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OmniTone takes a chance on jazz artistry
By Tom Ineck
With its slogan, “All the tones, all the shapes, all the time…,” the
Brooklyn, New York-based OmniTone Records takes well-deserved pride in
producing advanced and adventurous music, like that exemplified by trumpeter
John McNeil, pianist Frank Kimbrough, saxophonist Steve Slagle, trumpeter
Ron Horton and guitarist Joe Morris.
Such music has suffered from a dearth of American labels willing to provide
a forum for its creativity. Since its inception in 1999, OmniTone has been
a beacon for such uncommercial artistry, despite some financial risk in
the already-beleaguered marketplace. Its first release was Kimbrough’s collaboration
with vibraphonist Joe Locke called “Saturn’s Child.”
The key to OmniTone’s success is Frank Tafuri, who not only serves as
executive producer, but also writes liner notes, conducts interviews with
the artists and shoots artists’ photos.
One of Tafuri’s innovations is the OmniTone First Edition Club. For dues
of just $5 (you get a $5 credit toward your first purchase), you get an
e-mail newsletter telling you about upcoming releases and giving you a chance
to buy them a month or two before official release.
For more on the multitude of artists and recordings in the growing OmniTone
catalog, visit the label’s website at www.omnitone.com.
A recent release by the brilliant trumpeter-composer John McNeil, "This
Way Out," is a perfect example of the label's willingness to give exposure
to artists who may not receive it elsewhere.
JOHN MCNEIL
This Way Out
OmniTone Records
John McNeil, a trumpet stylist with an edgy, modern approach to the horn,
has met with some resistance from the arbiters of jazz fashion. It is fashionable
to favor improvisers who adhere to certain prescribed ways of composing
a tune, playing a line or constructing a solo. Meanwhile, jazz originals
like McNeil follow their own muse.
For his debut on OmniTone, McNeil chose to work with two relatively unknown
Spanish musicians, tenor saxophonist Gorka Benitez and bassist Giulia Valle.
In conjunction with a series of quartet dates arranged by drummer Joe Smith,
they recorded in Barcelona in June 2002. The result is a vibrant, adventurous
and totally captivating glimpse into McNeil’s creative mind.
Infectious Spanish rhythms leap out of nearly every track, especially
the opener “Mi Tio (My Uncle)” and the gentle tango-influenced “A la Orilla.”
African polyrhythm is the inspiration for “My Taxi,” while “Last Minute”
is a bebop puzzler with an insistent, walking bass line. The repetitive
5/4 meter of “Know Your Limits,” stated explicitly by Valle on bass, creates
an hypnotic feel. McNeil himself describes the brief “West Coast Memories”
as “Chet (Baker) and Gerry (Mulligan) on acid.”
“What Comes After,” however, may be the best of the bunch, with its spooky,
funereal tone. Valle bows the bass in harmony with Benitez on sax, and
then McNeil enters with the somber, but beautiful melody. Smith tastefully
accompanies the piece on cymbals and occasional tom-tom punctuations. A
masterpiece.
Benitez, in his explorative, keening sound, is a perfect foil for McNeil’s
odd meters, understated melodies and skillful use of silence, while Valle
and Smith hold it all together with impeccable taste and timing. The saxophonist
also contributed three tunes, the disjointed, impressionistic “Picasso
View,” the lovely “Because of You,” and “Flor de Viento.”
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PHIL DEGREG
The Green Gate
J Seven Records
By Tom Ineck
Cincinnati-based pianist Phil DeGreg was a pleasant surprise at this
summer’s Jazz in June series, sitting in for James Williams in the Greg
Abate Quartet. This 1998 recording further strengthens the conviction that
Phil DeGreg is a major player deserving wider recognition.
DeGreg is an associate professor of jazz studies at the University
of Cincinnati College Conservatory of Music, and his prodigious knowledge
of jazz piano history serves him well.
His arrangement of Bud Powell’s daunting “Bouncin’ with Bud” puts
a clever twist on the bebop classic. Even Irving Berlin’s “How Deep is
the Ocean” is transformed into a jazz vehicle of even more depth with help
from tenor saxophonist Tim Ries, who plays on five of the 11 tracks. Also
lending able and sensitive support are bassist Drew Gress, who works extensively
with pianist Fred Hersch; and drummer Steve Davis, like DeGreg an instructor
at the prestigious Jamey Aebersold Summer Jazz Workshops.
At least five of these well-chosen tunes can be considered familiar
standards, but none receives a predictable reading. Included are Charlie
Chaplin’s ballad “Smile,” Randy Weston’s “Hi-Fly,” and Johnny Mandel’s
“Close Enough for Love.” The bluesy “In Pursuit of Hip” is a very hip tune
by Ernie Krivda, and Blossom Dearie’s swinging “Sweet Georgie Fame” gets
a lyrical treatment with solos by Gress and DeGreg.
But it is the unfamiliar title track that appeals most to this listener
and confirms DeGreg as a serious composer. “The Green Gate” has all the
elements of a jazz classic—a lovely melody, challenging changes and a forward
motion that propels it and the listener to a very satisfying place. The
tune is further elevated by Ries’ soaring soprano sax.
DeGreg also composed the lilting “Carol’s Waltz,” the aptly named
burner “The Fast Break,” and the progressive bopper “Urgency.”
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PHIL DEGREG WITH
PAUL KELLER
Two of a Mind
Strugglebaby Records
By Butch Berman
Success in today’s music biz is no sure thing. Talent, of course, is
required but we all know it seems to take a whole lot of luck, good karma
and decent connections to really “break out” and “make it.”
Anyway, since this is a review of a duo let me remind you of some twosomes
who did “hit it big.” Let’s see, Abbott and Costello, Burns and Allen,
Astaire and Rogers, Mantle and Maris and maybe someday…DeGreg and Keller.
One thing in common among duos in comedy, dancing, sports or music
is a shared passion for their gifts, and the ability to communicate between
each other, and their audiences. The minute you hear the first few notes
of Miles’ “No Blues,” the first track on “Two of a Mind,” you get the picture.
This deep, wondrous 2003 release on Strugglebaby Records is a success story
just waiting to be discovered.
I first “discovered” Phil DeGreg when I was a budding student at Jamey
Aebersold’s jazz camp near Chicago around 1996 or ‘97. Phil, a respected
member of that fine faculty, was one of my instructors. We hit it off,
and he’s performed twice for me here within the past few years with saxophonist
Greg Abate.
Phil, a master educator and player, can play any song in any key at
any tempo on the spot. Try that one at home, jazz fans. His use of space,
richness of tone and lovely romantic lyricism caught my attention and touched
my heart, not unlike the late Bill Evans, but with a definitive style of
his own that makes him a first-call sessionman.
I’d neither heard nor met bassist Paul Keller before receiving this
CD, but his credentials in the liner notes and his astute technique entwining
with Phil’s outstanding keyboarding revels in a swirl of magical music that
delights the ears. These cats at times blaze along with thunderous aplomb,
making you feel there is a drummer present. On ballads, the delicate interplay
between them will hush the room and make you sigh with delight.
Phil’s only composition, “82 Hundred Brill,” named for the address
where this all was recorded live, is a gas, and the dozen other well-chosen
standards come from a wide array of composers who would have all dug these
gentlemen’s clever and elaborate renditions of their masterpieces.
Produced ever so well by Stan Hertzman and David Hall, this CD can
be ordered through Hal Bernard Enterprises Inc. at 2612 Erie Ave., Cincinnati,
OH 45208, or by phone at (513) 871-1500. Like the Lerner & Loewe tune
covered on track four, I, too, have grown accustomed to this extremely decent
recording, and you will, too. Add “Two of a Mind” to your jazz collection,
and you can thank the Bebopman later.
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THE JOHN CARLINI QUARTET
The Game’s Afoot!
FGM Records
By Tom Ineck
It’s no accident that the John Carlini Quartet has the same potential
to wow an audience that the Don Stiernberg Quartet exhibited before several
thousand people at a Jazz in June concert this summer.
This good-time jazz has the same lively bounce, the same level of talent
and same sense of humor as the Stiernberg foursome. Oh, and it also has
Don Stiernberg on mandolin. In addition to guitarist-leader Carlini and mandolinist
Stiernberg, the rest of the quartet consists of bassist Brian Glassman and
drummer Steve Holloway. Expanding the quartet in a prominent way—and emphasizing
its bluegrass leanings—is special guest Pat Cloud on banjo.
Sometimes this recording has the feel of a progressive collaboration
between popular mandolinist David Grisman and eclectic banjo picker Bela
Fleck. Carlini himself describes the opener, “Kook Kitsch,” as “bluegrass
bebop.” But “BitterSweet” is just that, a wistful, contemplative tune.
With a title apparently inspired by a classic exchange between Sherlock
Holmes and Dr. Watson, “The Game’s Afoot!” has the feel of a chase scene
through the streets of London in a black-and-white movie.
The timeless folk dirge “Poor Wayfaring Stranger” is a beautiful tribute
to Carlini’s late brother, Peter, who also was a musician. In fact, the
entire recording is lovingly dedicated to him, and it serves as an impressive
monument to his memory and the music. The whole band is in flight on the
up-tempo “Aerborn,” before returning to earth for the tender ballad “So It
Goes.”
It is likely that the Carlini quartet will appear at the 2004 Jazz
in June series, so plan now to spend Tuesday evenings that month listening
to some great music.
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JASON HOLLAR JAZZ
QUARTET
Featuring Eric Gunnison,
Mark Raynes and Andrew Vogt
Cadillac Jazz
By Tom Ineck
Technically speaking, bassist Jason Hollar fronts this session, but
saxophonist Andrew Vogt makes such an awesome entrance with his debut recording
that his significance in the project cannot be overstated.
Vogt, who spent several years impressing Lincoln jazz fans with his
early ability as an improviser, plays alto, tenor and baritone saxophones
and clarinet in a tour de force display. He also penned four of the 10 tunes.
Hollar composed five tunes and arranged the lovely “How Odd of Love,” with
a melody written by his mother, Evelyn D. Hollar, in 1940.
Besides Vogt’s formidable playing, it is the quartet’s soulful rapport
that sets this recording above so many others. It is playing with a heart
and not just a serious set of chops. That becomes apparent from the opener,
“Beam Rocks,” Hollar’s funky variation on Eddie Harris’ “Cold Duck Time.”
Pianist Eric Gunnison and bassist Hollar create a churchy groove with
drummer Mark Raynes keeping the infectious rhythm while Vogt wails over
it.
Hollar’s “Blues for Abner” places the bassist in a prominent spotlight,
but Vogt and Gunnison also contribute well-developed solos. “Apmonia” is
a somewhat melancholy Vogt composition bursting with energetic and imaginative
sax statements. Never too far from the roots, the quartet turns to Hollar’s
“Mo’ Money Blues” for a swinging workout.
“Daeyada” is a clever Vogt tune with a bouncy melody stated by the
composer on clarinet. It then settles into a bluesy shuffle groove perfect
for Vogt’s endless variations. Gunnison also delivers an inspired solo
on the changes. More subtle, but still bluesy, is “A Little Pick Me Up,”
Hollar’s mid-tempo romp.
Switching to baritone sax, composer Vogt returns with “Viola’s Groovy
Fruit Stand,” a whimsical tune set to a raggedy reggae beat. Hollar’s waltz,
“Like We Used To,” is the hands-down winner for most beautiful ballad on
this set. Vogt and Gunnison play it pretty straight in their solos, never
straying too far from the lilting melody.
But Vogt returns with a vengeance on his quirky tune “Heavy Gravy,”
with solid support from the rhythm section. His audacious performance throughout
this recording begs the question, “How soon will Andrew Vogt have a recording
as leader of his own group?” It’s only a matter of time.
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THE WILLIE MARTINEZ
TRIO
I Remember You
By Butch Berman
Musicians seem to enjoy wearing a variety of hats. I, approaching 55,
recently laid down some keyboard work on a punk rock project, strum lead
semi-regularly in a rockin’ country swing unit, and just started doing some
“lounge” work as part of a duo. Ya know, I’m actually having the time of
my life.
Now, I bet if you asked Willie Martinez, another man of many mindsets,
he’d feed you back the same answer. Willie, one of the craftiest timbale
players in the Latin jazz world, also holds down the right-hand man/musical
director spot for Tropique, Norman Hedman’s amazing NYC-based band.
We first met when the Berman Music Foundation was covering Tropique
at the Wichita Jazz Festival around 1997 or so. After the gig, most members
from all the acts involved in the WJF would converge in the hotel’s lobby.
They just happened to have a nifty baby grand piano sitting there, so
we all took turns playing and singing old ‘50s doo-wop tunes. Let me tell
you, when Willie opened his mouth to sing an angel flew out.
“What a lovely voice,” I thought, and told him so. It was only slightly
a secret that he had the vocal chops to equal his timbale work… and could
swing, bebop or shuffle with the best of ‘em on traps as well.
It only makes sense that nearly eight years later, this dreamy, bouncy,
jivey and totally groovy new CD, “I Remember You,” comes out featuring his
golden throat and outta-sight drumming.
Willie’s got his own thing goin’, but you can’t help hearing shades
of Mel Torme, Billy Eckstine and Johnny Hartman channeled through his vocalizing.
As far as his drumming ability goes, Mr. Martinez can DRIVE any group
to the brink of madness, whether it is on Latin claves or straight-ahead
jazz.
He’s backed by Tropique’s keyboardist, Misha Tsyganov, a Russian-born
musical genius just on the cutting edge of being recognized eternally for
his lush piano prowess. Bassist Donald “Spider” Nicks rounds out this super
trio, locking it in the pocket at every turn, thus providing the perfect
rhythm section to showcase Willie’s beautiful voice. Also featured is trumpet,
flugelhorn and cornet player Steve Gluzband, who shines mightily on my fave
track, “Cheek to Cheek,” the album’s opener, as well as others.
Arrangements throughout are uniquely significant, depending on the
varying styles presented within this most enjoyable 39 minutes of soulful
and ever-so-swinging jazz. Willie’s production work is definitely on the
mark as well as the sublime sound created by Joseph Salerno at Mimic Studio
in Brooklyn, N.Y.
You can check out all the action at www.williemartinez.com or obtain
copies of “I Remember You” by calling (917) 314-3480. Spread the word…
it’s Willie Martinez time!
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JIM JACOBI AND
THE JOJAKIMBI BAND
I’m Datin' Satan!
By Butch Berman
During my hey-daze with Charlie Burton and Rock Therapy, we were all
very aware of our competition. Even though our combo was at times labeled
as a member of the “punk generation,” we really weren’t. Jim Jacobi’s Crap
Detectors, however, definitely were! Our bands never actually rivaled each
other, and the main ingredient shared was we both rocked our asses off.
Now, nearly 25 years later, I still gig occasionally with Charlie (with
his country swing-tinged rock ‘n’ roll group The Dorothy Lynch Mob) and
Mr. Jacobi, too, still rocks on—and hard. This is most apparent with his
newest release, “I’m Datin’ Satan!” Fourteen self-penned, true-life tales
of love found, love lost, hate found, hate resolved and delivered with Jim’s
undeniable stamp of savagery, tongue-in-cheek humor and amazing energy for
this 52-year-old punk rock master who’s vocal and guitar work simmer and
burn with the best of ‘em.
I must admit that when I first encountered Jimbo in the old days, he
scared the hell out of me. Now, both of us are a bit older and maybe just
a bit mellower, and we have gotten to know and respect each other with
a more mature attitude. As a matter of fact, I’m going to play some piano
on his next CD, along with Charlie Burton, Dave Robel and Brad Kreiger,
all mutual friends from our past. The Berman Music Foundation is even helping
to produce this upcoming work of art, and it will be on our Foundation
Blues label. Anyway, back to “Satan.”
Under Phil Shoemaker’s deft engineering and production work in his
Shithook Studios, Jim’s current exorcism of his brilliant, but slightly
twisted demeanor is a true work of art, and the trio kicks total butt.
Drummer Dave Robel, as always, makes more of the right kind of noise with
less of a drum kit than anyone; bassist Craig Kingery is always on the money
and in his prime; and Jacobi with his searing axe work just tears me up.
There’s no doubt his nine-year stint in Seattle didn’t hurt him a bit. With
Phil’s keen ear behind him, I was amazed at what an accomplished, gun-slinging
guitar player Jim has evolved into.
Of course, his pained, tortured, manic delivery is still intact with
megatons of passion, and the lyrics—pure fuckin’ Jacobi. Nuff said. Get
it, dig it or hate it…”I’m Datin’ Satan” is de bomb.
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SHEILA JORDAN
Little
Song
HighNote Records
By Tom Ineck
In a career spanning more than 40 years, bop vocal stylist
Sheila Jordan has produced only about 15 recordings, most in the 1980s
and 1990s. Thankfully, the pace has quickened in recent years, with
several bass-vocal collaborations and work with the wonderful pianist
Steve Kuhn.
Released shortly before her Lincoln appearance in March,
“Little Song” is one of the finest examples of Jordan’s good taste
and stylistic range. Though she possesses a rather thin voice that
is beginning to show some wear as she nears age 75, Jordan makes the most
of her plentiful gifts and her unconcealed passion for the music. She
brings personal feelings to bear on every number she sings, a rare thing
in the age of the pre-packaged emotion and melodramatic delivery of
most singers.
For this collection of mostly ballad, Jordan is joined by
an exemplary cast of compatible musicians, including the Steve Kuhn
Trio with bassist David Finck and drummer Billy Drummond, with four
superb contributions by Tom Harrell on trumpet and flugelhorn.
It opens and closes with the chanted title track, a loving
homage to the Cherokee grandfather who called her “Little Song” as a
child. The first version leads effortlessly into a brief passage from
Lennon-McCartney’s “Blackbird.” Harrell and Kuhn set the mood for a
tender rendition of “Autumn in New York,” and Jordan pays tribute to
her bop roots with a spirited scat on Charlie Parker’s “Barbados.”
At the Lincoln concert with Cameron Brown, Jordan dedicated
“Slow Boat to China” to President George Bush as a wry protest against
U.S. adventurism abroad. Here, she and the Kuhn Trio simply caress
the hoary pop song at an ever-so-slow tempo. On the waltzy “Hello Young
Lovers,” she shows her deft skill at vocal dynamics and self-assured
phrasing. Her approach to standards is never conventional, always bold
and inventive.
She also shows a penchant for obscure gems like Kenny Dorham’s
“Fairweather,” a lovely ballad also featuring an exquisite Harrell
flugelhorn solo. Johnny Mercer’s “Something’s Gotta Give” also gets
a ballad treatment, a departure from the usual light and shallow, uptempo
interpretations. “If I Should Lose You” cleverly shifts from a jaunty
Latin rhythm to a heartfelt vocal interlude to a scat section in bop
shuffle time to a meaty muted trumpet solo by Harrell and back to Jordan.
Finck’s “The Way He Captured Me” is an excellent choice
for Jordan, who sings the ballad as if she’s lived every letter
of the lyric. The Cherokee chant returns unexpectedly in Kuhn’s “Deep
Tango,” and it seems a perfectly appropriate segue to Kuhn’s inspired
piano solo.
“The Touch of Your Lips” often seems overdone when other
singers tackle this evergreen. In Jordan’s supple style, it jumps
with joy as she leaps irresistibly from the lyric into a scat section.
Harrell, on muted trumpet, and Kuhn add similarly uplifting statements.
Like this recording as a whole, “When I Grow to Old to Dream” is a heart-wrenching
summation of a legendary career.
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ARTT
FRANK/JOE CARTWRIGHT/STEVE RIGAZZI
That Trio Thing
MJA Records
By Tom Ineck
This recording reminds us how perfectly the basic elements
of jazz are married in the classic trio, the piano carrying the melody
and suggesting harmonic variations, the bass providing the foundation
and a tonal contrast, and the drums keeping the pace steady and hinting
at all the potential rhythmic dynamics in the music.
On “That Trio Thing,” those essential roles are played with
sensitivity and a sense of shared adventure by drummer Artt Frank,
pianist Joe Cartwright and bassist Steve Rigazzi. The key is Frank,
an East Coast bop drummer best known for his longtime association with
legendary trumpeter Chet Baker. Here his contributions are subtle (employing
brushes only) but definitive, creating a resilient safety net for the
improvisational flights of Cartwright and Rigazzi.
Recorded without rehearsal in a piano store in Overland
Park, Kan., during two sessions in September 2000 and January 2002,
“That Trio Thing” has the relaxed feel of compatibility. The repertoire
consists mostly of familiar standards, including “My Romance,” “You
and the Night and the Music” and “I’ve Never Been in Love Before.”
But it is the original compositions by Frank and Cartwright
that are most poignant and compelling.
Frank wrote “Bro Samba” in memory of his three deceased
brothers. The mid-tempo samba brings out the best in Rigazzi and
Cartwright, whose Latin leanings were most apparent on the pianist’s
1999 quartet release “La Luna Negra.” Similarly, Cartwright’s jaunty
composition “Unit VI” was written for his son. This wonderful tune first
caught my attention on his 1990 cassette-only trio recording “Triplicity.”
The horrific events of Sept. 11, 2001, inspired the Frank/Cartwright
collaboration, “Refuge.” The only ballad on the CD, it thoroughly
captures the sense of loss and the need for a safe haven. Music, it
seems to say, is our deepest form of expression and our most lasting
refuge.
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THE
DIZZY GILLESPIE ALUMNI ALL-STAR BIG BAND
Things to Come
Telarc Jazz
By Tom Ineck
Whenever he could afford to, Dizzy Gillespie toured and
recorded with a big band. Despite his association with the classic
bebop quintet (trumpet, alto sax, piano, bass and drums), he seemed
to prefer the polyrhythmic possibilities, deep harmonies and downright
explosive power of the larger ensemble.
It is fitting, therefore, that one of the most faithful
legacies of the clown prince of bop is The Dizzy Gillespie Alumni
All-Star Big Band, led by Gillespie protégé Jon Faddis.
The 18-piece powerhouse aggregation is well documented on this release,
recorded live at the Manchester Craftsmen’s Guild in Pittsburgh, Penn.
One look at the band’s cross-generational roster tells us
that this is a serious effort to pay homage to one of the founders
of bop. Music director Faddis, of course, is often heard front and center,
blasting away into the stratosphere in his trademark Gillespie trumpet
style, but the rest of the all-stars also are featured, including saxes
James Moody, Jimmy Heath, Frank Wess and Antonio Hart, trumpeters
Terell Stafford and Claudio Roditi, trombonists Slide Hampton and
Jay Ashby and a rhythm section of Renee Rosnes on piano, Marty Ashby
on guitar, John Lee on bass and Dennis Mackrel on drums.
The 11-tune program is a respectful nod to the Gillespie
songbook, with Benny Golson’s “Stablemates,” Thelonious Monk’s
“Round Midnight” and the standard “Lover Come Back to Me.” Direct from
Gillespie’s collaborative pen are the Afro-Cuban masterpiece “Manteca,”
“Emanon” and “A Night in Tunisia.”
The title track (composed by Gillespie and Walter “Gil”
Fuller) seems a promise of more great music ahead. Let’s hope it
is a promise soon fulfilled.
The Berman Music Foundation receives special thanks in the
liner notes for its financial support. The BMF underwrote a transcription
of “I Can’t Get Started” for the band.
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Origin Records is prolific Seattle label
By Butch Berman
One of the most resilient and prolific indie labels out
of Seattle is Origin Records. I became acquainted with the musician-owned
and –run label via an interesting networking, of sorts. Before the
BMF released Andrienne Wilson’s “She’s Dangerous,” my legal eagles from
Cline Williams and myself headed west to Seattle to check her out.
The second stop, of course, Seattle’s famed record store
Bud’s Records, got me acquainted with Mr. Bud Young himself. While
listening to an incredible sax album, I asked “Who’s that?” to which
Bud handed me a phone and said, “Say hello to Don Lanphere.” A continuing
dialogue to this day ensued, leaving me with his incredible collection
of recorded music, which we’ve reviewed during our tenure. Hence, Origin
Records has been Don’s label for a while, putting out top-notch shit.
The reason this stuff is so good may have something to do
with the record company’s own built-in rhythm section. Drummer John
Bishop, I believe, runs the show, along with his trio called New Stories,
who also recorded some wonderful material. They consist of bassist Doug
Miller and a marvelous pianist named Marc Seales. So, as you can assume,
getting to know these guys spans the global jazz network, which, in a
sense, is a very tight-knit connected community.
Anyway, these nice people send me more product than I can
probably ever get to—all quality jazz recorded primarily by artists
from the Northwest. One thing I can tell you is, Don Lanphere is my
personal favorite, as my review of his new CD “Where Do You Start” will
attest. After listening to the new CD, “Two for the Road,” from Mimi Fox
and Greta Matassa, I can assure you that they, too, have a fan for life.
Now, let me reflect on these two recent releases:
MIMI FOX AND GRETA MATASSA
Live at Bake’s Place
Origin Records
I discovered Mimi Fox backing Don Lanphere on his lovely
“Like a Bird” CD, and found her guitar prowess enchanting. Her sure-fire
technique covers the gamut of all styles—she could play with the Paul
Shafer Band on “David Letterman” one night, and dual it out with Jim
Hall the next.
Greta Matassa’s vocal style complements Miss Fox’s phrasing
like they were born to play together, as she wails, howls, growls
and soothes, a very gifted, assured performer. Together—simply shimmering,
trading riffs seamlessly yet very improv—and having the time of their
lives.
Bake’s sounds like a great room to hear jazz, and their
rhythm section accompanies them admirably. Bassist Clipper Anderson
and the sparse, but deft piano stylings of Randy Halbertstad stood
out. The drums/percussion team of Mark Ivester and Larry Barilleau
rather understatedly held their own, but it’s the two remarkable women
who rivet your attention from the first track to the last.
No throwaways here, yet “Alone Together/Yesterdays” and
“West Coast Blues” stood out for me. Their rendition of “Centerpiece”
may be my favorite recorded version of this Harry “Sweets” Edison
and Jon Hendricks’ classic. You also get two bonus tracks, including
a wonderful 12-minute version of “Green Dolphin Street.” They were cookin’
at Bake’s that night.
DON LANPHERE
Where Do You Start?
Origin Records
From the first notes you hear, you know it’s Don. Those
soft, lush compelling tones envelope you like stepping into a luxurious
hot bath. Seductive, you almost have to sigh…
Yeah, we’re talkin’ about Don Lanphere, one of my all-time
most beloved jazz figures and one of the best friends that I’ve ever
had in the jazz business that I’ve never met face to face (still keeping
up our tradition, huh Don?) Anyway, this new CD is entitled “Where
Do You Start?” and it’s another classic Don Lanphere masterpiece from
this ageless, sagelike bopster. Backed as always by the Origin team
of head honcho drummer John Bishop, bassist Doug Miller and the superlative
piano stylings of Marc Seales, they glide effortlessly behind Don’s urgings.
Add Jonathan Pugh on cornet and Jeff Hay on the ‘bone… you get it—this
is one hell of a band, with dynamite production from Don and John.
I’ve never been a reviewer who feels the need to take you
through each cut, play-by-play, like a sports announcer. When I hear
craftsmanship at this level, usually I don’t look for the weakest
track to draw attention to. Good is good, and “Where Do You Stand?”
is better than that. Great is great, and thank you again, Don.
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DON
STIERNBERG
Unseasonably Cool
Blue Night Records
By Butch Berman
As I said in my other Discorama review, people who write
about or critique music get tons of material from hundreds of career-hungry
players. Sometimes, amidst a lotta boastful hopefuls, a gem lay in
wait. Thus, my experience with “Unseasonably Cool” by Don Stiernberg.
My pal, Ted Eschliman, part owner of Dietze Music House,
educator and fellow musician, sent me this CD several months ago. I
was a bit embarrassed when he checked in on me regarding my feedback
on such. Feeling slightly put-upon I thought, “Oh, what the heck, let’s
check it out.” I dig bluegrass a little, but my interest in mandolin
music falls far behind my passion for jazz, rock ‘n’ roll and R&B.
Lo and behold, what this gent can do with his instrument—oh my God!
This CD literally knocked me out—and I replayed it a second
time immediately. What a great, jazzy, delightful and well-produced
surprise “Unseasonably Cool” turned out to be. Don, as well as his
ensemble of talented cats, previously unknown to me, gelled like Butch
wax to hair. The rather unusual collection of old standards all seem
fresh and well… different. A rare balance of brilliant chops and clever
rearrangements make tunes like “Where or When,” “More Than You Know” and
even “The Theme from Mannix” take on new identities. Definitely all killer,
no filler.
I was so gassed, I even helped book Don and his band for
the upcoming Jazz in June concert. Don’s performance is June 27.
Look for “Unseasonably Cool,” take it home and treasure
it. If unavailable at local stores, check out his website at www.bluenightrecords.com
for more info—and by the way, thanks a lot Ted, for this year’s unsung
hero.
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TOM LARSON
Flashback
By Ted Eschliman
The irony of Lincolnite Tom Larson’s newly released CD “Flashback”
may be lost on most listeners. How a man who has recorded and produced
literally hundreds of local and regional artists could wait three decades
to record his own project is quite baffling.
This introspective, instrumental jazz gem is worth relishing,
whether soaking in the melodic dialogue between members of the sextet,
or just immersing yourself in the wash of superbly calculated structure.
Compositionally mature, Larson combines his well-trained, sophisticated
Berklee School of Music pedigree, with his battle-hardened track skills
to please us with 45 minutes of musical self-discovery.
Larson’s credentials include numerous scores for documentary films
for PBS and NETV, a two decade-long run of co-ownership in a successful
Lincoln recording studio, and a current stint as University of Nebraska-Lincoln
staff in the School of Music, teaching jazz history the last several years.
His first book, “The History and Tradition of Jazz” (Kendall Hunt Publishing)
hit the bookshelves in the fall of 2002, so he’s quite authoritative on
the genre, despite his more familiar street-savvy commercial work.
The CD opens with “Memphis;” the sultry “Elvis” growl weaves a
new fabric into the smart blues progression, journeying through many
keys, yet never abandoning a sense of “home.” The title track, “Flashback,”
introduces us to well-coordinated dialogue between local (now Boston-based)
sax prodigy Chris Steinke and veteran UNL trumpet Professor Darryl White,
taking appropriate turns in modal conversation.
The jazz waltz “From Two” explores a chord relationship (the classic
ii V7 cadence) familiar to the trained jazz ear and turns it backwards
as if a kind of “private” joke. Yet this trick hardly betrays the untrained;
rather, it yields a pleasant, accessible drive and later reintroduces
us to the acoustic bass mastery of hometown boy (now New York) Steve Doyle,
who coincidentally penned the subsequent track, “Time Will Tell,” a delightful
5/4 rhythmic romp. It’s the only track not written by Larson.
“Sensei” gives us the best taste of each artist’s individual improvisational
skills without venturing into the uncomfortable terrain of accomplished
jazz musician self-indulgence. Themes are concisely presented, developed
and entertained without overstaying their welcome.
Featuring the Latin chops of Omaha area drummer/percussionist
Joey Gulizia, “Street Fight” puts a salsa spin on a harmonically rich
jazz waltz.
Introducing the final track, “The Inner Path,” Larson treats us
to an all-too-brief glimpse of his underrated solo piano facility. Complemented
by the lyrical phrasing of trumeter Darryl White and third UNL faculty
member, bassist Rusty White, we literally hear the real-life professional
relationship and friendship these musicians harbor.
Though Larson’s tenure as a producer and recording engineer could
empower him with all kinds of studio magic, he clearly resists temptation
in this CD and offers nothing but a well-honed, transparently acoustic
performance that is a perfect snapshot of one of Lincoln’s musical treasures.
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BILL
McKEMY
Duende
By Butch Berman
Herky, jerky, quirky like France, like
Berlin, like San Francisco, like international, man maybe even interplanetary.
Like wow!
Dark, brooding, mysterious maybe even deep.
Bill McKemy jazz and this CD are magnificent. Why? I
dunno, but I really dig this weird, wired piece of genius.
Alan Watts would have dug it, too, and so will you.
Music for the mind ingest, let go and
dream away.
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IVAN PADUART
Trio Live
Virgin Music Belgium
On fire are the first two words that come
to mind while reviewing Belgium's Ivan Paduart's
2001 CD entitled "Trio Live," recorded at L'Espace
Paul Delvaux.
I love it when an artist occasionally recreates
his live set on a CD that you can revisit at will.
You'll feel the fire and passion in Bill Wimmer's
review of Ivan's bristling show at P.O. Pears in Lincoln,
with a stellar rhythm section consisting of K.C. bassist
Bob Bowman and fellow Topeka native and longtime
stablemate Todd Strait, who recently relocated from
K.C. to Portland, Ore.
On this recent effort, recorded in 1999,
Ivan is joined by his European rhythm section, comprised
of Stefan Lievestro on bass and Hans Van Oosterhout
on drums. Itís a rich mixture of originals
and tunes by current artists, with only "I'll Remember
April" reaching back.
Ivan's live performance demands your attention
and rivets your gaze on his animated concentration.
A little McCoy Tyner there, a little Bill Evans here
and a lot of Ivan throughout, this latest in a strong
catalog of releases is solid and inspiring. But live
on fire!
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WESTPORT ART ENSEMBLE
Westport Art Ensemble
By Tom Ineck
If you think you know
what Kansas City jazz sounds like, think again.
This is not your grandfather's KC jazz, not the jazz
of Count Basie or Jay McShann or Claude Williams. It
has little in common with the jump-style blues and
riffing horns of traditional Kansas City swing, a
style that sounds archaic in today's eclectic jazz
world.
That is a good thing.
On its debut recording funded by the Berman Music
Foundation the Westport Art Ensemble (wae) points
the way to a new synthesis of styles that is both
accessible and swinging, while expanding the
horizon of rhythmic, harmonic and melodic invention.
Wae is the brainchild
of two KC jazz veterans, bassist Gerald Spaits and
drummer Todd Strait, and their composing, arranging
and playing is notable on this recording. However,
it is the younger firebrands here keyboardist Roger
Wilder and especially saxophonist Josh Sclar and
guitarist Jake Blanton who consistently infuse the
music with energy and imagination.
Of the 10 compositions,
Wilder, Sclar and Blanton each contributed two,
with the two elders composing one each. Spaits also
did a lovely ballad arrangement of Hank Williams' "I'm
So Lonesome I Could Cry."
Wilder's "Haenemehr" gets things off to a
rousing start, driven by Strait's solid drumming
and Sclar's big-toned tenor sax solo. That is followed
by Sclar's inventive "Dot of Oz" and Wilder's swirling
"Labyrinth Therapy."
Sclar
gives "Lonesome" an aptly mournful reading, his
lines swaying to the waltz rhythm as though dancing
in an empty ballroom. Blanton also gives the tune a spin
with some tasteful guitar licks. Spaits delivers an exemplary
bass solo on his "Worlds Past," a lilting mid-tempo
tune.
Strait's beautiful composition, "Lullaby
for Naomi," falls midway through the recording, followed
by Blanton's "Krazy Kernels," Sclar's ambitious
"A Theme for This American Life," Blanton's outrageous
"Almost Hit That Lady" and the eight-minute group
improvisation "Art Isn't Always Pretty." The last
two were recorded live at the Westport Coffeehouse
Theatre, giving the listener a glimpse of contrasting
studio and performance styles.
Since this recording,
Strait has moved to Oregon, while Sclar and Blanton
are looking eastward to the Big Apple for their
next musical challenge. If this must be the first
and last product by the Westport Art Ensemble, at least
it will stand the test of time and provide an
excellent document of a great Kansas City band.
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DARRYL WHITE
In the Fullness of Time
Fans of trumpeter Darryl White had to wait
three years after his 1999 debut recording, "Ancient
Memories, " for the welcomed arrival of this brilliant
sophomore effort.
There are no disappointments here. Returning
from the first recording are alto saxophonist Dave
Pietro, pianist Jeff Jenkins and drummer Matt Houston.
Also joining the team are Pete Sommer on tenor sax,
bassist Kenny Walker and special guest Art Lande on
piano. The participants sound as compatible as longtime
friends and colleagues.
The swaggering opener is "Orangewalk Town"
by John McNeil, a fellow trumpeter who also produced
both of White's recordings. In fact, three of McNeil's
compositions are included here. McNeil will perform
at the Lied Center for Performing Arts in Lincoln later
this year.
White's challenging "Cronophage" (roughly
translated from the Greek, "something that eats
time") is a challenging ramble, darting here and there
as though in an effort to escape the inevitable timekeeper.
Perhaps most important, White
knows the importance of space. He extends the lines
of "Nanpet (The Called of God)" into shimmering waves
of sound, as though floating on a cloud. Appropriately,
the tender tune is dedicated to his wife, Rose. Charles
Mingus' "Nostalgia in Times Square" is given a funky
backbeat, and the band responds with punchy, soulful
statements.
McNeil's "Abercrombie" is a
beautiful ensemble piece, followed by another
rhythmically challenging White composition "A Cord
of 3 Strands." Again showing his tender side, White
offers the ballad "Lil I"' for his young son,
Isaiah. The recurring theme of time boldly reasserts
itself in the title track, "In the Fullness of Time."
"Accidents Happen," practically
a definition of jazz at its most unpredictable,
gets an appropriately intense reading, but the
tight ensemble sound and well-constructed solos are
no accidents. Lande's "El-Hai-La" is a gentle,
almost zen-like dialogue between White on flugelhorn and the composer
on piano.
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PETER GREEN AND NIGEL WATSON
Hot Foot Powder
Snapper Music
By Rich Hoover
If you like the blues of Robert Johnson,
as do thousands of musicians and millions of fans,
then you need to checkout "Hot Foot Powder, " the
superlative production of guitarists Peter Green
and Nigel Watson, released in 2000.
This is the second in a series of three collaborations.
The first is the '98 release "The Robert Johnson Songbook,"
with a collection of 14 tunes. The third, released in '02
is "Robert Johnson Favorites," which is a collection
of the faves of the first two releases.
In addition to Peter and Nigel are Splinter
Group, which includes Roger Cotton on guitar and
piano, Pete Stroud on upright bass, Larry Tolfree
on drums, Brian Bull on guitar and an enviable cast
of guest instrumentalists including Dr. John, piano;
and Buddy Guy, Otis Rush, Hubert Sumlin, Honey Boy
Edwards and Joe Louis Walker, guitars.
The tunes on this CD are "I'm a Steady Rollin'
Man," "From Four Until Late," "Dead Shrimp Blues,"
"Little Queen of Spades," "They're Red Hot," "Preachin'
Blues," "Hellhound On My Trail," "Travelin' Riverside
Blues," "Malted Milk," "Milkcow's Calf Blues," "Drunken
Hearted Man," "Crossroad Blues," and "Come On In My
Kitchen."
It is probably impossible to expand or improve
on the volumes written about Robert Johnson, but
Peter Green and Nigel Watson have interpreted Mr.
Johnson in the highest degree of artistry.
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KIM
WILSON
Smokin' Joint
M.C. Records
By Rich Hoover
It's art, I tell ya'.
"Smokin' Joint" is a
masterful live recording with top-drawer musicians
demonstrating the artistry of individual talents
plus the ability to meld themselves together to
form the gambit of power of emotion, prowess in
communication and the sense of timing that makes
the package greater than the sum of its parts.
The tunes were recorded
at The Rhythm Room in Phoenix in 1999 and Cafe'
Boogaloo in Hermosa Beach, Calif., in 2000. The
artists are Kim Wilson, vocals, harmonica and lyrics
on four tunes (He is deeply entrenched as one of the
iconic pillars of blues culture); Larry Taylor, a
rock-solid walkin' bass man; Richard Innes, drummer
with blues and shuffle deep in his heart; guitarists
Rusty Zinn and Billy Flynn at The Rhythm Room and guitarists
Kirk Fletcher and Troy Gonyea at Cafe' Boogaloo.
These guitar gentlemen have the knowledge,
experience and abilities to pour out an endless
stream of musical joys. Mark Stevens is a relative
newcomer whose talents on guitar justifiably perked
Kim Wilson's ears.
It's a blues entertainment package you can
open time after time.
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