{"id":4812,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/jung-on-jazz-october-1999\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"jung-on-jazz-october-1999","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=4812","title":{"rendered":"Jung on Jazz October 1999"},"content":{"rendered":"

Jung on Jazz October 1999<\/title><?php require($DOCUMENT_ROOT . \"_body.htm\"); ??><a name=\"ttop\">\u00a0<\/a> <\/p>\n<table border=\"0\" cellpadding=\"2\" width=\"98%\">\n<tr>\n<td nowrap=\"\" valign=\"top\" width=\"50%\">\n<p><font face=\"Verdana\" size=\"1\"> \t<a class=\"s\" href=\"#MILTON CARDONA\">MILTON CARDONA<\/a><br \/><a class=\"s\" href=\"#JAMES HURT\">JAMES HURT<\/a><br \/><a class=\"s\" href=\"#JON JANG\">JON JANG<\/a><br \/><a class=\"s\" href=\"#INGRID JENSEN\">INGRID JENSEN<\/a><br \/><a class=\"s\" href=\"#MICHAEL MARCUS\">MICHAEL MARCUS<\/a><br \/><a class=\"s\" href=\"#MINGUS BIG BAND\">MINGUS BIG BAND<\/a><br \/><a class=\"s\" href=\"#PAUL MOTIAN\">PAUL MOTIAN<\/a><br \/><a class=\"s\" href=\"#SUNNY MURRAY\/SABIR MATEEN\">SUNNY MURRAY\/SABIR MATEEN<\/a><br \/><a class=\"s\" href=\"#BEN PEROWSKY\">BEN PEROWSKY<\/a><br \/><\/font><\/p>\n<\/td>\n<td nowrap=\"\" valign=\"top\">\n<p align=\"center\"><a name=\"ttop\"\/><b> <img loading=\"lazy\" decoding=\"async\" align=\"middle\" border=\"0\" height=\"37\" src=\"..\/pix\/system\/jungonjazz.gif\" width=\"197\"\/><br \/><\/b><font color=\"black\" face=\"Verdana\" size=\"2\"><strong>October 1999<\/strong><\/font><\/p>\n<\/td>\n<td nowrap=\"\" valign=\"top\" width=\"50%\">\n<p align=\"left\"><font face=\"Verdana\" size=\"1\"> \t<a class=\"s\" href=\"#ROBERTA PIKET\">ROBERTA PIKET<\/a><br \/><a class=\"s\" href=\"#WALLACE RONEY\">WALLACE RONEY<\/a><br \/><a class=\"s\" href=\"#WOODY SHAW\">WOODY SHAW<\/a><br \/><a class=\"s\" href=\"#HORACE SILVER\">HORACE SILVER<\/a><br \/><a class=\"s\" href=\"#CEDAR WALTON\/HANK MOBLEY\">CEDAR WALTON\/HANK MOBLEY<\/a><br \/><a class=\"s\" href=\"#WHAT WE LIVE\">WHAT WE LIVE<\/a><br \/><a class=\"s\" href=\"#ANTHONY WILSON\">ANTHONY WILSON<\/a><br \/><a class=\"s\" href=\"#MATT WILSON\">MATT WILSON<\/a><br \/><\/font><\/p>\n<\/td>\n<\/tr>\n<\/table>\n<p><font face=\"Verdana\" size=\"2\" color=\"maroon\">I am on holiday in New York and have been just taking in one great show after another, which doesn’t leave much room for writing. The following releases are not going to burn up the Billboard charts anytime soon, but it there was justice they would be. Hopefully, they will hold you over until my return. <\/font> <\/p>\n<table border=\"0\" cellpadding=\"6\" width=\"98%\">\n<tr>\n<td>\n<p><font color=\"#0000ff\"><a name=\"MILTON CARDONA\"> <font face=\"Verdana\" size=\"3\"><strong>MILTON CARDONA<\/strong><\/font><\/a><font face=\"Verdana\" size=\"2\"> <br \/>Cambucha<br \/><\/font><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Justin Time)<\/font><font\/><\/p>\n<p><font face=\"Verdana\" size=\"2\" color=\"black\"> It’s Tom Harrell’s favorite percussionist in his natural setting. The conguero gives an advanced course on the essence of the clave. Find it at <a href=\"www.justin-time.com\">Justin Time Records<\/a>. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<br \/><\/font> <\/div>\n<p><strong><a name=\"JAMES HURT\"><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">JAMES HURT<br \/><\/font><\/a><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Dark Grooves Mystical Rhythms<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Blue Note)<\/font><\/p>\n<p><font face=\"Verdana\" size=\"2\" color=\"black\"> Blue Note is hoarding all of the most promising young musicians of the day. Pianist Jason Moran, tenor Mark Shim, vibraphonist Stefon Harris, and now percussionist James Hurt (who moonlights as a pretty damn good piano player) are all in the Blue Note ranks. Dark Grooves Mystical Rhythms marks Hurt’s debut and should be in the collection of everyone in the know. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/div>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <br \/><\/font><\/div>\n<p><a name=\"JON JANG\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">JON JANG<br \/><\/font><\/strong><\/a><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Self Portrait<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Asian Improv Records) <\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Jon Jang is the most eloquent composer in modern music. The pianist’s subtle touch and graceful approach make his first solo piano recording, aptly entitled Self Portrait, the most evocative release of this year. His “Two Flowers on a Stem” is as good as it gets. This diamond in the rough can be purchased at <a href=\"www.asianimprov.com\">Asian Improv Records<\/a>. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/div>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <br \/><\/font><\/div>\n<p> <center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><a name=\"INGRID JENSEN\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">INGRID JENSEN<br \/><\/font><\/strong><\/a> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Higher Grounds<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(ENJA Records)<br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Forget that Ingrid Jensen is a particularly well-versed trumpeter. The musings of tenor saxophonist Gary Thomas and pianist David Kikoski are enough to drive any session, but the tandem coupled with Jensen’s vivid imagery elevate the music to higher ground. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/div>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <br \/><\/font><\/div>\n<p><a name=\"MICHAEL MARCUS\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">MICHAEL MARCUS <\/font><\/strong><\/a> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>In the Center of It All<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Justin Time)<\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> If your next-door neighbor does not know whom reedman Michael Marcus is, don’t fret. Their loss is your gain. Between the two of us, he is a monster (the second coming of Rahsaan, all you Kirk-heads). Grab up “In the Center of It All.” This organ trio release begs the repeat button. Now you know and knowing is half the battle. Contact <a href=\"www.justin-time.com\">Justin Time Records<\/a>. <\/font><\/p>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/div>\n<div align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <br \/><\/font><\/div>\n<p><a name=\"MINGUS BIG BAND\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">MINGUS BIG BAND<\/font><\/strong><\/a> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Blues & Politics<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Dryfus Jazz)<\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> It’s the baddest big band in the land interpreting the music of the baddest composer in American music, Charles Mingus. How can anyone go wrong in spending his or her hard earned dollars on this tour de force of a recording (it features a glorious version of the Mingus classic, “Goodbye Pork Pie Hat”)? <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"PAUL MOTIAN\">PAUL MOTIAN<br \/><\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Monk and Powell<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Winter & Winter)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Why Paul Motian isn’t on a major label ranks right up there with the Clippers as one of the great mysteries of the twentieth century. This Winter & Winter date features Motian’s Electric Bebop Band: Kurt Rosenwinkel and Steve Cardenas on guitar, Chris Potter and Chris Cheek on tenor, and Steve Swallow on bass, playing the music of Thelonious Monk and Bud Powell. The future collides with the past on this progressive release. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><strong><a name=\"SUNNY MURRAY\/SABIR MATEEN\">SUNNY MURRAY\/SABIR MATEEN<\/a><\/strong><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>We Are Not At The Opera <br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Eremite)<\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> We Are Not At The Opera is a ruthless, unrelenting expedition into the hardcore playing of two avant-garde warriors, saxophonist Sabir Mateen and drummer Sunny Murray. It is heavy music that is not intended for the faint of heart, elderly, children under the age of ten, and pansy asses. It is just the kind of thing your mother warned you about. It is a rhythmic sock in the face. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><a name=\"BEN PEROWSKY\"><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\">BEN PEROWSKY <\/font><\/strong><\/a><font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Ben Perowsky Trio<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(JazzKey Music, Ltd.)<\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Ben Perowsky has been turning heads as the drummer for the Dave Douglas Trio. Here he stands alone, leading his own trio with Chris Speed on reeds and Scott Colley on bass through a live recording at the Knitting Factory. Highlights include a dissonant “Janitor” and an unmatched rendition of “In a Sentimental Mood.” One can barter for a copy of Ben Perowsky Trio at <a href=\"www.perowsky.com\">www.perowsky.com<\/a>. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"ROBERTA PIKET\">ROBERTA PIKET<br \/><\/a><\/font><\/strong><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Live at the Blue Note<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Half Note Records)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Piket’s trio (Harvie Swartz on bass and Jeff Williams on drums) walks a fine line between good jazz and great jazz. Packed with tongue-in-cheek interplay between Piket and Swartz, the live date features a wonderfully entertaining “While We’re Young” as well as three of the pianist’s originals. A star in the making? Well, let’s just say that I wouldn’t bet against her. Get on the bandwagon by surfing to www.bluenote.net. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/font><\/font><center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"WALLACE RONEY\">WALLACE RONEY<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>No Job Too Big or Small<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(32 Jazz)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> If anyone doubts that Wallace Roney is top shelf, then they didn’t listen to “No Job Too Big or Small.” The roster (which includes Ravi Coltrane, Christian McBride, Jacky Terrasson, Gary Thomas, and Geri Allen) alone is worth a gander. The trumpeter plays like he’s a man in a boy’s world. Makes one wonder if 32 Jazz (and Adam Dorn hates the Dallas Cowboys, see liner notes) releases anything sub-par. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"WOODY SHAW\">WOODY SHAW <\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Solid<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (32 Jazz)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Joel Dorn and his band of elves at 32 Jazz have done it again. Yet another stellar Woody Shaw release (this one has Kenny Garrett and Kenny Barron), giving the local Tower Records store a grand total of seven titles (three are 2-CD sets) of the late trumpeter, when just three years ago there were none. They are the primary curators of the recording legacy of one of this music’s most unheralded voices. When’s the box set coming? <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"HORACE SILVER\">HORACE SILVER<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Jazz…has…a Sense of Humor <br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Verve)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> Horace Silver has assembled another fine quintet featuring Ryan Kisor on trumpet, Jimmy Greene on saxophones, John Webber on bass, and Willie Jones III on drums. Who knows if jazz has a sense of humor, but there is no question that Silver does. Take a listen to his three-part “The Mama Suite.” <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"CEDAR WALTON\/HANK MOBLEY\">CEDAR WALTON\/HANK MOBLEY <\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Breakthrough!<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (32 Jazz)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Sometimes it is just best if critics get out of the way and let the listening audience enjoy it for themselves. This is a gimme. Play it loud. Play it constantly. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"> <\/font><center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"\/><\/center> <\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"WHAT WE LIVE\">WHAT WE LIVE<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Quintet for a Day<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(New World Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> It is a sad statement that no label has offered to document trumpeter Wadada Leo Smith. At least he is getting his props from his peers. What We Live, bassist Lisle Ellis, saxophonist Larry Ochs, and drummer Donald Robinson, invited Leo Smith and another inventive trumpeter, Dave Douglas to guest on the trio’s latest, Quintet for a Day. It’s Leo Smith and Douglas in a free form setting. It’s improvisation in its truest form. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"ANTHONY WILSON\">ANTHONY WILSON <\/a><\/font><\/strong><br \/><font color=\"#0000ff\" face=\"Verdana\" size=\"2\">Adult Themes<br \/><\/font><font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"> (MAMA Records)<\/font><font face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\"><br \/><\/font><font face=\"Verdana\" size=\"2\" color=\"black\"><br \/> Anthony Wilson’s third outing is every bit as solid as his first two, which were critically acclaimed. And although the absence of tenor cult-hero Bennie Wallace is felt, the blow is lessened by Wilson’s impressive maturity as a leader. His eleven-member ensemble plays a nostalgic brand of jazz that will have Stan Kenton fans lining up at the register. Buy it at www.mamajazz.org. <\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p><strong><font color=\"#0000ff\" face=\"Verdana\" size=\"3\"><a name=\"MATT WILSON\">MATT WILSON<\/a><\/font><\/strong> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\"><br \/>Smile<br \/><\/font> <font color=\"#0000ff\" face=\"Verdana\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(Palmetto Records)<\/font> <font face=\"Verdana\" size=\"2\" color=\"black\"><\/p>\n<p> It’s no wonder drummer Matt Wilson is grinning from ear to ear on the cover of his new Palmetto release. He just whipped up one heck of a blowing session. Check out the quartet’s (Andrew D’Angelo, alto sax and bass clarinet, Joel Frahm, tenor and soprano sax, and Yosuke Inoue, bass) deconstruction of “Strangers in the Night.” This ain’t your grandfather’s “Strangers in the Night.” Brilliant. Available on the web at www.palmetto-records.com.<\/font><\/p>\n<p align=\"center\"> <font color=\"#0000ff\" face=\"Verdana\" size=\"2\">– <a class=\"s\" href=\"#ttop\"><font size=\"2\" style=\"font-face:verdana; font-size:10pt\">TOP<\/font><\/a> –<\/font><\/p>\n<p> <center> <cfinclude template=\"\/ads\/jazzbanner.cfm\"><a class=\"s\" href=\"https:\/\/jazzusa.com\" target=\"_top\"> <center\/> <\/a> <\/cfinclude><\/center> <\/td>\n<\/tr>\n<\/table>\n<p><?php require($DOCUMENT_ROOT . \"_footer.htm\"); ??><\/cfinclude><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jung on Jazz October 1999\u00a0 MILTON CARDONAJAMES HURTJON JANGINGRID JENSENMICHAEL<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-4812","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4812","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4812"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4812\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4812"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4812"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4812"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}