez also proves himself an accomplished composer. The luxurious title track evolves for more than nine minutes. After threatening to deconstruct early on, it eventually arises like a triumphant Phoenix from the ashes. Like the creative process that it describes, “Inside” provides a vehicle for trio members to dig deep “inside” the lovely chord changes for all the harmonic and melodic potential. “It’s Not That Dark” begins with a classical interlude that—indeed—seems dark and foreboding, but the mood brightens somewhat as the tension is resolved. “Within the Line” comes as close to going uptempo as anything here.

 

Richmond employs a resonant, singing tone much like Jarrett’s longtime bassist, Gary Peacock, and harking back to Evans sidemen Eddie Gomez and Scott LaFaro. Zigmund is the epitome of taste, with skillful brushwork, a measured gait, and only occasional, well-placed flourishes on cymbals.

 

The entire disc is subdued, as though by thematic design. Some may object to its total absence of straight-ahead, up-tempo swingers, but given a chance, this late-night listening experience is extremely rewarding.

 


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ROBERT WALTER"Super Heavy Organ" by Robert Walter

Super Heavy Organ

Magnatude Records

 

By Tom Ineck

 

“Super Heavy Organ” has seen super-heavy rotation in my CD players over the last couple of months, both at home and cruising around town. Hammond B-3 powerhouse Robert Walter creates some serious groove music, suitable for any occasion.

 

The result also reemphasizes the elemental soul inherent in the historic New Orleans music scene. Although Walter is a recent transplant from the West Coast, the solid rhythmic foundation is laid by Crescent City veterans James Singleton on bass and Johnny Vidacovich, both of whom are members of the great band Astral Project. Also adding to the general funk atmosphere are drummer Stanton Moore of the funk-groove band Galactic and tenor saxophonist Tim Green. Vocalist Anthony Farrell adds his unique flavor on three tracks.

 

Of course, it is Walter’s inspired playing on assorted keyboards—organ, piano, clavinet and melodica—that binds these elements together on imaginative, original tunes like “Adelita,” “Kickin’ Up Dust,” “El Cuervo,” and “Cabrillo.” The irresistible drive of “Criminals Have a Name for It” is aided and abetted by syncopated hand-clapping from start to finish. The quirky “34 Small” pairs the organ and sax on the melody line, accompanied by Vidacovich’s rattlesnake brushwork and Singleton’s loping, sinister bass.

 

“Don’t Hate, Congratulate” is music with a message, but it hasn’t lost its funky essence in the process. Moore’s crackling drums are the key to “Big Dummy,” setting the stage for Walter’s B-3 explorations and Green’s stratospheric wails.

 

At times, Walter pushes the B-3 to its sonic limit, producing a monster sound that enters the rock realm, especially on the cover of Jimmy Page and Robert Plant’s composition “Poor Tom,” the only tune not written by the organist. “Hardware” also comes on like a distant cousin of Led Zep’s “Kashmir,” punctuated by Vidacovich’s signature street beat and Singleton’s booming slurs.

 

Chased out of the Big Easy by Hurricane Katrina a few months ago, Walter and company will undoubtedly get back on their feet and continue to turn out great music. It is hard to imagine them creating this feel anywhere but New Orleans.

 


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MARK SHERMAN"One Step Closer" by Mark Sherman

One Step Closer

Consolidated Artists Productions

 

By Tom Ineck

 

Much of the music of vibraphonist Mark Sherman is hard-edged East Coast bop—with a difference. Sherman’s playing on vibes and marimba softens and warms the effect, creating a delightful contrast in dynamics, perhaps an essential sense of balance that he learned during his six-year stint with singer Peggy Lee.

 

Among Sherman’s outstanding fellow travelers on “One Step Closer” are Joe Lovano, whose powerful blowing on tenor sax enlivens three of the 10 tracks, trumpeter Joe Magnarelli, pianist Allen Farnham, bassist Dean Johnson and drummer Tim Horner. This cream of NYC jazz stalwarts rises to the top time after time.

 

The opener is “Modal Blues,” a brawny, brawling bopper that features Lovano at his best. “Little Lullaby,” on the other hand, is as gentle and engaging as its title, with excellent interplay between Sherman and Magnarelli on flugelhorn. Henry Mancini’s classic “Moon River” is a showcase for Sherman’s sensitive ballad technique on vibes and for Lovano’s bluesy take on an ageless tune.

 

“Spiritual Exercise” flexes its upbeat muscle in a unison melody line pairing Sherman and Magnarelli to great effect. The trumpeter soars in an extended solo with echoes of Woody Shaw’s flamboyant assurance. Farnham also delivers an inspired solo statement. The pianist contributed two compositions, including the wonderful ballad “Hope” and the lively, Caribbean-flavored “Genkitively,” a play on “genki,” Japanese for “feelin’ good.”

 

Magnarelli’s flugelhorn plays a prominent role on Sherman’s ballad “My Princess,” a memorable tribute to the composer’s wife. Just when you thought nothing new could be done with “My One and Only Love,” Sherman rethinks the tune with emphasis on shifting harmonies on vibes, flugelhorn and piano. The gently swinging Latin tune “Ella Bella” is Sherman’s love song to daughter Ella. “Long Trip Home” segues from a provocative introductory statement to another lively romp with a Latin tinge, closing the CD with the same gusto that opened it.

 

At age 48, Sherman is long overdue for the level of recognition he so richly deserves. Perhaps “One Step Closer” will truly be a big leap in that direction.

 


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JIM SELF"InnerPlay with Strings" by Jim Self

InnerPlay with Strings

Basset Hound Music

 

By Tom Ineck

 

Tuba player Jim Self got a little recognition back in 1990, when Concord Records released his “Tricky Lix,” a brassy barrage that was as much fun as the title implies. Since then, his recordings have been relegated to small labels with poor distribution.

 

He returns in earnest with “InnerPlay,” a wonderful collaboration pitting the tuba and reeds with jazz rhythm players and a 25-piece string section. Self is a bop player with the highest credentials, including several years with the great jazz innovator Don Ellis. Among his jazz cohorts here are the superb saxophonists Pete Christlieb, Gary Foster and Dan Higgins.

 

Rather than get in the way of such strong improvisers, the strings—arranged by Brad Dechter—tastefully enhance the overall harmonic palette and provide a comforting contrast to Self’s bombastic instrument. (He also plays something called a fluba, a hybrid of tuba and flugelhorn.)

 

The results are magic, transforming such familiar tunes as Herbie Hancock’s “Speak Like a Child,” Isham Jones’ “There Is No Greater Love,” Clare Fischer’s “Pensativa,” and even Gershwin’s “I Loves You Porgy,” which remains a ballad of exquisite beauty.

 

One of the most luxuriantly arranged and performed pieces here is trumpeter Steve Huffsteter’s “Cipriana,” a jazz waltz that allowed Dechter to take full advantage of the many color variations inherent in this mighty brass-and-string ensemble, including a soaring flute solo by Foster. Self’s ballad “That Morning in May” deftly pairs fluba with Higgins’ alto sax.

 

“The Underdog Has Arisen” is Dechter’s tribute to Charles Mingus, and it has the appropriate bluesy subtext, plus a typically terrific tenor solo by Christlieb. Self’s chosen instruments—tuba and fluba alike—contain a large dose of bombast by nature, but Self also is capable of great lyricism and gentle warmth in his playing. Witness his light touch, and virtuosic fingering, on Jobim’s upbeat “No More Blues” and his punchy punctuation on Horace Silver’s “Strollin’,” which also benefits from strong solo statements by Foster on alto sax, Higgins on tenor, Dechter on alto and Christlieb on tenor.

 

The grand finale is Self playing with himself. That is, he overdubs the tuba four times for a clever choral treatment of “Do You Know What It Means to Miss New Orleans?” First, the strings lay down a lush carpet of sound for Self’s initial solo, and then they set the scene for the final “quartet” coda.

 


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JEFF BAKER"Monologue" by Jeff Baker

Monologue

OA2 Records

 

By Tom Ineck

 

For some fans of last year’s “Baker Sings Chet,” this rapid follow-up will come as a pleasant surprise. For others, it may be a bit of a letdown. There is no denying this Baker’s affinity for that other Baker’s idiosyncratic vocal sound, but his upper-register croon seems less suited for some of the repertoire on “Monologue,” making for mixed results.

 

Baker certainly has the bandmates to make the most of any situation—saxophonist Brent Jensen, pianist Bill Anschell, bassist Doug Miller, drummer John Bishop and the wonderful addition of cellist David Sabee on two tracks.

 

“That Old Feeling” gets an updated treatment, courtesy of arranger Anschell, but Baker’s reading seems inappropriate. Likewise, “You Don’t Know What Love Is” lacks a certain bluesy, ballsy inflection. Baker is more successful on his take of Nat Cole’s “Answer Me, My Love,” and the wistful wartime ballad “A Nightingale Sang in Berkley Square.”

 

Anschell and the band shine on “I Didn’t Know What Time It Was,” imparting the muscular swing of which Baker seems incapable. The singer returns to form on the wrenching ballad “You Are Too Beautiful,” sensitively accompanied by Farnham, Miller and Bishop. Jensen is the stand-out player on the bouncy Latin arrangement of “The More I See You,” while Baker is left in the dust by the band’s exuberant performance.

 

Baker is definitely in his element on “Come Ready,” a classical art song by contemporary composer Richard Huntley and the highlight of this recording. A gorgeous love song with exquisite chord changes and touching lyrics, it provides Baker with a vehicle custom-made for his delicate approach. Jensen, on soprano sax, heightens the effect with a note-perfect solo. Tracy Chapman’s ballad “The Promise” also is an excellent choice for Baker.

 

Baker’s vocal gift, while limited, is undeniable. One hopes that eventually he will develop a repertoire that takes full advantage of that gift.

 


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DAN THOMAS QUINTET"Musical Santuary" by Dan Thomas Quintet

Musical Sanctuary

Dan Thomas Productions

 

By Tom Ineck

 

After experiencing a life-threatening health crisis in 2004 (see the August 2004 issue of the BMF newsletter), Kansas City saxophonist Dan Thomas was newly inspired to write music. The result, aptly named, is “Musical Sanctuary,” a generous 68 minutes of new music.

 

Retaining much of the same group of KC musicians who have comprised his quintet over the last few years, Thomas has assured that not only is this aggregation musically compatible, but also capable to carry out his often-complex musical assignments. Stalwarts Joe Parisi on trumpet and flugelhorn, Roger Wilder on Fender Rhodes and piano and bassist Bram Wijnands are joined by new drummer Mike Shanks. Craig Akin occasionally subs for Wijnands on the electric and acoustic basses.

 

“Toubanrut,” a nearly unpronounceable reversal of “Turnabout,” opens the recording in typically challenging—but swinging—fashion. Thomas and Parisi (on muted horn) dart in and out of the blazing melody line in perfect unison before allowing each of the principals to state his solo case. “Professor RMW, Jr.” is, of course, a tribute to friend, mentor and fellow University of Missouri-KC professor Bobby Watson, who also wrote the liner notes, confirming their mutual admiration.

 

The searching “Expressions” takes on a fusion sound with Wilder’s electric keys and Akin’s electric bass. By contrast, “Love Everlasting” is a tender acoustic ballad that brings out the best in everyone, especially Thomas on sax and Wilder on piano. “RSVP” revs up the band again in hard-bop style, with Thomas firmly asserting his leadership on tenor. Using mallets on tom-toms, Shanks establishes the mystical quality of the title track, which segues into “Selflessly Assured” and back to a reprise of the title theme for a fascinating, 10-minute excursion. 

 

Thomas shares the glory of “Blues for BLT,” a driving bop tune with brief, but effective solos by Thomas, Parisi and Wilder. “Walt’s Bop Inn” further reinforces the band’s hard-bop credentials, as do the tricky “With Two Endings” and the eight-minute “From Within,” a sleight-of-hand masterpiece that showcases Parisi’s muted-trumpet pyrotechnics.   

 

A series of brief “Folktales from Far East” are interspersed throughout the recording, as though contrasting two of the world’s most important musical traditions and inviting listeners to further explore this “musical sanctuary.”

 


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WILLIE MARTINEZ & LA FAMILIA SEXTET"Family" by Willie Martinez

Family

Cuch be Witcha Productions

 

By Tom Ineck

 

For many years the music director and timbales master with Norman Hedman & Tropique, Willie Martinez in recent years has been striking out on his own. His latest project is a typically rhythmic affair called “Family,” which also features pianist Misha Tsiganov of Tropique.

 

Martinez himself wrote eight of the 10 tracks, but arranging credits go to the whole sextet. “And Make It Snappy” seethes with Cuban fire, stoked by assorted percussion instruments. “Sweet Pecan Pie,” by saxophonist Max Schweiger, is a bluesy number in the funk tradition of Stanley Turrentine or Lou Donaldson. Bassist Jennifer Vincent, trombonist J. Walter Hawkes and Tsiganov take excellent solo turns on “Mr. Mills.”

 

In the aptly named “A Stroll in the Park,” Martinez creates a more pastoral—and fraternal—mood as the horns state the melody in unison. Schweiger delivers a tasteful, evenly paced baritone sax solo. Martinez showcases his strong vocal talents on Luis Marquetti’s ballad “Plazos Traicioneros,” also featuring a plangent, plunger-muted solo by Hawkes.

 

“Say Hey Ray!” has that irresistible forward motion of Tito Puente’s best work. Martinez is especially effective, creating intricate polyrhythms on drums. Shades of the blues also are apparent on “Shades of Magenta,” which opens broodingly before accelerating for a wave of percussion. “Makin’ Walt Run” is a complex bop workout that has everyone rising to the challenge.

 

With “Family,” Martinez is one step closer to establishing himself as a leader in the long tradition of New York City’s great Latin bands.

 


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ALEX GRAHAM"Grand" by Alex Graham

Grand: Live in New York

Featuring John Boutte

GH-002

 

By Butch Berman

 

I decided to catch up on my CD reviewing while journeying west with my wife, Grace, on the Amtrak California Zephyr. Amtrak, now the nadir of the abyss of coast-to-coast traveling, may have started our trip out on the wrong track, but our first choice of listening improved our trip (no pun intended) in grand style.

 

“Grand,” the rockin’, swinging and jazzy new release recorded live by alto saxophonist Alex Graham at New York’s Smoke nightclub, really cooks and puts you right there in the front row, grooving on the sounds.

 

This hybrid of styles, emanating from a seven-piece band (including Alex), filtered through a love of New Orleans-tinged tunes and showcasing the wonderful vocalizing of John Boutte, captures a hot night  in the “other” city of  jazz…New York City. 

 

Smoke has a “rep” for featuring top-notch players, and Alex and his gang were no exception. An eclectic set list mixing standards like “I Cover the Waterfront” with the likes of “Basin Street Blues” and Fats Domino’s rock ‘n’ roll hit, “I’m Walkin’,” all leave room for amazing blowing from the cats in the band, and Mr. Boutte is a gem. Shades of Jimmy Scott come to mind, but he’s got his own thing goin’. His writing ability also shines with “At the Foot of Canal Street,” as does Graham’s “Blues for K.”

 

Alex is the musical director at Mackinac Island’s famed Grand Hotel, where he first met up with John Boutte. Likewise, the other musicians all have ties to the Musser family-owned Michigan hotel and Graham’s tutelage. He took over the position in 2001 after developing his chops in New York in the ‘90s.

 

Soulful, sultry, singing with a snappy rhythm section that keep your toes a-tappin’ and horn-playing that puts a smile on your face long after you’ve heard it and put the CD back on the shelf, it is, indeed…“Grand.”

 


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JOHN McNEIL"Sleep Won't Come" by John McNeil

Sleep Won't Come

OmniTone

 

By Butch Berman

 

Many years ago the great Oakland-based, horn-driven soul band Tower of Power wrote an anthem song/satire on hipness called “What is Hip?” Well, I’d always rather be considered hip over being “square,” but when I think of “hip,” or as they used to say “hep,” three jazz musicians I’ve met or worked with over the years define this term. One is bassist Dennis Irwin, and another is vocalist Giacomo Gates.

 

However, if I’d had to pick the “beatest” of ‘em all, it would have to be my old pal, and one hell of a trumpet player, John McNeil. And guess what? If I had to pick one of the best new jazz releases out in a long time that I can’t get off of my CD player, it would have to be John’s ode to insomnia, “Sleep Won’t Come.” 

 

Recorded and produced by John on Frank Tafuri’s wonderful record company, OmniTone, this stellar work of art only strengthens an already rich and deep catalog of jazz masterpieces.

 

I’ve always been a night person, and rarely have had long-term bouts of sleeplessness.  My wife, Grace, however, does suffer from this dilemma, so I can relate and sympathize with John’s obvious dealings with angst and torment. Yet, as most artists of his magnitude do, he transfers his pain into a textured web of gorgeous, lush collection of personal stories/songs, mostly written by him.

 

Recording as a drummerless trio, his choice of bandmates fit this project to a T. Holding down the bass responsibilities, Kent McLagan moves, shifts, sways and swings within this framework like a bullfighter. Strong, masterful, yet tender when called for to lull you into the dream world that McNeil lives in during the wee, wee hours of  the beautiful realm of madness he draws his creativity from.

 

Rounding out this killer threesome is the Denver-based keyboard wizard, Jeff Jenkins.  Jeff wrote two of the wistful, ever-so-jazzy creations on this project, and joins forces with McNeil to pen two others. He’s a stylist on the move, and a player to watch as his career continues to expand. He probably doesn’t get much sack time either. Still, this lovely disc captures the interplay between these guys ever so cleverly. Not a caffeine-laden experience at all, as John’s muted horn reminds you at times of Miles, but his own brand of genius continues to impress with each album he puts out.

 

It is possible that the twisted tune “Polka Party” might have had a pot of coffee brewing… or something. Their rendition of the traditional “The Water is Wide” may be my favorite track, but no foolin’, as they say in the ‘hood…It’s all good. As a matter of fact, this collection of recorded music will stand the test of time as one of the great ones. Grab it!!!

 


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NORMAN HEDMAN’S TROPIQUE"Garden of Forbidden Fruit" by Norman Hedman's Tropique

Garden of Forbidden Fruit

Power Light Records

 

By Tom Ineck

 

Norman Hedman’s Tropique has scored another artistic success with the band’s latest release, an exotic blend of instrumental workouts and vocal gems. Yet to receive the popular acclaim it so richly deserves, this aggregation continues to grow musically with sheer persistence and a healthy dose of creativity.

 

Lending their continued support to the band’s consistent sound are pianist Misha Tsiganov, bassist Ron Monroe, timbales wizard Willie Martinez, flutist Craig Rivers and alto saxophonist Sam Furnace, in his last recording with the group before his untimely death last year. Relatively new to the band is vibraphonist Alexei Tsiganov, who also contributed the spirited opener, “Rundadar Dance.” Tropique’s former vibes player, A.J. Mantas, appears only on the closer, Hedman’s “Island Spice.”

 

Hedman continues to write most of the tunes, and his talent for constructing memorable melodies and irresistible rhythms has not flagged. Among the best here are the lively “Cutting Loose,” “Because I Can,” “It’s Just Not the Same,” with a great contribution by Brad Mason on flugelhorn, and the romantic ballad “Walk in the Moonlight.” Furnace contributes some marvelous playing on Hedman’s “Feeling My Way.”

 

Vocal duties are shared by several notable guest artists. Soulful songstress Ada Dyer raises the funk factor on “Closer,” and singer James D-Train Williams caresses the lyrics of “Angel of the Night,” written by Hedman and the late pianist James Williams and dedicated to Butch Berman and his wife, Grace. The rhythmic title track vocal is handled with an appropriate sensuality by Dani Stevenson, and Kendra Shank, a longtime BMF friend, contributes a wordless vocal on the breezy “Wherever U R.”

 

With “Garden of Forbidden Fruit,” Norman Hedman’s Tropique maintains its strong ensemble sound. Hedman leads with authority, shaping the band’s direction with original compositions and adding his own percussive spice on congas.

 


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ALAADEEN"New Africa Suite" by Alaadeen

New Africa Suite

ASR Records

 

By Tom Ineck

 

True to its title, “New Africa Suite” is rife with African rhythms. That is evident from the percussion intro to the opener, “Grace,” another recent composition dedicated to Butch Berman and his Nigerian wife of the same name. In all, Ahmad Alaadeen has written seven original tunes that hold together well and justify the “suite” designation.

 

On both tenor and soprano saxophones, Alaadeen’s sound most closely resembles the African-influenced excursions of John Coltrane, Pharoah Sanders, Archie Shepp and other progressive players of the mid-1960s. A funk element is added on “Beneath Where Rives Flow,” with some outstanding piano work by Harold O’Neal, bassist Seth Lee and drummer Donivan Bailey.

 

Like Coltrane, Alaadeen’s music contains a deep, warm current of spirituality and universal brotherhood, especially on the gorgeous “Salaam, Shalom, Peace.” The initial tenor statement is beautifully expanded on by O’Neal at the piano. “The Burning Sand” is a propulsive, start-and-stop exercise fully utilizing Alaadeen’s leaping soprano lines and piercing tone.

 

“Home Again” dances to the swaying, alternating rhythms of Alaadeen’s full-bodied tenor, giving the tune the feel of a blues waltz. Again, O’Neal contributes a wonderful solo by building on the inherent finger-popping pulse. The funk element returns with “The Jannah Now,” which features Alaadeen on soprano, fronting a slightly different but equally capable lineup that includes pianist Christopher Clarke, bassist Tyrone Clark and drummer Michael Warren.

 

Another unifying factor is the varied percussion work contributed by Ray Stewart throughout this very satisfying musical experience.

 


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JOHN STOWELL"Resonance" by John Stowell

Resonance

Origin Records

 

By Tom Ineck

 

In effect, “Resonance” is a collection of intimate, first-take ruminations by a master guitarist. Whenever Portland, Ore., luthier Mike Doolin created a new acoustic instrument, he invited his friend John Stowell to come over and give it a try, while the tape rolled. The resulting 13 tracks, recorded over five years on assorted six-string and 12-string models, make for fine listening in a gentle, relaxed mood.

 

Stowell’s disciplined, classical approach is balanced by an adventurous spirit, especially in his choice of harmony chords and transitional melodic runs. He remains true to the spirit of such standards as Jerome Kern’s “Nobody Else but Me” and “Yesterdays,” Duke Ellington’s “Prelude to a Kiss,” and Sammy Cahn’s “I Should Care,” while stretching their improvisational potential.

 

John Coltrane’s “Equinox” gets a particularly lush and authoritative reading on 12-string guitar. Stowell, obviously liberated by this solo setting, turns Irving Berlin’s “How Deep is the Ocean” every which way but loose. On an eight-minute treatment of Leonard Bernstein’s “Some Other Time,” Stowell makes the 12-string instrument sparkle and shine with shimmering bell-like tones. The lesser-known tunes “Picture in Black and White” by Antonio Carlos Jobim and “Peau Douce” by Steve Swallow are interesting program choices.

 

Stowell also contributes several original compositions to the mix, as if creating a new vocabulary with which to explore an instrument’s range and tone. “Ron’s Return/Eclipse,” shifts rhythmic gears midway through, and “Bolero Algorhythm” has the mathematical precision of its namesake. Stowell’s “I Wish” is romantically linked in medley with Cole Porter’s lovely “Everything I Love.” His brief tune “Maybe Later” ends the recording on a wistful note.

 

Kudos go to Stowell and Doolin for recognizing the inherent potential of recording these diverse pieces, and to Origin Records for releasing them.

 


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TSIGANOV BROTHERS"Tsiganov Brothers" by the Tsiganov Brothers

Tsiganov Brothers

 

By Tom Ineck

 

The brothers Tsiganov—pianist Misha and vibraphonist Alexei—have established a reputation in the rhythmic realm of Latin jazz as members of Norman Hedman’s Tropique, and they show no desire to break out of that mold on their debut, self-produced recording, although here the influence is largely Brazilian.

 

It is a well-balanced affair. The brothers share and share alike, each contributing five compositions and both getting time for solo expression. Like Tropique, however, the brothers have created a recognizable sound that seems to favor the ensemble over the individual.  

 

Helping to define the quintet’s group sound are Alex “Sasha” Sipiagin on trumpet and flugelhorn, Boris Kozlov on bass, and Antonio Sanchez on drums. Sipiagin is especially effective, often stating the melody in unison with Alexei’s vibes. His brassy horn cuts through everything else and sets the tone on such tunes as Alexei’s “Rio De Corea,” Misha’s “She Lives in Brazil,” Alexei’s gentle ballad “Just a Bossa,” and Alexei’s “My Brazil.”

 

“That Unpredictable Eugene,” was written by Misha and first recorded with Tropique several years ago. It maintains its Latin tinge even without the congas and timbales so essential to Tropique’s sound. “Don Arcadon” is another of Misha’s lively Latin excursions, featuring an irresistible rhythmic pulse and a soaring trumpet solo. Likewise, his composition “Passing By” is a fine vehicle for the flugelhorn, but also offers the composer a chance to show his piano skills.

 

Misha and Alexei are accomplished jazz improvisers, which makes for some lively interplay as they trade licks on their respective instruments. Essentially, the piano and the vibes are both percussive keyboards, so they allow the Tsiganov brothers to work closely, rhythmically and harmonically. Kindred spirits, indeed.

 


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THE HOT CLUB OF SAN FRANCISCO"Postcards from Gypsyland" by the Hot Club of San Francisco

Postcards from Gypsyland

Lost Wax Music 

 

By Butch Berman

 

Many imitators to the throne originated by Django Reinhardt and Stephane Grappelli’s first Quintet of the Hot Club of France proclaim to be worthy of the “Hot Club” title. There’s probably a Hot Club of Peoria out there by now. Nevertheless, in my opinion, next to Django… there is only one true purveyor of this fine delicate art of gypsy jazz, and that falls into the most talented hands of “Pazzo,” aka Paul Mehling and his Hot Club of  San Francisco.

 

I invited Paul and his band with the coolest shoes in the world to be one of the headliners at the 2005 Topeka Jazz Festival in Kansas. They took the Midwestern crowd of jazz lovers, not accustomed to their specific style of music, to the limit both sets, deriving deserved standing O’s each time, a rare feat indeed in Topeka. When I told Paul between shows how righteously incredible this current crop of cats were to me, a fan of nearly a decade, he said this 2005 lineup, consisting of Evan Price, also an alumnus of the Turtle Island String Quartet, on violin, bassist Ari Munkres, and rhythm guitar maestros “Sammo” Miltich and Josh Workman, were indeed his best group ever.

 

I was in total agreement! When you hear their newest WAX release “Postcards from Gypysland,” I’m sure you’ll go along with my statement wholeheartedly.

 

Capturing the same masterful virtuosity, ultra warmth and subtle humor of their live performances, this CD conveys it all. Employing obscure originals from the Hot Club of France songbook, Paul and his merry men infuse carefully chosen standards along with contemporary compositions written mainly for this sparkling array of pros.

 

All songs included are lovely and memorable, with their ode to Victoria Spivey’s, “Spivy,” “Zeppo” Price’s wedding gift of song to “Pazzo,” entitled  “Alle Prese con une Verde Milonga” and their Ravel-inspired “Pavane Pour une Infante Defunte” standing out as my personal faves.

 

I love every CD they’ve put out, and “Postcards from Gypsyland” is no exception.  Definitely a must have!

 


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Odds and Ends

A grab bag of releases are recommended

 

By Butch Berman

 

Listening to music for the first time is kinda like trusting your original impressions you form when you first meet someone.  Usually your instincts are on the mark, but occasionally it takes a second or sometimes even a third encounter to truly own your feelings surrounding whatever or whomever you come across. This same rule also applies to listening to music.

 

I probably receive more than 100 titles each year from mostly talented hopefuls requesting my time and consideration. I occasionally hit or miss the mark. The BMF may have been financially involved with someone who required our attention first, so again some artists who deserved more recognition got put aside for awhile, or left out all together. I apologize to the individuals who fell into those categories.

 

Let me list several excellent CDs that I hope are still available by some very competent cats for your listening approval, and as additions to your collections.

 

"Duboc" by Carol DubocAnything by Carol Duboc, a new sultry, sassy young lady who sings and writes jazz for lovers—and lovers lost—with a penchant for Latin grooves. I think she has three releases out, all good, but Duboc, recorded in 2002, touched and moved me the most. Formally a K.C. gal, info on obtaining her stuff can be found by clicking on www.carolduboc.com

 

"Introducing Spencer Day"Introducing Spencer Day by Spencer Day is a very soulful and jazzy CD by this San Francisco-based singer/songwriter/pianist. He truly covers the waterfront, putting his unique mark on a variety of styles and genres while gently sweeping you up and enveloping you on his musical journeys. The incredible selection of covers chosen for this album wowed me completely with their stark contrast to each other, and all mixed in so cleverly among his own tunes (or should I say song-poems?) that prove to be deep and compelling. How often can we groove to “Blame It on My Youth,” “The Green Leaves of Summer,” and “Oh, Lady Be Good,” all on one sphere? Contact him at info@spencer day.com

 

"Jeannie's Song" by Tim GreenJeannie’s Song by Tim Green on OA2 22015 is the second wonderful CD this Illinois-based piano stylist has put out on this label’s ever-growing catalog of hot bops and swinging sounds. Backed again by his great rhythm section, consisting of my good friend Jim Cox (who’s getting hitched soon…major congrats to you and yours) on bass and drummer Phil Gratteau. The addition of guitarist Brian Wilkie to six of these nine all-killer, no-filler selections works like a charm. I loved the first trio album a whole bunch, and it took me a moment or two to get used to the quartet format. Wilkie, ever so much a demon of the strings, truly adds another dimension to this already-tight unit. Tim, I anxiously await your third artistic endeavor.

 

"Quick Response" by Dom MinasiQuick Response by Dom Minasi on CDM Records rounds out this group of jazz recordings worth hearing and owning. Minasi’s a very astute New Yorker whose recorded guitar work stretches back to his Blue Note era during the ‘70s, three critically acclaimed “indie” outpourings, a stint with Dr. Lonnie Smith in the ‘80s, another decade of gigging and wood-shedding and now this extremely vibrant new CD with a very potent new band. Organist Kyle Kochler is the perfect foil for Dom and alto saxophonist Mark Whitecage to create their magic with. Kyle’s driving pedal work combining with drummer John Bollinger’s crafty propulsions create a jazzy canvas for Dom and Mark to paint their musical murals on. Most tunes are penned by Minasi and click immediately. I was totally taken aback by the insightful choice of the old rock ballad by Leiber and Stoller, “I Who Have Nothing” that showcases this band’s startling versatility.

 

And there, my friends and fans, you have it. Enjoy, and be happy.

 


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ELDAR DJANGIROVEldar

Eldar

Sony Classical

 

By Tom Ineck

 

Eldar Djangirov’s piano virtuosity, the analogies to Art Tatum and Oscar Peterson and the increasing recognition by fellow jazz musicians, nationwide audiences and recording companies come as no surprise to those of us who were first awestruck by the young prodigy’s talents at the 1998 Topeka Jazz Festival, when he was just 11 years old. Back then, he was virtually unknown outside the Midwest.

 

At 18, Djangirov has a hot new CD in the stores, his first on a major label, and boasting bassist John Patitucci and a guest appearance by tenor saxophonist Michael Brecker. He has retained longtime sideman Todd Strait on drums. Strait and Kansas City bassist Gerald Spaits accompanied Djangirov on his two previous, locally produced CDs.  

 

With “Eldar,” Djangirov has positioned himself for a rapid rise up the mainstream jazz charts, bursting forth with his trademark flag-waver “Sweet Georgia Brown,” in which the rhythm section drops out as he accelerates to a tempo that only Tatum and the piano gods could imagine. As if to assure his listener that he’s capable of great restraint and sensitivity, he begins the ballad “Nature Boy” playing a subdued role, with Patitucci first stating the melody. At times, Djangirov’s unaccompanied playing seems almost dreamily detached from the changes, veering into impressionistic flourishes. Strait sits this one out.

 

In contrast, the trio emphasizes the rhythmic and soulful aspects of Bobby Timmons’ “Moanin’.” Djangirov playfully inserts discordant notes and percussive block chords, alternately increasing the intensity and lowering it to a whisper, sustaining the suspense throughout the tune’s nearly eight-minute length. Brecker joins the fray on the pianist’s composition “Point of View,” an uptempo romp that begins with piano and tenor stating the complex theme in unison before Djangirov and Brecker take their respective solos.

 

Two more Djangirov originals follow in rapid succession. The lovely “Raindrops” employs cascading chords stated by piano and bass in unison, suggesting the influence of classical impressionism. The solo piano rendition of “Lady Wicks” seems even more indebted to the classical realm, with its early waltz-like cadence and modulating harmonies.

 

Herbie Hancock’s “Maiden Voyage” receives a powerful, two-fisted reading by Djangirov, who has always favored Hancock’s adventurous melodic flights. Here he extends the form with racing upper-register runs and percussive punctuation. Strait heightens the effect, riding the cymbals and taking a thunderous solo.

 

Another of the young pianist’s idols is Thelonious Monk, who is represented by two consecutive tracks, beginning with an exquisitely slow “’Round Midnight,” in which Djangirov explores implied harmonies while remaining faithful to the original. Patitucci adds a lyrical bass solo. “Ask Me Now,” on the other hand, is a high-spirited exercise in stride piano technique with some aptly comic touches.

 

Fusing “Watermelon Man” and “Cantaloupe Island,” Djangirov arrives at his own “Watermelon Island,” another adventurous paean to Hancock and his influence on the young admirer. The set ends with a relaxed Latin-tinged take on “Fly Me to the Moon,” with Djangirov embellishing the familiar lines with fanciful right-hand runs and full-blown orchestral flourishes.

 

It is a measure of Djangirov’s musical maturity that four of the 11 tracks are originals, holding their own with a program of well-known standards. Thanks to Sony Classical and its far-reaching publicity and distribution network, the world soon will know what we’ve been saying for seven years. Eldar Djangirov is going places.

 


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BOBBY WATSON & HORIZONHorizon Reassembled

Horizon Reassembled

Palmetto Records

 

By Tom Ineck

 

At long last, one of the great jazz combos of the last 20 years has returned to the recording studio and a series of concert appearances. An all-star aggregation, Horizon is ostensibly fronted by saxophonist extraordinaire Bobby Watson, but it is a democratic outfit in the true sense of the word, each member contributing to the whole.

 

Especially essential to the mix is Watson’s longtime friend and colleague, the brilliant drummer Victor Lewis. The rest of this dynamic quintet consists of trumpeter Terell Stafford, pianist Edward Simon, and bassist Essiet Essiet. Together again on “Horizon Reassembled,” released in late 2004, they sound as if they had never parted company. As Watson himself writes in the liner notes, “in the jazz world, commitment to a cause and a sound is paramount.”

 

That old familiar sound is instantly recognizable on Watson’s medium-cool opener, “Lemoncello,” the kind of lyrical, uplifting tune for which the composer is known. Simon penned “Pere,” an intense, complex Latin ramble that is further intensified by Stafford’s fiery bravura solo and Lewis’ inventive and perpetual polyrhythmic attack.

 

Pamela Watson, a talented composer who has contributed many tunes to her husband’s recordings, wrote the sadly romantic ballad “The Love We Had Yesterday,” which Watson on alto sax turns into a thing of great beauty and grace. Jimmy Heath’s classic “Ginger Bread Boy” gets a typically sparkling, energetic treatment from Horizon, led by the dual horns of Watson and Stafford.

 

Simon leaps into the Latin lilt of Watson’s title track with flair, setting the pace for the rest of the band, which enters en masse before breaking into exuberant solo statements, as if to shout from the rooftops, “Horizon Reassembled!” Burt Bacharach’s romantic ballad “The Look of Love” is treated with care and sensitivity at a slower-than-usual tempo. As composer, Lewis’ sole composition is the insistent “Eeeyyess,” whose title perfectly expresses its celebrative mood, as reflected in Stafford’s growling, plunger-muted trumpet solo. 

 

“Permanoon” is another uptempo tour de force, with the ensemble stating the melody. Watson takes off on a solo flight with Simon laying down some great keyboard comping before taking his own place in the solo spotlight. Stafford follows with a solo that builds in intensity. All of this is kept under strict rhythmic control by Lewis and Essiet.

 

Watson’s “Dark Days” is a mournful tune with only brief glimpses of sunlight through the darkness. Could this be a musical impression of the post-9/11 world in which we live? Essiet’s African roots are clearly heard in his closing composition “Xangongo,” an inspiring tune whose contrapuntal construction brings out the best in his bandmates. 

 

To get a good sense of what Horizon is all about, Watson suggests listening to the CD five times, each time concentrating on the work of an individual player. Not a bad idea, but why stop after five listens?

 

Bobby Watson and Horizon are headlining the 2005 Topeka Jazz Festival on Memorial Day weekend. It is a show not to be missed.

 


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GREG ABATE QUINTETHorace Is Here

Horace Is Here: A Tribute to Horace Silver

Koko Jazz Records

 

By Tom Ineck

 

Along with Art Blakey, Horace Silver is the undisputed architect of hard bop, also known as post-bop. Silver’s development of the soulful, propulsive extension of bebop began in the 1950s and has influenced several generations of modern, mainstream composers, bandleaders and instrumentalists.

 

Saxophonist Greg Abate is solidly in that hard-bop lineage, as exemplified by his latest release, a tribute to Silver that also contains two Abate compositions in the Silver style, the title track “Horace is Here” and “On the Road.” Set in the classic bop quintet format, the session also features trumpeter and longtime Abate comrade Claudio Roditi, pianist Hilton Ruiz, bassist Marshall Wood and drummer Artie Cabral.

 

All the usual Silver suspects are here. “Filthy McNasty” kicks things off with its bluesy swagger and illustrates the compatibility of the front-line horns with Ruiz on piano. Each solo builds on the one that precedes it. Abate and Roditi creatively harmonize the difficult changes of “Nica’s Dream,” and “Song for My Father” gets the respectful reading it so richly deserves.

 

The shifting tempos of “Nutville” bring out the best in the rhythm section as they deftly maneuver the changes and propel soloists Abate, Ruiz and Roditi at breakneck speed. Though the pace slows again on “Silver’s Serenade,” Abate delivers an astounding alto solo that explores all the theme’s possible variations.

 

At nearly 10 minutes, “Peace” is the artistic centerpiece of this recording. Bassist Wood briefly states the melody before handing it over to Abate on alto, who is then joined by Roditi before the trumpeter makes his own solo statement. Ruiz also contributes another sterling solo performance. “May Reh” and “Quicksilver” close the recording with a display of technical virtuosity and soulful vitality that Silver would appreciate.

 

Even Abate’s own contributions seem at home here. The title track is a breezy, mid-tempo number featuring Ruiz on a long, cascading piano statement that establishes the mood for Abate’s eloquent tenor sax response and Roditi’s warm, lower-register trumpet. “On the Road” swings with bluesy brawn, again featuring the composer on tenor.

 

In many ways—rhythmic, harmonic and melodic—it is Ruiz who is the glue that binds this project. Never merely a timekeeper, an accompanist or a soloist, he masterfully handles all three roles with aplomb.

 

Recent years have yielded plenty of tribute recordings to Horace Silver, but few achieve the faithful mood and mighty performance chops of Abate’s homage. With no tune less than six minutes and a total time of nearly 74 minutes, “Horace is Here” is a heaping helping of hard bop, indeed.

 

There’s only one complaint about this recording. From the moment I set the disc spinning, I noticed that the overall sound was muffled and lacked dynamics in the upper (piano and cymbals) and lower (bass) ranges. It improved somewhat after increasing the volume, but better engineering would have brightened the sound and emphasized the dynamics inherent in this music.

 


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KEVIN MAHOGANYBig Band

Big Band

Zebra Records/Mahogany Jazz

 

By Tom Ineck

 

Out of the recording limelight since 2000’s “Pride and Joy” on Telarc Jazz, Kevin Mahogany returns with an impressive big band venture on his own label. “Big Band” was compiled from sessions recorded in Chicago, Englewood, N.J., Kansas City, Mo., Belleville, N.J., and Brooklyn, N.Y.

 

That geographic diversity allowed a number of great instrumental soloists to participate, including pianists James Williams and Ramsey Lewis, trumpeters Bobby Shew, Roy Hargrove, Danny Barber, tenor saxophonists Pete Christlieb, Scott Robinson, Bob Sheppard and Pat LaBarbera, and alto saxophonists Kim Park, Craig Treinen and Jon Gordon. Several arrangers were involved, most prominently the late Frank Mantooth of Garden City, Kan., who also fronted his own orchestra on six of the 10 tracks.

 

Mantooth created an easy funk groove for the opener, “Moonlight in Vermont,” with brassy section work and a wonderful tenor solo by Robinson. “It Don’t Mean a Thing” gets a swaggering Afro-Cuban rhythmic treatment and fiery solos by Christlieb and Barber. The bluesy “Centerpiece” is aided and abetted by Park and Shew, while Lewis lends his soulful, two-fisted keyboard style to the imaginative Mantooth arrangement of the old Leroy Carr blues “In the Evening.”

 

Mahogany belts out “One for My Baby” in the classic Big Band ballad tradition. Regardless of the material, his soul roots are never far from the surface, and he uses them to good effect. “Three Little Words” is not the 1930 pop hit by Bert Kalmar-Harry Ruby, but a Mahogany composition that appeared on the singer’s 1993 CD “Double Rainbow” and also was included on Mantooth’s 1999 Sea Breeze release “Miracle.”

 

Don Sickler arranged “Dear Ruby,” the lyric version of Thelonious Monk’s “Ruby, My Dear,” with a flugelhorn solo by Hargrove. “There Will Never Be Another You” features the Kansas City Boulevard Big Band” in a swinging arrangement by Dan Gailey, and “It’s Alright With Me” is performed by the Big City Swing Jazz Band, with an arrangement by pianist Allen Farnham and Veronica Martell in a duet with Mahogany. In a departure from the big band support, James Williams duets brilliantly with the singer on “Don’t Get Around Much Anymore,” another example of the late pianist’s skill and sensitivity. He died July 20 last year.

 

“Big Band” is as much a tribute to the arranging and band-leading talents of Mantooth, who died Jan. 30, 2004, as it is a tribute to Mahogany’s powerful vocal presence. It takes a robust, confident voice to front a big band with authority, and Mahogany possesses such a voice.

 


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STAN KESSLERStan Kessler's Television

Stan Kessler’s Television

 

By Tom Ineck

 

Kansas City trumpeter Stan Kessler has hit on a gimmick—jazz treatments of popular TV themes—but this is a gimmick that also has considerable artistic merit.

 

You know you’re in for a fun ride when Kessler and co-conspirators Jake Blanton on guitar, Mark Lowrey on keys, Jeff Harshbarger on bass and Tim Cambron on drums launch into the “Bullwinkle” theme, creating a moose of a different color. We boldly explore another galaxy when “Star Trek” is taken at a dance-ready Latin tempo, and the Cleavers have the blues with Kessler’s shuffling take on “Leave It to Beaver.”

 

It’s not just the facts, ma’am, when the gang tackles the “Dragnet” theme with a fusion sound reminiscent of early ‘70s Miles Davis. In fact, the only giveaway to identify the tune is the “dum-da-dum-dum” opening statement. Lowrey on electric keys and Kessler on Harmon-muted trumpet excel on this eight-minute improvisation. Perhaps the strangest of all is the ballad rendition of the “Mickey Mouse Club” theme, with Kessler’s flugelhorn wrenching every bit of emotion from those classic lyrics: “Hey there! Hi there! Ho there! You're as welcome as can be. M-I-C-K-E-Y M-O-U-S-E.”

 

And then there’s “The Flintstones,” perhaps as Ornette Coleman would interpret it, “The Price Is Right” as a bouncy little funk number reminiscent of Chuck Mangione, and the surf guitar and space-age electronics of “The Dick Van Dyke Show” theme.

 

Only one of the nine selections falls flat in this context, perhaps because it’s at least 30 years newer than the rest. The “Friends” theme is pleasant enough, but it just doesn’t seem to fit in with those wacky and wonderful TV tunes of the ‘50s and ‘60s. 

 


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DAVE SCHNITTERSketch

Sketch

DMix Records

 

By Butch Berman

 

Almost every CD review has a story. I don’t know too many other Butches besides myself. It was a trip on my answering machine to have another Butch call back Butch. It turns out Lincoln Journal Star reporter Butch Mabin’s wife is the sister of Dave Schnitter, a terrific sax player formerly living in Europe and now back in New York. We’re mutual friends of Bobby Watson, another monster on sax, and he lives in the same musicians’ complex as my “brother,” percussionist Norman Hedman. It’s a small world, for sure, and in the jazz scene it’s even tinier.

 

Anyway, we met on the phone, gabbed and his promo arrived very quickly. Wow! What a great jazz experience. Hands down, it’s one of the truest forms of the best in recorded jazz music I’ve heard this year, and maybe longer than that. I just couldn’t get if off of my CD player, and EVERYONE (mostly other musicians) felt the same way about “Sketch.”

 

A pianoless quartet featuring Dave just killing on tenor, James Zollar blowing some fine trumpet, acoustic bassist Thomas Bramerie and drummer Jimmy Madison providing the perfect rhythm section for this incredible collection of tunes. Dave also shows off his prowess composing four of the eight selections. Zollar adds one with the album closer, “Sputnik,” and their take on the three standards chosen to round out this set—“For All We Know.” “All or Nothing at All” and “You Don’t Know What Love Is”—are so cleverly crafted you feel you just discovered these great songs for the first time.

 

Schnitter, an alumnus of Art Blakey’s Jazz Messengers, is amazingly well schooled in the post-bop tradition and handles the ballads with the same kind of romantic intensity of Dexter or perhaps even Ben Webster, yet with a special twist that gives his music a personal identification that sounds like no one else.

 

From the first few moments of the opening cut, “Dili Dali,” you will be well aware you’re going on an adventuresome excursion to perhaps somewhere a little bumpy, maybe even a little bit dangerous. Don’t be afraid… just sit back, buckle-up and hold on to a most enjoyable ride. To purchase “Sketch” and get more info, visit Dave’s website at www.daveschnitter.com.

 


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DICK MORGANDick Morgan Live

Dick Morgan Live

Foxhaven Records

 

By Butch Berman

 

I first heard of Dick Morgan when I received a note from his bassist and agent Dick Einhorn asking if I’d be interested in receiving his promo to book him at any of my concerns either in Nebraska or Kansas. Well, on my first listen I felt he’d be great for my shows. Then I checked him out again and REALLY dug his sophisticated, swinging style—so much so that I wanted to share this CD with you in my column.

 

Recorded live at the 1996 East Coast Jazz Festival, Washington, D.C.’s famed jazz pianist Dick Morgan and his band hit a groove so tight… these cats must have been giggin’ together for years. Along with Morgan and Einhorn are guitarist Steve Abshire, drummer Bertell Knox and percussionist Sam Turner. Obviously performing for a festival crowd, this set of standards still catches fire, as all players under Dick’s suburb tutelage have chops aplenty, employing astounding dynamics throughout.

 

Morgan truly is a commanding leader. Erroll Garner, Oscar Peterson and Earl Hines come to mind, but Dick has his own thing going. He’s a little dramatic and always bluesy, with a touch of gospel and a love of the best of American contemporary music that gives him a broad palette to create from.

           

You’ve heard this set list hundreds of times—“My Funny Valentine,” “Battle Hymn of the Republic,” “Somewhere,” “Bridge Over Troubled Waters,” etc., yet this talented unit can challenge untested waters even in these ole chestnuts and make you love ‘em all over again. This is the perfect CD to play at cocktail parties, or just kickin’ off your shoes, lightin’ up and enjoying a beverage while digging a most enjoyable musical adventure. 

 

To purchase this CD and for more information, visit www.dickmorganjazz.com.

           

Dick Morgan live…indeed!!!

 


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