Sonny Stitt and his Electtic Saxophone
Dr. Lonnie Smith
Stan Getz
Scott Boni
Annie and the Jazz Orphans
Maria Schneider Orchestra
Joel Frahm
Jacques Chanier
Michael Wolff
Steve Tavaglione
George Shearing
Keystone Quartet
Sue Tucker
Living Daylights
Grand Slam
Andrew Gilpin
Mark Levine and the Latin Tinge
Sonny Stitt and his Electtic Saxophone
JUST THE WAY
IT WAS: "LIVE" AT THE LEFT BANK
(Label M - Recorded 1971-Released 2000)
 by John Barrett
From the first blast of organ, the crowd starts
shouting - they're ready for a party. Sonny takes the
challenge: he tears through "Deuces High", a blues
with something extra. His horn has the Varitone
amplifier; he makes it sound like a bass harmonica.
With each chorus he gets stronger, and it suddenly
turns into a waltz! Sonny takes his bow, and it goes
to Don Patterson - funky like McDuff, but even more
energy. Eight minutes of this and the crowd's in a
frenzy; to cool them off, Stitt goes dreamy on "Samba
de Orfeu". Don pumps the chords while Sonny slides;
Billy James has thunder in his cymbals. "Who Can I
Turn To" is a warm little thought: as Patterson does a
soap-opera trill, Sonny dances all over. In the
middle he quotes "Wild Blue Yonder", and it fits: at
this show he soared, with flying colors.
Sonny is completely in charge, the best I've ever
heard on the Varitone. (He wouldn't use it much
longer; he unplugged the sax in '72, at the request of
Gene Ammons.) The electricity works on "Cry Me a
River" - as Patterson stays calm, Stitt moans like a
distant foghorn. (An annoying click appears in
mid-tune, the only time the sound is less than
sterling.) "John Brown's Body" opens like a mambo,
then it's Sonny in full bebop cry. He quotes his own
tune "Later", as well as "The Saints"; it's nice, but
you'll recognize parts from other Stitt solos.
Patterson's solo is classic, and may be his best.
The groove is gorgeous for "Shadow of Your Smile"
(wait for Sonny's patented ending) and then it busts
loose on "Blues Up and Down", which gets the crowd
going. The Varitone gives the theme a chorded sound,
reminding us the original was a duet. Sonny starts
fast and gets faster; James drives him hard with
mighty crashes. The waltz idea from "Deuces High" is
repeated; the horn keeps charging, and leaves us
exhausted when it ends. Patterson's turn is delicate,
and Stitt comes back for a second helping. So will
you - fans of Sonny should eat this up.
Dr. Lonnie Smith
THE TURBANATOR
(32jazz - Recorded 1991-Released 2000)
by John Barrett
Some things defy explanation. This album was cut in
1991 with a great band and a better groove. The tapes
were put on a shelf, forgotten until now - boy, was it
worth the wait!
The bass pedals lead us to "Caravan", whose theme is
icy cool. Dr. Smith treads the keys lightly, while
his hands get faster; he ends with a thrilling scream.
Jimmy Ponder is smoking - Martino's speed with
Montgomery's tone. "Cherokee" moves along slowly, and
Houston Person yawns - it's the classic "Pink Panther"
sound. As the fog rolls in, Lonnie hums softly; you
barely hear this, and it gives the track depth.
"Brushin' It" burns slow over six gorgeous minutes -
the funk comes in stages. The drumbeat is first,
Ponder slashes on the three, and the Doctor beeps like
a synthesizer. He starts a walking pattern, Ponder
gets sassy, the bass pedals rumble - that's when
Lonnie starts rippling. Wailing like McGriff, he
boils and recedes and then comes back. Like I said ...
some things defy explanation.
I like many things about this album - most of all, its
variety. At the organ, Dr. Smith is aggressive; on
half the tunes he goes to piano, and whispers with
delicacy. "Night Song" is a lovely example: silky
octaves from Ponder, block chords from across the
room. You hear rain falling in the city, and blues
from a corner bar. "River Walk" is a feature for
Buster Williams, impressive swoops coming from his
bass. Lonnie starts simply, turns a classical figure
or two ... and more of those block chords. It's a grand
display for "Monk Could Swing": strong theme, a
swagger from Person, and the right moves from Lonnie.
He never copies Monk, but his solo moves with the same
logic; Houston shouts hard, like Griffin did for
Thelonious. (Buster has his best solo - he quotes "In
Walked Bud"!) It's all very impressive, with three
different styles and one mighty presence. Be sure to
pay this Doctor a visit.
Stan Getz
MY FOOLISH HEART: "LIVE" AT THE LEFT BANK
(Label M - Recorded 1975-Released 2000)
by John Barrett
The Left Bank Jazz Society wanted to promote the music
in Baltimore: they rented the Famous Ballroom and
booked all the stars for weekly concerts. In May of
'75 their guest was Stan Getz - if it was "just
another show" it doesn't sound like this. The band is
amazing (Dave Holland, Richie Beirach, Jack
DeJohnette) and Stan is his wonderful self. Shouting
at the start of "Invitation", his tone is clean, with
a wee bit of rasp. He's relaxed on his solo, a
near-duet with Holland; the large crowd is impressed.
Turbulent chords open "Untitled", where Beirach and
Stan run through mean streets. Humming at first, Getz
picks up steam, honking hard in a cloud of cymbals.
Richie's solo is class, and check Holland's walk
behind him. The fury then subsides, and in walks the
balladeer: "Spring Is Here" tiptoes, on glowing chords
and an alto-like tone. Hear this, and you know why
Trane said: "Let's face it - we all want to sound
like Stan."
There's an exotic tinge to "Lucifer's Fall", where
Stan sounds like a oboe. DeJohnette takes off in the
fast sections, and there are moments of pure Tyner.
Chick Corea's "Fiesta" is a spectacle of warmth
(Richie is strong, Stan is sweet) and the title track
will seduce you. (Hear the wild screams when it
begins.) Stan sounds so pure, almost like Paul
Desmond - then he blares, and your heart melts. The
band is tasteful and stays out of the way - with a
horn like this, it's all you need. This kind of sound
is rare indeed - as is the pleasure you get from
hearing it.
Scott Boni
WHERE THERE'S SMOKE
(scottbonimusic.com - 2000)
by John Barrett
The cover says everything: this is perfect "bar
music". You know what I mean: a big burly sax,
honking atop a light groove. In the old days you had
Rusty Bryant or Joe Holiday - now there's Scott Boni.
He slides into "Summertime", a firm alto sound that
keeps getting stronger. There's a funk riff behind
him, with cool guitar; Avi Rothbard feeds chords like
a pianist. Scott then begins to strut, and when he
quotes "Confirmation", you know he's for real.
The next tracks has Bob Reynolds, Scott's childhood
friend; with the same tone, they sound like brothers.
Their "Out of Nowhere" is breezy, and "Shining Hour"
is a delirious race. Boni starts on soprano, Reynolds
charges with muscle ... and Rothbard runs sweet like Tal
Farlow. With "Angel Eyes" comes a mood like cold
rain: spots of guitar, drizzling brushes, and Scott,
having a weep by the streetlamp. His tone slurs, but
not much; it isn't angry, but it is intense. And
that's a good place to be.
The rest of the disc has a more modern sound: a little
edgy, a touch of aggression. "Frizz Taming" takes a
busy theme and fits it to a nervous bass. Scott
sounds more acidic; Rothbard helps with a series of
splashes. (His Montgomery octaves are welcome.)
"Central Park West" comes good and slow, with the alto
in soprano range. He makes no attempt at the Coltrane
sound - this is closer to Paul Desmond, with moods to
match. Rothbard bends some blues on "What Horis
Sees", a tune that's part stomp, part urbane glide.
Avi has his best solo, with Grant Green figures; Scott
is gentler than normal - until the Trane whistle kicks
in. There's old and new in the same place ... if you
like that barroom swing, you'll want to stop by.
Annie and the Jazz Orphans
ANNIE AND THE JAZZ ORPHANS
(Garlic Records - 2000)
by John Barrett
It's the best of both worlds - the pristine sound of
the studio, the intensity of a live date. Annie
Denison is breathless, putting Ella-type speed on "The
Way You Look Tonight" - and that's before the mambo
comes in! Her voice is dusky, a little slur to the
diction; reminds me a bit of Bev Kelly, and it works
great on ballads. The brushes go walking on "Blame It
on My Youth"; Annie sails, a voice starting bold and
turning fragile. Barry Velleman mans the quiet lounge
piano; for "'Til You Hear from Me" he gets brisk and
bluesy. Annie is brash, with a groan one moment, a
delirious trill the next. Then comes "What Are You
Doing the Rest of Your Life?", and its terrific
ascension. First comes a bowed bass, then a deep
tender vocal - when Jim Kazmarek blows that big horn,
you'll be in love. That is, if it took this long.
There's a second-line rhythm on "All of You"; goes
well with Kazmarek's raspy howl. He's forceful on
"Monk's Dream", which is blessed by cute lyrics. "I
dreamed of a life that was pure and true/ I dreamed of
a job only I could do/ One man beside me; we'd be a
team/ Man, now that was a dream!" Both words and
voice sparkle; you almost see the old man smile.
Bassist Harold Miller scats through his solo on "My
Romance" (it's a charmer) and thunder surges through
"Don't Know What Love Is", with Annie deep and
distraught. It's a perfect storm, followed by the
sunshine of "Mean to Me." The words sting, but she
smiles; Bob Denison adds a warm wrinkled trumpet.
This is simple and gets the job done, must like the
rest of the album. Like another Annie, she'll make
you forget your depression.
Maria Schneider Orchestra
ALLEGRESSE
(Enja - 2000)
by John Barrett
The sound is especially light - I don't mean
"lightweight", I mean "subtle". There are many
woodwinds, lots of delicate textures. "Hang Gliding"
shifts every bar from 5/4 to 6/4 - but that isn't the
focus. What counts is the progression, a theme
started by low brass, then traced by soprano. Many
voices speak out, and then Rick Margitza stands alone,
spinning joy from an urbane sax. When the horns rise
around him, Margitza gets stronger ... it's magic in the
making. "Nocturne" walks softly; a lot of its
strength comes from a tremolo (at first a clarinet,
then a soprano) coming from the left speaker. The
piano uses few notes, but much emotion; it could mean
contentment, or sadness. A lot of thought went into
this, and it inspires your own.
This music was made for the movies: it's lush,
emotive, and loaded with action. "Dissolution" opens
with suspense: a flute gently moans over quiet bells.
An oboe starts crying, more flutes arrive - then comes
Ben Monder, twanging anxiety. Tim Ries moves in
zigzags, as trombones make buzzing noises ... sounds
like a beehive. At twenty minutes it's the longest
tune; it might also be the best.
"Journey Home" has some smooth-jazz flavor, thanks to
the alto of Charles Pillow. He flows gently, the
percussion rumbles, and the brass starts to roar; it's
a nice mood. "Tranquility" is similar, with the added
kick of a baritone sax. Scott Robinson has a great
quiet sound, and a big honk every once in a while.
This really is more an "orchestra" than a big band;
tunes are heavily structured, charts are luxurious,
the moods are varied and wonderful. It's a taste of
something different, and a feast for your ears.
Joel Frahm
THE NAVIGATOR
(Palmetto - 2000)
by John Barrett
In music, authority comes from many things: some shout
for attention, others whisper with purpose. The
latter is true of Joel Frahm; his tone is assured, and
he works it in careful phrases. You see this in
"Gradually, I Inserted Myself Into the Conversation",
a perfect title if there was one. Joel's notes come
in clusters, joined in time by Dave Berkman. He
hammers the keys, in slow tension; this is where Frahm
gets active. Billy Drummond gets frisky, with lots of
fast cymbals; Joel follows suit, and the two sprint as
Berkman crawls.
"Hymn to Don Cherry" is properly calm, a simple theme
played and then varied. The sax gets impassioned,
Berkman turns soulful - the tribute is heartfelt.
"The Shoko Dance" is a light little walk, where
Berkman is supreme; he's mostly absent from the title
track, where Frahm moves like Rollins. He's The
Navigator, all right - steering this disc in the right
direction.
"Shards" takes a while to get together: Joel screams
alone, Drummond adds cymbals, and the bass joins in
time. It's intense, but in a different way; reminds
me of the slow passages in "The Freedom Suite".
There's street-corner romance on "My One and Only
Love"; the first minute is absolute gold. "Ants" has
some frantic moving, and "Sister Julie" is all
Berkman, a sad glide through an empty ballroom. When
Joel enters, he quietly hums, letting the tune embrace
you. His notes weep, then they surge - an edgy
beauty, but beauty all the same. This man knows where
he's going, and this sound is all his own.
Jacques Chanier
KITE FLIGHT
(La Ronde Music - 2000)
by John Barrett
Jacques Chanier is busy. His hands pound the keys,
chasing many harmonies - a forceful kind of delicacy.
"Naïve Cat" starts with a mannered theme, then wanders
fast and sour. Brooke Sofferman drives it hard, with
great slapping drums; the bass is a heartbeat, lovely
and still. "Roadblock" is many things: minimalist
theme, samba-like rhythms, and a touch of worry.
Thomson Kneeland sounds like a harp: he plucks at the
top of his range, and Jacques reacts with charm.
"Blue Bec" has barking-dog dissonance, and "Quiet
Memories" a lake of sweet echo. Sofferman stirs the
brushes, Chanier floats on the chords, and Thomson has
a great solo. It's a tune to dream by; in the midst
of their shouting, a whisper is heard the loudest.
"Kite Flight" is a race downhill; piano leaps and the
cymbals follow. Sofferman is good and splashy,
accenting Jacques' every move. "Remebering Miles" is
all Kneeland, twanging a mess of sour chords. (Almost
sounds like a ukelele!) While he strums, Brooke
drives a hard beat; Jacques has an angular solo, and
mostly stays in the background. After running the
first minute, "Blueberry Pancakes" drifts in nervy
rumination. Thomson has a nice turn, and Chanier goes
abstract - tasty. "Hymn" is more of the same mood,
dissolving into a lush fog. The disc is equal parts
heart and mind, great for fans of active piano. This
group does a lot, and when it all works ... they soar.
Michael Wolff
MICHAEL WOLFF & IMPURE THOUGHTS
(Razor & Tie - 2000)
by John Barrett
This makes a fine contrast with Michael Wolff's last
album, the Tic Code soundtrack. That effort was calm
and well-ordered; here Wolff is earthy, bursting with
emotion. Lots of percussion, including tabla and
berimbau; they form a drone on "Eritrea", while
Michael dances on top. Starting simply, he hits Morse
code figures, then a big chaotic splash - it works.
There's a Turrentine surge to "Papa Was a Rolling
Stone", courtesy of Alex Foster. (The theme barely
appears; you recognize the tune from John Williams'
bassline.) In the midst of the funk, Wolff does light
cocktail chords - then he romps like Cecil Taylor!
"Euphoria" reminds me of a raga, where simple notes
lead to dense clusters. The tabla presses on, the
chords get thicker ... the sense of timelessness
remains. "Bengal" is hotter, a sprawling sax
surrounded by drums. Like most of these numbers, you
can't call it a "tune" - it's more of a mood,
developing where it will. It's a journey worth
taking, for players and listeners.
The groove is lovely on "Thank You": big bass, busy
shakers, and Foster's slick sax. Michael sounds
distant, with a few twinkling notes; hear him sing
along. "In a Silent Way" has him up front, wafting
the theme with eternal sustain. Foster's soprano
flies high, but the cymbals are best: dry, shimmering,
exotic. Check the bass clarinet, overdubbed by Alex;
feel the tune's depth as the atmosphere grows. And
there's a special joy to "Mama Tell Me": happy keys,
down-home tenor, and lots of rattling bells. Where
the other tracks walked, this one leaps - Michael has
a glittering solo, a sound that's all stars. The disc
may end, but the party spirit prevails - and it's
worth the celebration.
 Steve Tavaglione
SILENT SINGING
(Unitone - 2000)
by John Barrett
The back cover shows a city covered in fog, and that's
what it sounds like. From a cloudy haze of keyboards,
themes emerge: relaxed, thoughtful, and sad. Jeff
Beal yawns through "Mirrors", his trumpet in soft
focus; Tavaglione moans with gradual strength. In
"Arabesque" he blows high wispy lines, joined by Peter
Maunu's spooky guitar. Beal adds a perky mute; the
mood is quirky, with surprising warmth. "Eclipsis"
starts with a mock fanfare, then goes native, on
hand-drums and a windy howl. Steve whistles smoothly,
and the storm rages on - a feeling you get throughout
this album. These are sound paintings in muted grey
colors, with Steve shining through like bright orange.
Call him a lighthouse - he stands out amid the fog.
"Threw Me for a Loop" starts with an oboe-like sound,
washed over by Maunu's feedback. Steve has a good
throaty solo, trading bits with Beal. It's his
strongest tone, on a light dance groove - perfect for
a late-night drive. Woodwinds breathe depth into
"Love", while Tavaglione wraps his soprano in spirals.
It's a Kenny G approach, with a little more strength;
lives up to its name. The title track walks on a
velvet rug: tiny notes, big atmosphere from Maunu.
(Steve praises his "omniscient guitar colorations",
and so do I. For a different atmosphere, we close
with "One": alone, Steve walks his sax in classical
style. Hope is here, and energy, and a lot of
thought. In his silence, Steve Tavaglione is
eloquent.
George Shearing
REFLECTIONS: THE BEST OF GEORGE SHEARING
(Telarc Jazz - Recorded 1992-98-Released 2000.)
by John Barrett
The title might give you pause: the "best" refers to
Shearing's time with the Telarc label, when he was
pushing eighty. But don't think him past his prime -
there's lots of the Shearing sound, in many varieties.
A live date from 1992 brings some fast bebop:
"Birdfeathers" is sleek, "Subconscious-Lee" busy and
bold. On "Bags' Groove" the blues come slowly: rainy
chords from George, a big bass from Neil Swainson.
(He's on all the tracks, and is a major presence
throughout.)
A Nat Cole tribute uses the Cole Trio's format -
George doesn't sing, but his piano sure does! He
glides through "Straighten Up and Fly Right", every
note traced by Louis Stewart's guitar. "Gee Baby"
stretches slowly; way in the back is Swainson, bowing
with dignity. This is sit-on-the-porch-and-relax
music; George does it simple - and splendid Nice so
far, but you haven't heard the half of it!
On two solo tracks George turns reflective, with his
harmonies thicker. "Summer Song" takes a thought and
repeats it wonderfully; "My Favorite Things" is a
demure minuet. An orchestral date is overly lush,
though "How Beautiful Is Night" paints a fine
atmosphere. And what happens when you put Shearing in
a quintet? Magic, like always - "Conception" is a
slow delight, with big bouncy vibes. This is Steve
Nelson, who adds starlight to "Peace"; Stewart's
guitar is another plus. On a similar note, "God Rest
Ye Merry" (from Christmas with Shearing) will
positively stun you. George starts the "Take Five"
riff, vibes bring the theme, and it leaps in a
swinging 4/4 at the end of each verse. It's got tons
of the holiday spirit, and a nice end to a spirited
album.
Keystone Quartet
A LOVE STORY
(32 Jazz - 2000)
by John Barrett
After guesting on two Keystone Trio albums, Eric
Alexander gets his own date - different group, but the
same sound. The mood is bright for "The Lamp Is Low",
with gleaming chords from Cyrus Chestnut. Alexander
has a nice earthy hum, and he moves like the 'Fifties
tenors. (A little Ammons, a little Trane - the best
of all worlds.) Chestnut loves big voicings:
"Moonlight Becomes You" has an easy start, then puts
on the fast moves. He strides a little, adds some
block chords, and then George Mraz takes a walk.
"Suddenly" is a force of nature: the drums crackle by
a still pool of keyboards. Cyrus twinkles a bit, then
he proclaims; in a quiet way, this tune shouts.
"Tateresque" glimmers in broad chords; "Laura" starts
with low rumbles before the cymbals roar - romance is
coming in waves. When Alexander returns, on "My Love
and I", his tone is a velvety yawn. Eric blares,
Chestnut slithers around him, and it gets very warm ...
this is the sound of love, and I love it.
The band has a good cry on "Everything Must Change":
Cyrus sounds distant, Eric has fluttery vibrato, and
Mraz is still as a heartbeat. The last solo dances,
beauty in the midst of despair - and this is very
special. The horn is all you hear on "Prelude to a
Kiss", played a little like Lester. He takes is
slowly, letting every note sink in ... perfect. This is
for the dead of night, as the embers glow in the
fireplace. Such moments are special, and need a
special album like this.
Sue Tucker
MEANT FOR YOU
(Sue Tucker - 2000)
by John Barrett
Her voice twinkles; some words are mischievous, and
others have a childlike glow. As a guitar chugs
through "A Foggy Day", Sue Tucker goes skipping, happy
notes up in the clouds. Rick Carlson hammers the
block chords; her brother Jim Oatts speaks loud, on a
rambunctious trumpet. "So Nice to Come Home To"
becomes a samba, stirred by Ken Saunders' guitar. Sue
sings pure and cool, like a flute on some notes. On
"Sugar" she's low, and not so pure - she sings of her
man, portrayed by a baritone sax. (It's played by
Doug Haining, a name to remember.) "World on a
String" starts lonely: Sue falls to a whisper, as
Gordy Johnson walks a big bass. The band wanders in,
swinging slow as the mood grows - it's an
old-fashioned thrill. And trust me: it still works
today.
There's a sweet hum on "Too Close for Comfort", joined
by Freddie Green-style guitar. Meek at first, Sue
turns brassy - perhaps her best performance. Saunders
is a treat on "Blame It on My Youth" - his slow
romance fits well, next to Sue's heartbreak. She
trembles, with charming fragility; then comes Jim, and
a nice wave of brass. Everything hops on "Waltz for
Debby": Sue's childlike voice, the pattering brushes,
and Haining's clarinet, toodling soft. If you're not
smiling now, I doubt you can. For an encore there's
the title tune, composed by Sue herself. Just her, a
piano, and pure emotion - "It wasn't all a dream/ I
felt you in my heart." With a more mature voice, Sue
pleads, seeking someone worthy of her attention. If
you seek a romantic voice, your search has ended. Sue
Tucker is Meant For You.
Living Daylights
ELECTRIC ROSARY
(Liquid City - 2000)
by John Barrett
Most sax trios are tough; this one is airy and loose.
Its sound hard to describe. "Pike or Pine" starts
with a lazy reed, swooping over flexible rhythm. This
settles into a nervous 5/4, and Jessica Lurie blows
hard, in Arabic fashion. Her bandmates keep the beat
busy, and guest Bill Frisell adds some sneaky riffs.
"Electric Rosary" is a modern waltz: clocks tick like
mad, the bass zoomes around, and and feedback rises
like an Indian drone. Lurie sways, with a bitter
tone; the longer she goes the stronger she gets!
It's tougher still on "Mayakovsky's Smile", a slinky
piece of barrio funk. Over a persistent groove,
Jessica plays a lovely alto, calling to an uncaring
world. Frisell swoops like a bass, the cowbell is
everywhere - the atmosphere is cold and rainy. And
electric ... don't forget that.
"Bone-A-Fied" is the genuine article, solid funk and
nothing but. (Familiar territory for producer Lee
Townsend - he also handles T.J. Kirk.) Second-line
drums, hard-snappin' bass from Arne Livingston, and
Lurie's strongest solo. "Repeatable Swing" shuffles
slyly ... before kicking into a great stripper riff.
Livingston is hot; Jessica holds that tiger. "Homo
Volans" drives through the sunshine (Frisell is
especially warm) and "Sunday Meeting Club" finds a
similar tone from Livingston, up in guitar range. The
theme is OK, but the solos are prime: Arne's wiry
lunges, Jessica's soprano hop (joined by a dubbed
tenor!) With their off-center tunes and disparate
styles, this band defies classification. So does
their music.
Grand Slam
LIVE AT THE REGATTABAR
(Telarc - 2000)
by John Barrett
The sports analogy is not to baseball but tennis:
themes bounce between players, who volley, parry - and
strike. "Slam" keeps changing its focus, from eerie
chords (Jim Hall) to whispering brushes (the great
Lewis Nash.) Joe Lovano hits the blues hard, on his
streetwise tenor; he tiptoes, then lashes some
multiphonic screams. The crowd is still cheering when
Lovano starts "Chelsea Rendezvous" - hoarse honks,
with Hall twinkling around him. This settles into a
'Fifties groove, which is fine for Joe's raspy charm.
The guitar moves like a bouncing ball - Hall and
bassist George Mraz walk together on "Border
Crossing". Then Nash gets to strut: his toms "Say
Hello to Calypso" while Joe leans back and smiles.
Hall has a nice flutter; the drums keep their sparkle,
and the tune has plenty of heat. As well it should -
this band shines.
Up next is a tribute to Eddie Blackwell, a Dolphy
drummer who always emphasized the melodic. Nash is
amazing, with a solo full of color; Lovano takes the
Dolphy role, on nervy clarinet. When Jim enters, the
blues seep in - a totally different mood. Hall's
moment comes on "All Across the City", a tune he wrote
for Bill Evans; Joe blows gently and Jim meditates.
They start cool, like Lee Konitz and Billy Bauer ...
then Hall unfolds, a sound like an opening flower.
(Wish the phone in the club would stop ringing!)
"Feel Free" is a return to Dolphy's style, where an
angular theme gives way to sharp bursts. Joe is
sharp, Nash slick, and Hall quite relaxed. This tune
truly slams, and needless to say ... the group is grand.
Andrew Gilpin
MULTIPLICITY
(Gilpin Publishing - 1999)
by John Barrett
Andrew Gilpin is a classical musician who ventured
into jazz - while keeping true to his roots. His
piano is mannered, his compositions have baroque
filigrees; the "Sonata for Flute and Piano" starts on
a flutter and trills sweet variations. Leslie Allt
whoops and descends, a sound like educated birds. (He
dances well on the calypso-ish third movement.) After
playing strict rhythm, Gilpin moves into ragtime, and
a theme close to Scott Joplin's "Solace". (Joplin is
a big influence; the first tune he learned was "The
Cascades", at the age of eight.) "Kaity" starts slow
and bluesy; when the tempo picks up, he's joined by
his working trio. Peter Telford strums bass like a
guitar, Gilpin pounds his hardest and jazziest.
"The Cremation of Sam McGee" is a choral reading of a
poem by Robert Service (author of "The Shooting of Dan
McGrew", and other verses of the frozen North.) The
poem is gruff and a little morbid; the choir is slick,
doing its part without much drama. (The tune reminds
me of the theme from Gilligan's Island - hardly the
grimmest of melodies.) "Duo for Flute" has a
reflective mood (like Erik Satie); Allt has the purest
tone, and the sweetest beauty. Randall Thompson's
"Alleluia" becomes a trio bit, as a country piano
leans against soft little cymbals. It's gentle,
heartfelt ... and a good prelude to the disc's major
work.
Gloria is a seven-part liturgical piece, sung in
Latin. The choir is much better here, singing with
classical grandeur. Structured as a traditional Mass,
some sections have a modern sound; "Gloria" sings its
praises in contrast, women calling as men respond.
"Et in Terra Pax" (Peace on Earth) is a masterwork,
its simple theme growing ever warmer. Wendy Humphreys
has an angelic voice, soaring over all else. The tune
is so good it reminds me of Bach - high praise indeed.
"Laudamus Te" is a wall of voice, in broad harmonies;
Humphreys is then alone, pleading "Miserere Nobis"
(Have Mercy on Us.) Gilpin starts a hammered refrain,
Wendy turns impassioned, and the choir joins her, in a
breathtaking rondo. "Solus Sanctus" has the sound of
cascading waves (here the piano intrudes; you'll want
to hear every voice.) On "Tu Solus Altimissimus" the
singers go skipping, praising in turn before a reprise
of "Gloria". Andrew Gilpin has proven himself an able
musician and a mighty composer. Those who like formal
church music should love this - but the appeal should
go beyond that audience. This man is a master of many
skills.
Mark Levine and the Latin Tinge
HEY, IT'S ME
(Left Coast Clave Records - 2000)
by John Barrett
It's a great formula, first explored by Cal Tjader:
take standard tunes, add Latin beats and watch the
romance build. Mark Levine has a thick piano style;
he's heavy on chords and glides with elegance. He
opens "Jean Marie" with Tyneresque fury ... then he
recedes, giving space to the drums. Pete Barshay has
an active bass, slithering everywhere; those congas
get tribal on the wonderful fade. Mark's slick on
"Airegin", the sound of a glittery lounge; here the
drums outshout him, and a simple approach would have
been better. "Hey, It's Me" works as a fast rumba (I
love the splashy keys) and the cha-cha is home to
"Lil's Paradise". Block chords play, Barshay walks
tough ... the sunshine grows. On this album, there's a
lot of it.
The best tracks could be called "fast ballads": they
take a soft melody and ride it at a gallop. "Without
a Song" pours on the cymbals; "My One and Only Love"
sports big chords and hard congas. There's a heady
drum solo, and a delicious sudden fade. "Small
Portion" moves swift, a feathery touch from Levine.
Notes skip along and Barshay is boisterous. "Voce Nao
Gosta de Mim" is a slow weeper (the scratcher is sad,
and the keys seem to drip.) Quiet and elegant, this
one begs for the dance floor - so does "Green
Dolphin", whose themes arrives in warm waves. The
piano glows as the drummers hold court ... these guys
have fun with the music. Check it out, and have some
fun yourself.
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