Doug Munro / Mariano Mangas,
Ramsey Lewis / Nancy Wilson,
Harvie S.,
Michel Camilo,
Vincent Herring,
George Flynn,
George Flynn ,
Shimon Ben-Shir Group,
David Hazeltine,
John Paris / Steve Thomas,
Janis Siegel,
Larry McDonough,
John Blum,
Stanton Moore,
Kaufman / Gertz / Bergonzi,
Paul Motian and the Electric Bebop Band,
Scott Colley,
Joe Giardullo,
Ed Gerhard,
Claire Ritter,
Bradley Parker-Sparrow,
Nancy Marano,
Modus Norvus,
John Balint,
Ray Lema,
Carmen Lundy,
The Winners.
Doug Munro / Mariano Mangas
Jazz Flamenco Guitars
(Purchase Records - 2001)
 by John Barrett
On one speaker you have an acoustic guitar, rippling with precision; this is Mariano Mangas, whose notes are woven tight. On the left speaker is Doug Munro, on a stinging electric; his lines resound, in the way of Joe Pass. Together they begin "Manha de Carnaval", strumming with the force of a rainstorm - Doug then strikes a montuno, with Mangas finessing the theme. Simple at first, he lengthens some phrases while trilling on others - in comes Munro, with a similar solo.
"Melting Point" is as advertised: Mariano starts the phrase which Doug finishes. Into the solos, Munro begins a rhythm part (too thickly, I think) and Mariano stretches, with notes that are spindly and strong. The delicate drumming is a special pleasure, as are the Montgomery octaves from Doug. They ruminate quietly on "Autumn Leaves": mandolin strums on one side, liquid slides on the other. Doug's solo goes from Wes to Pass, and that's a nice combination.
"Bull Fight" is hot: Doug plays "castanets" by hitting high, blunt notes; Mangas is cautious, moving upward with measured steps. Doug starts "Concierto de Aranjuez" in a weary twang, answered by Mariano's calm ripples - they exchange tranquil moments, in an effortless transition to Morris Albert's "Feelings". Mangas is relaxed, a clave clicks in the background - this is music for a smoldering fire. On the following medley (covering "Let's Fall in Love", "The Woody Woodpecker Song", and other goodies) the guitarists take it easy, working on each other's ideas, and it all flows naturally. They just have fun - no flash or competition, just two guitars on a sweet excursion. And that's how I like it.
"Tocar" shines a spotlight on Mangas, who rumbles and rolls behind a gentle accompaniment. Doug's solo is entirely in octaves, and Mariano strums a turbulent breeze. The acoustic calms down on "Blue Bossa", with sharp stinging notes; Munro's chicken-scratch solo is a delight. The middle section, where both men flamenco, is a stunner. They slither on "Sixteen Tons", with Mariano playing the "bass part" - this becomes "The Pink Panther", and Doug is gorgeous. They do their best work on the medleys; it's fun hearing their ideas intersect. "Spanish Heart" is a soft glow late at night, which is how you'd describe the album - two styles which create one sound. For a different kind of "jazz with strings", give this a listen.
Ramsey Lewis / Nancy Wilson
Meant To Be
(Narada - 2002)
by Matthew S. Robinson
Ramsey Lewis & Nancy Wilson Meant to Be (Narada Jazz)
"Meant to be" indeed! After years of playing and performing together, two of the jazz world¹s most underappreciated contemporary legends have once again gotten it together enough to get together on record, and the results are well intended to say the least. The album is a bit misnomered, however, for though both stars get their names above the title, only one is on every track. In fact, Wilson wraps her worn but wonderfully willing cords around fewer than half of the selections, making herself more of a featured highlight than an equal partner. Still, highlights they are! The opening skinning of "Peel Me a Grape" could teach Diana a thing or two about how it¹s really done.
On the other hand, Wilson uses "Did I Ever Really Live" to demonstrate the lessons she has learned from Jimmy Scott. "Moondance" and "Piano in the Dark" are both squeaky but soulful, and "First Time Love" takes Ms. Wilson out in a romantic whisper. Otherwise, this is a Ramsey Lewis album- not that that is a bad thing! Except for Fareed Haque¹s "Tranquilissimo," all of the other compositions ‹ from the rhythmic keys and ribboned bass on "Truthfully" to the smooth and gentle trio work of "Velvet Night" ‹ are credited to Ramsel Publishing Co., making Wilson¹s contributions enticing interludes that pull listeners through some of the mellower moods Lewis sets alone.
©. 2002, M. S. Robinson, ARR
Harvie S.
New Beginning
(RVS - 2002)
Staff
Bassist, Harvie S, formerly known as “Harvie Swartz,” doesn’t need
to begin convincing anyone of his multi-talented musicianship as a leader and
sideman for a stellar list of jazz artists. “New Beginning” the second album
of Harvie’s latest project, “Eye Contact,” displays the versatility and
harmonic complexity of his compositions influenced by Afro Cuban and Latin
rhythms. Harvie wrote all of the selections for this CD with the exception of
track #5, “African Heartbeat,” written by member violinist, Gregor Huebner.
This energetic project features the exceptional contributions of Michael
Brecker—tenor sax, Haru Takauchi—guitar, and Ray Vega—trumpet. From upbeat
and groove-laden Latin-tinged tempos to Fusion-laced jaunts, this CD holds
many surprises. Just when you think you have a preconceived notion of a
particular song, Harvie surprises you with a 180, developing his
impressionism and reinventing his composition.
You can’t put this CD into a neat little “Latin” box or “Fusion” box, but
Harvie offers some exemplary compositions, with each musician on this CD
delivering fine performances throughout. The more I play this CD, the more I
enjoy its unexpected diversity and melodic energy. Harvie’s “New Beginning”
CD assures the listener that there is something going on beyond trying to put
a label to it. There is pleasure in the listening and always something
exciting around the corner.
Michel Camilo
Triangulo
(Telarc - 2002)
by John Barrett
The contours are jazz; the details are Latin. Michel Camilo is a rhythmic pianist, coasting on montunos or parallel hands; he's also got cocktail elegance, as well as a pinch of the blues. "Piece of Cake" darts between these traditions, with Camilo in flux under a steady drum. Horacio Hernandez wields an army of percussion, thumping gently as Anthony Jackson walks a deep bass. Jackson's vamp is the spice of "La Comparsa": Michel takes this one easy, slithering around the bass. First he ambles up the scale, then he descends using chords - an easy feeling that never ends.
"Mr. C.I." is restless and sour - Hernandez' taut drums lead to Michel's left-hand turmoil. The phrases are short and insistent; the theme is brittle, and vaguely Middle Eastern. Camilo really swings on his solo, all while maintaining that tension. There's a delicious slow breeze on "Afterthought" (Jackson starts up high, for a guitar-like comp) and a "Jazz Dance" mood surrounds "Anthony's Blues", where Camilo erupts in tough phrases, each answered by the bassist. By turns urbane and gutsy, this music belongs to no "world" … it belongs to all.
Cymbals storm sweetly for "Con Alma", as Michel themes with warm, happy chords. The piano flows constantly, gently as Horacio clicks compulsive rhythms. Slowly the sound fades, into the infinite distance - this is gorgeous. Frosty notes highlight "Las Dos Lorettas", a tune by Mike Mainieri: Camilo strikes, and a dozen noisemakers rattle away. Soon after this the flames ignite, and we are in Bluesville … however he plays, Horacio's presence is felt. The Latin heat rolls on "Descarga for Tito" (you gotta hear the piano on this one) and funk reigns on the wonderful "Dot Com-bustion". Jackson buzzes on a few notes, the drums are incessant, and Michel boils over, a mass of controlled fury. His sound is truly unique; remember his name - I know I'm going to.
Vincent Herring
Simple Pleasures
(High Note - 2001)
by Dick Bogle
Oh, but if we all could come so close to the marks set by our heroes. Alto saxophonist Vincent Herring chose Cannonball Adderley as his hero and it's a good bet Cannon would be very proud of Herring's efforts. Herring maintains the always swinging nature of Adderley.
"The Loop," the opener here is exhibit A on swinging. He follows with a slower but still swinging ballad "Once In A Lifetime." "Sophia Marie," a ballad tribute to his daughter adds Wallace Roney on trumpet for some muted Miles Davis like work. Herring is heard on an exquisite soprano solo.
Bassist Richie Goods, pianist Mulgrew Miller and drummer E.J. Strickland round out the group.
George Flynn
American Rest
(Southport - 2002)
by John Barrett
The Vietnam War means a lot to George Flynn, ever since his days as a youthful protester. He has written many classical pieces about the conflict; "American Rest" was written in 1975, at the time of the U.S.' withdrawal. (The piece has since been revised, and is recorded in this form for the first time.) A one-movement work with 27 index points, it begins on a three-note motif, played by pianist Stuart Leitch.
The notes are soft but uneasy, soon repeated by clarinet, viola, and cello. This ensemble moves sadly, in phrases that suggest Samuel Barber; rarely do they deviate from the opening harmonies. As Leitch stretches out, the others shout their reply, in a kind of shrill chorus. Thus established, the theme slowly transforms: it's an eerie salon piece (Index 3), then a forest of twittering birds (Index 4), a rainstorm of jagged lines (Index 8), and a wistful lament, finessed by Larry Combs' clarinet (Index 11). We then get a reprise of the opening, though the mood has remained constant … the quiet worry of a land unsure of itself, where a struggle concluded without really ending.
Starting with Index 13, Combs becomes the focus; the motif changes slightly as the strings harmonize. More academic than the earlier sections, the spirit is reflective with a few pointed outbursts. (Prime among these is Index 14, where Combs is especially fevered.) Viola and clarinet trill gently on Index 15, followed by a dignified moan on cello. This is as "restful" as this piece ever gets; it's shattered by Leitch's explosion on Index 17. He wanders up the keys, churns along the depths … he and the era are restless. Between his tempests, the strings whine in high gear: icy, mysterious, and (as always) uneasy.
Index 19 ends in a mad squawk; on the following tracks you get creepy glissandos. There's a skittish dance on Index 23, calm whistles on 24, and a brief moment of quietude as the piece ends. A work of great depth and maturity, the music stirs a hundred emotions. It's hardly restful, but neither were the 'Seventies.
George Flynn
Pieces of Night: Three American Nocturnes
(Southport - 2002)
by John Barrett
Released the same time as George Flynn's American Rest, this piano concert from 1990 is a companion piece to that album. Both were inspired by the Vietnam War, both use the same structure (short vignettes, with each one melodically similar), and many of the pieces borrow their themes from the earlier work. Played by Flynn himself, "American Nocturne I (Turmoil)" uses the tri-chord which opened Rest; Flynn hits the phrases hard, and embellishes them grandly.
While the harmonies are slightly streamlined (Rest was written as a quartet), the tension remains strong, and ever-present. Fevered notes trill on Index Point 3, as rhythmic and dense as Nancarrow's work for player piano. Track 4 begins in ferocity, which dissipates in a pool of echo - Flynn's soft sections are more peaceful than the quartet's were. The thing ends in a subtle whimper, and is followed by "Myoclonus I", a terse mixture of silence and sonic clusters. It serves as a wakeup in languid surroundings - as it were, the war between two outbursts of peace.
The second nocturne is subtitled "Nightful"; the mood is quiet but never dreamy. A discordant riff, first heard on Track 9, is gradually slowed and heaped with sustain. The bass notes thrum steadily, like a lazy clock; the right hand seems pensive, full of unpleasant thoughts but unwilling to say them. Noisy moments intrude, but never for long - it's the rude scream of reality. "Myoclonus II" is a series of punches, low notes that recede and are soon replaced. It ends with a bang - a florid, loud tremolo you won't hear outside a silent movie.
"Nocturne III (Tumult and Lullaby)" is the longest of the pieces, and seemingly the softest. The notes are whispering as they rumble through the depths; the chaotic explosion on Track 19 leads to drumlike rhythms and a finale which is nothing but sadness. While I prefer American Rest, Flynn's piano work is magnificent … both discs are worth hearing, giving you two sides of a tragic coin.
Shimon Ben-Shir Group
Shades
(NADA - 2001)
by Matthew S. Robinson
Whether read from right to left or left to right, there is not much new being said buy Israel¹s Shimon Ben-Shir. From the Kirk-ian bop swing of "Bustan" to the "My favorite Things"-y groove of "Galil," most of ben-Shir¹s bass-drizzled compositions fall into the puddle of smooth jazz. The only real exceptions are the Latin/Ladino dance number "Kiddo" and the mellowed Marrakesh meets Manhattan vibe of "Oasis," but even their promise is greatly unfulfilled. The album ends with a pair of sappy devotionals and goes on its way, leaving only tinges and tints behind.
©. 2002, M. S. Robinson, ARR
David Hazeltine
The Classic Trio Meets Eric Alexander
(Sharp Nine - 2002)
by John Barrett
It is an older style, called "soul-jazz", among other things. While presently out of favor, the form still has its adherents … like David Hazeltine, a propulsive pianist in the mold of Barry Harris. His group includes the young (Peter Washington on bass), the old (Cannonball's drummer Louis Hayes), and Eric Alexander, a young tenor with that time-tested sound.
This group can rock hard: Louis sails through "Hayes' Phase", spinning cymbals in endless thunderation. Hazeltine helps with a Tyneresque vamp; Eric glows, his horn mellow yet strong. His tone is lighter than Rollins', more precise than Johnny Griffin's, less restless than Coltrane's … yet you hear echoes of them all. This tune seems to float, with the optimism of early '60s jazz. They make a slow glide on "Jessica's Night", where Alexander hums under a thick bass-walk. Eric moves ahead of himself, trying to pull the tune faster; David stays the course, floating gemlike chords at a gentle pace.
"O Grande Amor" is a hot, lazy wind; the horn yawns as the drum wanders. Hayes' samba is wonderfully fast; David complements it with his mannered, meticulous solo. And everyone runs "On the Boulevard" - Hayes gallops, Hazeltine churns, and Eric makes a vague quote of "While My Lady Sleeps". You do not sleep, however … you're too busy applauding.
It slows to a crawl on Stevie Wonder's "Knocks Me Off My Feet"; Hazeltine whispers and Louis mists with the cymbals. The sax is in the territory of Ammons and Stitt … which is a good place to be. "East of the Sun" is usually done as a ballad, so of course they go to the races - to quote another album, he's Alexander the Great. Restless and breathless, you hear both Sonnys in his solo; how he maintains the pace is a mystery. David is slick, Hayes is explosive, and your smile will be huge. In similar mode is "Our Delight", where Eric buzzes and all else glistens. An excellent blowing session, this date reminds me of late '50s discs on Prestige. I was going to say they don't make 'em like this anymore … but thankfully they do.
John Paris / Steve Thomas
Fourward Motion
(Southport - 2002)
by John Barrett
In its tunes and approach, this group reminds me of Chico Hamilton's: talkative drums, soft waves from John Paris (a guitarist in the mold of Jim Hall) and a gentle horn, whispering with distinction. No one musician is the star, because they all are: on "Blue Wiggle" the instruments weave together, each getting its turn in the spotlight. Tim Fox is first, with a bassline recalling "Manteca"; Steve Thomas crawls up the scale, his notes glassy and strong. You rarely hear a trumpet this confident; without warning he changes, from a pristine glow to a bluesy growl. Paris walks on air, tripping the strings with metallic bite - his tone is light, but not lightweight.
"Sweet Dance" is a waltz, Thomas trembling as he goes. His notes are choked, but Fox' are bold: his solo is crisp, as Greg Fundus pours on the cymbals. For most of the track Paris is misty, with quiet thoughts in the background; he is "felt but not heard", as Phil Spector would put it. When his turn comes, John slinks along … he slowly gets louder, and Fundus does likewise.
Steve tiptoes his way through "Monk's Dream", in sculpted, deliberate notes; John answers with airy whooshes, like the bass pedals of an organ. The trumpet hurries one moment, hollers the next, and does it all with humble flair. Paris tries some Monk on his solo, which is helped by Fox' earthy walk. "Transparent" is a slice of pure Hamiltonia: as Fundus wields the mallets, Thomas creeps in; his mood is reflective, in a quest for Miles-like beauty. John echoes broadly, while his mellowness remains - most bands wish for this kind of atmosphere. And "Unicorn" is a rare thing, flitting from ballad to bossa and back. As Tim drones in the distance, Steve yawns a brassy contentment. John is quicker than usual, bubbling some Burrell as the drums do their thing. This music goes on its own pace; those with the time to listen will be well rewarded.
After a cursory theme, Paris takes control of "Blues for Sedgewick". Speeding along, his notes acquire a tart snap, as the rhythm lays a nasty groove. The lack of a piano is absolutely essential - it helps each musician stand out. Steve growls on his solo, like Clark Terry; it's beautiful, and way too short. On "Waltz for Her", it sounds like he has a flugelhorn; after a sweet theme, Paris has his most lyrical solo. Thomas also has his moment: his notes unwind in a flurry, like the blooming of a rose.
"Knife Throw" hits you like an old Blue Note disc: the chords are razor-sharp, Steve jabs the tough notes, and John simply glows. You'll want to hear this on the radio … you'll want to hear this, period. And as the baião sounds slowly, "Tanufalé" is the sound of ease, a cool drink earned after a hard disc's work. The whole band impresses me (especially Paris, whom I must hear more of), the tunes are solid and sweet - overall, the best record I've heard from Southport. These guys are moving fourward … and, I believe, upward.
Janis Siegel
I Wish You Love
(Telarc - 2002)
by Matthew S. Robinson
Having rediscovered her Moxie, the original lady of Manhattan Transfer has opted to take another shot at solo stuff. And though some of it harkens back to her ensemble work, Siegel uses the opportunity to explore a great deal of other avenues. From a coo through Goffin and King¹s "Go Away Little Boy" to an absolutely poppin¹ chant along of "I Want You To Be My Baby," Siegel explores a variety of rhythms and moods with the competent assistance of pianist Cedar Walton and occassional assistance from trumpeter Tom Herrell and sax master David "Fathead" Newman.
Though her re-reading of "Guess Who I Saw Today" may have neither the suspicious build nor the vocal depth of Nancy Wilson¹s signature version, "Don¹t Go to Strangers" is full of soulful attraction. "The Late Late Show" keeps the set hopping and Siegel¹s pairing of "Mr. Sandman" and "Dream a Little Dream of Me" is both clever and pretty, as is much of this well-produced collection.
©. 2002, M. S. Robinson, ARR
Larry McDonough
Small Steps
(Marx Music - 2002)
by John Barrett
Larry McDonough plays piano with a classical formality, combined with a penchant for bass figures (from the left or right hand) that he learned as a jazz organist. He is always throwing in quotes, always changing harmonies … always working to make the tune his. "Crystal Silence" opens meekly, a few high notes filled with sustain. The melody slowly emerges, and many things happen from there: percussive stabs, harsh waves of sound, and languid lyricism. It's a vigorous rendition, closer in style to Jarrett than Corea, with all of the beauty that phrase implies.
"Linus and Lucy" are miles away from Vince Guaraldi; this one gets glassy harmonies and sour interjections. Larry changes pace often, relaxing on the bridge while churning through the theme. His solo's all over the place, quoting "Dick Van Dyke" in the midst of its Tyneresque fury. "Small Steps" (sort of based on the Coltrane classic) takes rapid-fire chords in a graceful descent; his solo employs pounding hands, a lengthy quote of "So What", and frantic runs up the scale. This one evokes many moods, many styles, and many thoughts. "Good Day Sunshine" is neatly dissected, with new harmonies, leisurely pace, and crescendos followed by silence. The sound is aggressive, inquisitive, and unafraid of breaking the mold. In other words, he should be listened to.
"Coreatown", one of the disc's two originals, recalls Chick in its persistent, classical theme. Larry does a three-step walk with his left hand; the right is lazy one moment and vibrant the next. He does some beautiful parallel-hand work, then Morse code riffs, then cloudy impressionism. The "bass" solo is morose, hinting "Wrapped Around Your Finger"; tension then builds, and the quiet grows. The echo on "Nature Boy" brings out the tune's exotic nature; McDonough is poignant, and it might be his best performance. Hurried riffs appear, along with hard-pounding notes … but the solitude always returns.
"Layla" is done as a salon piece, the melody barely discernable. (For a moment it sounds like "So What"!) The left hand is weighty as the other floats; the harmonies are harsh, and seem carved from stone. (The brief mention of "Here Comes the Sun" makes a cute ending.) "All Blues" is taken slow; the arrangement is jagged, and the surprises are constant. (Did I just hear "Norwegian Wood"? And is that a Cecil Taylor lick?) At times it goes far afield, but so does the rest of the album. Larry McDonough has a big style and an active mind … I'm glad he shared both with us.
John Blum
Naked Mirror
(Drimala - 2002)
by John Barrett
He was taught by Cecil Taylor and plays with Jemeel Moondoc - John Blum is visceral at the keys, with a classicist's touch and an avant-gardist's fury. Made as a memorial to his friend, the poet Jeremy Green, this album is a cask of emotion, poured out in fervent doses. "Ethereal Plane" is drenched in echo; as the left hand dives low, the right hits delicate, discordant phrases. Like the classical works of the 1910s, this turmoil is ordered, respecting the academic traditions as the piece surmounts them.
Many things happen in "Rain Dark Rain" - forceful Nancarrow segments, boogie-woogie parodies, Tayloresque anarchy - the styles are fleeting, quickly replaced by the next. The sound becomes dense at the end, as if Blum has four hands - hard to believe this was taped "pure", without dubs or other trickery. "Heart Tumor" seems like a dancing exercise: the right hand spins frantically, and the left follows suit a few seconds later. It's followed by an uncertain calm, and the storm returns - the heart cannot be easily gauged. And "Consternation", with its breakneck tempo and dog-chases-tail melody, is a perfect match for it title. Structured yet raw, this album blends anger and grief in strong, succinct fashion.
The disc is completed by a series of short pieces, each telling a story. A city breathes on "Glowing, Pulsing" - rude rhythms, endless activity, and a sound like honking horns. This is followed by "Dismal Cry", where sharps bursts are surrounded by brittle silence. (By this time, the Taylor phrases are a bit too familiar; more variety would be wonderful.) The low keys rumble on "Silence Trickle", and "Naked Mirror" is a clock, where the left hand strikes firmly, and with finality. John Blum has spoken well; this music has meaning, and its power runs deep.
Stanton Moore
Flyin The Koop
(Blue Thumb - 2001)
by Ricky Miller
As a founding member of the immensely popular "steamroller funk" band Galactic, drummer Stanton Moore has a full-time job on his hands, but this has not prevented the him from expanding his musical vision with his latest project, Flyin’ the Koop. On this, his second solo album, Moore invites an all-star cast including bassist Chris Wood, saxophonist Karl Denson , and guitarist Brian Seeger. Moore also includes saxophonist Skerik and the vocal magic of the Wild Magnolias Mardi Gras Indians on Fallin’ off the Floor.
The 12-track collection is groove-driven, jazz-informed, and stylistically eclectic, with tunes ranging from rhythmic cookers to straight-ahead jazz launches, from melodic beauties to raunchy funk-rompers. The overall tone of this release would have to be classified as 'avant-garde-jazz-funk'. If you can relate to that description, you'll love the CD.
Kaufman / Gertz / Bergonzi
The Line Between
(Whaling City Sound - 2001)
by John Barrett
The sax trio is a demanding format, since so much depends on the horn. It must be attentive, as the chords of the tune are suggested rather than played. And the horn must be good, or the music won't be; thankfully, that task falls to Jerry Bergonzi, who also wrote the tunes. He has a thoughtful approach, stepping quietly into "Seventh Ray Overture". His tone is creamy, and the notes quaver slightly; Bruce Gertz bounces a light bass and Bob Kaufman draws steam from his cymbals. As it progresses, Kaufman gets busier … and Jerry approaches the tone of Coltrane. He yelps while the background stays constant; the calm then returns, but the tension remains.
"It's the Same But…" is more in the Rollins mold; Bergonzi moves fast, surrounded by drums. Lustily he blows, a series of popping notes - three minutes of fire, and then it ends abruptly. "Small Pleasures" offers a sedate, Desmond-like theme; "Fourth Way" is an impassioned squeal, made as Bruce wields a bow. The trio seems to play simultaneously rather than together - appropriate, given the fierce sound. (Gertz' solo is plucked, and certainly worth waiting for.) The title cut gets a soft Latin rhythm, and Bergonzi at his most quiet; he flutters in tight arcs as Kaufman rumbles hard. Bruce starts a harplike strum, and Jerry picks up the pace while staying mellow. By moving from the intellectual to the emotional, this music keeps a good balance.
Jerry has a slurping, Joe Lovano tone on "Without a Trace"; he starts the theme and Bruce's bow finishes it. The sax is sandy, with notes in the alto range - when he plays faster than his surroundings, Kaufman catches up on the cymbals. "Stratus" belongs in a dark alley, with its taut bass and tough, angular reed. This one rolls by with boundless energy; Jerry's Trane tone is used to its best advantage. "No Holes Barred" is a nice little blues, and "Seventh Ray" returns for an intense rework. More varied than most sax trios, this group gets power from the well-written tunes, the interplay of the musicians, and a remarkable performance by Jerry Bergonzi. Enjoy it all.
Paul Motian and the Electric Bebop Band
Europe
(Winter & Winter - 2001)
by John Barrett
This will be hard to describe, so I'll do my best. The bass and drums are heard in the center, while each speaker has a saxophone and guitar of its own. They play an interesting program of bop standards - the tunes are faithfully played, but their moods have been altered. "Oska T" begins as a drone: Anders Christensen hits a fuzzy bass line, and the guitars chord sourly. This trend is continued by the horns - Motian has a quick solo (mostly cymbals) and the whole thing is over.
The saxes charge on "Birdfeathers", beneath a dirty guitar growl; sounds like Andy Summers on his Monk tribute Green Chimneys. How they blare on their solos: Ben Monder does that spooky glide he perfected, then comes Chris Cheek on a brisk tenor. There's a confluence of sound on "Blue Midnight", when all solo at once; as clear - and cool - as a mountain stream. Monder's guitar is all stillness, as Steve Cardenas twangs from the left speaker. The same mood prevails on Steve's solo, when Pietro Tonolo states his case on a fluttering reed. The tune seems calm despite the constant motion … a trait it shares with "Ascension". "Introspection" swings in a grand way, and "New Moon" is a fire made warm by Monder's glow. It sounds like a dream - this music doesn't grab you, it caresses you.
There's a long delay echo on "Fiasco" … at least, that's what it sounds like. One horn starts play a half-second before the other, for a mighty (and beautiful) din. An army of guitars jangle their way through the fog, and Motian clangs the big cymbals. Monder sounds like a swarm of bees, chasing Tonolo's soprano up high. Ben does the piano lick on "Gallop's Gallop"; he twitters fast while the horns charge. Both guitars then do Martino-like solos at once, and Ben comes out on top. All is sad on "If You Could See Me Now": Paul slaps the brushes and the strings intertwine with delicacy. Cheek's solo is his best, gruff yet lyrical … and Pietro's is better still. This is a charmer, and by far my favorite track. They swing to a close with Herbie Nichols' "2300 Skidoo": the theme is good, the tenors are tough, and the spirit is infectious. With its great choice of compositions, and its off-center approach to them, this album is guaranteed to grab your attention … and keep it.
Scott Colley
Initial Wisdom
(Palmetto - 2002)
by Dick Bogle
In some piano-less groups, the piano is not missed. The originality of the music and musicians make up for it. Such is not the case here. Something is missing, and I think it is the piano. Even though the leader, Scott Colley, is a fine acoustic bassist, Bill Stewart's drums seem to dominate most of the time.
Singularly I liked most of the tunes and I will give them significant airplay on my KMHD radio (Portland) jazz program, But collectively it was a lot of the same old sameness. Minor tunes with bass and soprano and tenor solos by Ravi Coltrane backed by the heavy presence of Stewart. This is not a slam against Stewart, whose work I admire, we just needed to hear more of a textural variety.
Joe Giardullo
Shadow & Light
(Drimala - 2002)
by John Barrett
Joe Giardullo intended this session to sound like Dave Holland's Conference of the Birds, but history interfered. The studio, 100 miles from the World Trade Center, was booked for September 11, 2001 - Joe thought of canceling, but then changed his mind. His quartet would play pure improvisation, their impressions of the day's events; as Giardullo wrote, "I don't believe I have ever been more 'in the moment' than I am today." His plaintive clarinet opens "One Moment and the Next", with a deep woody groan on some notes. From this calm surface, unrest emerges: piercing honks one moment, multiphonic squeals the next. It ends with an ominous drone, like a didgeridoo … scary times are ahead.
"Cries, Whispers & Cires" begins softly: a bowed bass murmurs (Mike Bisio) as brushes are rapidly scraped (Tani Tabbal). Joe McPhee works a dockyard tenor; it's a rusty, worldly sound. He laments, while Giardullo explodes: he is screaming into some instrument, though it's not obvious what. Bisio is barely audible, marking a tense figure; this is where McPhee honks, twittering in desperate streams. Giardullo tries classical counterpoint on a soprano - this too splinters off, in unkempt fury. Mike's part turns sour, the drums go where they will, and the horns unite in a sad, march-like theme. This is unwritten music, but it is not unorganized … purpose is heard in every note.
The focus is on McPhee for "City on the Edge of Forever". As Bisio rumbles low, Joe wields a pocket trumpet: at first we hear chaotic squeals, yielding to creamy stillness. When Mike starts "sawing" his strings (think of John Cale on The Velvet Underground's "Heroin") McPhee is cataclysmic; when the bass resumes its dignity, Joe plays a dirge, resigned and peaceful. Both elements are good, though they don't fit together that well.
A spate of short piece then follow: Bisio sounds like scraped metal for "In the End There Is Peace" … and there's a fast quote of "The Star Spangled Banner"! Strident and vigorous, this bass has plenty of muscle. Tabbal tackles the deep drums on "Well of Souls" as Giardullo plays the shenai, a double-reed instrument from India. (His tone is between an oboe and the keyboard solo on The Beatles' "Baby You're a Rich Man"!) As Joe emotes, Tani remains quiet, simmering as his partner boils.
Tabbal's tune "Question of Time" is a long drum solo, where tight patterns emerge from a formless background. The steam builds, and it sounds like he's playing two kits at once - such is the fury this day evinced. The quartet comes back for "Shadow and Light", a blend of whispering winds, rhythm like raindrops, creeping bass, and a hopeful soprano … seemingly the loneliest voice in the world. This is the tragedy's aftermath, where massive activity was followed by silence. McPhee speaks up, with endless ferocity; quiet at first, Giardullo joins him in wailing. Every note of the performance is real; as the leader said afterwards, "I've never felt like that in my life." I think all of us can say that.
Ed Gerhard
House of Guitars
(Virtue - 2001)
by Ricky Miller
Can yo imagins a world-class acoustic guitarist proceeding to record his latest album using all old, cheap, 'pawn-shop style' guitars just to see what he could get out of them, and to let their problems and h istory seep into the music? That's exactly what Ed Gerhard did on his seventh CD House of Guitars. With musical inspirations ranging from Andrés Segovia to Mississippi John Hurt, Ed Gerhard has created a “guitar voice” of his own and is known for his gorgeous tone and compositional depth.
Alhtough some of the tracks border on 'country-jazz' (if there is such a thing) Ed is a very expressive guitarist and manages to carry each track. On the whole the CD is a little slow and measured for my taste, but there's no denying that Ed is a guitar master.
Claire Ritter
River of Joy
(Zoning - 2001)
by John Barrett
Going solo is hard for many jazz pianists; if they play as they do in a trio setting, it will sound incomplete. No such trouble for Claire Ritter: as her left hand flows softly, her right jabs sharp, memorable phrases. Her style is in between Thelonious Monk and classical music - hear her attack "Straight, No Chaser" with discordant glee. (Take two is the better of these, with a nice bluesy solo.) "Song in a Canyon" sounds like an instrument of glass, with enduring chords but brittle, stabbing notes. In time a sense of calm prevails; it's like a slow fire with occasional crackles.
"River of Joy" builds on a soft, persistent chord; her right hand advances, darting between three keys. While the tune is different, it reminds me somewhat of Scott Joplin's "Solace". "True" is a trio for bass (Steve Swallow) and two undulating guitars. It's sweet and Brazilian … and achieves beauty without really trying. She dances with elegance on "Carolina Canto", harmonizes like Monk on "Imagine That", and stirs an impressionist fog on "In Between". (Many of her compositions seem like classical pieces; this one is, without question.) "When I Fall in Love" is abstract most of the way, with harmony and theme slowly coming into focus. First it sounds doubtful, and then it becomes beautifully fragile. Listen to Claire … and the love will follow.
Ritter drizzles through "Maybe When It Rains": there is a heavy silence, interspersed with echoing notes. This is salon music from the turn of the century … and at its conclusion, she sounds like Scriabin! She weeps through "Almost Went to Spain", and her left hand resounds with a wonderful bassline. The hands trip gently through the emotional "Wintry Shadows", and cloudy chords form the bluesy foundation for "The Sunny Side of the Street". The tempo lurches, the chords are eccentric, the theme is never fully played … and it is undeniably gorgeous. Despite all her precedents, Claire Ritter plays her own way; that alone should bring joy.
Bradley Parker-Sparrow
We Are Not Machines
(Southport - 2001)
by Ricky Miller
This is a very moody and, well, esoteric offering from Sparrow. Vocalist Joanie Pallatto lends her lovely voice to this production, bringing it up a notch. Before The Voice is a somber, lonely piece that's bettered by Pallatto's presence, as is Softly, child...Watch. There are a lot of strange interludes on the CD, but strangest of all is the track Cut Off The Head of Eminem and Stick it up his Butt, which we have to endure in both PG and X rated versions.
The title track We Are Not Machines, is also a disjointed journey through Sparrow's world of eerie melodies and hormonics. Although his explaination of the concept of this track is on the CD cover, and it's reasonably coherent, by the time you get to this 22nd track... well you may never get there if you know what I mean. This is definitely for fans.
Nancy Marano
Sure Thing
(BluePort Jazz - 2000)
by John Barrett
This voice is welcome in a number of contexts, from piano duets to a symphony orchestra. (That would be 1999's If You Could See Me Now - you're gonna want a copy.) On this effort Nancy Marano plays with a number of musicians, but is mostly accompanied by a lone piano. This puts the voice front and center, and any flaws would be obvious - thankfully, she doesn't have any. As Michael Abene sketches the chords, Nancy sighs for "My One and Only Love", stretching out words for their proper emphasis. (Hear her get earthy when she sings "eager"!)
"Sure Thing" boasts one of Ira Gershwin's wittiest lyrics, and a relaxed voice certain of her love. She's more active on "The Bad and the Beautiful", pouncing with glee on those elegant words. (They are sad, but she is not!) Mike Melvoin plays stronger as the track progresses, and that lets the emotion build beautifully. Nancy accompanies herself on "Heart's Desire" - the voice grows quiet and the smile grows wide. You hear the verse for "The Man I Love", and then it turns calm: where some singers would burn, Nancy prefers to smolder. (She scats like a flute on her solo, with Marano the pianist following her every step.) Melvoin pours on the romance for "April in Paris", and that ain't the half of it. She reflects as she sings, dwelling on wonderful memories. As as she does it, those thoughts become yours - her love is thankfully contagious.
On the other tunes a band is used: there's a bass, trombone, and the occasional drums of Grady Tate. Exotic winds blow for "So in Love", from John Mosca's 'bone to Nancy's passion. She makes the words dusky, and that heightens the emotion. She walks beside the bass on "Thanks a Million" (Melvoin is quiet but warm) and glows deeply on "The Night We Called It a Day" (just like Mosca, who solos like a French horn.) Nancy's composition "Easier to Say Goodbye" is a creeper: sad chords, world-weary lyric, and a resigned voice at the depth of her range. "We've paid the cost of passion/ We've seen it disappear." Written with old-fashioned craft, her tune belongs with the others - which is quite a feat. In similar mode, she medleys "Never Let Me Go" with "Goodbye": it's the same hurt, on both sides of the relationship. These emotions are very real … and Nancy Marano is certainly a real singer.
Modus Norvus
Modus Norvus
(Bronx Bound - 2001)
by Matthew S. Robinson
Combining more than a touch of the theatrical with generations of Jazz, Modus Novus meld the old school with the new mode through a series of expansive tributes and hip originals. Guest trumpeter Joe Gransden does a respectful job on Dizzy Gillespie¹s "Birk¹s Works," a multi-paced number which spins in and out of Mark Verdino¹s racing bass line. "Come Away" and "O Mistress Mine" take Shakesperean from the piano bar to the digital age with Eric Starr¹s creeping noir keyboards and front person Little Giant¹s angularly floating Jimmy Scott vocals. "In the Spirit" combines the more-than-four sounding strings of the Bannerman String Quartet and samples of city streets in a Moody Blue expression that includes Marc Schonbrun¹s fleet-fingered tribute to Pat Metheny.
"Dandelion Daisy Byrd" is a hip spoken word reminiscence of life in the South. While arranger Eric Styarr¹s chipper snare keeps George Shearing¹s "Lullabye of Birdland" flitting along, a sample of Bill Evans lends further Jazz authenticity to the lazy languish "So Blue." Having broached the topic of color, this multi-racial, multi-preferenced quartet signs off with a simple stroll to "The Rainbow Connection." If this is the soundtrack to that magical place, it might be well worth the search.
©. 2002, M. S. Robinson, ARR
John Balint
Paradise Within
(Blisswave - 2002)
by Ricky Miller
John Balint's latest CD is an airy mixture of rhythm, melody and atmospheric orchestration. Unlike a lot of new age music which is so boring and yawny, Balint's compositions are stronger and more melodic than most. Good changes make good songs, and the tracks do not fall into boring repetition, rather they carry you on the wings of softness and ambience.
This is a CD you want to sit down and put on when you need a break from the world. Its light ambience will lift the cares of the everyday world from your brow, transporting you temporarily to a place of calm and peace. The music allows you to focus on yourself and release your inner energy. I'll be listening to this one when I'm caught in the rush-hour snarl coming home from work.
Ray Lema
Safi
(Tinder Production
- 2001)
by John Barrett
The Gnaoua are a people from the Berber region of Morocco; their massed chanted music is a fusion of African and Islamic traditions. In the hands of producer Ray Lema, another fusion takes place: he adds bass and funk rhythms to the songs of Tyour Gnaoua. This doesn't dilute the root music, but rather enhances it: "Miniouna" begins with Lema's deep bass, bubbling beneath the metallic percussion. A snarling guitar is next, and then the chorus: earthy and vibrant, they follow the strong vocal of Abdesiam Alikkane. Together, it becomes very rhythmic; Lema's contribution gives it the feeling of prog-rock.
"Allal" combines the three-string guembri (played by Alikkane) with a whistling organ - the call-and-response is thrilling, between voices and between instruments. "Mister X" goes cruising, with 'Seventies electric piano and a sort of reggae beat. Low-key until the end (when the chorus shouts lustily), this one is wonderfully modern - play it in the car late at night. Alikkane's "Manandabo" is a maze of happy guitars, and the two-part "Zeyel Meyel" pairs a strong chart with delicate strings - a sound like a table-harp. (Part Two is more funky, with whistles and a lot of handclaps.) These beackgrounds are really marvelous … and the voices make you listen closer.
Alikkane sounds like a second drummer on "Sidi Hammou": the guembri snaps so hard that its clicks become part of the rhythm. Abdesiam is specially fervent in his voice, and Lema does a great fuzzy guitar lick. Synthesizers wander though "Yonbati", but they are not the focus - the chorus is having the time of its life, as you will by hearing it. In its rhythm and attitude, this style sounds like the best Cuban vocals. There's a massive talking drum on "Jilala" (played by Idrissa Diop) and the voices erupt in startling power. And then a piano dances through "Tura", adding a Latin flavor to the disc's lone instrumental. Mixing regions and musical eras, this work knows no boundaries and is truly timeless.
Carmen Lundy
This Is Carmen Lundy
(Justin Time
- 2001)
by Carmen Miller
Carmen Lundy has a superb feel for improvisation, a broad vocal range and a grasp of
the essence of jazz. Add all this to her songwriting talents and you get Thit Is.... Her band includes brother Curtis Lundy on bass, drummer Ralph Peterson, pianist Anthony Wonsey, and saxophonists Mark Shim and Bobby Watson. All Day, All Night is a straight-ahead tune with sone swinging vocals. This Is the End of a Love Affair sounds like old standard you've heard before, although obviously brand new.
(I Dream) In Living Color is an uplifting tribute to life and the future. She sings... "I dream of a little girl who can move any mountain out of her way", and you can't help but believe she speaks of herself and her life. Now That He's Gone features trumpeter Kevin Louis, the youngest member of the band. One More River to Cross starts slowly, building into a suave/silky/smooth jazz track that's designed for the ages. Carmen's voice is a thing of beauty and grace, and her expressiveness makes her one of the Divas of today's jazz singers.
The Winners
Live At The Dolder Grand Hotel, Zurich
(TCB - 2000)
by John Barrett
This was a one-time event: these men had won a Swiss magazine poll at their respective instruments, and were celebrating with their only concert together. Such groups can sometimes fall flat, a victim to egos and bad planning. But nothing gets in the way here: each player complements the others, even as they compete. Heiri Känzig sets a high standard on "Autumn Leaves": he rolls a fast up-and-down pattern on his bass, repeating it constantly. Peter Schmidlin adds rhythm, with rattles and brushes; Thierry Lang does some spectral chords, in the mold of Bill Evans. With the theme is Franco Ambrosetti, quiet like Miles and with the mute - one fan claps and then goes silent, as he wants to hear every note. Franco zigzags his way through a solo, prodded gently by Lang. (Thierry's turn is livelier: he ascends in careful, dainty steps … and Franco blares.)
If anything, "Invitation" is yet busier, a droning rush of cymbals and bass. Ambrosetti switches to flugelhorn, blowing sweet before hitting the high ones. His steps are followed by Lang's, whose chords are lush … this is where Franco turns active, in a fluttering display. "In Your Own Sweet Way" is full of the Tyner atmosphere: Thierry is light on the theme, tempestuous on the refrain. His solo is ornate, and there's intensity to spare. Franco seems tentative … as if he knows this is Thierry's tune and doesn't want to spoil the moment.
"Foolish Heart" starts the same way, as Lang delivers dignified, classified lines. His intro is over two minutes long; it seems extemporaneous but is very ordered, and always tied to the theme. Ambrosetti comes on like Chet Baker, with sudden boosts in volume to show his strength. Thierry is quite vigorous on his solo, with sweet brushes behind him - when the horn returns, it's in the style of Freddie Hubbard. While applause tries to break through during the song, it finally explodes at the end, with all the enthusiasm this crowd can muster. It is deserved, to put it mildly.
Schmidlin shines on "Summertime". Kicking up steam like Elvin, he unloads the cymbals with unrelenting energy. It's clearly patterned after the Coltrane version on My Favorite Things: Franco whoops it up a little, and Lang is the real McCoy. The mute returns on "Wine and Roses", where it sounds even more like Davis. The background is plain, as the band lets Ambrosetti do his thing. His notes take a sprint, and then he plays open, in broad tone and strong attack. Thierry hits a few block chords and the snares run fast … otherwise the tune is all Franco, and all worth hearing. The closer is far from sleepy - "If I Should Lose You", played by Lang at a mile a minute. Catch Schmidlin and his splashy drums; Känzig's "walk" is close to a jog! Franco joins in on the race, again in the image of Hubbard. Peter's only drum solo is a triumph, the sendoff is big, and the applause bigger. Forget the hotel - this performance was grand.
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