Jung on Jazz July 1998

“Love for Sale” is masterfully understated and brims with class. Jones’ right hand initiates the melody with long, sustained lines, compelled by nonchalant left-hand chords. The Winds Jazz Orchestra serves Jones faithfully on a courtly reading of “I Got It Bad (And That Ain’t Good)” and sustains that through the charming “How High the Moon.” Jones’ warm melodies and delicate remarks drift effortlessly above the harmonics of the strings and brass.

A prayer “Al-Fatihah,” with its Eastern tonalities opens the session. Stewart plays the syllables of an Islamic prayer over the drone of the synthesizer. The meditative title track “The Force” often alternates between hypnotic drones and turbulent chaos. Stewart fires off a cleanly constructed combination of moans and screams with his platter of dissonant passages a la John Coltrane. Watts lays into his drum kit, aggressively assaulting an awe- inspiring solo. Stewart buries his rhythm section for an emotionally-charged “Revelations.” The saxophonist sinks his teeth into the melody and the energy he generates is overwhelming.

The Force is only Stewart’s third album and his residence in the Bay Area has not helped his visibility, but this is a voice that, if developed correctly, cries out with potential. Stewart is still forming his own sound, but until then John Coltrane is a fine example.

Personnel: Robert Stewart, tenor saxophone, flute, synthesizer; Ed Kelly, piano; Reginald Veal, bass; Jeff “Tain” Watts, drums

Tracks: Al-Fatihah, The Force, Resurrection, Peace Within, Sanctuary, Blackness, The Black Stone, Dion, Ripple, Revelations, Love of Life

Montana must have the most vividly extraordinary seasons in all the world, at least according to the music of pianist/composer George Winston. Although Winston plays a variation of styles ranging from folk, to stride, to rhythm and blues, and credits his influences as Henry Butler and Professor Longhair, Winston is more of a painter than a piano player.

All The Seasons of George Winston is a collection of piano solos from Winston’s highly successful seasons series, Autumn, Winter Into Spring, Summer, December, Forest, and Linus and Lucy – The Music Of Vince Guaraldi.

“Colors/Dance” from Autumn evokes images of falling leaves and the gentle breeze of coming winter. The summer months are represented by “Hummingbird,” a lively, floating melody that could hover over fields of daisies. His thematic piano solos continue with “Thanksgiving,” a pensive reflection of family and the warmth and comfort of holidays.

Contemporary instrumental music, a.k.a. New Age Music, has been disparaged recently with perceptions of Yanni and John Test at an outdoor arena comically directing symphony orchestras, but Winston is not in that category. All The Seasons of George Winston is an intriguing look into his 25-year career and is much more than mere elevator music.

Marsalis’ first installment of his Standard Time series was released in 1986 and featured drummer Jeff “Tain” Watts, pianist Marcus Roberts, and bassist Robert Hurst. The Midnight Blues: Standard Time Volume 5 also incorporates the quartet format and unites Marsalis with the seasoned Lewis Nash on drums and long-time band members Eric Red on piano and Reginald Veal on bass.

Marsalis is in excellent form throughout the recording. Some of the highlights include an exquisite treatment of “You’re Blase,” with Marsalis’ radiant tone and flawless pitch in complete control, backed by Reed, Veal, Nash and a string orchestra and Veal’s majestic bowed solo introducing a sumptuous “It Never Entered My Mind,” which finds Marsalis’ heartbreaking melancholy drifting between Reed’s gentle advance. Other highlights involve a delightful “Ballad Of The Sad Young Men” and a somber “The Midnight Blues.”

Manassas High School in Memphis, Tennessee was a breeding ground for jazz heavyweights. Pianist Harold Mabern, trumpeter Booker Little, and saxophonists Frank Strozier, Charles Lloyd, Hank Crawford and George Coleman were all classmates during the early fifties. Coleman, who got his start serving time with B.B. King in 1955, subsequently went on to work with Max Roach, Charles Mingus, Chet Baker and Lee Morgan. But, Coleman’s most visible stint was with Miles Davis, between 1963 and 1964, playing with Herbie Hancock, Ron Carter, and Tony Williams (Wayne Shorter replaced Coleman). For this quartet session, Coleman plays the music of famed composer Richard Rodgers and he reunites with pianist Harold Mabern, bassist Jamil Nasser and drummer Billy Higgins.

Coleman picks up the soprano for the familiar “Bewitched, Bothered and Bewildered.” The saxophonist breezes through his changes and lingers above the chord voicings of Mabern. Mabern begins a lightly swinging performance of “My Favorite Things.” Coleman’s soprano is acute and he offers entertaining variations, while being wary not to emulate the Coltrane classic. Coleman’s cunning wit and familiar boppish style are featured on an up-tempo “I Could Write A Book.” The lengthy reworking of the standard is thoroughly enjoyable.

“Ah-ite” has an appearance by Gunn, who has been associated with the young saxophonist for the past four years. Tardy’s call and response interplay with Gunn is reminiscent of the glory days of Old and New Dreams with Tardy playing the role of Dewey Redman and Gunn playing Don Cherry.

“The Fractar Question” (Tardy’s nickname is Fractar) links the tenor with the admirable Harrell. The two harmonize in unison and take turns, offering and listening to one another’s ideas. Tardy plays superbly on the twelve-bar blues and his oratorical phrasing is advanced for such a young musician. Tardy makes his foremost impression on “Ask Me Now,” backed only by a subdued Veal.

Tardy may refer to his musical journey, thus far, as being serendipitous but this young man has earned his recognition. A fine player with solid fundamentals and a strong character, Tardy will be entertaining audiences for years to come.