@Critical Jazz

Davy Mooney Perrier Street Sunnyside 2012

2012-03-02T22:41:00.002-08:00

Street Date 03/27/12

An ethereal level of artistry not seen for some time...

Lately there has been a stain on the jazz world who is the self proclaimed saviour of archaic pop...Fine. Call yourself anything that helps you sleep better at night. I can add and subtract but that does not make me an accountant. Of course the musician I speak of is Nicholas Payton.

Enter Dave Mooney a New Orleans-born and Big Apple based seven string guitarist/educator and vocalist that posses the uncanny and inate ability to transform what some purists might describe as archaic pop and turn the same music into an organic delight with smoldering jazz sensibilities that will stay with you long after the tune is over. Mooney is backed with a stellar lineup including Brian Blade on drums, Jon Cowherd on piano, Matt Clohesy on bass, John Ellis on tenor sax and bass clarinet, Gordon Au on trumpet and the sublime vocals of Johnaye Kendrick on ten originals from Mooney. While musical frames of reference can be tricky, Davy Mooney's guitar sound is that musical happy place somewhere between Kenny Burrell and Pat Martino. In fact the only critical remark that leaps to mind after this delightfully organic presentation is that there may not be enough Davy Mooney!

"Perrier Street" is an infectious if not percolating tune that is deceptive in its simplicity yet alive with the flavor of the Crescent City. "Swing Set" is a wondrous harmonically shifting tune with that subtle Big Easy vibe that creeps unsuspectingly into one's soul. A solid lyrical work taken to the next level by the pristine vocals of Johnaye Kendrick. "Once Was True" is a gorgeous tune dealing with the loss of faith or spirituality in our Gods and Angels and the possibility that they too may lose faith in us. John Ellis and his emotional tenor solo clearly demonstrate why he alone may be the most under-rated tenor player working today. Mooney's solo is tender and a mirror reflection of the compositional ideal that is "Once Was True."

While some of the lyrical subject matter could easily send the average artist over the self indulgent edge. Davey Mooney is working without a net for an incredibly organic presentation of popular music with incredible jazz sensibilities and where it can lead not just the listener but the musicians when trusted to the hands of a true artist.

An incredibly impressive debut on the Sunnyside label.

Tracks: Perrier Street; First World Death March; Mile Between; All of Her; Swing Set; Central Supply; Crimson; Phelia; Once Was True; Last Days.

Personnel: Davy Mooney: guitar and vocals; Jon Cowherd: piano; Matt Clohesy: bass; John Ellis: tenor saxophone / bass clarinet; Gordon Au: trumpet; Brian Blade: drums; Johnaye Kendrick: vocals.

Andy Sheppard Trio Libero ECM 2012

2012-03-02T21:12:00.001-08:00

Trio Libero an organic trio that thrives in an inventive lyrical spatial consciousness. An three dimensional sonic depth of field where the whole is indeed equal to the sum of it's parts.

A definite lyrical sense of purpose with limitless possibilities for improvisational interplay while never losing sight of the harmonic journey that carries this formidable trio along their collective path.

A sonic exploratory where improvisational ideas are created and then reinvented on the fly. Composing with an improvisational intensity without losing the harmonic dynamic of accessibility allows Trio Libero the opportunity to explore past the more rigid form and functionality of western improvisation music more commonly referred to as jazz.

Opening with the tune "Libertino" which is built around the evocative improvisational solos of Sheppard, we find drummer Sebastian Rochford and double bassist Michel Benita quickly establishing their own unique identities in this most formidable of piano-less trios. Rochford's finesse and Benita's counterpoint allow this trio to function as a harmonious collective and change musical colors all most at will. "I'm Always Chasing Rainbows" is a sublime presentation of spatial depth and character with a lingering melodic approach. Notes are not waster but linger for effect and allow for a captivating musical subtlety that while seemingly deceptively simple is a showcase of harmonic complexity. "When We Live On The Stars" is another lyrically expansive yet wistful tune of striking sonic emotional colors. The trio is fully adept at creating a warm and ambient feel while shifting dynamics on the sly for a unique dynamic tension that never interferes with the intoxicating ebb and flow one normally associates with an ECM release.

An absolutely breathtaking work. 5 Stars.

Tracks: Libertino; Slip Duty; I'm Always Chasing Rainbows; Spacewalk Part 1; Dia da Liberdade; Land of Nod; The Unconditional Secret; Ishidatami; Skin/Kaa; Spacewalk Part 2; Whereveryougoigotoo; Lots Of Stairs; When We Live On The Stars.

Personnel: Andy Sheppard: tenor and soprano saxophones; Michel Benita: double-bass; Sebastian Rochford: drums.

Andy Sheppard Photo Courtesy of ECM

Joel Harrison 7 Search Sunnyside 2012

2012-03-02T19:52:00.001-08:00

The irony of the title is not lost.

Search.

Talent is not an issue on this recording. Each member of this septet is artistically gifted and technically proficient. The issue here is I really do not have any more of a clue as to what they seem to be searching for then they do. An amalgam of 20th century classical, some more free jazz sensibilities along with an Allman Brothers cover that simply leaves one pondering the musical question - Why?

The primary influences here are modern classical and while the transformation that most pieces make to the more traditional jazz idiom are indeed stunning, they are somewhat forgettable along the way. An entire conceptual work devoted to Harrison's love and appreciation for 20th century classical music and his interpretation of many of his favorites would seem to have tremendous possibilities. When you toss in a cover of the classic Allman Brothers Band tune "Whipping Post" in the middle of a release that seems to struggle for it's own identity to start then the musical waters become muddied beyond belief. Normally recordings that come across more on the grandiose side of the musical fence can easily be tagged as self indulgent or pretentious. Instead the prolific talents of Joel Harrison are easily if not obviously noted in a release that never really seems to find it's way.

The individual tunes can stand alone as incredibly inspired pieces from an incredibly gifted composer and guitarist. The overall collection is more of the musical equivalent of odd socks each looking for a mate. The Allman Brothers cover could be considered the musical equivalent of President Obama speaking at the Republican National Convention - eloquent and inspiring to a degree but completely out of place.

Tracks: Grass Valley And Beyond; A Magnificent Death; All The Previous Pages Are Gone; The Beauty Of Failure; Whipping Post; O Sacrum Convivium; Search.

Personnel: Joel Harrison: guitar; Donny McCaslin: tenor sax; Gary Versace: piano, hammond b3 organ; Christopher Howes: violin; Dana Leong: cello; Stephan Crump: double bass; Clarence Penn: drums.

Jonny King Above All Sunnyside Records 2012

2012-03-02T18:47:00.001-08:00

Street Date 03/27/2012

Jonny King's musical happy face?

It should be. King's first release in a decade with Edward Howard on bass and Victor Lewis on drums is indeed a recording to smile about but then again King is a practising trial attorney.

Jonny King is one of the most fascinating back stories in jazz. As a charter member of the Young Lions era from the early 80's to the year 2000, King sat in with Art Blakey, worked with Grammy winner Christian McBride and even published What Jazz Is which is considered one of the finest books on the subject but he left recording and touring to practise law!

King is all about the collaborative effort and when approached with the trio idea his lineup was already conceived in his own mind. Having worked extensively with Howard and Lewis the initial chemistry was a given and all was needed was the focus on the unique compositional spin which Jonny King makes look so effortless. King draws from the occasional minimalist approach of Bill Evans along with the Bud Powll bop fluency and the rich harmonics of McCoy Tyner to great an incredibly distinctive voice for modern jazz. A far cry from the stereotypical piano trio simply doing their own riff on Monk, Ellington or perhaps Chick Corea and then collecting a check.

"Above All" is a wistful ballad paying homage to King's father having passed in 2009. A somewhat expansive piece with an obvious emotional undercurrent thanks in part to the harmonic development similar to early Bill Evans. This somewhat soulful tune is the unspoken journey if not bond that unites father and son if they are so lucky. "Above All" is a lovely tribute and captivating piece showcasing King's rare gift. "Lullaby For Cecelia" also has an intriguing harmonic shift which alludes to a wonderful dynamic tension on the slightly abstract while never losing lyrical focus. King's ability to manipulate dynamics for powerful effect is indeed a thing of beauty. "The Silver Lining" is indicative of the deep rich sonic color palette from which King creates. A deceptively subtle swing combined with a more direct harmonic sense of purpose highlights this formidable trio as well as any of the eleven tunes found on this most solid release.

Both bassist Ed Howard and drummer Victor Lewis contribute mightily to the overall success of the collaborative nature of Above All. Far from just another piano trio, Above All welcomes the return of Jonny King with a recording that quickly finds a place in the memorable pile for 2012!

Case Closed.

Tracks: The Merry Go Round; Above All; The Wedding Song; Lullaby For Cecelia; Spindrift; Neither Here Nor There; Catharsis; Like It Is; The Shrinkster; The Silver Lining; Espionage.

Personnel: Jonny King: piano; Ed Howard: bass; Victor Lewis: drums.

New World Beat After Carnival CDM 2012

2012-03-02T09:19:00.001-08:00

Street date 04/03/2012

Sometimes the cover art is the only redeeming savior to an otherwise poorly planned release that seems to concentrate on style or vibe more so than substance.

Not here. Enter New World Beat.

After Carnival is a deceptively organic spin on playful melodies, infectious harmonic development all wrapped around the Brazilian jazz sensibilities and world rhythms of vibraphonist/composer Richard Sprince. In addition to a rock solid performance, Sprince pulls off the jazz hat trick of producer, composer and arranger with flawless precision. Nine original compositions and two well executed Pat Metheny covers work in a most cohesive fashion to reinforce a release built around texture and groove more so than the plastic pink flamingo sounds attempted by similar artists.

Artistic frames of reference are dangerous in the hands of an amateur but Sprince refers to the musical direction of the release as containing elements of Pat Metheny, Milton Nascimiento and perhaps a little Return To Forever "light." A conceptualized project by intent the opening "Beyond The Clouds" is an uptempo number with a lyrical driven sense of purpose. The subtle percussive nuances which are oddly reminiscent of some early Spyro Gyra add great depth and character while Matt Vashlishan's soprano work add just the right flavor to set the table for the musical feast that is offered up. The Pat Metheny classic "Last Train Home" could easily spell sonic disaster but is instead reinvented with a fresh contemporary spin. To cover a well known Metheny classic without disrespecting the original or yourself is the sign of a true artist. A far more open and expansive sound while slowing the tempo can allow the listener to take their own sonic journey. "It's Not Far" works into an infectious bossa nova groove and a delightful double time samba bridge while exploring a deep rich sonic color pallet. A chance for the ensemble to stretch their improvisational wings finds guitarist Tom Lippincott, bassist Diogo Oliviera Brown and vibraphonist Sprince in top form.

There are numerous artists and group acts that have attempted to fuse Brazilian jazz with world music in the hopes of coming up with a more inventive hybrid than what has been currently available. The end result of most efforts similar to After Carnival have been nothing more than a sterile collection of what can best be described as "pretty sounds."

After Carnival is a well thought out and magnificently executed look at the possibilities when Brazilian jazz and world music collide in the hands of artists that are well versed in the sonic potential that is put before them. I would dial back the vocals just a touch but otherwise a release that Brazilian and world music fans should flock to. A release of depth, texture and an ambient feel that transcends the electronic, After Carnival is a multi-cultural feast for the senses!

Tracks: Beyond The Clouds; On My Way; The Dance Has Just Begun; After Carnival; Partido Alto; Song For Brazil; Last Train Home; Adios, Buenos Aires; Fantasia De Carnaval; It's Not Far; Sueno Con Mexico.

Personnel: Richard Sprince: vibraphone; Matt Vashlishan: soprano & alto sxes, ewi; Tom Lippincott: 8-string guitar; Tony Cruz & Terezinha Valois: vocals; Cezar Santana: nylon string guitar; Diogo Oliviera Brown: fretless bass; Goran Rista: drums; Dwili Dewongy: percussion; Jorge Pardo: flute solo "Song For Brazil." Gary Damanti: guitar solo "The Dance Has Begun." Alejandro Pino-Sprince: tag vocal "Last Train Home."

http://www.newworldbeat.com/

Gregoire Maret / Gregoire Maret Eone 2012

2012-03-01T22:19:00.003-08:00

Street Date 03/13/12

Harmonicist Gregoire Maret is one of the prime examples of why I shy away from writing about a jazz release from the more scholarly and serious theoretical perspective that some of my contemporaries seem to insist on. Theory does not inspire. Passion inspires.

Maret is perhaps one of the most unique and compelling voices performing in the modern jazz world. A sonic visionary with the innate ability to carry an instrument of utter simplicity such as the harmonica to a higher and more creative plane then ever before. After countless tours of musical duty with artists that range from George Benson to Prince, Maret is making his presence known as a leader with his long anticipated self-titled debut. An admitted by-product of his own cultural experiences, Maret draws from a myriad of influences including jazz, soul and Brazilian to fuse an incredibly lyrical hybrid and place an instrument that has often been a musical afterthought front and center. Gregoire Maret explores from a wide ranging sonic color palette with the end result a stellar and emotionally charged recording that gives up something new with each subsequent spin of the disc.

Maret opens with his own beautiful composition "Lucilla's Dream." A lyrical sense of purpose and unique harmonic direction allow the tune to develop in an incredibly organic fashion complete with emotionally charged background vocals adding just the right amount of texture. While no typical harmonica release would be complete without attempting a Stevie Wonder tune, Maret proves this is far from the typical and takes on "The Secret Life Of Plants" with an artful flair and subtle restraint to place his own indelible mark on the Wonder classic. The George & Ira Gershwin standard "The Man I Love" is fast forwarded to a more contemporary riff with a delightful mix of strings and an infectious lyrical bass line from James Genus while Maret does his own sonic exploratory. Never has old school been reinvented into new cool in finer fashion. "Crepuscule Suite" was added with the intention of showcasing Marcus Miller's impeccable fretless bass work and the development and interplay between Maret and Miller is a marvelous sonic symmetry of subtle nuances that add to this three dimensional sonic depth of field. Avoiding the obvious passing of the musical torch, Maret hired an orchestra for "O Amor E O Meu Pais" which features the legendary Toots Thielemans. The intention was to showcase the differences between two contemporaries with neither taking the more self indulgent role and the end result is a dramatic performance that will be long remembered.

With an impeccable musical resume and artistic chops galore, Gregoire Maret has released more than a stunning debut recording. Maret has released a landmark recording for jazz and the harmonica as well. A harmonic chameleon changing colors as each tune requires, Maret now moves to the head of the pack for those leading the future of jazz.

An epic release. An easy 5 stars!

Tracks: Lucilla's Dream; The Secret Life Of Plants; The Man I Love; Travels; Crepuscule Suite; Manha Du Dol; Prayer; Lembra De Mim; Children's Suite; O Amor E O Pais; Ponta De Areia.

Personnel: Gregoire Maret: harmonica, vocals; Federico G Pena: piano, taicho harp, percussion, vocals; James Genus: electric bass, vocals, acoustic bass; Clarence Penn: drums, vocals; Bashiri Johnson and Mino Cinelu: percussion; Brandon Ross: soprano acoustic guitar, 6-and-12 string acoustic guitar; Jean-Christophe Maillard: acoustic guitar, taicho harp; Jeff "Tain" Watts: drums; Alfredo Mojica: percussion; Cassandra Wilson: vocals; Stephanie Decailet: violin; Johannes Rose: viola; Fabrice Loyal: cello; Marcus Miller: fretless bass; Janelle Gill, Adia Gill, Clyde Gill, Micai Gill: vocals; Toots Thielemans: harmonica; Robert Kubiszyn: acoustic bass; Krzystol Herzdin: string arrangement; Gretchen Parlato: voice. Soumas Heritage School of Music Ensemble; Sinfonia Viva Orchestra.

Lorenzo Feliciati Frequent Flyer RareNoiseRecords 2012

2012-03-01T20:33:00.004-08:00

U.S. Release 03/27/12

Declaring yourself a musician of a particular genre can be as dangerous as "self declaring" on a job application. The best advice - let the powers that be figure it out for themselves. Maybe they guess right and maybe not but too much information can confuse the issue.

Lorenzo Feliciati is a bassist. Nothing more nothing less. But he may well be the finest bassist and best kept secret on the European modern jazz scene for over a decade! Frequent Flyer finds Feliciati leading an incredible line up of talent including Bob Mintzer, Cuong Vu, Roy Powell and turntablist DJ Skizo on a jaw dropping excursion into the far reaches of jazz, prog-rock and nu-funk. Music is far more than what you label it, it is how you play it and Frequent Flyer is on point with each and every note.

Opening with the dark and foreboding "The Fastwing Park Rules" there is a harmonic sense of urgency in the work of Bob Mintzer on tenor saxophone. As the smoldering "The White Shadow Story" begins to unfold the compositional skills of Feliciati have clearly been influenced and inspired by the late Jaco Pastorious. It would not be a stretch to consider Feliciati as the potential contemporary counterpart to where Pastorious may have taken his own work had his life not been tragically cut short. One of the highest highs on this stunning release is an infectious Afro-Cuban hybrid of Wayne Shorter's "Footprints." Frequent Flyer is a virtual modern jazz contemporary showcase where the musicians are free to explore melodic concepts and harmonic changes at will. While struggling with the prog-rock tag, a post modern fusion sound of the very highest caliber is the striking tone that permeates this release.

Lorenzo Feliciati is a lyrical driven master of his craft and possibly the finest jazz triple threat working today. Performer, composer and bandleader have Feliciati at the very top of his game. Despite the hard hitting nature of Frequent Flyer there is an overwhelming texture and sonic depth of field that very few artists working even remotely close to this hybrid genre are able to capture with the same sense of genuine artistry.

Frequent Flyer transcends modern jazz and the stereotypical recording. Frequent Flyer is instead a release to be savored. A joyous mind blowing experience.

5 Stars

1. The Fastswing Park Rules - with Bob Mintzer (soprano and tenor saxes), Lucrezio de Seta (drums).

2.Groove First - with Roy Powell (rhodes and moog), Paulo La Rosa (percussion).

3. 93 - with Pat Mastelotto (drums), Adam Zammit (wurlitzer & string arrangement).

4. Riding The Orient Express - with Pat Mastelotto (acoustic & electronic drums), Phil Brown (guitar).

5. Footprints - with Robert Gualdi (drums), Stefano Bagnoli (drums), Maxx Furian (drums).

6. Never Forget - with Cuong Vu (trumpet), DJ Skizo (turntables), Pier Paolo Ferroni (drums).

7. Gabus & Ganabes - with Patrick Djivas (bass solo), Andrea Di Cesare (violin).

8. Perceptions - with DJ Skizo and Pierpaolo Ferroni.

9. The White Shadow Story - with Daniel Gottardo (guitar), DJ Skizo, Pierpaolo Ferroni.

10. Law & Order - with Jose Fiorilo (hammond organ) and Daniele Pomo (drums).

11. Thela Hun Ginjeet - with Robert Gualdi (drums), Guido Block (bass, lead and backing vocals).

A taste of Lorenzo Feliciati via You Tube.

Bernocchi/Budd/Guthrie Winter Garden RareNoiseRecords 2012

2012-03-01T13:49:00.002-08:00

Ambient soundscapes...

Winter Garden is about as far from "rare noise" as one can travel musically. In the fast paced and high tech world of the digital download where pretentiousness and overkill are the norm, Winter Garden is designed to cleanse the sonic palette. Post modern music that shimmers with rare beauty and a quiet introspection while transcending strict label categorization.

The co-founder of RareNoiseRecords has joined forces with poet-pianist-composer and ambient music pioneer Harold Budd and multi-faceted sound engineer Robin Guthrie for a studio creation that is a far cry from the stereotypical banal electronica one would expect and pushes the boundaries of improvisational music past accepted norms while maintaining a stunning level of artistry. Musical frames of reference are inherently unfair but think ECM meets Windham Hill. Luxurious soundscapes with a subtle minimalism designed to enhance a unique ambient quality and allow the listener to choose their own sonic path.

Budd plays piano while Guthrie's work on guitar, piano and keyboards is dramatically enhanced with effects in post-production that add depth and character as opposed to becoming something more of the pretentious sonic sedation that would be considered the norm if not the expected.

There is a distinct Brian Eno influence here but the end result is an evocative soundscape created by three individuals with an appreciation of the zen like less is more approach to ambient creations such as this.

Showing the rare ability to rise above and transcend genre, RareNoiseRecords pushes sound and music into realms of experience that few labels would dare tread.

A breath of fresh air. Rare beauty transformed into a musical experience to be relished by three visionaries with a common purpose.

http://www.rarenoiserecords.com/

Tracks: Don't Go Where I Can't Find You; Losing My Breath; Winter Garden; Entangled; Harmony And The Play Of Light; Heavy Heart Some More; White Ceramic; Stay With Me; South Of Heaven; Dream On.

Catching Up With Peter White - Here We Go The Interview Part One!

2012-02-29T23:11:00.000-08:00

Peter White is releasing Here We Go on March 13, 2012. I was very fortunate to catch up with White during his rather hectic tour schedule and he was gracious enough to field a few questions for us...

Tell us about Here We Go! The guest list runs from David Sanborn to Kirk Whalum to your own daughter so this is obviously a very special release for you!

P.W. - "In 2006 I released Playin' Favorites which comprised all cover songs, and I wanted to make at least 3 CD's of all original material to follow that. Good Day (2009) was first, Here We Go is the second and there will be a third, which I have already started. It has long been a dream of mine to work with David Sanborn and when I met him for the first time a couple of years ago, we talked about that possibility. I wrote the title track on the new CD, specifically for him to play on, and I'm extremely happy that we finally got to record together, as I have been a fan for decades! Kirk Whalum is another special guest on the new CD - we have played shows together, most recently the Smooth Jazz Cruise and his saxophone makes the song "Our Dance" totally come alive in my humble opinion - no one is more soulful than Kirk! I thought it would also be nice for my daughter to play some violin on the album. She is eleven now, but was ten at the time and has been playing violin for a couple of years but is doing very well. She is heard playing on the song "If Ever" - I wrote a small part for her, set up a microphone in the living room at home and let her play. I'm very proud of her and hope that she continues with the violin for a long time. Maybe I will get her up to play with me at an upcoming show - it will be her choice, however. I'm not going to be a pushy stage dad!"

Care to shed some light on your own creative process and how ideas are born for you?

P.W. - " I get ideas at any time and the most important thing is to try and remember them. If I have a piece of paper I will write down a shorthand version of what is in my head that I only would ever understand, ha ha! The best thing is to be in the studio because then you can put down your ideas as fast as possible, including drumbeat, bass line or any other elements that are part of the idea. A song doesn't always start with the melody - some songs start out with a rhythm or just a bass line. I use a computer and a piano keyboard to put these ideas down, and very often the guitar is the last thing to be recorded after the groundwork has been laid. I do write some songs on the guitar, but not many - mostly the song idea enters my head and I try to sketch it on the keyboard in the studio. I have always played keyboards and have found this invaluable to my work, and would recommend to any musician who wants to be a professional that they have a good grounding in keyboard playing. A small idea can turn into a bigger idea and if it ferments in my head long enough the whole some will start to form, usually when I'm driving, or taking a walk. Sitting in the studio is not very conducive to creativity however, so sometimes I go out and take a walk to get fresh ideas!"

You have an enormous fan base as compared with some of your contemporaries. "Smooth" jazz carries a bad rap for some. What are your thoughts on the label and what do you hope the listener walks away with?

P.W. -"I'm very grateful for my fans for without them I would be still sitting in my living room playing guitar to myself! Anyone can contact me through my web site www.peterwhite.com or facebook https://www.facebook.com/peter.white.music and I'm very good at responding. It only takes a few minutes a day to do this and I enjoy keeping up with my fans around the world. A guy came up to me a few days ago at a show ( it wasn't even my show but I was just sitting in the back watching and enjoying). He said "Bittersweet" is the best thing you ever recorded and I listen to it everyday!" I was a bit surprised, not only by his statement but by the fact that he had recognized me! I thanked him of course and marveled that here was a song that I recorded 16 years ago that had never got much radio play and yet it made a significant impact on somebody. That is what keeps me going and gives me energy to keep recording music and traveling over 100,000 miles a year to play music. All music should be uplifting, even sad music, and I'm hoping that this is what people get from my music. As for the label "Smooth Jazz" - it was invented by a radio station consultant to try and describe the sound of a radio station to listeners. As a musician, I don't really take notice of labels, and generally musicians don't. To describe Bob Marley as "Reggae" doesn't in any way explain what puts him apart from other artists. What made him great was his songs and the way he put them across and no label will do that adequately. Incidentally, I was a musician for twenty years and had already released 4 solo CD's before the term "Smooth Jazz" was even coined!"

Catching Up With Peter White - Here We Go Part Two!

2012-02-29T22:35:00.001-08:00

Continuing my conversation with Peter White...
Part One of this two part interview begins: http://www.criticaljazz.com/2012/02/catching-up-with-peter-white-here-we-go_3627.html

Here We Go is a more organic sound, slightly reminiscent of some fusion records from back in the early 80's. Was the sound intentional or simply a natural by-product of the right people?

P.W. - " When I record a CD, there is no intent to create any particular kind of sound or style. That comes out of the songs that I choose. The songs have to move me enough to want to work on them for many hours and to perfect the sound that I think each song will need. So the style will come out of the songs, otherwise I think I could get too involved with style over substance! The song is always the most important element of the music and I want mine to be enduring! Getting the right musicians to help you is key of course and when I record a CD, I usually give myself a window of a year or so to do it and that gives me a greater chance to get the musicians that I want on the recording. In the case of David Sanborn, he was touring so much that he only had a small window of opportunity to record with me, and I just waited for him and kept working on other songs in the meantime. I'm glad you think the sound of the record harks back to the early 80's- that was a great time for fusion - Grover Washington Jr. and George Benson to name a few!"

Can you explain the musical journey from Al Stewart to where you are now?

P.W. - " I started playing with Al Stewart in 1975 when I was 20. It became my main gig for almost 20 years, but after 15 years of being a sideman I wanted to do something on my own. I didn't know how to go about doing this but one day in 1987 I heard a group from England called Acoustic Alchemy on the radio and realized that this was a sound that I loved - acoustic guitars leading a band! They inspired me to make my first CD which came out in 1990. I had already heard my guitar playing on the radio ( with Al Stewart and Basia) but for the first time I started to hear my name being announced. That was a very exciting time for me. I continued playing with Al and Basia until I started to get more shows on my own and in 1995 I quit being a sideman for good and went fully solo - twenty years after turning professional!"

Who do you listen to and what was the last disc you purchased?

P.W. - "I listen to lots of different music. I grew up listening to the Beatles and the Rolling Stones and I still listen to their music. Most music I like has guitar in it, but there is also music that I listen to that has very little guitar - ELP from the 70's and Depeche Mode from the 80's. Also I love the album "Introspective" by the Pet Shop Boys. I listened to that CD yesterday on my flight back from England and I never tire of it, even though it is mostly keyboards - hardly a guitar in there! I always love listening to Billy Idol from the 80's with his amazing guitarist Steve Stevens. When I'm feeling in the mood I love to listen to the orchestral music of Mozart and Handel - my favorite composers, and I also love the Irish band the Chieftans. Breezin' by George Benson is also one of my favorite CD of all time. I could go on - many varied styles in there. Generally I like British music as I grew up in England. ( Oh, but let's not forget ZZ Top and Van Halen - two of the greatest American bands in my estimation!). The last CD that I purchased was probably Blue Bolero by my friend and fellow English guitarist Chris Standring - a wonderful CD.

VERY SPECIAL THANKS TO PETER WHITE FOR HIS TIME!

http://www.peterwhite.com/ - tour dates and news

www.facebook.com/peterwhite

www.twitter.com/#!peterwhitegtr

www.youtube.com/user/peterwhitechannel

For my review of Here We Go -

http://www.criticaljazz.com/2012/02/peter-white-here-we-go-heads-up-2012.html

You can also download a free single from Peter White on the home page here at http://www.criticaljazz.com/

Dave Chisholm Calligraphy 2011

2012-02-29T21:28:00.005-08:00

I could do a full page on the cover art alone.

Jazz is a fractured genre. Paralysis by analysis has in some cases crippled jazz not to mention a few budding careers along the way. Calligraphy may well be a critics worst nightmare and could easily find more than one label executive perched on the nearest ledge should a release of this nature cross their desk.

Why?

Dave Chisholm's Calligraphy effortless sidesteps it's own innocuous tags of ambient jazz or perhaps indie-rock. Labels are created by the recording industry to better categorize what they consider to be their product. To attempt to categorize open ended improvisational music that transcends the self imposed and sadly accepted limitations of the recording industry is a daunting if not somewhat pointless task. Calligraphy

is incredibly organic but with an ambient electronica sound that never seems to push the listener off the avant garde cliff.

Opening with "A Fitting Combination" there is a lyrically searching melancholy while never bordering on the morose. A captivating sonic heartbeat and developing harmonic pulse combined with an underlying percussive fury allow Chisholm to shift dynamics at will to create subtle textures and shading not often heard on similar recordings. The title track "Calligraphy" is a gorgeous and inspired ballad. Cinematic in scope there is a zen like less is more approach from Chisholm where no notes are wasted but instead some well placed notes seem to linger for effect. "Aeroplanes" is another emotionally charged gem with all the participants layering their music around Chisholm's improvised solos. While the improvised work of Chisholm is the musical catalyst for this incredibly eclectic ensemble, the deceptively subtle contributions of all the participants are the sonic glue holding all the pieces of this beautiful mosaic together.

There is a mysterious and deceptively subtle emotional depth to this recording. An artistic ebb and flow that while reminiscent of some ECM recordings clearly shows the heart of a musical visionary.

Dave Chisholm may be the best example of why I do not review from a theoretical perspective.

Theory does not inspire.

Music does.

Tracks: A Fitting Combination; And Now, We Wait; Plant A Seed; Whisper; Calligraphy; Aeroplanes; C-Minor.

Personnel: Dave Chisholm: trumpet, vocals, glockenspiel, acoustic guitar; Noah Berman: electric guitar; Nick Weiser: piano; Aaron Staebell: drumset; Ben Tiberio: double bass ( except 5); Dom Drwal: double bass (track 5).

http://www.davechisholmmusic.com

Dave Chisholm is currently working on his Doctorate in Jazz Studies at the Eastman School of Music.

Remember the name.

Cover Art by Peter Markowski

Robert Glasper Experiment's Black Radio Blue Note 2012

2012-02-29T19:40:00.006-08:00

Somewhere Alfred Lion must be spinning in his grave...Let him spin.

Blue Note has long since abandoned the straight ahead jazz that made them perhaps THE label that every jazz artist aspired to record for. Times change. It is called the record business for a reason.

Enter Robert Glasper Experiment's Black Radio.

Robert Glasper's Black Radio may best personify that dramatic shift in Blue Note records from classic swing to commercial mainstream. Remember they call it the record business for a reason. Is Black Radio jazz? Of course not but does that take away from perhaps one of the finest neo soul records made over the last decade? Not one bit. Labels and all related terminology constructed, invented and utilized by the record industry are done with the primary intention of allowing their product to marketed most efficiently. Call it what ever it means to you. Word of mouth alone will do far more than tagging a release with an arbitrary term that could easily mean ten different things to ten different people. This is why Black Radio works.

Robert Glasper has released a contemporary neo-soul gem speaks to a wider audience than what most artists could ever hope to reach. Keep in mind a good critical review does not mean the writer necessarily likes the release on a personal level any more than a bad release is a direct personal attack. Taste is subjective. The theoretical road to hell is paved with good intentions while artistic performance will continue to inspire.

Robert Glasper inspires.

Do I "get" Black Radio? Not really and to pass critical review on an experience and a cultural perspective I have minimal working knowledge of would be disingenuous at best. Let me tell you what I do get. I get "Afro Blue" featuring Erykah Badu. I get "Cherish The Day" featuring Lalah Hathaway. I get "The Consequences of Jealousy" featuring Meshel Ndegeocello. (Just a handful of stellar guests on this project).

What I especially "get" is the honesty, sincerity and musical integrity that Robert Glasper has to share a realistic perspective on music in his community with all of us. To mention Nicholas Payton in this forum may be looked at as inappropriate but I do this to make a very specific point. Black Radio is an artistic work of value, not a self absorbed release from an opportunist looking to capitalize on the emotions of others.

A landmark recording.

Quartango El Fuego Justin Time 2012

2012-02-28T21:06:00.003-08:00

Tango seems to be the jazz equivalent of the little engine that could. The reality is that outside the real of the legendary Astor Piazzolla, the tango has been maligned if not mired in nostalgic misinterpretation or a pious purism normally reserved for those arguing all things Miles Davis.

El Fuego was originally released in 2009 and this special reissue celebrates the 25 anniversary of the critically acclaimed Montreal based ensemble Quartango. This passionate quartet has as their musical mission statement to celebrate the tango and to attempt to push the music forward in new directions. El Fuego has been aptly described as the next logical progression in Tango Nuevo after Astor Piazzolla.

"Nueve de Julio" opens with the traditional fire and rhythmic intensity long associated with the tango nueva. The stirring beauty and emotional depth captured with the smoldering tango nueva number "Malena" is but one of two stellar highlights from this eclectic ensemble. The passionate ballad "Noce En El Rosedal" rivals "Malena" in both fire and authenticity. There is an air of nostalgia as the release closes with an exquisite rendition of the 1927 tango-cancion number "Adios Muchachos" which was composed by Argentian Julio Cesar Sanders and later translated into English as "I Get Ideas" and subsequently became a 1951 hit for Louis Armstrong.

The tango much like the other sub genres in Latin music is broken down into as many sub genres as their are regional adaptations. Drawing upon their musical diversity much like the tango itself, El Fuego combines hints of classical, jazz, ragtime and Celtic jigs into an incredibly memorable musical experience.

Aficionados of the tango in particular as well as world music in general can find a great deal to appreciate in this stellar recording designed to push the musical envelope of a genre that long been overlooked.

Tracks: Nueve de Julio; Malena; Anciado en Madero; Noche en el Rosedal; Cafetin de mi barrio; Salganeando; Dance Of An Angel; Lunfardo; Lluvia negra; Fall; Lo que vendra; Melancolico; Caminito; La Cachila; Adios Muchachos.

Personnel: Richard Hunt: piano; Rene Gosselin: double bass; Douglas Schmidt: bandoneon; Charles-Etienne Marchand - violin.

http://www.justin-time.com/

Karen Johns & Company Peach 2012

2012-02-28T19:59:00.002-08:00

Benny Goodman, Artie Shaw, and Glen Miller...Some things never go out of style. A more contemporary take on old school swing without losing anything in translation is a neat trick to pull off. Karen Johns & Company pull off the reinvention of a timeless sound without pretentiousness or the sound of something you may hear in the lounge of a local Marriott. Peach is a multi textured look at the sound of classic swing with a more than proficient band and dynamite vocals for good measure!

Johns has the vocal chops to sing the phone book and the technical proficiency to multi track her own harmonies with the end result a cool Andrews sister sound. "Sugarboo" is an up temp ditty that sets that overall mood rather well. "I Speak Woman You Speak Man" is a tender ballad that shows off John's talent as a truly gifted vocalist. The arrangements throughout this blast from the past are tight and skillfully avoid the self indulgent pitfalls that would trip up a lesser talent. Karen Johns has an artful ear for melody and her lyrically driven interpretations capture the phrasing and inflection necessary to give a nice air of authenticity to one of the most important genres of music of this or any era. While there is an obvious comparison to Nancy Wilson, John's is her own woman on the Wilson classic "How Glad I Am."

Karen Johns happens to one of the very few legitimate triple threat performers (vocalist/actress/dancer) and it is chameleon like ability to make that special connection with the audience that allows Peach to work so well. Clearly this is old school with great arrangements and terrific work by a swinging band to allow Johns pristine vocals to transform music from a by gone era and remind us just how relevant swing is today!

Tracks: Sugarboo; Meglio Stasera; Peach; I Speak Woman You Speak Man; Chattanooga Choo Choo; Precious Find; Sentimentale; I Love You Forever; Five O'Clock Shadow; How Glad I Am; Must-Be-Seen; Rocket City; Red Bird.

Personnel: Karen Johns: voice; Kevin Sanders: piano; James Johns: guitar; Jim Hoke: saxophones, flute & clarinet; Chris Kozak: upright bass; Michael Glaser: drums & percussion; Ken Watters: trumpet; Gabriel Johns: voice (11); James Johns: voice (11).

http://www.karenjohns.com/

Thea Neumann Lady & The Tramps 2011

2012-02-28T07:58:00.002-08:00

While I am not enthralled with the cover art, that would be about it...But let me think about it.

Thea Neumann is a gifted vocalist with an innate gift for swing and an infectious lyrical sense of purpose. Lady & The Tramps is one best the best examples of artist comfortable with who she is and the direction she intends on taking her craft. Neumann's previous effort is the 2010 release of Hot Club Edmonton which garnered rave reviews and picked up a WCMA for instrumental album of the year.

As with many musicians, Neumann reached the musical crossroads of choosing between the more stable nine to five gig offering up the more secure life or perhaps as close as you can get in this economy or...music. Lucky for us, music was the obvious choice! Having reviewed my fair share of female vocalists that while talented are lacking the sense of purpose and direction that emanates from this smoldering release. "My Heart Belongs To Daddy" could spell disaster for a lesser vocal talent but toss is a cool walking bass line and a swinging tenor sax solo and suddenly the groove takes control. Another classic that could be the equivalent of tap dancing in a vocal landmine, "Makin' Whoopee" is pure unadulterated swing. A beat you hear with your feet comped by a first call band is all you need for a first rate party. "Bei Mir Bist Du Schoen" is a Sammy Cahn tune that is being covered a great deal this year. Neumann does far more than a passable cover. Thea Neumann enlists the aid of guitar virtuoso Clint Pelletier and places her own indelible mark on a classic.

So back to the cover art and packaging...Lady & The Tramps is a contemporary throw back to the gypsy-jazz, flamenco guitar paired with some seductively subtle vocals with a nice smokey finish. Thea Neumann knows who she is and where she is going, there is no guess work here. Instead of being in love with the vibe of a forgotten sound from years ago, Neumann is doing what any self respecting artist should do and that is push the music forward. The cover art does tie the package together nicely. To dwell on the inconsequentials that do no harm to an otherwise stellar release would be hyper-critical. Neumann is a top flight vocalist and well worth a second look by some major labels.

An incredibly entertaining release showcasing tremendous potential from a vocalist destined for even great success! Highly recommended!

Tracks: Convenience Store; I Love You; My Heart Belongs To Daddy; In Walked Bud; Vancouver; Dream A Little Dream; Makin Whoopee; Dear Someone; How To Disappear Completely; Bei Mir Bist Du Schoen.

Personnel: Thea Neumann: vocals; Chris Andrews: piano; Kodi Hutchinson: bass; Sandro Dominelli: drums.

A taste of Thea Neumann via You Tube.

Patricia Barber Signs With Concord!

2012-02-28T07:04:00.002-08:00

SINGER/PIANIST/SONGWRITER PATRICIA BARBER SIGNS WITH CONCORD JAZZ

Debuts with early 2013 release

Concord Jazz, a division of Concord Music Group, today announced the signing of an exclusive deal with singer/pianist/songwriter Patricia Barber, whose debut recording for the label will be released in early 2013.

Celebrated by JazzTimes as “the most fearless, most intellectually stimulating and, by extension, most interesting singer-songwriter-pianist on the American jazz scene,” Barber’s deal with Concord adds one more remarkable chapter to her oeuvre.

“All of us at Concord are extremely proud to have Patricia join our musical family,” says Mark Wexler, Senior Vice President and Label Manager-Jazz and Classics Group. “She’s at the top of her game and to be a part of her career at this point is very exciting. Patricia’s talent is unparalleled and we look forward to working together to further expand her fan base.”

“Falling in love usually happens when we least expect it - just when we’re NOT looking for love is when we find it,” Barber says. “Content working on my music as I always do, Concord approached me and it was indeed a type of seduction. After we spoke, I discovered we have many commonalities and most importantly, a common passion for music. I’m thrilled with this relationship and must admit I hope it goes on and on as I do feel strong and in my prime. I hope to continue to change the vocabulary of jazz and perhaps change the world a little too.”

For more than two decades, Barber, based in Chicago, has led her own band and released a series of highly acclaimed, strikingly singular albums, dating back to 1992’s breakout major label album Distortion of Love, which featured her rendition of Smokey Robinson’s pop hit, “My Girl.”

Barber continued to be a jazz agent for change, exhibiting her prowess as a remarkable new songwriter as well as a jazz singer/pianist with the releases of Café Blue (1994), Modern Cool (1998) and Nightclub (2000), all of which garnered her an avid international following. Her 2002 album, Verse, earned a steady flow of critical plaudits.

Barber followed that album two years later with Live: A Fortnight in France, which was equally well received. In 2006, she released Mythologies, a song cycle based on Ovid’s Metamorphoses, funded by a Guggenheim Fellowship in Composition, the only ever given by the Foundation to a songwriter, and in 2010, she contributed three stunning Porter-Barber-like originals on her album The Cole Porter Mix.

Concord Music Group’s legendary family of labels includes Concord Records, Concord Jazz, Fantasy, Stax, Milestone, Riverside, Specialty, Telarc, Peak, Heads Up, Prestige and its most recent acquisition, famed American roots label Rounder Records.

Oliver Jones Live in Baden, Switzerland Justin Time Records 2012

2012-02-27T22:00:00.001-08:00

A national treasure in Canada and perhaps one of the most over looked musicians in jazz over the last thirty years. Oliver Jones has put together a most impressive discography over the past three decades on Justin Time Records. The latest offering from Jones is a recently discovered jazz artifact from 22 years ago. Live in Baden, Switzerland is a joyous romp through some timeless classics with American bassist Reggie Johnson and Oscar Peterson's former drummer Ed Thigpen.

Oliver Jones is a prolific pianist, organist, composer and arranger. As a performer Jones is the model of consistency, the consummate performer with an infectious enthusiasm for his work and the sincere appreciation of being afforded the opportunity to share his gift with the world. The standards on this incredible live set include the Freddie Hubbard tune "Up Jumped Spring" and a vibrant take on the Rodgers and Hart classic "Falling In Love With Love." A deep rich spin on the Thelonious Monk standard "Round Midnight" is one of the many highlights on a swinging release that runs from the more straight ahead to some blues infused gospel including "Just A Closer Walk With Thee." Oliver Jones steals the show with his own riff on George Gershwin and a medley which features standards including "Rhapsody In Blue" and "I Got Rhythm."

While Oscar Peterson was the mentor of Oliver Jones, there is no mistaking the unique individual talents of Jones and the critically acclaimed path he has set for himself. A winner of the Canadian Grammy, Jones continues to make regular appearances at the Montreal Jazz Festival. Oliver Jones shows at 77 there is still plenty of gas left in the tank and this remarkable live set from 1990 shows Canada's best kept jazz secret is a treasure to be shared with the world.

Tracks: Falling In Love With Love; Emily; Blues For Helen; Up Jumped Spring; Just A Closer Walk With Thee; George Gershwin Medley: Rhapsody In Blue, I Loves You Porgy, Bless You Is My Woman, It Ain't Necessarily So, Summertime, The Man I Love, Embraceable You, I Got Rhythm.

Personnel: Oliver Jones: piano; Reggie Johnson: bass; Ed Thigpen: drums.

Video Courtesy of You Tube from a performance not included on this release.

Special Thanks to DL Media.

Jeff Hamilton Trio Red Sparkle Capri 2012

2012-02-27T20:26:00.003-08:00

With a stellar career spanning three decades, Jeff Hamilton is one of the most prolific drummers of our time. Name not ring a bell? That's o.k. we are in fact talking about a jazz musician. A drummer whose talent goes further than that of just a metronome with a pulse. Hamilton is all about finesse and the subtle nuances needed to make swing something more than just an arbitrary word.

Jeff Hamilton's prodigious talents are best in the trio setting having worked with bassist John Clayton as part of Monty Alexander's trio. Now Hamilton is forging a new path with a trio consisting of pianist Tamir Hendelman and bassist Christopher Luty. Red Sparkle is the sophomore release on the Capri label and this formidable trio shimmers with an artistic connection that has only deepened with time.

Red Sparkle is an incredibly engaging release running the musical spectrum from the pop hit "On and On" from Stephen Bishop to "A Sleepin' Bee" from Harold Arlen/Truman Capote. Hendelman showcases his keen sense of harmonic development on the Thelonious Monk tune "Bye Ya" with Hamilton's driving groove propelling this trio to their own infectious swing. Transforming a pop tune into a jazz arrangement without bordering on the cheesy or self indulgent is not an issue with "On and On" from Stephen Bishop. A marvelous arrangement with a subtle sense of soul and lyrical development the trio begins to hit their stride. "Red Sparkle" is a Hamilton original where he rests comfortably in the pocket and swings like a beast.

A far cry from the mundane straight ahead piano trio cutting no new ground, The Jeff Hamilton Trio is a celebration of everything that is good with the straight ahead side of the jazz street. There is a wonderful organic development to the tunes while playing with a distinct lyrical sense of purpose the improvisations are left somewhat open-ended adding tremendous depth and texture to this stellar release. The Jeff Hamilton Trio successfully reinvents classic swing with originality and flair. A deceptively simply presentation yet intriguing in it's complexity. An incredibly entertaining trio recording that will have you coming back for more.

Tracks: Ain't That A Peach; Bye Ya; On and On; Hat's Dance; Too Marvelous For Words; Laura; A Sleepin' Bee; Red Sparkle; I Know You Oh So Well; In An Ellingtone.

Personnel: Jeff Hamilton: drums; Tamir Hendelman: piano; Christopher Luty: bass.

Ahmad Jamal Blue Moon Jazz Village 2012

2012-02-26T20:38:00.020-08:00

Ahmad Jamal is an NEA Jazz Master and back with his first new release in over three years. Blue Moon finds Jamal celebrating the music from classic American cinema and Broadway and this plays to his strengths straight across the board.

Ahmad Jamal's genius is a testament to his unique and all most conceptualized approach to a spatial consciousness previously ignored in the pre and post bop era. Jamal's zen like approach to less is more coupled with his use of dynamic tension plays perfectly when it comes to looking at timeless music from American cinema and Broadway. Blue Moon finds Jamal playing at a level that is reminiscent of his work on the Chess and Impulse labels. While Jamal's technical proficiency and artistic approach has never sounded better, the new working ensemble should certainly receive high marks for their contributions here.

Bassist Reginald Veal along with drummer Herlin Riley and master percussionist Manolo Badrena infuse new textures and rhythmic development that allow for stunning reinvention of some timeless classics. Jamal views music and film in a somewhat similar vein with his own music used in the 1995 Clint Eastwood film, "The Bridges of Madison County." There are three new compositions included and all are expansive sonic gems that while cinematic in scope they never lose the intimate dynamics so closely associated with Jamal. "Blue Moon" is dramatically reinvented as a percussive showpiece that emphasizes the 4tet working on equal footing with a swinging interplay that is harmonically adventurous as it is rhythmically inventive. "Laura" is a solo piano excursion where Jamal gives a stunning virtuoso performance of this Johnny Mercer classic. The release closes with the Dizzy Gillespie classic "Woody N' You" which has been in the Jamal arsenal for years and is another magnificent look at the ensemble interplay that smolders just beneath the surface of Jamal's relentless punctuated attack.

Blue Moon is classic Ahmad Jamal. At 81 Jamal is performing at a level that gifted talents half his age will in all likely hood never reach. Miles Davis was quoted as stating, "All my inspiration comes from Ahmad Jamal." Today Jamal still inspires. You never review genius, you acknowledge it.

5 Stars

Tracks: Autumn Rain; Blue Moon; Gypsy; Invitation; I Remember Italy; Laura; Morning Mist; This Is The Life; Woody N' You.

Personnel: Ahmad Jamal: piano; Reginald Veal: double bass; Herlin Riley: drums; Manolo Badrena: percussion.

http://www.ahadjamal.com/

http://www.jazzvillagemusic.com/

Special Thanks to Jordy at DL Media Music!

Mark Sherman The L.A. Sessions Miles High 2012

2012-02-26T19:35:00.004-08:00

Not one to roll with arbitrarty stylistic guidelines that turn most jazz reviews into musical obituaries, I write about passion.

Mark Sherman lives his passion.

Of course taste is subjective and not everyone walks away from a new release with the same experience. However the shared perspective of unbridled joy is unmistakable when it comes to vibraphone master Mark Sherman. For the uninitiated, Sherman is indeed the real deal having won Downbeat Magazine's Critics Poll 2007, 2008 and 2009.

Mark Sherman has just dropped The L.A. Sessions which is a fabulous release of hard swinging bebop and unforgettable standards done by a quartet that is on point every step of the way. Opening with "Woody N' You" this stellar 4tet lays down a vibrant and effervescent swing with lyrically driven solo work from both Mark Sherman and Bill Cunliffe on the Hammond B3 organ. John Chiodini's comp work on guitar adds texture while drummer Charles Ruggiero swings like a beast behind the kit. The classic Dizzy Gilliespie tune has never sounded better. Breathing new life into a standard can be a daunting task if not a musical roll of the dice for some small ensembles. The standard "It Can Happen To You" continues the steady rolling groove of drummer Charles Ruggiero. There is a sophisticated elegance that flows effortlessly throughout this release. Dynamics are shifted on the fly and while the harmonic development is done Sherman's way the consistent end result is a groove you hear with your feet. "Far Away" is a Sherman original and were it not for a working knowledge of the tunes listed it would be difficult not to mistake this wistful and beautifully performed ballad as yet another standard from days gone by. Another potential musical landmine for Sherman would be attempting the Milt Jackson classic "Bags Groove." The deceptively subtle take on "Bags Groove" is spot on. Sherman's 4tet lays down a blues infused swing guaranteed to make your musical back leg shake.

Mark Sherman has had a long standing desire to release a recording of his favorite bebop and standard tunes. Sherman's sincere desire is to pay homage to musician such as Charlie Parker and Dizzy Gillespie and their influence on how these legends have changed the way jazz musicians think about harmony to this very day. While a pretentious if not self indulgent release could have easily been the end result, Sherman's musical integrity inspires pure passion. Mark Sherman is the reason I write.

Serious and scholarly is fine for the musician in the classroom. Pure passion is the ability to make old school turn into new cool and Mark Sherman's The L.A. Sessions is the flawless end result.

5 Huge Stars. One of the very best of 2012.

Tracks: Woody N' You; Quasimodo; It Could Happen To You; Celia; Far Away; Whisper Not; Moment's Notice; Bag's Groove; Serpent's Tooth; Bonus Tracks: Quasimodo; Woody N' You; Celia.

Personnel: Mark Sherman: vibes; Bill Cunliffe: hammond b3 organ; John Chiodini: guitar; Charles Ruggiero: drums.

Photo's courtesy of http://www.markshermanmusic.com/

A Critical Perspective - The Federal Government and Arts Funding. A Bad Idea.

2012-02-26T00:37:00.002-08:00

For those of you playing at home, I am an Independent critic but here is the difference between myself and some of my contemporaries. I am a bit more pragmatic. I don't believe you can legislate human behavior and the only color I fully recognize is green.

Speaking of which there has been a news blurb directly effecting arts funding that has for the most part gone unnoticed. One year ago after having his political head handed to him and wrapped in a pretty bow by the new Republican Congress, Obama was somewhat forced into doing the right thing and slash NEA funding in his 2012 budget. Ron Paul believes there should be no government funding for the arts. Paul also believes that drugs should be legal and in all likely hood longs for the Leave It To Beaver days of political and cultural isolationism that marked the cold war era - The war Reagan won. Gingrich who carries more political baggage than most sky caps can get to the curb believes funding for the arts should be privatized. Having posted roughly a half dozen columns on Kick Starter programs utilized by different artists there seems to be some validity into Gingrich's idea. While the unemployment crisis in America would appear to be easing slightly the fact is this country has a budget deficit that has spiraled out of control under the Obama Administration. When times are tight you cut costs, slash non essentials and you work smarter and not harder. This very philosophy that has pulled American back from the brink of financial ruin has also cost some people their jobs permanently. The music industry is no different. Below is a link from what the Obama Administration was proposing in the spirit of financial political correctness.

http://hyperallergic.com/18840/obama-budget-cuts/

Now we have an election year and while our deficit has increased the Obama Administration now feels the need to spread the wealth and show the artistic community the same love that it apparently was not feeling over a year ago.

The increase in funding proposed by the Administration for 2013.

http://latimesblogs.latimes.com/culturemonster/2012/02/obama-proposes-arts-funding.html

Thanks to Kick Starter and similar programs artists are able to raise the necessary funding required for their efforts. Grants are still available. There are a multitude of ways for artists and even record labels to work smarter and not harder in the days of the digital download.

This is not about one President or one political party. This is about one simple question.

Do you really want the Federal Government - No matter who occupies the White House to be in charge of your cultural well being? When you have an administration that is on record as stating they know better than you as to how much money you really need then red flags should begin to pop up.

If you support the arts then you must put your money where your ears are.

You can pay me now or you can pay me later...

Gilad Hekselman Hearts Wide Open Le Chant Du Monde 2011

2012-02-25T23:33:00.002-08:00

Gilad Hekselman is perhaps the finest example of why I go back and review releases that are not exactly new...While not six months old, Hearts Wide Open has received well deserved critical acclaim and with a new release in the offering later this summer this is still a release deserving of attention.

For the uninitiated Hekselman is guitarist originally from Israel and currently residing in New York City. But who does he sound like? While that question continues to annoy more than one can possibly imagine the best explanation is that his sound has been compared to Pat Metheny and Kurt Rosenwinkel. The best answer is that Hekselman sounds like himself, a searching artist with a keen harmonic sense and the technical proficiency to place him at the top of heap of budding six string jazz stars.

Hearts Wide Open is Hekselman's third release but first release to feature all original compositions. The 4tet is rounded out with Mark Turner on tenor saxophone, Joe Martin on bass and Marcus Gilmore on drums. "Hazelnut Eyes" which essentially opens the release sets a nice melodic mood for deceptively subtle yet harmonically deep release. Turner and his tenor saxophone join in on "One More Song" where the true working band feel begins to take shape. Gilmore provides an infectious groove and lays in the pocket quiet well as Turner and Hekselman take extended solo's on a lyrically driven gem. "Hearts Wide Open" is the title track and an expansive piece occasionally bordering on the cinematic without every approaching the dangerous self indulgent level. The tune develops in a very natural progression with nothing forced. Less is more and notes are not wasted by anyone is this formidable 4tet. It is perhaps Hekselman's comping ability as a guitarist and his unique approach to the instrument that is heavily influenced from his main influences which include Ahmad Jamal, Bill Evans and more recently Keith Jarrett and Brad Mehldau. Given the influences listed, Hekselman's harmonic proficiency is certainly understandable.

An incredibly solid and extremely consistent offering from Hekselman has this critic incredibly anxious for the next release due out later this summer. Most people expect a jazz critic to either own or have heard every release currently available. In the day of the digital download and an artist driven marketplace there are the odd releases that slip past us. Hearts Wide Open is certainly worthy of critical acclaim and is a release well worth your time to rediscover.

Tracks: Prologue; Hazelnut Eyes; One More Song; Flower; Brooze; Hearts Wide Open; The Bucket Kicker; Understanding; Will You Let It?; Epilogue.

Personnel: Gilad Hekselman: guitar; Mark Turner: tenor saxophone; Joe Martin: bass; Marcus Gilmore: drums.

http://www.giladhekselman.com/

Marianne Solivan Prisoner Of Love Hipnotic 2012

2012-02-25T22:44:00.002-08:00

Street Date 03/20/12

Having reviewed some of the very best the Big Apple has to offer in terms of vocal talent, Marianne Solivan's Prisoner of Love arrived on my desk with artists such as Jeremy Pelt and Grammy winner Christian McBride singing her praises ( pardon the pun ). It's good to have friends. As a jazz critic the word friend is somewhat of an abstract concept to me but Solivan enlists the aid of friends such as Christian McBride, Peter Bernstein, Ben Wolfe, Johnathan Blake, Michael Kanan and Xaxier Davis to immediately place Prisoner of Love into the memorable pile of new releases for 2012.

Most jazz artists reflect back on a musical epiphany where their artistic life was transformed and jazz became a chosen path. Solivan sums up her epiphany this way..."I just dug it." Lucky for us.

Having reviewed and become fast friends with some of the finest the Big Apple has to offer, Prisoner of Love met with some understandable skepticism which melted away about 30 seconds into the first track. A more traditional vocal performance showcased in a smaller ensemble setting, similar to what you would find in one of New York's finest clubs such as Small's has Solivan making an impressive debut.

The duet of "All Or Nothing At All" with bassist Christian McBride is as subtle and organic as vocals can be. McBride's walking bass line and lyrically driven soul are the perfect match for Solivan's earthy presentation. Most vocalists that attempt a release of this nature get hung up in the vocal trap of self indulgence and never seem to find their way out. Solivan has a clear and obvious grasp of who she is as an artist and the direction she hopes to head. "Prisoner Of Love" is a tune where Solivan contributed the verse and fits perfectly among the other standards and is perhaps a standard in waiting. Solivan is joined by the incomparable Xavier Davis on piano, Ben Wolfe on bass and Johnathan Blake on drums for a sublime performance. "I Guess I'll Hang My Tears Out To Dry" is one of the finest standards to either move a vocalist to the next level or seal their fate as a singer doomed to be spending Friday nights singing at the local Marriot. Don't look for Solivan at the local Marriott unless she happens to be on tour. A stunning duet with pianist Michael Kanan shows great depth and sensitivity and the chameleon like ability to transform herself from vocalist to storyteller. Solivan does more than just get by with a little help from her friends. Solivan can stand alongside some of the finest talent in country as an artist whose musical stock is an arrow pointing straight up.

Marianne Solivan unleashes a powerful debut recording that should quickly propel her prolific talents to the top of the jazz vocal food chain. Special acknowledgement to Jeremy Pelt who both played and produced this stellar debut recording. Karaoke night, church choirs and cruise ships were meant for singers. The concert stage and recording studio are meant for Marianne Solivan.

Tracks: Bliss; The Lonely One; All Or Nothing At All; Prisoner Of Love; I Guess I'll Hand My Tears Out To Dry; Moon Ray; May I Come In; I Can't Help It; Day Dream; After You; Social Call.

Personnel: Marianne Solivan: vocals; Peter Bernstein: guitar (1,6,7); Xavier Davis: piano (2,4,8,11); Michael Kanan: piano (5,10); Christian McBride: bass (1,3,6,9); Ben Wolfe: bass (2,4,8,11); Johnathan Blake: drums (2,4,8,11); Jeremy Pelt: trumpet (6).

http://www.mariannesolivanjazz.com/

Benny Goodman Orchestra featuring Anita O'Day Jazz Haus 2012

2012-02-25T21:44:00.004-08:00

Benny Goodman who will forever retain the title as "The King of Swing" is captured in a stellar live set featuring the vocalist Anita O'Day. The third release in a stellar set from the newly formed JazzHaus records finds the Goodman orchestra working at the very top of their game. For a fifty year old recording the warmth and energy that made the digital transformation is stunning. Goodman's elegant tone combined with O'Day's sensuality and mellow phrasing lead this incredibly tight band in a swing fest that transcends generations.

O'Day raised the bar with impeccable renditions of "Honeysuckle Rose" along with "Come Rain Or Come Shine." The guitar and bass intro to "Don't Get Around Much Any More" combined with a subtle vibraphone solo from Red Norvo reinforce the elegance and sophistication from a long forgotten era when jazz was indeed the popular music of the day and dressing for dinner may have been considered the norm. Flip Phillips tenor solo mirrors the understated elegance that is Benny Goodman. The medley to close out the set includes classic Goodman performances of "Stompin At The Savoy" and "Moonglow."

There are more releases to follow in what appears to be one of the finest historical series issued in years. Tremendous effort has gone into not only artist selection but remastering the old tapes to more high end standards. The day of the digital download is here. There has been a long standing argument that jazz ironically died in 1959, the same year this concert was recorded. Jazz is far from dead. Jazz much like history in general is a treasure chest of knowledge and artifacts to be cherished. It is impossible to move forward if you do not know where you have been. Thanks to JazzHaus records there is a fitting time capsule to honor some of the giants of jazz.

Tracks: Let's Dance; Air Mail Special; Raise The Riff; Honeysuckle Rose; Come Rain Or Come Shine; Let Me Off Uptown; Gotta Be This Or That; Body And Soul; Whispering; Medley: Not For Me, Four Brothers, Blues; Breakfast Feud; Memories Of You; Don't Get Around Much Anymore; Ten Bone; Medley: Don't Be That Way, Stompin' At The Savoy, Sunny Side Of The Street, In A Mellow Tone, Moonglow, Bei mir bist du scheen.

Personnel: Benny Goodman: clarinet, arrangements; Anita O'Day vocals; Russ Freeman: piano; Red Norvo: vibraphone; Jack Sheldon: trumpet; Flip Phillips: tenor saxophone; Bill Harris: trombone; Jerry Dodgion: flute; Jimmy Wyble: guitar; Red Wooten: bass; John Markham: drums.

http://www.naxos.com/

Special Thanks To Michael Bloom Media Relations.

Fred Hersch Alone At The Vanguard Palmetto 2012

2012-02-25T06:49:00.060-08:00

Street Date March 1st 2012

Solo piano work is risky at best. Fred Hersch thrives in a musical setting that can expose an artist warts and all. Instead of hit and miss releases or a set list of standards that have been done to death, Hersch explores a more conceptualized look at his own life and the virtual flawless execution of this performance is a dramatic testament to the human spirit that triumphs over some physical roadblocks placed in Hersch's way. Fred Hersch has the unique ability to channel these obstacles as creative fuel for his incredible artistic vision.

Alone at the Vanguard is the forth and perhaps finest live solo piano recording with Hersch in rare form. Fred Hersch approaches his music from a different harmonic place than most pianists. With the exception of Chick Corea, Hersch could easily be considered the closest artist to a modern day Bill Evans. This particular recording announces Hersch's return after a two month aids-related coma. While the physical and mental stress could have easily sidetracked a lesser artist, Hersch seems to excel in this environment with an infectious joy of inspiration that would seem to transcend the industry imposed limitations of genre and advance Hersch's music into a special musical realm all it's own.

"In The Wee Small Hours of the Morning" and "Memories" of you are interpretations of tunes that play to Hersch's introspective strengths. Hersch displays a thoughtful contemplation that borders on wistful melancholy but never the self indulgent. "Pastoral" is dedicated to classical composer Robert Schumann and while this tune allows Hersch to explore a captivating contrapuntal style there is an intimate all most reflective ambiance that overtakes this tune that would indicate Hersch is hearing melodies in a very unique fashion as opposed to some of his contemporaries. "Work" seems to be a Hersch riff on Thelonious Monk but done is such a unique and individualistic approach as to accentuate a captivating air of sophistication.

Fred Hersch while revered in the jazz community is often overlooked in some critical discussions. Let's face it, times are tough and everyone has an entertainment dollar that is stretched to the limit. If you could have but one Hersch recording in your library then Alone at the Vanguard would fill the space nicely. An epic performance from one of the most gifted pianists of our time.

5 Stars.

Tracks: In The Wee Small Hours Of The Morning; Down Home; Echoes; Lee's Dream; Pastorale; Doce de Coco; Memories Of You; Work; Doxy.

Personnel: Fred Hersch: solo piano.

http://www.fredhersch.com/