2010
 CD Reviews

CONRAD HERWIG

The Latin Side of Herbie Hancock

Half Note Records

By Tom Ineck

Trombonist Conrad Herwig has been successfully “Latinizing” legendary jazz composers at least since 1996, with his homage to John Coltrane, and continuing with similar treatments of Miles Davis and Wayne Shorter tunes. Now Herwig has convened a who’s who of great players to interpret the music of Herbie Hancock with a distinct Afro-Cuban tinge. Recorded at the Blue Note club in New York City during a two-day stint in August 2008, “The Latin Side of Herbie Hancock” seethes with instrumental fire and infectious rhythms.

The essential nucleus of this explosive ensemble is, of course, the rhythm section, which consists of Pianist Bill O’Connell, bassist Ruben Rodriguez, drummer Robby Ameen and percussionist Pedro Martinez. They provide the fundamental backdrop for Herwig’s powerful trombone excursions and the equally formidable playing of Craig Handy (on tenor and soprano saxophones, flute and bass clarinet), trumpeter Mike Rodriguez and special guests Eddie Palmieri on piano and Randy Brecker on trumpet. The result is magical.

Things start off with a bang on a 10-minute rendition of Hancock’s exotic “Oliloqui Valley.” Brecker takes the first solo, dramatically building the intensity with multi-note flourishes and high notes, followed by Handy on tenor, Herwig on trombone and Palmieri, who takes the tune to the next level with pounding chord clusters. The crowning glory, however, is the harmonized three-horn interlude that follows—a passage by Herwig, Handy and Brecker that quotes a Hancock piano solo verbatim. The tempo increases for an intricate O’Connell arrangement of “One Finger Snap,” with Rodriguez in the trumpet seat. Herwig takes a lengthy solo with confidence and imagination, and Ameen on drums and Martinez on congas combine for a wailing percussion duet.

The mood is considerably more relaxed on “Butterfly,” a Herwig arrangement that allows for plenty of breathing space. Handy is featured on a bass clarinet solo of great beauty and warmth, but trumpeter Rodriquez, Herwig and O’Connell also make sensitive solo statements. “The Sorcerer” is a potently pulsating vehicle for solos by O’Connell, Brecker and Herwig, capped by a set of incendiary trades between trumpet and trombone. The funk factor is palpable on “Actual Proof,” which lends another opportunity for Brecker to soar through the changes.

This stellar performance ends with three timeless Hancock tunes. “Maiden Voyage” is a gently flowing O’Connell arrangement featuring Handy on a light and lilting flute. Brecker and Palmieri return for “Cantaloupe Island,” and a tour-de-force “Watermelon Man.” Even though he appears on only three of the eight tracks, the venerable Palmieri deserves special credit for infusing this recording with an authentic Latin groove.    

Drawing on a broad range of Hancock tunes, from his early 1960s classics to his 1974 funk-fusion favorite, “Thrust,” Herwig’s homage reminds the listener how influential and adaptable the pianist-composer has been over the years. And isn’t that what makes such tributes so valuable?

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JOHN SCOFIELD

54

EmArcy Records

By Tom Ineck

As if to emphasize strength in numbers, the title of John Scofield’s latest release focuses like a laser on the 54-piece Metropole Orchestra that helps to raise the guitarist’s own latent funk and fusion potency to new, more majestic heights. It is an astonishing collaboration further aided and abetted by the imaginative arrangements and conducting of Vince Mendoza.

It is a distinct departure from last year’s soulful “Piety Street,” a New Orleans gospel celebration on which Scofield fronts a stripped-down combo also featuring organ, bass, drums, and lots of vocals. Here, the orchestral horns, strings and percussion create a lush and colorful palette over which Scofield can spin his snaking, fluid guitar lines. But the arrangements deftly allow the ensemble to help build the intensity and interact with the guitarist in a powerful and exhilarating call-and-response. The orchestra also showcases some of its excellent soloists.

“Carlos” opens the proceedings with the orchestra stating the theme and Scofield eventually entering the fray only tentatively. After restating the melody briefly on guitar, he turns it over to the band, which ups the ante. Well into this nearly nine-minute piece, Scofield leaps into a stirring solo with his trademark octaves and fleet single-note runs. Saxophonist Paul van der Feen takes a solo before returning it over to his colleagues, who then pass it to Scofield for a final funky statement.

The mid-tempo swinger “Jung Parade” is one of two compositions by Mendoza. Complex string and brass harmonies and thundering tympanis threaten to obscure the soloists, but Scofield and trumpeter Ruud Breuls break through for some inspired playing. There is no mistaking the guitarist’s presence on his funky rock tune “Polo Towers.” He lets the crunchy signature chords sustain for full effect, and then bites into nasty single-note runs and occasional octaves. This time it’s Marc Scholten on alto sax that gets the backup solo.

Scofield’s gorgeous ballad “Honest I Do” reminds the listener just how powerful a well-arranged and conducted orchestra can sound with the right material. The guitarist puts the essential grace notes on a big production. The Crescent City beat of “Twang” again has Scofield in funk territory, with trombonist Bart van Lier helping out with a bluesy tailgating solo. “Imaginary Time” does, indeed, suspend from an implied tempo with the orchestral instruments hovering around it and Scofield winding deep inside as he explores the harmonic variations. Tenor saxophonist Leo Janssen and drummer Martijn Vink help define the tune and its rhythmic core.

Scofield turns on the funk and wah-wah effects on the infectious “Peculiar,” building to a squalling crescendo. Hans Vroomans helps to build the tension even higher with a Hammond organ solo, before he, Scofield and the whole orchestra trade licks to the finish. The mood suddenly turns romantic on Mendoza’s “Say We Did” with Vroomans at the piano and Janssen on tenor sax joining with Scofield to create a work of art. The lush orchestral palette is especially effective here, alternating from dark brass to light strings. The swinging, robust tune “Out of the City” makes for an optimistic closer and allows the guitarist to soar on the fret board one more time.

Most of the nine tunes—seven by Scofield—run between seven and nine minutes, allowing for plenty of instrumental interplay and the gradual building of themes. The ambitious project presents the guitarist in a setting worthy of his immense talent.

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KEITH JARRETT / CHARLIE HADEN

Jasmine

ECM Records

By Tom Ineck

Both pianist Keith Jarrett and bassist Charlie Haden have a deep appreciation for the standard repertoire and the importance of intimacy in playing and recording. Jarrett has dozens of solo releases, most of them made live in concert, and his favored setting over the last 25 years has been in the “standards” trio also featuring bassist Gary Peacock and drummer Jack DeJohnette. Throughout his career Haden has explored a variety of musical conversation, often in a duo format with pianists—Hank Jones, Kenny Barron, Chris Anderson, Gonzalo Rubalcaba and, now, Jarrett.

The two masters are near contemporaries (Jarrett is 65 and Haden is 73) and old friends, and that’s exactly what “Jasmine” sounds like. They hadn’t played together in more than 30 years, but the compatibility is evident from the first tune, the sentimental classic “For All We Know.” A quality of clarity and artful meditation pervades the performances, as though both men understand the historical nature of this collaboration. They listen to one another and respond, never rushing the tempo, never hogging the limelight, always aware of the power of judicious pauses and silence.

“Where Can I Go Without You,” a love song made popular by Peggy Lee, Nat Cole, and Nina Simone, among others, is evidence of the great lyrical quality inherent in the playing of Jarrett and Haden. Their phrasing “breathes,” just as a tasteful singer would deliver the lyrics, “I went to London Town, to clear up my mind. Then on to Paris, for the fun I couldn’t find. I found I couldn’t leave my memories behind. Where can I go without you?” The two develop this theme for nearly nine and a half minutes, and it’s not a second too long.

The tempo increases for the mysterious “No Moon at All,” allowing Jarrett to range deftly over the keyboard as he sets up Haden for a counterpoint solo. The next tune is not usually considered a standard. Penned by Joe Sample of the Jazz Crusaders, “One Day I’ll Fly Away” works beautifully here, again inspiring romantic passages from both Jarrett and Haden. Though the Will Jennings lyrics are not sung here, the lyrics are instructional: “One day I’ll fly away, leave all this to yesterday. Why live life from dream to dream, and dread the day when dreaming ends?”

The longest piece goes over 12 minutes. Jarrett eases us into it with a brief introduction, and then the duo immerses itself in the depths of “I’m Gonna Laugh You Right Out of My Life,” taken at an appropriately sad and wistful tempo. Jarrett seems especially inspired in a solo of exquisite beauty (and a few trademark vocal moans). Haden follows with a typically stately and understated solo before the two of them return to the theme. “Body and Soul” gets the requisite respect from these veterans in an 11-minute performance. The well-worn changes fall easily under their fingers, opening up ample opportunity for improvised passages. Haden keeps the pulse steady as Jarrett ratchets up the harmonic heat, and then the keyboard drops to a comping whisper as the bassist takes over with subtle variations of his own.

Gordon Jenkins’ monumental farewell song “Goodbye” signals that the end of the session is near. Moving at a dirge-like tempo, the two musical comrades seem reluctant to bring the recording to an end, wringing every drop of emotion from the mournful chords. As though to postpone the inevitable, they bless us with a brief encore, a tender version of Jerome Kern’s “Don’t Ever Leave Me,” which Jarrett also featured on his solo home-studio recording “The Melody at Night, with You.”  

Recorded in Jarrett’s home studio, the performances have a relaxed, cozy ambience that can’t be duplicated in a commercial studio setting. Let’s hope these two old jazz road warriors meet again soon in another creative collaboration.

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MOODY

4B

IPO Recordings

By Tom Ineck

Like its predecessor, 2009’s “4A,” the latest release by the James Moody Quartet is a scintillating swinger showcasing the continued brilliance of the 83-year-old tenor saxophonist and his sensitive sidemen—pianist Kenny Barron, bassist Todd Coolman and drummer Lewis Nash. Also recorded during two sessions on consecutive days in July 2008, it is proof positive of the foursome’s consummate compatibility and prolific creativity during that brief stay in the studio.

Barron launches the proceedings with a stately stride piano introduction before the rest of the band takes kicks in with a swinging version of “Take the A Train.” Moody soon is soaring through variations on the familiar changes, followed closely by an equally brilliant Barron solo and some well-chosen percussion permutations by Nash. Tadd Dameron’s “Hot House” is taken at mid-tempo rather than the usual frenetic pace, but it serves Moody and company well as they darken the harmonies and explore the tune’s more mysterious implications, especially notable in Coolman’s solo.

Perky Latin rhythms pervade “Speak Low” and provide a fruitful framework for solo statements by Moody and Barron. Romance is in the air on “Polka Dots and Moonbeams,” as Moody squeezes every drop of lush balladry from this beloved standard over its nearly 10-minute length. Cole Porter’s “I Love You” also gets the Latin treatment with Coolman and Nash creating a subtle, but infectious rumba underpinning as Moody and Barron float above on solo flights.

Two excellent originals are a welcomed contrast to the familiar tunes. Coolman’s “O.P. Update” is a tribute to bassist Oscar Pettiford based on the changes to Ellington’s “Perdido.” All members of the quartet have ample solo space. Barron’s granddaughter was the inspiration for his composition “Nikara’s Song,” a tender, relaxed tune that allows both Moody and Barron to express deep-seated emotions as Coolman repeats a pulsating bass line. 

Benny Golson’s “Along Came Betty” gets a bright and swinging treatment greatly aided by the inspired rhythm section. Nash’s brushwork embellishes an elegant rendition of Gershwin’s “But Not for Me,” which features an early Coolman solo setting the stage for Moody’s confident entry on saxophone.

As with the first product of these sessions, the quartet’s performances here are another reminder of Moody’s many contributions to the jazz art form and his continued ability to excite and inspire his colleagues and his fans.

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MASON BROTHERS

Two Sides, One Story

Archival Records

By Tom Ineck

Native Britons, the Mason brothers—trumpeter Brad and trombonist Elliott—have been making waves on this side of the pond since they came to America in the early 1990s on scholarships to the Berklee College of Music. Neither has been short of work since they graduated and moved to the Big Apple, but “Two Sides, One Story” is their first recording as leaders. It’s a stunning debut.

Over the years, the Masons have assembled impressive resumes. Elliott has worked with the Mingus Big Band, the Count Basie Orchestra, the Maria Schneider Orchestra and Jazz at Lincoln Center Orchestra, under the direction of Wynton Marsalis, who wrote the liner notes for this release. Brad has racked up experience with Natalie Cole, Mike Stern, Randy Brecker, Lionel Loueke and, since 2007, in rock singer-songwriter John Mayer’s band. Those varied connections probably help account for the fact that they have gathered some of the best sidemen available for this project—including the rhythm section of pianist David Kikoski, bassist Scott Colley and drummer Antonio Sanchez, and guest soloists saxophonist Chris Potter, vibraphonist Joe Locke and guitarist Tim Miller.

“Two Sides, One Story” is an excellent showcase for the Masons, not only their playing prowess and band-leading talents, but their gifts as composers and arrangers. They wrote all eight tunes here.

The co-written “24/7” (24 bars ending with a 7/4 vamp) seems to reveal new wonders with every listen. Its sound is progressive and its mood is strictly optimistic as the rhythm section swaggers and the horns interlock. Elliott takes a brawny trombone solo before handing it off to Brad for a more introspective trumpet statement. Brad opens “Stage Pints” with some trumpet ruminations over a sophisticated drum vamp before the rest of the band goes into the tune, whose title is an anagram of “Giant Steps.” Composer Elliott takes an incredible, extended solo through the new, re-harmonized changes, alternating between 3/4 and 4/4 time. Potter goes ballistic on a brilliant tenor solo. You get the idea. This is a very complex—but fun—exercise in music-making.

Things return to a more subdued mood for the title track, penned by Elliott. Again, the title reflects the form in which it is written, with mirror melodies converging, one passively and one more aggressively. In other words, we hear two sides of the same story. The rhythm section expertly maintains a stately and dramatic splendor throughout. “The Evil Eye” is a tune by Elliott commissioned for the soundtrack of a silent film by German director Hans Richter called “Filmstudie.” Colley’s bass sets up a dirge-like introduction as the tune builds in intensity, spinning and leaping in frenetic shards of sound. Miller enters on guitar with an abstract flourish of notes, Elliot triple-tongues through a rapid-fire trombone solo, Brad inserts percussive trumpet blasts, Kikoski adds his own edgy punctuation and Sanchez keeps the whole thing churning rhythmically. It is a dark and disturbing masterpiece!  

After so many years in the states, the Masons have mixed feeling about their definition of home, and that ambivalence comes through forcefully on Elliot’s sad and beautiful ballad “Gone Home,” which features Locke’s lovely, understated playing on vibes and a mournful trombone-trumpet interlude. The brothers were searching for a positive, uplifting tone when they wrote “Outside In,” and they found it in the blues. The tune shuffles and swaggers in mid-tempo, giving the rhythm section a chance to show how well the work together. Brad’s early solo brightly flashes and Elliott follows with gusto on trombone.

“Boots” was written and first recorded by the Masons back in 1996, but was updated here for an acoustic approach. Colley’s constantly moving bass line is at the core, with the others weaving lines around it. Elliott turns in an astounding trombone solo. “In the Third Person” triples the fun with three interweaving melodies operating at breakneck speed. Potter joins the Masons on tenor, but the tune also takes advantage of Kikoski’s great keyboard skills, Colley’s precision bass-playing and the whirlwind polyrhythm of Sanchez.

We anxiously await the next chapter of “Two Sides, One Story.”

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BRAD GOODE

Tight Like This

Delmark Records

By Tom Ineck

I first heard trumpeter Brad Goode in his hometown, as a featured player at the 1988 Chicago Jazz Festival. At age 25, he looked more like 15 and had just release his debut recording on Delmark, “Shock of the New.” A friend and I dubbed him “Baaaad Goode” for his extraordinary technique and funkiness.

That funk factor also permeates Goode’s fourth and latest Delmark release, “Tight Like This.” It is evident from the opening title track’s earthy backbeat, provided by drummer Anthony Lee and reinforced by pianist Adrean Farrugia and bassist Kelly Sill. This is definitely NOT just another slavish cover of the classic by Louis Armstrong, although Goode proves he is capable of squeezing off piercing, Satchmo-style high notes and glissandi during his climactic solo.

Goode delves again into the classic repertoire of early jazz with “Changes,” a Bix Beiderbecke feature from 1927 that gets a distinctly polyrhythmic interpretation, full of interesting twists and turns. Farrugia boldly explores harmonic variations as Lee keeps things interesting with some exciting percussion, occasionally inserting some nifty New Orleans street beats. “Nightingale” gets a sensuous rumba treatment with Goode stating the theme, then galloping with obvious delight through the changes on a Harmon-muted horn. Farrugia and the trumpeter later urge each other on with some clever variations.

Another old standard, “Reaching for the Moon,” gets a bop-oriented update as Goode sails along on open trumpet, figuratively “reaching for the moon” while alternately accelerating and slowing the tempo. Lee easily keeps the pace through some tricky twists and turns and even adds to the urgency as Farrugia turns in a dazzling solo. The rhythm section applies a funky backbeat to Freddie Webster’s feel-good “Reverse the Charges,” on which Goode again employs a mute.

The trumpeter contributed five of his own compositions to the session. “Summary” is dedicated to Goode’s late mentor, Eddie Harris and features another outstanding solo by Farrugia. Again on muted horn, Goode sounds elegiac on the lovely “Midwestern Autumn,” a meditative number with superb solo statements by Sill and Farrugia. The band boldly ventures into abstract territory on “Climbing Out,” then returns to soulful gospel-style roots with “The River.” Delmark Records founder and producer Bob Koester gets an appreciative nod on “Bob’s Bounce.”

Farrugia wrote the inspired arrangement of “Softly, as in a Morning Sunrise” that closes the CD. It surges with a rhythmic tension and interesting counter-harmonies. The arranger delivers an outstanding solo, followed by Goode’s even more spectacular solo, all propelled by Sill and especially Lee in a mounting polyrhythmic barrage.

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ROYCE CAMPBELL TRIO

What Is This Thing Called?

Philology Jazz

By Tom Ineck

Jazz musicians frequently deconstruct and reimagine the standards of the Great American Songbook, even superimposing new melodies over the original chord structures until the process begs the question: Why not alter the titles to reflect the changes? That’s exactly what guitarist Royce Campbell has done on a couple of previous CDs as well as his latest release, cleverly titled “What Is This Thing Called?”

Essentially, Campbell has written 11 new tunes, but the titles are a tipoff to the familiar tunes that inspired them. “Love for Rent” is a nod to “Love for Sale,” the ballad “I Fall in Love Too Hard” is the inevitable reply to “I Fall in Love Too Easily,” and the title track is an obvious reference to “What Is This Thing Called Love?” You get the idea.

In his effort to revisit familiar territory in new and interesting ways, the guitarist is joined by longtime colleague Bob Bowen on bass and the wonderful pianist Hod O’Brien, who the Berman Music Foundation brought to Lincoln with singer Stephanie Nakasian for an October 2001 performance at P.O. Pears. For a more intimate sonic production, the CD was recorded in the cozy confines of O’Brien’s living room, with the pianist performing on a small upright.

O’Brien confidently navigates through the classic changes of “I Got Rhythm” for a swinging revamp called “They Had Rhythm,” perhaps a sly reference to the good old days when it wasn’t jazz unless it swung with feeling. Campbell and O’Brien both solo with verve and imagination. Only the name of the protagonist changes for “Have You Met Miss Smith?” a well-paced opportunity for Campbell and O’Brien to listen and respond to each other’s ideas. All the players stretch out on “See Jam Blues,” an oblique reference to Ellington’s “C Jam Blues.”

Among other tell-tale titles are the egotistical “How About Me,” the fictitious “I Could Write a Novel,” the very public “Not So Secret Love” and “In a Sorta Mental Mood,” a somewhat psychologically unbalanced take on the Ellington evergreen “In a Sentimental Mood.” Actually, the titles are less indicative of the various moods involved than they are of Campbell’s playful sense of humor.     

Campbell, O’Brien and Bowen shine even without the presence of a grand piano or the state-of-the-art sound of a professional recording studio. The drummerless trio gains in intimacy what it lacks in a more conventional studio setting. 

“What Is This Thing Called?” comes on the heels of two Campbell releases recorded just six weeks apart, in late 2008 and early 2009. In fact, we reviewed those CDs earlier this year, proof that Campbell continues to produce noteworthy music at a prolific rate.

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JEFF BECK

Emotion & Commotion

ATCO Records

By Tom Ineck

What the listener immediately notices about the new Jeff Beck CD is its “lyrical” beauty, the guitarist’s ability to “vocalize” with his instrument. Every solo sounds like an aria for guitar—a “guitaria.”

Beck’s eccentric six-stringed forays have always had an element of heartfelt lyricism, from his early days with the Yardbirds and the fuzz-toned psychedelia of “Heart Full of Soul,” “Shapes of Things,” and “Happenings Ten Years Time Ago.” His mid-1970s solo recordings eschewed conventional vocals entirely, allowing his guitar to assume the role with gorgeous instrumental versions of Stevie Wonder’s “Cause We’ve Ended as Lovers,” Lennon and McCartney’s “She’s a Woman,” and Charles Mingus’ elegy for Lester Young, “Goodbye Pork Pie Hat.” The brilliant 2008 recording “Performing This Week… Live at Ronnie Scott’s” made it abundantly clear that Beck had lost nothing in the way of technique or emotional wallop, and his first studio recording in seven years, “Emotion & Commotion,” reaffirms that fact while adding to his stature as the greatest rock guitarist of all time.

It opens modestly, with Beck’s guitar movingly singing the melody of Benjamin Britten’s “Corpus Christi Carol,” with keyboards and orchestral arrangement by Pete Murray, who adds similar lush touches throughout the recording. Beck’s version was inspired by that of another J.B., the late Jeff Buckley, who recorded the tune on his 1994 debut, “Grace.” Lasting less than three minutes, it abruptly segues into “Hammerhead,” a typical Beck rocker based on an irresistible riff by keyboardist Jason Rebello, with Tal Wilkenfeld on bass and Alessia Mattalia on drums. Beck uses the repeated phrase as a springboard for one of his exciting, fuzz-toned flights into the stratosphere.

Rebello achieves a truly vocal sound on his gorgeous composition “Never Alone.” Beck, of course, takes the lead “voice,” spinning his guitar magic around the chord changes. Perhaps the CD’s most obvious attempt at lyrical precision is the guitarist’s stunning take on the classic “Over the Rainbow,” a yearning, moaning performance aided again by Murray’s orchestral flourishes.

Beck returns to his bluesy roots on a brief rendition of the Screamin’ Jay Hawkins tune, “I Put a Spell on You,” sung with great emotion by Joss Stone. “Serene” is what the name implies, a meditative melody by Beck and Rebello that also features atmospheric vocalizing by Olivia Safe and some soaring, but sensitive slide guitar work. Singer Imelda May beautifully interprets another Buckley favorite, the poetic 1949 love song “Lilac Wine,” usually associated with Nina Simone’s definitive version. Again Beck makes it his own with touching lyricism, which leads naturally into the astounding “Nessum Dorma,” a Puccini aria that gets the full orchestral treatment to great effect. Beck’s final notes are heavenly.

Joss Stone returns on the soulful “There’s No Other Me,” for which she also wrote the lyrics to Rebello’s composition. Halfway through this four-minute song and again at the fade, Beck tempting injects short shredding solos, but otherwise confines himself to able accompanist. Dario Marianelli’s “Elegy for Dunkirk” is another guitar-vocal collaboration with the operatic Safe, whose wordless vocal interlude enters as a light into the moody darkness. Beck seems inspired to find that same hopeful brightness in his solo.

Yes, Beck’s latest produce is more emotion than commotion. That may disappoint some fans who were hoping for more rock-oriented guitar shredding, but the sheer beauty of “Emotion & Commotion” is undeniable.

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By Tom Ineck

A favorite of the Berman Music Foundation since the BMF brought him to Lincoln with saxophonist Greg Abate in 1996, Brazilian trumpet virtuoso Claudio Roditi has followed up his 2009 Resonance Records debut with “Simpatico,” another sterling example of Roditi’s bop-oriented Latin jazz.

Whether on trumpet, flugelhorn or piccolo trumpet, his playing always maintains a high level of excitement and his recordings are never less than dazzling, consistently satisfying and imaginative. In this case, “Simpatico” may refer both to Roditi’s close association with the material—he composed all of the 12 tunes—and his compatibility with the other players. Among them are young trombonist Michael Dease, guitarist Romero Lubambo, pianist Helio Alves, bassist John Lee and drummer Duduka da Fonseca.

The sympathetic nature of the project is evident from the first track, the jumping and joyous “Spring Samba.” Roditi moves through the difficult changes with bright and breezy abandon, followed by an equally adept trombone solo by Dease. Alves and da Fonseca also get solo statements that ensure their rhythmic credentials. “Alfitude” is a beautiful bossa that celebrates underappreciated Brazilian composer Johnny Alf. Roditi and Dease harmonize their horns in lush precision.

Roditi utilizes a muted piccolo trumpet to good effect on the aptly entitled “Piccolo Blues.” The smaller horn is not only in a higher register but creates more resistance for the player, making it a difficult instrument to play, but the effort pays off here. One of Roditi’s minor masterpieces, the ballad “Slow Fire” is the title track of his 1989 release. Here it gets the full orchestral treatment with an arrangement by Kuno Schmid and the composer pouring out his heart on flugelhorn.

“How Intensitive” is a variation on Jobim’s standard “How Insensitive.” Roditi’s flugelhorn deftly navigates the tricky changes at a medium tempo before turning it over to Lubambo for a delectably tasteful solo on the nylon-stringed acoustic. “A Dream for Kristen” is a loving tribute to Roditi’s wife on which Lubambo switches to electric steel strings for some Wes Montgomery-style chording.

Keeping it all in the family, Roditi continues with “Alberto and Daisy,” a light-hearted samba dedicated to his parents. Alves also shines on his imaginative piano solo, and da Fonseca makes another breath-taking drum statement. Roditi and Dease meld their horns again on “Blues for Ronni,” with Dease taking a brawny and blustery solo. A da Fonseca drum solo sets the pace and the mood for “Slammin’,” a blistering cycle of changes that everyone handles with seeming ease.

Roditi lends an engaging sensitivity to his vocal on “Waltz for Joana” before taking over the theme on muted trumpet. Both Alves and Lubambo contribute brief, but lovely solo variations leading to the vocal reprise. “Vida Nova (New Life)” is referred to by the composer as “Zen Samba.” It does, indeed, seem effortless and elemental in its execution, thanks to flawless solos by Alves, Roditi and Lubambo. The drummer again sets the stage with a percussion introduction to the fast-paced finale, “Winter Dreams.” Roditi’s generosity with his fellow musicians throughout this project seems to bear out its title.

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DEE DEE BRIDGEWATER

Eleanora Fagan: To Billie with Love

DDB Records

By Tom Ineck

At age 60, Dee Dee Bridgewater may be the greatest living jazz singer at the pinnacle of her career, but she has not forgotten the jazz lineage from which she sprang or the jazz artists who inspired her. “Eleanora Fagan” is the latest in a string of tributes that also include 1995’s “Love and Peace” collection of Horace Silver tunes, and 1997’s homage to Ella Fitzgerald called “Dear Ella.”

A sprightly personality with a more virtuosic voice than Holiday possessed, Bridgewater does not attempt to mimic the great “Lady Day.” Her style is closer to that of Betty Carter, Sarah Vaughan or Ella. But there is no doubting Bridgewater’s profound respect for Holiday’s tragic genius and her unmatched ability to put a song across with emotion. She is aided in this effort by the arrangements of pianist Edsel Gomez and the accompaniment of bassist Christian McBride, drummer Lewis Nash and the multi-instrumental reed master James Carter.

Appropriately, “Lady Sings the Blues” kicks things off with a Holiday original that leaps with rhythmic counterpoint and lyrics that introduce the subject with an autobiographical story line. Carter accompanies with bluesy urgency on tenor sax. Most of the remainder of the CD contains standards that were prominent in Holiday’s repertoire. Bridgewater joyfully scats through the brisk “All of Me,” with Carter on soprano. She caresses the blues-tinged “Good Morning Heartache” as Carter’s quavering bass clarinet plumbs the lower depths of the lyric’s despair. Her rendition of “Lover Man” is alternately wistful and hopeful.

Carter wails on the mournful “You’ve Changed,” as the rhythm section provides a rock-solid canvas for Bridgewater’s painterly vocal colors. The two-minute “Miss Brown to You” demonstrates the singer’s talent for swinging swagger and mischief as she sets up Lewis for a drum solo and Carter soars overhead on tenor. Carter’s flute is the perfect foil for Bridgewater’s shadowy voice on “Don’t Explain.”

McBride is in his bluesy Ray Brown mode as he sets up the walking bass line on “Fine and Mellow,” Holiday’s trademark composition. At Bridgewater’s urging, Carter enters the fray on tenor, going uptempo in a thrilling solo. The clever “My Mother’s Son-in-Law” showcases an unbridled dialogue between McBride’s playful bass and Bridgewater’s suggestive vocals. Holiday’s most famous original, “God Bless the Child,” gets a respectful reading that emphasizes the lyrics of self-determination, while giving Carter a chance to shine on soprano sax.

After a faithful recital of the introductory verse with piano accompaniment only, Bridgewater launches into a swinging version of Gershwin’s “A Foggy Day” replete with irrepressible scat-singing and some fleet piano work by Gomez. Holiday’s own struggle with racism and personal acceptance are reflected in Lewis Allen’s “Strange Fruit,” which Holiday performed to spellbound audiences and which makes for a powerful closer to this collection. A veteran of the theatrical stage, Bridgewater dramatically evokes a public lynching in a voice that cracks as she describes the scene in gruesome detail.

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STEVE KUHN TRIO with JOE LOVANO

Mostly Coltrane

ECM Records

By Tom Ineck

Pianist Steve Kuhn gets short shrift in most jazz commentaries, where he’s usually identified as the guy who preceded McCoy Tyner in John Coltrane’s classic quartet. As his tenure in that ensemble lasted only two months, the reference does Kuhn a disservice and relegates him to little more than a footnote in history. On the contrary, the 72-year-old Kuhn also played in the bands of Stan Getz and Art Farmer and has produced a string of wonderful recordings under his own name over the years. The most recent evidence of his staying power is “Mostly Coltrane,” a tribute to his former employer featuring the sympathetic, Trane-like tenor of Joe Lovano and Kuhn’s exemplary trio mates David Finck on bass and Joey Baron on drums.

The 13 tracks included here are largely Coltrane originals and wide-ranging examples of his incredible impact on the evolution of modern jazz and on the development of the tenor sax as its most iconic instrument. “Welcome” is a relaxed meditation, while the bluesy “Song of Praise” is a more passionate spiritual exploration, with Lovano delivering the theme in a high, keening tone. Their take on the lovely “Crescent” is carefully measured as Kuhn creates lush keyboard soundscapes for Lovano’s gorgeous passages and Baron tastefully uses mallets on cymbals.

Billy Eckstine’s ballad “I Want to Talk About You” and the standard “The Night Has a Thousand Eyes” are the only tunes not written by Coltrane or Kuhn. Lovano sits out the first one, allowing the trio to fully work the variations suggested by the beautiful chord changes. The trio opens the latter tune, taking it uptempo to a blistering pace before Lovano makes his entrance with burry gusto about halfway through the nine-minute burner, and his explosive attack urges Kuhn, Finck and Baron to new heights.

“Living Space” is a dreamy, rhythmically free exploration that allows all players to express themselves. By contrast, it is followed by “Central Park West,” one of Coltrane’s most mellow and memorable melodies. Lovano brilliantly finds the common ground between Coltrane and Rollins on the Latin-tinged “Like Sonny,” which is also a springboard for superb solo statements by Finck and Baron.

Kuhn penned the piano solo piece “With Gratitude” as a personal homage to Coltrane. “Configuration” is an obscure Coltrane tune given a raucous free-jazz interpretation, first by Lovano and Baron, then adding Kuhn and Finck to the fray. Another rarity, “Jimmy’s Mode,” gets a more meditative reading and allows the players to make their statements in more orderly fashion. On the bluesy “Spiritual” Lovano switches to tarogato, a Hungarian reed instrument that sounds a bit like soprano sax. The CD closes with “Trance,” another beautiful solo piano tribute by Kuhn.

Not surprisingly, the mood throughout this Coltrane tribute is alternately respectful, relaxed, intense and spiritually transcendent, adhering both to the ECM reputation and the legacy of John Coltrane. With “Mostly Coltrane,” Kuhn also delivers one of his most heartfelt recordings.

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THE STRYKER/SLAGLE BAND

Keeper

Panorama Records

By Tom Ineck

The latest release from longtime friends and collaborators Dave Stryker and Steve Slagle is another adventurous exploration of the deep groove, common ground where the guitarist and saxophonist are again joined by bassist Jay Anderson and drummer Victor Lewis to create a magical group sound.

Stryker’s edgy guitar lines blend seamlessly with Slagle’s sax, as the rhythm section churns beneath. This high degree of compatibility is not achieved overnight and is a tribute to the sensitive, four-way communication on display throughout “Keeper.” Stryker’s catchy opening title track aptly defines the entire project, as he works the funky guitar chords, Slagle matches the melody line with short alto bursts, and Lewis reaffirms his standing as a world-class percussionist who is never at a loss for ideas.

Never too far from the blues, the band swings with bluesy feeling on Slagle’s “Bailout,” wherein the composer and Stryker contribute equally compelling solos, then trade fours with customary glee before returning to the theme. The only cover tune here is Monk’s familiar ballad “Ruby My Dear,” and it gets a sensitive reading by Slagle, with lush, chorded harmonies by Stryker. “Come to Believe” contains an irresistible groove with also sax and guitar doubling the main theme before Stryker and Slagle each cut loose with a solo, aided and abetted by Lewis and Anderson.

“Bryce’s Peace” is a lovely Slagle-penned ballad that perfectly demonstrates the natural ease with which these players interact. Slagle takes the lead, Stryker’s gentle, Metheny-like comping is subtlety personified, Lewis tastefully uses the brushes and Anderson is especially notable for his relaxed, inspired solo. With Stryker’s cleverly titled “Blue State” we find ourselves seated front and center at an imaginary blues club, where the foursome are getting down and dirty. The outlook brightens with Slagle’s snappy uptempo “Sister,” a great vehicle for Stryker’s Wes-tinged guitar chording and a joyous workout for Lewis and Anderson, who takes a sublime solo.

“Gold Dust” is a minor-key gem that manages to evoke a kind of hopeful melancholy. Stryker takes a rare and wonderful solo on acoustic guitar, followed by Slagle on soprano sax. Stryker’s unusual “Convergence” again features Slagle on soprano as the guitarist returns to the electric six-string for some breathtaking fretwork and Lewis takes a signature solo of great imagination and fire. The closer is “Good 4 U,” a lively Latin tune by Slagle that again documents the all-round camaraderie and technical proficiency of these four individuals.

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JOE CHAMBERS

Horace to Max

Savant Records

By Tom Ineck

A stalwart session player since the mid-1960s, drummer and vibraphonist Joe Chambers has only recently renewed his reputation as a bandleader of considerable skill and imagination. “Horace to Max” is Chambers’ second excellent CD on the Savant label, a follow-up to 2006’s “The Outlaw.” As the title of the new release implies, it is homage to the funky, Afro-Caribbean music associated with Horace Silver and Max Roach.

Kenny Dorham’s brawny “Asiatic Raes” starts things in a hard-bop style, led by the driving drums of Chambers, the swaggering tenor sax of Eric Alexander and the propulsive rhythmic support of pianist Xavier Davis, bassist Dwayne Burno and conguero Steve Berrios. Chambers switches to vibes and Berrios takes over the drum chores on Silver’s beautiful ballad “Ecorah.” “Man from South Africa” is a Roach composition with Chambers doubling on drums and vibes in the richly harmonized theme. As always, Alexander’s tenor playing is superb.

Nicole Guiland makes a guest appearance singing the overtly political lyrics of Roach’s “Mendacity,” from the drummer’s 1961 classic “Percussion Bitter Sweet.” Evoking the original recording as sung by Roach’s former wife, Abbey Lincoln, Guiland cynically sings, “The campaign trail winds on and on, in towns from coast to coast. The winner ain’t the one who’s straight, but he who lies the most.”

Marcus Miller wrote “Portia” for the 1986 Miles Davis project “Tutu,” and it gets a respectful reading with Chambers doubling on vibes and marimba, and taking a stunning solo on the latter instrument. Davis and Alexander also contribute atmospheric solo statements. Another subtle reference to Miles is “Water Babies,” a lilting, whimsical Wayne Shorter tune that served as the title track of a 1977 Davis release. Here, Chambers covers all the bases on vibes, marimba and drums as Alexander’s tenor leaps through the changes.

Guiland returns for a glowing rendition of the bluesy “Lonesome Lover,” co-written by Roach and Lincoln for a 1962 record. Chambers gives a respectful nod to Thelonious Monk with a brisk version of his rhythmically complex “Evidence.” Again, Alexander excels in the confident, honking style of Sonny Rollins. Chambers’ own “Afreeka” confirms his latest project’s Afrocentric nature with its roots-derived percussion “dialogue.” More than ever, Chambers emphasizes the ringing, melodic sounds of the vibes and marimba and downplays his work on drums, allowing Berrios to provide much of the percussion. The result is a very satisfying listen.

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JEFF JENKINS

The Healing

Mile High Music

By Tom Ineck

Listening to “The Healing” is an intimate act, as though catching a glimpse of someone in the process of a slow, painful recovery. Solo pianist and composer Jeff Jenkins admits as much in the liner notes. As he writes, “I’ve seen loss and disappointment, illness and death, divorce, marriage, addiction and recovery, depression and hope.”

A Denver-based musician and educator, Jenkins is a Nebraska native who still maintains ties with the state. Earlier this year, he returned to Lincoln for an indoor Jazz in June performance with trumpeter Darryl White’s band. The best evidence of recovery and hope in Jenkins’ own life is his recent marriage to Terri Jo, who left Lincoln last year for a new life in the Rockies.

“The Healing” opens meditatively with “The Three Flames (for Frank).” Its melancholic theme occasionally allows for a shaft of light to break through the darkness as Jenkins ranges over the keyboard with Chopinesque soulfulness. “End of Sides” is brisker and brighter in tone, setting a lilting melody against dark chords. The moody “Inside Out” has a more tentative, unresolved conclusion, while “Lost Waltz,” for all its initial sadness, gives us hope that all is not lost. Perhaps that is the message of every waltz, with its inherent lilt and irresistible swing. At least, Jenkins treats it that way here.

Sometimes all that healing requires is a “Second Chance,” and the gorgeous changes of this one do have peaceful, healing qualities. Though the title of “Highlife” may allude to a life of revelry, I prefer to think of it as a celebration of the clean, high-altitude living in Jenkins’ adopted state. He gives it a soulful gospel strut that is undeniably positive in its outlook. Amen!

“Song for Jo” is the composer’s tender tribute to his wife. Again, the listener feels a little voyeuristic being allowed to witness such an intimate and heartfelt expression of love. Despite its dedication to “Lee,” we can all take comfort in the uplifting, pastoral balm of “The Healing Hymn.” With “Waltz for Ellington,” Jenkins pays homage to the quintessential bandleader, again conveying the sense of swing in three-quarter time as he explores variations on the theme.

With its bold, sustained chords, spiritual aspiration and firm resolution, “El Sanctuario” does, indeed, feel like a place of refuge from the storms of life. By layering improvised lines, Jenkins reinforces that sense of safety and self-assurance. “The Girl with the Soulful Eyes (for Zoe)” is an expression of pure syncopated joy, allowing us a brief glimpse of this marvelous creature. Jenkins closes by returning to a more introspective mood on “The Goodbye Season,” as though reluctantly closing a door on the past while opening a new one to the future.  

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OLIVER JONES / HANK JONES

Pleased to Meet You

Justin Time Records

By Tom Ineck

For poise, sophistication, technique and taste, no one can keep up with the Joneses. That is, Oliver Jones and Hank Jones, who join their talents here for a momentous collaboration that is as much memorial homage to Oscar Peterson as it is testimonial to their own, enduring reputations.

“Pleased to Meet You” was in the planning stages when Peterson died in December 2007. It was recorded in June 2008 in Montreal, the hometown of both Peterson and Oliver Jones and—aptly—appears on the Justin Time label, a Montreal-based company with which Oliver Jones has been associated for more than 25 years. The result is a relaxed, genial atmosphere that comes across on the recording, the first featuring these two keyboard giants.

Hank Jones, almost 90 at the time of this recording, is Oliver’s senior by about 17 years, but their styles are eminently compatible. That is especially apparent on the opener, the stately Ellington tune “What Am I Here For?” where they build the melody line at a gentle, strolling gait. The soulful Jerome Richardson standard “Groove Merchant” fully exploits the blues influence in both pianists, capably abetted by bassist Brandi Disterheft and drummer Jim Doxas, who are aboard on the first three tracks only. The last of these is “Ripples,” a delightful Hank Jones romp that features Disterheft and Doxas trading solo breaks.

The rhythm section steps down as the pianists go head-to-head on “Makin’ Whoopee.” The Joneses illustrate the rare ability to listen and respond appropriately, never getting in each other’s way as they “converse.”  On the uptempo “I’ll Remember April,” one delineates the theme while the other provides a rubato introduction, then they each go on dazzling solo flights before returning to the melody. Another tune that suits the duo well is “Star Eyes,” with its intriguing changes and lush chords.

The elder Jones has two brief solo features, including “Monk’s Mood,” and the closer, “Lonely Woman,” a moody piece by William Stegmeier that clocks in at less than two minutes.

The spotlight turns squarely on Peterson with his “Blues for Big Scotia,” a broad, two-fisted blues composition that allows both of the Joneses to show their chops as they trade solos and keep the powerful groove churning. Peterson’s “Cakewalk” is a more light-hearted affair, bouncing along and keeping both pianists on their toes. But it is Oliver Jones’ “I Remember OP” that most intimately pays the duo’s respects to their late friend and fellow piano legend.

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MATT WILSON QUARTET

That’s Gonna Leave a Mark

Palmetto Records

By Tom Ineck

As the title so cleverly implies, the latest release from the Matt Wilson Quartet definitely leaves an impression on the listener. Whether you’re new to the Wilson esthetic or a long-time fan, “That’s Gonna Leave a Mark” is a tantalizingly unique experience. For those in the know, its blend of catchy melodies, free-bop improvisations, rhythms that alternately swing and rock with a backbeat, and an overall sense of whimsy are typically unconventional—or is that unconventionally typical?

Over the course of his 14-year relationship with Palmetto Records, the wily drummer has consistently maintained a quartet format, sometimes with saxophone, keyboards and bass, sometimes with trumpet and keys, and sometimes with two saxophones and bass, which is the case here, with Andrew D’Angelo and Jeff Lederer on assorted reeds and Chris Lightcap on bass. His current touring foursome, which performed March 26 in Lincoln, changes that equation yet again by pairing saxophone and trumpet.

D’Angelo on alto sax and Lederer on tenor sax manage to sound like a whole brass section while setting up the opening romp, “Shooshabuster,” before engaging in solo excursions, with shouted encouragement from Wilson. “Arts and Crafts,” the stop-and-start title track of Wilson’s 2001 release, is given a new lease on life as the two saxophones harmonize then merge with Wilson’s insistent snare-drum pulse for a three-way dialogue. This recording is dedicated to bassist Dennis Irwin, a former Wilson bandmate who died a couple of years ago.

D’Angelo’s “Rear Control” features Lederer soaring on clarinet, as the tempo escalates. The time signature shifts again, and the composer joins the fray on bass clarinet. “Getting Friendly” is a sweetly melodic love song penned by Wilson. The quartet has a ball interpreting the bebop classic “Two Bass Hit” by the MJQ’s John Lewis. Lederer growls on tenor, Lightcap prowls on bass and Wilson drives the tempo and skips lightly over the changes in a bravura percussion performance.

A heavy backbeat moves Wilson’s “Area Man,” while saxophones combine in raucous abandon. Lederer’s daughter, Maya, choose 12 notes that her dad then fashioned into the beautiful chamber piece for clarinets called “Lucky.” As Wilson writes in the liner notes, it is a song that “resounds of honesty, hope and optimism.” The brief title track has Wilson roving over the drum kit like a man possessed as Lederer and D’Angelo make their impression with a vengeance. Lightcap contributed the lilting free-bopper “Celibate Oriole” to the quartet’s songbook.

The traditional 19^th century hymn “Come and Find the Quiet Center” and the 1974 song by War called “Why Can’t We Be Friends?” close the recording on a note of contemplation and world unity, with “The Swayettes” and the entire Wilson family joining in on the final tune’s vocal chorus.

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GENE HARRIS QUARTET

Another Night in London

Resonance Records

By Tom Ineck

With “Another Night in London,” Resonance Records continues to pay homage to the lasting legacy of piano great Gene Harris, whose career was revived in the 1980s and 1990s with nearly 20 releases on the Concord label, extending right up to his death in early 2000. Always an exciting keyboard stylist with roots deep in the blues, Harris is at his most riveting in concert with a quartet. Such is the case here, another set from his 1996 club date at Pizza Express. Resonance released the first volume, “Live in London,” in 2008.

Like that previous CD, “Another Night” showcases six extended performances with a solid band consisting of Scottish guitarist Jim Mullen (of Brian Auger’s Oblivion Express and Average White Band) and two Brits, bassist Andrew Clyendert and drummer Martin Drew, who worked extensively with Oscar Peterson. In tracks ranging from eight minutes to more than 13 minutes, they delve intensely into such soul classics as “Sweet Georgia Brown” and “Georgia on My Mind,” plus a soulful rendition of the ballad “That’s All” and stunningly original versions of Jobim’s “Meditation,” Gershwin’s “Lady Be Good,” and Leon Russell’s “This Masquerade.”   

Mullen ignites “Georgia” with a subtle string-bending introduction, with Harris taking up the challenge, first with easy-swinging poise then increasing pyrotechnics and blues power, as the rhythm section intensifies the groove. “Meditation” gets an especially exciting reading, with Mullen storming out of the gate and Harris pushing the tempo as he builds momentum with an inspired flurry of notes. Mullen returns for an equally outstanding solo.

Harris deftly teases all the bluesy possibilities from the ballad “That’s All,” again building to a soul-stirring finish. Perhaps “Lady Be Good” takes the prize for its raucous and rollicking interpretation, placing Harris squarely in the pantheon of great jazz keyboard stylists—such as Peterson and Ray Bryant—who swing with a titanic, two-fisted passion. Mullen again sets the soulful tone for an exquisitely beautiful take on “This Masquerade,” with Harris slowly building intensity in less-is-more style. Mullen’s solo takes off into the stratosphere while maintaining the tune’s melodic essence.

“Georgia on My Mind” is just a plain old flag-waver for Harris, incorporating all the trademark slash-and-burn soul piano technique for which Harris is known. In the set’s longest performance, he takes chorus after inspired chorus, never lacking for ideas and never lagging in swinging energy.

The question now is: Are there any more “Nights” yet to be discovered and released? If so, Resonance Records is sure to find them.

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LAURENCE HOBGOOD

When the Heart Dances

Naim Jazz

By Tom Ineck

Released in late 2008, this CD pairs idiosyncratic bassist Charlie Haden with Laurence Hobgood, a pianist best known for his work as accompanist and arranger for Chicago song stylist Kurt Elling. The piano-bass duo is favorite setting for Haden, who has recorded similar projects with Hank Jones, Kenny Barron, Gonzalo Rubalcaba and Chris Anderson. “When the Heart Dances” joins that elite company as another sterling example of a jazz “dialogue.”

“Que Sera Sera” makes for an interesting opener, a promise of more good things to come. After all, “whatever will be, will be” is a very jazz-friendly philosophy. Rather than the bright, waltz tempo usually deployed on this chestnut, Hobgood and Haden give it an introspective treatment. By contrast, the pianist’s title track is a waltz variation that beautifully showcases the composer’s keyboard skills.

Elling joins the duo on three of the 11 tracks here, including the ubiquitous “First Song,” without a doubt the most frequently recorded Haden composition. With a haunting melody and lyrics that recount that time when “love is new,” it is worthy of repeated recordings and a range of interpretations.

Hobgood goes solo on two originals. “Sanctuary” is a stately, lyrical piece, delivered with great emotional impact in a style reminiscent of the best Keith Jarrett. Haden and Hobgood collaborated on “Chickoree,” a probable reference to pianist Chick Corea, especially when considering its leaping, crab-like keyboard meanderings.

Elling returns for a bold reading of the ballad “Stairway to the Stars,” with sustained passages where he stretches or repeats words, as though slowly climbing those stairs, eventually rising to a final falsetto note. Next, Hobgood dusts off the old Hoagy Carmichael tune “New Orleans” with an imaginative solo introduction before being joined by Haden for the ever-so-slow theme.

“Why Did I Choose You?” is a yearning ballad that gets just the right emotion-laden treatment from Hobgood and Haden. Hobgood takes a masterful solo turn on his sprightly composition “Leatherwood.” The tempo slows and Elling returns for a resonant and resourceful reinterpretation of the Ellington/Strayhorn classic “Daydream.” Hobgood deftly inserts dark harmonies as though suggesting an omen of sadness.

The concluding track is the exquisitely beautiful “The Cost of Living,” by pianist-composer Don Grolnick. Recorded by saxophonist Michael Brecker on his 1987 self-named release (with Haden on bass), it was also included on Grolnick’s 1992 masterpiece, “Nighttown.” Sadly, those artists have died—the composer at age 48 in 1996 and Brecker at age 57 in 2007. This is a fitting memorial tribute to both.

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DANA HALL

Into the Light

Origin Records

By Tom Ineck

My introduction to drummer Dana Hall was his March 2009 appearance as guest soloist with the Nebraska Jazz Orchestra. The concert’s advance publicity touted his degree in aerospace engineering, music composition and music arranging, an impressive resume that left me wondering if he was just another academic who dabbled in jazz.

His performance that night and his debut recording as a leader, “Into the Light,” leave no room for doubt. Hall has all the percussion chops, composing skills and soulfulness that you could ask for, and his heavyweight bandmates lend him additional credibility. They are trumpeter Terell Stafford, saxophonist Tim Warfield Jr., keyboardist Bruce Barth and drummer Rodney Whitaker.

“Into the Light” begins with Herbie Hancock’s “I Have a Dream,” the only tune not written by either Hall or one of his band colleagues. Barth’s bright, harmonic punctuation on Fender Rhodes recall Hancock’s fusion projects of the late 1960s and early 1970s. Urged along by Hall’s powerful drumming, Warfield soars into the stratosphere on tenor sax, followed by an equally exciting solo by Stafford.

The quintet at times sounds like an updated edition of Art Blakey’s Jazz Messengers, especially on Hall’s relaxed, swinging “Conversion Song,” where Warfield and Stafford solo with the hard-bop vigor of Wayne Shorter and Lee Morgan. “Orchids” is a lovely jazz waltz featuring Whitaker’s lyrical bass, a lilting soprano sax solo by Warfield and a penetrating piano statement from Barth.

Hall drives the title track with the insistence of a slightly mad metronome, reaching a euphoric high with Stafford adding electronic trumpet effects to Barth’s electric keys and some studio reverb and sequencing on the drums. Again, it harkens back to some of the more imaginative space-age ventures of late-‘60s jazz. “Black Mountain” has a modal feel that allows much improvisation and rhythmic shifts as Hall keeps the steady pace and soloists Stafford, Barth and Warfield on soprano sax circle around it.

“The Path to Love,” named after a Deepak Chopra book, has an undeniably spiritual quality, further elevated by a lively, upbeat tempo. Hall’s “Jabali” is his loving tribute to mentor Billy Hart, drummer on those classic Hancock recordings of the early 1970s. It is, indeed, a workout for Hall. Whitaker contributes the rather solemn, moody “For Rochelle,” a tune written for his daughter. The closer is Warfield’s “Tin Soldier,” which begins with a thundering drum solo that sets the stage for an uplifting, rhythmic journey. Trumpet and soprano sax harmonize with the piano in tightly-locked synchronicity, all the while driven by Hall’s wide-ranging rhythmic barrage.

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JOE LOCKE

For the Love of You

E1 Music

By Tom Ineck

The prolific and prodigiously talented vibraphonist Joe Locke continues to stretch his wings on “For the Love of You,” where he appears chiefly as accompanist for singer Kenny Washington, though he gives himself plenty of solo space between lyric verses.

Locke, who has more than a dozen recordings under his own name in the last decade alone, already has proven himself Milt Jackson’s heir apparent. He possesses a technical proficiency and bluesy authority equaled by few and surpassed by no one on the scene. That makes him a perfect foil for Washington’s soul-inflected pop balladry, from the tender sentiment of Henry Mancini’s “Two for the Road” to the upbeat lilt of “Old Devil Moon,” which has Locke expanding in a lyrical solo flight. 

The title track, though nicely rendered by the band, remains a tepid Isley Brothers tune, another indication that this recording strives—with mixed success—to transcend the boundaries of jazz. On the other hand, Washington does great justice to Locke’s composition “Verrazano Moon,” a beautiful homage to late friend and bandmate saxophonist Bob Berg, who died in an auto accident in 2002 at age 51.

A harmonically rich arrangement, imaginative solo statements and a sensitive vocal lift Neil Young’s melodic “Birds” beyond its folk-rock pedigree to the level of jazz standard. Washington’s pure tenor voice seems ideally suited for the tune. The band returns to the Mancini songbook for “The Shadow of Your Smile,” with Washington’s versatile and inspired vocal excursions resembling Stevie Wonder’s. Locke appreciates the beauty inherent in the theme from “Cinema Paradiso,” which has been covered by many jazz artists, including Pat Metheny and Charlie Haden on their collaboration “Beyond the Missouri Sky,” and by singer Karrin Allyson.

“Pure Imagination” proves a good choice for Washington’s soaring vocal and positive, uplifting approach. Locke’s “Bright Side Up” closes the affair on an upbeat affirmative note and has the listener yearning for more of the composer’s original material.  

Along with Locke, the rest of the band is more than up to the task. Pianist Geoffrey Keezer, bassist George Mraz and drummer Clarence Penn create a powerful rhythm section that delivers its own memorable contributions. Keezer turns up the heat on “Old Devil Moon,” and Mraz states the theme of “Cinema Paradiso” with a gorgeous bowed bass intro and follows up with a solo later in the performance. The whole band cuts loose on Locke’s swinging instrumental “I Miss New York (When I Been Gone Too Long),” with Penn’s rhythmic flourishes and embellishments especially impressive. Keezer also contributes stunning solos on “The Shadow of Your Smile” and “Bright Side Up.”

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RALPH LALAMA QUARTET

The Audience

Mighty Quinn Productions

By Tom Ineck

The follow-up to 2008’s excellent “Energy Fields,” the latest release by the largely unheralded tenor saxophonist Ralph Lalama is another authoritative collection of tunes turned every which way but loose. It is Lalama’s second CD on the Mighty Quinn label.

Boasting the same rhythm section of its predecessor—guitarist John Hart, bassist Rick Petrone and drummer Joe Corsello—“The Audience” continues the quartet’s bluesy approach from the swaggering opener, Wayne Shorter’s “Marie Antoinette,” with Lalama and Hart doubling the melody. Stevie Wonder’s tale of urban strife, “Livin’ for the City,” gets an apt soul-jazz treatment, and the sly “Love Thy Neighbor” features some very hip, but subtle work from both Petrone and Hart.

In an interesting exercise in contrasts, Lalama pairs off with each sideman for a short improvised tune. He and Hart perform “Jonme,” which segues neatly into the standard “Portrait of Jennie.” The duo of Corsello and Lalama connect on “Jome” leading into the Latin bounce of “Kiss and Run.” Predictably, Petrone joins Lalama for “Ricme,” with Lalama laying out a bare-bones flurry of notes around which the bassist weaves his lines.    

Another rarity, Duke Pearson’s “Minor League,” gets a swinging workout that shows off Lalama’s huge tone and effortless improvisation as he navigates through the changes. Hart and Petrone follow with equal aplomb before the whole outfit goes through a bracing round of four-bar breaks.

Lalama nods to mentor Sonny Rollins on a breezy rendition of Johnny Mercer’s “I’m an Old Cowhand,” done in classic fashion by Rollins on his 1957 release, “Way Out West.” In his playing, Lalama is more relaxed but similarly adventurous in his snaking lines and sudden surges in tempo.

After too many years in the shadows, the 59-year-old Lalama may finally be stepping into the limelight. Let’s hope he continues his fruitful collaboration with the folks at Mighty Quinn Productions. 

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ANGELA HAGENBACH

The Way They Make Me Feel

Resonance Records

By Tom Ineck

A lot of thought and talent went into the making of “The Way They Make Me Feel,” and it has begun to pay off in increased nationwide recognition for Kansas City-based singer Angela Hagenbach. The CD has been hovering near the top of the jazz charts for weeks and is getting well-deserved radio airplay.

It’s about time. Hagenbach has enjoyed an area following for more than a decade, but has had difficulty breaking through to a wider audience. With its superb production values, top-notch musicianship and obvious thematic approach “The Way They Make Me Feel” should change that.

From their position as lesser-known composers of the Great American Songbook, Johnny Mandel, Michel Legrand and Henry Mancini have received somewhat grudging respect from jazz musicians and singers. As such, they are perfect subjects for a tribute, and Hagenbach and company have done them proud. We get four tunes by Mandel, four by Legrand and three by Mancini, and the instrumentation alternates between small jazz combo—with arrangements by pianist Hendelman—and expanded treatment with strings, arranged by Kuno Schmid.

Mandel’s “Cinnamon and Clove” gets things off to a rousing start with an arrangement by Hendelman and incendiary playing by trumpeter Willie Murillo and saxophonist Steve Wilkerson. Mancini’s “Slow Hot Wind” is a perfect vehicle for strings, creating a warm backdrop for Hagenbach’s equally sultry vocals. The two combine again for “Summer Me, Winter Me,” a gorgeous ballad from the Legrand songbook that also features an incisive guitar solo by Larry Koonse.

The accordion of Frank Marocco opens an unconventional rendition of Legrand’s “I Will Wait for You,” one of the most familiar tunes in the set. It is taken uptempo and is handled in swinging, scatting fashion by the husky-voiced Hagenbach, with Murillo and Wilkerson adding brassy accents. Mandel’s “Quietly There” is given the full, lush string treatment, while his “Sure as You’re Born” is taken at a brisk pace set by bassist Kevin Axt and drummer Bill Wysaske and urged on by Koonse’s scurrying guitar.

Hendelman’s arrangement of Mandel’s “Close Enough for Love” evokes the French impressionism of Debussy and Ravel as it teams Marocco’s accordion and Wilkerson’s clarinet. Hagenbach opens “Charade” with some bluesy scatting and gradually unwinds the lyric with typically sensuous sonorities. The performance also is an excellent showcase for Hendelman’s world-class playing.

The first half of Schmid’s arrangement of Mancini’s “Whistling Away the Dark” marries Hagenbach’s breathy voice with strings, and the jazz rhythm section enters only after the proper mood has been established. The ambiance of the French cabaret returns with clarinet and accordion for Legrand’s intimate “His Eyes, Her Eyes.” Schmid’s stirring arrangement for Legrand’s “The Way He Makes Me Feel” creates a fitting close to this loving collection of love songs.

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THE MICROSCOPIC SEPTET

Lobster Leaps In

Cuneiform Records

By Tom Ineck

On the strength of four LPs released in the 1980s, The Microscopic Septet drew a small—but extremely astute and adventurous—cult of fans. Those of us who consider ourselves among that number rejoice in the return of the Micros with “Lobster Leaps In.”

Pianist Joel Forrester and soprano saxophonist Phillip Johnston remain the creative geniuses behind the music, each composing five of the numbers included here. Every tune takes full advantage of the unusual format—four saxophones, piano, bass/tuba and drums. In addition to Forrester and Johnston, the current lineup includes Don Davis, alto sax; Mike Hashim, tenor sax; Dave Sewelson, baritone sax; David Hofstra, bass; and Richard Dworkin, drums.

As some discerning critic once wrote, the Micros music combines elements of Duke Ellington, Charles Mingus and Spike Jones. The result is a wacky blend of catchy melodies, complex brass harmonies and accessible rhythms that simply defy convention.

Former Micro Wayne Horvitz composed the opener, “Night Train Express,” which aptly begins with the warning, “All aboard! Next stop, oblivion!” It has the horns alternately pumping in unison and snaking off in solo excursions. As the title implies, “Disconcerto for Donnie” is a bright and bouncy Latin number that eventually takes on some very disquieting characteristics. With the title track, the Micros continue their obsession with the clawed crustacean (“The Lobster Parade” and “Lobster in the Limelight”) and—perhaps—parody the swing classic “Lester Leaps In.”

Offbeat tango rhythms infuse “Got Lucky” with a frantic mood that does, indeed, evoke the inspired lunacy of Spike Jones. “Lies” begins like a funeral dirge but eventually blossoms into an interesting bop tune first stated by Forrester on the piano. A mighty funk esthetic drives the bluesy “Life’s Other Mystery,” which gets a boost from Sewelson on baritone, Hashim on tenor and Dworkin’s powerhouse drumming.

Everyone sounds slightly askew on “Almost Right,” an exercise in discordant accord by Johnston, who acknowledges that the notion of error is a recurring theme of his. Sewelson and Hofstra are featured on “Money, Money, Money.” After the duo’s free-blowing intro, the band settles down to a soulful R&B groove. “Lt. Cassawary” is an infectious romp with insurgent horns seemingly breaking out of the section at will.

Unusual changes of chord and meter are the name of the game on “Twilight Time Zone.” The whole affair comes to a close with “The Big Squeeze,” a loping, atmospheric tune that gradually develops from a film noir stroll to a back-alley cat fight and finally into a raucous, brawling mix of horns and percussion.      

There is more good news for fans of the Micros. Two double-disc anthologies of the band’s music were released in 2006 under the titles “Seven Men in Neckties: History of the Micros, Vol. 1” and “Surrealistic Swing: History of the Micros, Vol. 2.” Together, they comprise everything they recorded in the 1980s, including bonus tracks. Also available on the Cuneiform label, they have lost none of their twisted charm over the years.

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JACKIE RYAN

Doozy

OpenArt Productions

By Tom Ineck

Every now and then, one slips through the cracks. Such is the case with marvelous singer Jackie Ryan. Recording on minor, independent labels since at least 2000, she has managed to fly well under our radar. Gotta get that radar fixed one of these days!

Our former ignorance of Ryan makes her sixth and latest release, the double-disc “Doozy,” a particularly pleasant surprise. It contains 20 excellent performances spanning ballads, uptempo swingers, Latin numbers, standards and obscure tunes alike, and totaling about 100 minutes. It features top-flight accompaniment from pianist Cyrus Chestnut, saxophonist Eric Alexander, trumpeter Jeremy Pelt, guitarist Romero Lubambo, bassists Ray Drummond and Dezron Douglas and drummers Carl Allen and Neal Smith. To put things in perspective, it also has insightful liner notes by the esteemed Don Heckman.

The enormous breadth of this recording makes detailed commentary impossible here. Suffice it to say that it surprises and delights at every turn. The title track is a Benny Carter gem that swings with clever vocalese lyrics penned by Ryan and great playing by Chestnut, Alexander and Pelt. A wonderfully tasteful and accomplished keyboard wizard, Chestnut is justifiably featured throughout this project, and his playing is a perfect foil for Ryan’s vocal excursions.

We luxuriate in the lush warmth of “You’ll See,” and the sunny Jobim standard “Caminhos Cruzados.” We smile knowingly at the scolding bopper “Do Something” and turn sentimental at the wistful “With the Wind and Rain in Your Hair.” Pelt’s brilliant flugelhorn, a light samba feel and Ryan’s crystal clarity bring new meaning to “Speak Low.”

You believe Ryan when she first whispers, then swaggers on “I Must Have That Man,” and she makes the bluesy “Dat Dere” both whimsical and convincingly instructive. Chestnut digs imaginatively into the rumba sway of “Beautiful Moons Ago,” a rarity by Nat Cole and Oscar Moore. Set one ends with the rockin’ blues shuffle of “My How the Time Goes By,” which illustrates Chestnut’s penchant for blues and gospel music.

Songwriter Oscar Brown Jr. gets his due with the clever second-half opener “Opportunity Please Knock.” Alexander is the featured soloist on that tune and the next, the ballad “I Haven’t Got Anything Better To Do,” an obscure but lovely song from the 1967 Sandra Dee movie “Doctor, You’ve Got to be Kidding!” Lubambo returns on guitar for the breezy bossa medley “Brigas Nunca Mais/A Felicidade.”

Among the handful of well-known standards included here is a tender, definitive reading of “Spring Can Really Hang You Up the Most.” The Mexican love song “Solamente Una Vez” is a duo showpiece for Ryan and Lubambo and provides a nice segue to the bossa nova arrangement of “Summer Serenade,” another Benny Carter gem. “Get Rid of Monday” is a lesser-known, witty swinger from Johnny Burke and Jimmy Van Heusen, with soulful statements by Chestnut and bassist Dezron Douglas.

Alexander’s sensuous horn imbues the slow, evocative “Midnight Sun” with the proper romantic ambiance for Ryan’s virtuosic vocal excursions. The bold and brassy song stylist swaggers in the tradition of “St. James Infirmary” on Billie Holiday’s “Tell Me More and More and Then Some,” given a distinctive New Orleans flavor by Pelt’s plunger-muted trumpet solo. Leonard Bernstein’s timeless “Some Other Time,” with exquisite piano filigrees, makes a fitting close to this extraordinarily rich and satisfying “Doozy.” 

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THE ERIC MUHLER QUARTET

The Jury Is Out

Slow Turn Records

By Tom Ineck

“The Jury Is Out,” his fifth recorded outing, captures pianist Eric Muhler with his tight quartet in a live setting at The Hillside Club, an intimate 150-seat venue in Berkeley, Calif. The tunes are challenging originals, the interplay is telepathic and the engineering is superb. 

While Muhler’s solo piano style tends toward Keith Jarrett and Art Lande, his approach in this fearsome foursome sounds more like the hard-charging post-bop of McCoy Tyner or Art Blakey’s Jazz Messengers, especially when fired by the brawny tenor sax of Sheldon Brown, the booming electric bass of Michael Wilcox and the prodigious time-keeping of drummer Brian Andres.

“Punkly” opens the proceedings with an unusual 12-bar blues pattern. “Sand Castles” is a blatantly Tyneresque exploration of modes and wide-ranging keyboard excursions. Brown switches to soprano sax to state the melodious theme of “Alexandra Cristina A.M” before turning it over to Muhler, who brilliantly expands on the theme with a piano solo alternating deft single-note runs with lush arpeggios.

The title track is a complex, stop-time composition which shifts gears at a moment’s notice. All four players hold tight to the reins, even while galloping at breakneck speed. Brown turns in another exemplary tenor solo, followed by an equally inspired piano statement. As its title implies, “Sun & Clouds” allows many glimpses of sunny optimism between the darker chords. Indeed, Brown’s soprano sax positively beams, Wilcox’s bass solo soars in the virtuosic style of Stanley Clarke and Muhler expresses some Chick Corea inclinations as the tune stretches to almost 13 minutes.

Two compositions devoted to “Jane” close the CD, “1990 For Jane” and “Jane at Home.” The former is a Latin tune taken at a stately mid-tempo, with a melody first introduced by Wilcox on bass, then expanded on by Muhler and Brown on tenor. The latter slows the pace slightly as Brown’s tenor states the funky, catchy theme with gusto. The whole quartet reconvenes for a gospel-like testimonial, Muhler pounding out the chords and Brown wailing on the horn.  

Late breaking news! The jury is in and the verdict is that The Eric Muhler Quartet has a winner on its hands.

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By Tom Ineck

Guitarist Royce Campbell is so prolific that his two latest projects were recorded just six weeks apart, in December 2008 and January 2009. Both feature Campbell’s current sidemen—bassist Bob Bowen and drummer Ron Free—in thematic programs directly alluded to in their titles.

“All Standards… and a Blues” and “Movie Songs Project” extend Campbell’s catalog to more than two dozen recordings in the last 20 years. Previous gems include a 1995 tribute to the music of Henry Mancini, a 1999 session with strings and Fred Hersch at the piano, and “Six By Six: A Jazz Guitar Celebration,” pairing Campbell with fret-masters John Abercrombie, Larry Coryell, Pat Martino, Bucky Pizzarelli and Dave Stryker.

“All Standards” pares nine familiar tunes to their essence as Campbell states the melodies on guitar, Bowen anchors the low end of the scale while suggesting harmonies and pulse, and Free establishes the tempo and strings ornate percussive arabesques throughout. This trio is the very definition of teamwork.

In the absence of a piano, Campbell’s string excursions ring crystal clear, effortlessly alternating between lush chords and single-note runs, especially given the subtle, unobtrusive accompaniment of bass and drums on ballads like “’Round Midnight,” “I Thought About You,” “The Boy/Girl Next Door,” and “Darn That Dream.”

But the trio chemistry is most evident as the three wend their way through more complex melodies and time signatures, such as “Out of Nowhere,” “Love For Sale,” “Have You Met Miss Jones?” the jazz waltz “All the Things You Are” and “You’d Be So Nice to Come Home To.” Coming as it does halfway through the set, Campbell’s original “Trio Minor Blues” is a refreshing palate cleanser between two hearty helpings of chestnuts. 

“Movie Songs” adds alto saxophone legend Phil Woods to the trio in a collection of film theme ranging from the obvious jazz standards—“You Must Believe in Spring,” “The Shadow of Your Smile,” “Laura,” and “Secret Love”—to the less obvious “Theme from Amarcord,” and Mancini’s “Baby Elephant Walk” and “Soldier in the Rain.”

Woods, age 77 at the time of this recording, still exhibits the sure-fingered dexterity and well-developed sense of swing that make his sound so instantly recognizable. He heightens the excitement level every time he blows a figure on his horn. Campbell and company lend faithful accompaniment to the master, but also offer their own imaginative solo statements. Among the highlights are the waltz masterpiece “Amarcord,” the gentle samba “Manha de Carnaval” and Campbell’s Wes Montgomery-style, octave flights on the trio rendition of “Laura.”

On an updated reading of Charlie Chaplin’s “Smile,” Woods whimsically quotes from “When You’re Smiling (The Whole World Smiles with You).” A bluesy R&B swagger pervades “Baby Elephant Walk.” Campbell’s guitar artistry is most evident as Woods sits out the closer, the heart-rending “Soldier in the Rain.”

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