@CriticalJazz

Marcos Pinn Factor E Reset Barbanza Freecode 2012

noreply@blogger.com (brent black) — Tue, 21 May 2013 06:36:09 PDT

Guitarist and composer Marcos Pin's seventh release Barbanza is an incredibly eclectic yet decidedly straight ahead offering with a twist of Spain smoldering just below the surface. In doing some due diligence on this release, I ran across a review on All About Jazz. While I may have looked at their blog less than a half dozen times since leaving as a contributor, I noticed their critic stated this could be readily considered an Iberian project. To stereotype this project simply because all the participants are from Spain would be like saying all musicians from Chicago play the blues.

Granted the Iberian flavor runs just below the lyrical sense of forward motion this release creates the overall sound of the release is not easily defined which is a beautiful thing. The All About Jazz critic goes on to write the compositions readily reflect the feelings evoked by Pin's current homeland. With no reference to the compositions provided either on the release or in the standard press one sheet this type of conjecture is playing fast and loose with an artists work and subsequent opinion created for critical analysis - something their editor often warned me about.
I bring this up not to make a case against All About Jazz but to instead show that the disingenuous labeling of an artistic voice can be a dangerous if not highly inaccurate presentation for the casual listener.

"Sounds like..." is an inherently unfair artistic comparison and with that being said there is a fluidity in Pin's playing that combines world music with the form and function of the modern jazz performers here in the United States. Marcos Pin is as formidable an arranger as he is a performer and the group dynamic give the release the vibrant feel one might associate with an Iberian connection but on a more contemporary footing. "Bagueera's Dilemma" and the vibraphone work of Ton Risco create a delightful warmth and intimate charm that is indeed as inviting as it is beautiful. The contrasting tune "Escarabote's Blues" is a far more open ended and free form sonic exploratory that while distinctly segmented manages to pull the ensemble cast as well as this critic into a new and challenging world of a large ensemble walking the sonic tightrope between their own culture and the traditions perhaps inspired from some more western influences. While I felt a slight disconnect with the cover art and the music there is very little to say on a critical basis when discussing this release.

A textured feast that hits both the visceral and cerebral senses hard and leaves one curious as to what may be in store in the future. Marcos Pin is a name to remember!

Track Listing: Bagueera's Dilemma; Moment's Notice; Bico De Mar; San Finx; Where Are They?; Noite De Sereas; Escarabote's Blues.

Personnel: Marcos Pin: guitar; Javier Pereiro “GD Jazz”: trumpet, flugelhorn; José Luis Miranda: trombone, euphonium; Pablo Castanho: alto saxophone, flute; Xosé Lois Miguelez: tenor saxophone; Toño Otero: tenor saxophone, baritone saxophone; Ton Risco: vibes; Manolo Gutiérrez: piano; Juansy Santomé: double bass; Max Gómez: drums.

www.marcospinn.es

Jack Mouse Group Range of Motion Origin 2013

noreply@blogger.com (brent black) — Tue, 21 May 2013 05:39:20 PDT

Origin Records is an often over looked label when in reality they have a stable of artists that are as technically proficient and artistically gifted as most any other label one can think of. The Jack Mouse Group is certainly no exception and with a distinguished musical resume including work with such luminaries as Kenny Burrell, Bob Mintzer, and Sheila Jordon it is easy to see this is not Mouse's first rodeo.

Jack Mouse has assembled what is essentially a quintet with two bass titans in Bob Bowman and Kelly Sill splitting time on Range of Motian. The fact that Mouse has a long standing history with all the participants here only strengthens the musical chemistry which translates into an exciting group dynamic reminiscent of the classic Blue Note sound simply brought up to date with unique and challenging arrangements of some original compositions destined to stay around for some time.

While the focus on a distinct ebb and flow may not have been the primary concern in putting this project together the lyrical sense of purpose with which this quintet approaches their craft allows each voice to make their own statement with the end result a delightful synergy of what happens when all the stars are in perfect alignment for a recording date. "Hip Check" has a certain pop of vitality and was fittingly inspired by hockey legend Bobby Orr and his devastating hip check he would lay on opponents as a lovely parting gift for invading his space. "Prairie Dance" is a tune that allows Mouse to go back to the future with inspiration from playing country dances at the community center in Emporia Kansas as a youth. "Loose Weave" is perhaps the most adventurous piece as a free form duet with long time friend and saxophone player Scott Robinson.

A solid presentation of compositional excellence coupled with a musicality that knows no limitations. Origin Records and Jack Mouse bang out another winner!

4 Stars!

Personnel: Scott Robinson: tenor & soprano saxophones, flute; Art Davis: trumpet & flugelhorn; John McLean: guitar; Bob Bowman: bass (3,4,6,7,8); Kelly Sill: bass (1,2,5,9); Jack Mouse: drums.

Tracks: LaPorta; Slow Helen; Winterset; Hip Check; Raucous Caucus; The Breezeling; Mean Streak; Prairie Dance; Manne-rism; Loose Weave.

BWB Human Nature Concord Music Group 2013

noreply@blogger.com (brent black) — Mon, 20 May 2013 20:25:55 PDT

Since the passing of Michael Jackson there have been numerous tribute release from a plethora of artists covering just about every genre known to man. Covering pop songs in a jazz setting can be the musical equivalent of tap dancing in a sonic mine field. There are two primary dangers that have plagued artists attempting to do nothing more than pay fitting tribute to a global superstar. The first challenge would be the arrangements which more often than not go karaoke before you can blink. The second challenge is the transformation of the particular work into a new artistic presentation where the performing artist can make it their own if for only a brief moment in time. The emotional connectivity is often missing and there is an inherent feeling of sadness that begins to permeate the recording that some artists can never work past.

BWB and their release Human Nature manages to transcend the inherent dangers of doing a tribute record with lifeless covers to doing an imaginative reharm of Jackson classics that turn into a musical celebration of a life lived and contributions that will continue to inspire the next generation of artists and fans alike. BWB released their first recording titled Groovin' back in 2002 when Rick Braun, Kirk Whalum and Norman Brown were all recording for a different label. Despite having not worked as a cohesive unit for over a decade, there is an undeniable chemistry that allows perhaps the three hottest names in contemporary jazz to explore the possibilities of one of the most famous catalogs of all time. For those thinking "smooth jazz" you may want to actually listen to the entire recording before passing premature judgement. The arrangements lean more to the modern jazz interpretations of popular music i.e. John Coltrane and "My Favorite Things."

The more serious harmonic extensions laid out on some of Jackson's most popular tunes include a modern post-bop approach to "Billie Jean." Kirk Whalum gives a Memphis vibe and an exciting blues twist to "Who's Lovin' You." The classic tune "Beat It" turns into a Rick Braun joint with an addictive reggae-ska riff that takes dance music to a totally different and more organic level then perhaps even Jackson could have imagined. Norman Brown lays down a George Benson groove that is timeless and tasty in flavor and presentation. Complex melodies and sophisticated use of harmonies make for a textured release that far outshine the expected pop music covers one might come to assume would be the logical direction for this project.

Two Grammy winners in Norman Brown and Kirk Whalum reunite with perhaps the most versatile contemporary trumpet player of our time to turn out a vibrant celebration of the musical life and times of the King of Pop. This dynamic trio pulls off the unthinkable as well if not better than any other recording artists to date!

Tracks: Another Part Of Me; Billie Jean; Human Nature; Beat It; Who's Lovin' You; She's Out Of My Life; Shake Your Body; The Way You Make Me Feel; I Can't Help It; I'll Be There; Man In The Mirror.

Norman Brown: guitar; Kirk Whalum: tenor sax; Rick Braun: trumpet

@CriticalJazz / Tragedy In Oklahoma

noreply@blogger.com (brent black) — Mon, 20 May 2013 18:42:32 PDT

By now the vast majority of you are aware of the devastation that has rocked Oklahoma due to the unprecedented E-5 tornado outbreak just south of Oklahoma City. The great state of Kansas has suffered significant damage as well. I hope you will join @CriticalJazz is sending out your positive energy and prayers to the people that have been directly impacted by this tragedy.

At last count the death toll was at 51 and climbing. Positive energy and prayer are wondrous things but the reality is these citizens have tangible needs that must be met immediately. Thousands have lost everything. Imagine losing everything you have to an act of God and there was nothing you could do to stop it. The psychological impact of the storms alone is so great that some people never recover.

You can help! Do not think that the Federal Government can simply roll in there with a fistful of checks and problem solved. Please join me in doing what you can no matter how small. One million small donations add up to one massive donation. Challenge the people you work with, your local schools and even your local houses of worship. Contact the American Red Cross or the Salvation Army in your area to find out where your resources can do the most good.

What makes this country the greatest nation on the face of the earth is the willingness and ability to help out a neighbor in need, even those we have never met. The motto of the Commonwealth of Kentucky which is my home state is "United We Stand, Divided We Fall."

Truer words were never spoken. May God bless those rocked by this terrible tragedy and please take the initiative to do what ever you can to help!

The Death of Liberty Courtesy of Barack Obama.

noreply@blogger.com (brent black) — Sun, 19 May 2013 22:41:21 PDT

Let us review...

1.) 12 documented revisions to his talking points on the massacre in Libya that he and Hillary are directly responsible for. Blame shifted to a You Tube Video? Are you serious? Strike One.

2.) The I.R.S was allowed to target people and groups simply based on their disagreement with his Marxist philosophy. Reliable sources said he knew before the election but did not release it till he began having his head handed to him over Libya. Strike Two.

3.) The Obama Administration illegally spied on Associated Press Editors with no probable cause of any kind. Meanwhile...Obama promised the most open and transparent Presidency in history. Swing and a miss!

Impeachment proceeding must begin as soon as possible as it is clear Obama is unfit to carry out the duties of his office.

And...Liberals STILL want to bring up and shift blame to George Bush. Eric Holder found no evidence of any high crimes or misdemeanors concerning Bush or Cheney. Taking poorly founded rumor or opinion and attempting to pass it off as factual evidence of a crime does not fly. Obama voted to fund the war so where were his principles then? Taking the moral high ground as necessary to further your self serving agenda is not the way...Make no mistake, Bush had his problems but nothing on the scale of violating basic rights and freedoms as is the case with Obama.

I guess when Obama care goes into full effect good ol George will take it up the shorts for that pending train wreck. The architect of this bill Tom Harkin is now on the record as stating it is a train wreck waiting to happen. Health care premiums are on the rise while they can get away with it and here is the kicker...The penalty for not having insurance is less than the average monthly premium according to O.M.B. so where is the incentive to purchase the insurance?

When you let political ideology and blame shifting draw your attention away from the facts as presented here then your issues run far deeper then political ideology.

Good luck with that...

Yoron Israel & High Standards / Visions - The Music of Stevie Wonder 2013

noreply@blogger.com (brent black) — Sun, 19 May 2013 20:58:07 PDT

The Berklee College of Music is world famous for churning out the best and the brightest artists to hit the jazz scene on a consistent basis. With drummer, composer, and arranger Yoron Israel currently serving as Assistant Chair and Professor of Percussion at Berklee it is of little wonder that the talent hitting the clubs and concert halls on both a local and national level are of such consistently high standards. The new release Visions - The Music of Stevie Wonder is not simply a ten track cover release of the expected greatest hits. Yoron Israel goes deep catalog and while taking some songs that may strike an immediate chord with the hard core Stevie Wonder fan, he digs deep and deconstructs some more eclectic offerings and does a masterful job at recreating the work of an acknowledged master to fit his own unique artistic voice.

In terms of a performance resume you can list such luminaries as guitarist Ed Cherry, organist Kyle Koehler and tenor and soprano saxophonist Billy Pierce. Israel is a dynamic performer seemingly not content with the status quo but highly respectful of the immense body and artistic significance attached to Stevie Wonder's immense discography. Israel has several ensembles with which he performs but here we are treated to his 4tet High Standards. As a leader Yoron Israel lays comfortably in the pocket while the group dynamic fully develops on tunes such as "All In Love Is Fair" and "You Are The Sunshine Of My Life." The inherent groove associated with virtually all of Stevie Wonder's compositions makes for a seamless transition under the skillful pen and hands of Israel. For a great many artists, covering one Stevie Wonder tune is a daunting task but to attempt to reharm ten tunes while never mangling the beautiful melody could very well be the musical equivalent of tap dancing in a mine field. The selection of some lesser known but equally as impressive Wonder tunes sets this collection apart from the vast majority of others that have crashed and burned in the attempt.

A wonderful hybrid of lyrical texture reinforced with both Latin and African influences in a more traditional straight ahead or hard bop setting works incredibly well here. Avant-garde improvisation is readily available and in full effect but never to the point of forcing the listener off the edge of a melodic cliff. Yoron Israel draws from within as well as his exemplary academic career to take on the daunting task of doing his own riff on Stevie Wonder and he slays it.

Incredibly entertaining for the casual listener or studious professional!

4 Stars.

Tracks: Another Star; Bird of Beauty; All In Love Is Fair; Creepin'; Visions; You Are The Sunshine of My Life; Contusion; Passionate Raindrops; Where Were You When I Needed You; Visions Reprise.

Personnel: Yoron Israel: leader, drums & percussion; Lance Bryant: tenor and soprano saxophone; Lazlo Gardony: piano, keyboards; Ron Mahdi: bass; Thaddeus Hogarth: guitar (2), harmonica (8); Larry Roland: spoken word (5,10).

www.yoronisrael.com

Joe Bonamassa & Beth Hart See Saw J R Adventures 2013

noreply@blogger.com (brent black) — Sun, 19 May 2013 21:08:20 PDT

A perfect pair...

Labels are a fickle mistress which is why the limitless talent of Joe Bonamassa has to drive the vast majority of critics and perhaps the odd label executive crazy at times. Simply put, this cat can play anything as is evidenced with the tunes on Seesaw. From the Ike & Tina Turner review to Melody Gardot, Bonamassa transcends typical limitations thrust upon artists by well meaning critics and label executives alike. Normally when an artist such as Bonamassa can make a stage burn much in the same way as an Eric Clapton his "wheelhouse" seems to be decided for him. Joe Bonamassa's musicality combined with the raw visceral vocals of perhaps the best unknown female vocalist on the planet in Beth Hart make this release something "special" and this may be the classic undersell.

Words like eclectic get a little played out when referring to the collection of tunes here. What we have is great music performed by artists at the top of their game without having their work sanitized for your protection by a producer that struggles to see past the glass in the studio. I have heard some say the blues is dead, I don't think so. Joe Bonamassa is far more than a blues guitarist looking for a quick pay day. The incredibly sophisticated use of harmonics no matter the genre have the Bonamassa sound taking on a life of its own. Some guitarist sound stiff and noticeably uncomfortable when venturing out side of the confines of their musical comfort zone yet Bonamassa seems to relish the challenge.

Beth Hart is a spitfire vocalist molded from that Janis Joplin, Bonnie Raitt school of rock and blues colliding as one. The vocal on "Nutbush City Limits" is simply stupid good. Hart is far from a one trick pony as she dials back the intensity to go a little more cerebral and high light her incredible range with the Melody Gardot tune "I Love You More Than You'll Ever Know" which translates perfectly to a blues number where Bonamassa shines. "Can't Let Go" is a shuffle on steroids with a relentless back beat and an infectious chemistry between all the participants. The stars were in perfect alignment for this recording.

Beth Hart has the all to rare ability to tug at a heart string while setting your hair on fire at the same time. Joe Bonamassa is the modern day Roy Buchannan (google the PBS Special on the worlds greatest unknown guitarist) who could move from Mozart to Muddy Waters in a set list and never miss a step. The word virtuoso while applicable is a bit tired. If you have never heard the amazing talent of Bonamassa and don't buy into the premise of a higher power, trust me...you will! This record is so good it is all most ridiculous...

Memphis soul meets Muscle Shoals with additional tunes from and associated with Donnie Hathaway, Lucinda Williams and Etta James.
My advise to you? Buy all the Beth Hart and Joe Bonamassa you can afford.
Memphis soul, Chicago blues and a Texas shuffle sprinkled with funk, flair and finesse.
Even the most hypercritical of critics could find nothing wrong here!

Tracks: Them There Eyes; Close To My Fire; Nutbush City Limits; I Love You More Than You'll Ever Know; Can't Let Go; If I Tell You I Love You; Rhymes; A Sunday Kind Of Love; See Saw Strange Fruit.

Personnel: Beth Hart: vocals; Joe Bonamassa: guitar and vocals; Anton Fig; drums and percussion; Carmine Rojas: bass; Blondie Chaplin: rhythm guitar, backing vocals and percussion; Arian Schierbaum: organ and piano; Lee Thornburg: trumpets and trombones; Ron Dziubia: saxes; Lenny Castro: percussion ( "I Love You More Than You'll Ever Know"); Michael Rhodes: bass ( "I Love You More Than You'll Ever Know"); Doug Henthorn: backing vocals (Can't Let Go); Jeff Bova: string arrangements; Lee Thornburg: brass arrangements.

Music Critic Reviews / Social Media falling on deaf ears.

noreply@blogger.com (brent black) — Sun, 19 May 2013 07:16:31 PDT

After sitting through a flame war on a drummer's face book page this morning I felt compelled to re post this video from You Tube that sums up my feelings on artists and especially those writing about music in the market place of today. If I could shoot a video, I don't believe I could have expressed myself any better than the cat in the bathrobe. I left the "conversation" on race to this artists politically correct friends to banter about while patting each other on the back to reaffirm the validation that apparently their collective mothers were unable to give them as children.

Enjoy!

Michel Camilo What's Up? Okeh / Sony Master Works 2013

noreply@blogger.com (brent black) — Sat, 18 May 2013 20:02:16 PDT

The days of the extended major label deal are all but done. Michel Camilo is back with Sony Masterworks / Okeh to take on the daunting task of the solo piano recording, luckily this is not Camilo's first rodeo when it comes to perhaps the most challenging presentation that a pianist can make. Michel Camilo sticks to his wheelhouse and delivers an incredibly engaging performance full of Afro-Cuban poly rhythms and the signature skill that is the power of his left hand combined with a deft touch for a delightfully intimate and organic presentation of his artistic DNA.

Michel Camilo's storied career is highlighted as a Grammy, Emmy and Latin Grammy award winning pianist and composer thus completing the musical hat trick for this Dominican Republic born virtuoso that seems to raise the standards for modern jazz with each subsequent release. With What's Up, Camilo contributes seven originals and four dynamic arrangements of some jazz and Latin standards. Highlights here are all most too numerous to mention but several stand out tunes include his reharm of the Cole Porter classic "Love For Sale" and a reinvention of Compay Segundo's "Chan Chan" which is pure flavor and yet another trademark of the Camilo sound. The cover of "Take Five" complete with perpetual poly rhythmic intricacies is Camilo's personal homage to the iconic Dave Brubeck. As stated earlier his is not Camilo's first attempt at solo piano (most artists try it once and move on) with his last solo project having been release in 2005 but this may be arguably be his finest overall work to date.

The sophisticated all most elegant use of jazz harmonies combined with some vibrant Latin textures elevate his sound to a musical happy place, a jazz smorgasbord where one can sample from an amazing sonic buffet of a vibrant sonic color pallet from which there may be no equal.

Michel Camilo gets started on the right foot with his return to Sony Master Works / Okeh with an incredible new release destined to be talked about for years to come. Camilo is indeed my musical easy button!

Tracks: What's Up; A Place In Time; Take Five; Sandra's Serenade; Island Beat; Alone Together; Paprika; Love For Sale; Chan Chan; On Fire; At Dawn.

Michel Camilo - Solo Piano

www.michelcamilo.com

David Ake Bridges Posi-Tone 2013

noreply@blogger.com (brent black) — Sun, 19 May 2013 21:14:15 PDT

You can count the number of labels with a firm commitment to the more straight ahead scene in modern jazz on one hand with Posi-Tone perhaps leading the way with the most dynamic young talent that can easily be considered the future of modern jazz. David Ake and his new release Bridges is certainly proof positive of this point with a virtual all star line up of rising stars and artists that are achieving that special level of creativity that other labels seem intent on stifling.

David Ake takes a giant leap forward with his new sextet and the inspired playing puts Bridges in that special category of the classic working band, the large ensemble sound of both Blue Note and Impulse from the mid 1960's. The co-conspirators here include renowned bassist Scott Colley, alto sax fire ball Peter Epstein, under appreciated trumpet phenom Ralph Alessi, the ever evolving talent of Ravi Coltrane and steady rollin' Mark Ferber on drums. A more modern riff on hard bop with a swing that permeates the soul while never losing the importantly lyrical flow of accessibility allows for the panache that most large ensembles struggle to find even after years of working together.

The title track "Bridges" is a syncopated exploratory of haunting mystery as both the tune and the album begin to develop an incredibly organic pulse highlighted by the brilliant offerings of Ravi Coltrane and Peter Epstein, two saxophone playing in a delightful harmonious union as one voice. Both bassist Scott Colley and pianist David Ake provide the subtle nuances of textured simplicity while working the odd metered tightrope without a net. If you are not familiar with the work of Ake don't worry, I wasn't either. Ake clearly demonstrates the technical proficiency and artistic depth that allows him to play with the band, not over or around them. "Dodge" is a nine minute plus epitome of what "Swing hard or go home" is all about for this critic. Call it chemistry or call it sonic synergy, led by the walking bass line of Colley and the minimalist approach of Coltrane where no notes are wasted this is a tight unit any way you slice it. "Light Bright" is much like the title tune "Bridges", an odd metered tune that is a wondrous hybrid of simplicity and complexity and Ralph Alessi on trumpet turns in a stellar performance.

What allows Ake to shine and Bridges to work so well is a balanced approach. No voice is lost in the shuffle and no artist approaches the self indulgent cliff so as to allow the listener to experience a true group dynamic rarely presented on this high of a level in jazz today.

An inspiring performance and one of the better large ensemble recordings today.

Tracks: Bridges; Sonomads; Waterfront; Story Table; We Do?; Boats (exit); Year In Review; Open/Balance; Dodge; Grand Colonial; Light Bright.

Personnel: David Ake: piano; Scott Colley: bass; Peter Epstein: alto sax; Ralph Alessi: trumpet; Ravi Coltrane: tenor sax; Mark Ferber: drums.

www.posi-tone.com
www.amazon.com
www.itunes/apple.com

Billy Talbot Band On The Road To Spearfish Vapor 2013

noreply@blogger.com (brent black) — Mon, 20 May 2013 20:41:10 PDT

Occasionally I receive comments inquiring do I review anything else besides jazz. I do.

There are some basic criteria I use to see how far off the beaten path I may fear to tread. I look at the impact of the artist or artists in question and ask myself two important questions: 1.) "Have they made a lasting contribution to the music scene be it popular or otherwise?" and the more ambiguous question being, " Personal taste aside, just how interested would the majority of people be in this particular recording." The BillyTalbot Band passes virtually any litmus test you can think of and the latest release On The Road To Spearfish is an organic and autobiographical look at an artist that has had a major impact on rock and roll while being the point man for Crazy Horse (i.e. of Neil Young fame) arguably the greatest back up band in rock history. Crazy Horse and their impact on such artists as Nirvana and Pearl Jam are undeniable. Billy Talbot could easily lay claim to the title of the godfather of grunge as Crazy Horse was one of the key players when discussing modern day jam bands and their ultimate impact on musicians 25 years later.

On The Road To Spearfish is as ethereal and evocative and the inspiring cover art of the one story schoolhouse now converted into a music room and guest quarters somewhere on the plains of Spearfish, South Dakota. Talbot's intimate look at raw personal emotions is a cathartic release and chronicles the joyous and sometimes melancholy state of the creative process as it relates to the personal experience. Wonderous sounds capes of lyrical poetry paint vivid imagery in a setting known for a stark existence. Similar to the last recording from the late Warren Zevon finds Billy Talbot taking a more intimate look at his life and times and their relationship to his artistic voice while proving all knobs turned to the right and the power of the classic jam band can be deconstructed to its simplest form without losing any of the angst and power that is synonymous with Crazy Horse.

In search of the lost groove...

"Miller Drive" is the darkest tune whose genesis was from pure improvisation as Talbot and his band mates found their rhythm in an addictive display of what might be best referred to as a neuro-chemical reaction of musical like minds in the perfect environment. The elusive groove or swing for jazz aficionados is an innate feeling something worked for by musicians their entire career not something that is taught with any degree of measurable success in the music schools that dot the landscape of this country. While Talbot has always played his own music, the power and intensity of Crazy Horse seems to now be a part of the Talbot DNA and a cathartic release from the stumbling blocks of every day life. "Ring The Bell" is a more soulful vibe acknowledging the personal impact on the first election of President Obama. A slight E Street Band riff runs through this tune layered with horns and an unbridled optimism that Obama supporters were known for before "Hope and Change" stiffed out as fast as some records these days.

From a critical perspective On The Road To Spearfish is the sonic equivalent of attempting to fit a square peg in a round hole. Talbot is a musical enigma, changing and evolving while never losing touch with his own emotional sense of self.

Both defining and defying standard categorization, Billy Talbot and his impact on musicians of today can be directly linked back to what may well be the sleeper of the year for rock music.

Tracks: Empty Stadium; Runnin Around; Cold Wind; On The Road To Spearfish; Big Rain; The Herd; Miller Drive; God and Me; Ring The Bell.

Billy Talbot Band:

Erik Person, Ryan James Holzer, Matt Piucci; Mark Hanley; Tommy Carns; Stephen Junca.

Tony Adamo Miles of Blu Random Act 2013

noreply@blogger.com (brent black) — Sun, 19 May 2013 05:13:24 PDT

As the business and cultural landscape of improvisational music has evolved over the last year or two I am starting to notice a slight trend toward the inclusion of poetry and spoken word passages on some recordings and with incredibly mixed results. Tony Adamo is releasing a spoken word recording or "beatnik jazz" that is way outside my personal wheelhouse but when you toss in drummer Mike Clark, pianist Michael Wolf and horn ace Stephen "Doc" Kupka you end up with the next generation of hip. Sort of a deconstructed Miles Davis Birth Of The Cool amped up to the new millennium. Adamo is much in the same way as Miles, a visionary.

Tony's unique vision has opened up yet another sub genre on the jazz family tree being commonly referred to as "HipSpokenWord." Personally I like "Beatnik Jazz" better but to each his own. Jazz / funk drummer Mike Clark is the producer and lends his prolific talents to help elevate Adamo's game to the next level. When you have the former musical director for Arsenio Hall in Michael Wolf and Tower of Power veteran "Doc" Kupka then you know people are indeed buying what you are selling. Adamo's words are powerful, topical and guaranteed to make you think while expanding your musical horizons into a well defined poetry for the culture today.

"JB" kicks off and pays tribute to the hardest working man in show business while "America R We Free?" is a more personal statement involving the p.o.v of America being built on the blood sweat and tears of the middle class. While not necessarily agreeing with Adamo's politics, I would be the first to applaud his fearlessness in putting himself "out there." A former editor would often caution me on gratuitous self references but whether you are a writer or a vocal artist, a shared perspective is just that and what the audience chooses to do or make of it is strictly up to them. "Sun-Ra Rockets To Mars" has a more ambient vibe and spatial integrity reinforced by the relentless groove of producer Clark.

With the exception of only a handful of traditional rap artists, most creative vocalists are lacking the substance and stamina to put an entire recording on their backs in an effort to either spread their message, music or both. Tony Adamo makes it look effortless and with a virtual all star line up he gains the freedom to let his imagination soar. Sometimes stepping outside your musical comfort zone is a good thing and Tony Adamo makes it an enlightening experience!

4 Stars for creativity and ingenuity alone!

Tracks: JB; Miles Of Blu; Funkin' At The Chickn Shack; America R We Free?; BBQ; The Power Of Funky Madness; Soul Vacation; Don't Change Horses; Ain't That A Groove?"; Jack Kerouac, Jack!; Sun-Ra Rockets To Mars; What Is Hip?" The Other Side Of Time; Ticking Clock.

Personnel: Tony Adamo: vocals, hipspokenword; Mike Clark: drums; Tim Ouimette: trumpet / trombone; Bill Harris: bari / alto / tenor sax; Richie Goods: bass; Delbert Bump: organ; Steve Homan: guitar; Gary Mielke: bass / keyboards; Rob Dixon: tenor / alto sax; Derrick Gardner: trumpet; Stephen "Doc" Kupka: bari sax; Brett Palm: bass; Bill Summers: percussion; Kati Mac: background vocals; Tom Guarna: guitar; Michael Wolf: piano.

www.tonyadamo.com

www.randomactrecords.com

Bob James & David Sanborn Quartette Humaine Okeh Sony Classical 2013

noreply@blogger.com (brent black) — Mon, 20 May 2013 18:30:18 PDT

My musical easy button...Having grown up listening to both Bob James and David Sanborn, I can say without hesitation that I may be a tad biased but when you are lucky enough to have your musical horizons broadened thanks to the ever evolving talent of Bob James then life is indeed good. Earlier this year Bob James was kind enough to field some questions for this site and with that came the best reminder a critic or a musician could ever hope for...Always be open to new ideas and new ways for expressing your artistic voice.

Aside from the equally talented David Sanborn, the addition of James Genus on bass is nothing short of a stroke of pure musical genius. Genus quietly goes about his craft with the precision and flair that make some draw comparisons to Christian McBride. While artistic comparisons are inherently unfair to all parties it is safe to say that James Genus is on equal footing with any acoustic bassist and paired with legendary drummer Steve Gadd (Eric Clapton, Paul Simon, Steely Dan and Chick Corea) you have a formidable rhythm section with unlimited musicality and the perfect harmonic base from which James & Sanborn can work without a net.

The conceptual basis for this stellar offering is two fold. Bob James has the same innate gift that the great Dave Brubeck has for establishing an emotional connectivity with the audience and musicians involved in this session while David Sanborn assumes the Paul Desmond role while channelling his inner Hank Crawford and David "Fathead" Newman for that lyrical intensity that inspired the young Sanborn while growing up in St. Louis. Quartette Humaine is the first full fledged reunion since the 1986 platinum selling, Grammy Award winning release, Double Vision.

James & Sanborn contribute seven original compositions out of the nine tunes listed with two covers arranged by James. A review in the traditional sense does not seem to work here. For those with more contemporary tastes consider this the acoustic flip side to Double Vision. If the straight ahead vibe is your wheelhouse then you may be hard pressed to find a better recording this year.

Bob James & David Sanborn's Quartette Humaine is a celebration of great American music from two of the most influential figures across any genre of the music business today.

Perfection on a shiny silver disc.

Tracks: You Better Not Go To College; Geste Humain; Sofia; Follow Me; My Old Flame; Another Time, Another Place; Montezuma; Genevieve; Deep In The Weeds.

Personnel: Bob James: piano; David Sanborn: alto and soprano, sopranino saxophones; Steve Gadd: drums; James Genus: bass; Javier Diaz: percussion on "Deep In The Weeds".

Photo courtesy of media page at www.bobjames.com
You can also check out www.davidsanborn.com

Look for Bob James and David Sanborn to be touring across the United States this summer with dates including the Playboy Jazz Festival on June 16th in Los Angeles and the Montreux Jazz Festival in Montreux, Switzerland on July 16th.

Roger Davidson Journey To Rio SoundBrush 2013

noreply@blogger.com (brent black) — Thu, 16 May 2013 21:31:29 PDT

Roger Davidson may be more commonly referred to or referenced as a classical artist despite the fact the upcoming release Journey To Rio is his fifth recording to take on some dynamic Brazilian originals coupled with his French inspired compositions. To aid further authenticity to this impeccable recording the brilliant Argentine bassist Pablo Aslan takes on the role of producer with that special brand of flair and panache that pushes this release to a remarkable display of texture, color and vibrant nuances that characterize the sound of Rio.

A strong sense of melody and lyrical flow is the overwhelming key to success for this two disc set that spotlights the classic bossa records made famous by the great Stan Getz. A tight ensemble cast that performs with a relentless groove allows for a spatial context of a warm open ended sound that makes room for the ensemble cast to stretch out when necessary but never overwhelming the listener with one singular voice. The group dynamic takes center stage and is as captivating as it is organic.

While Brazilian music goes far deeper than just the classic bossa sound, Davidson creates his own hybrid of French and Brazilian inspired harmonies in "Je m'en Souviens" which weaves a simple melody between piano and soprano saxophone. "Soir Bresilien" is a solo piano work that borders on the cinematic with the right amount of French influence to keep things interesting. The somewhat conceptual nature behind this recording is the global aspects of jazz as an international musical language and the positive energy that ensues when music is played from the heart and with a genuine passion that transcends labels, genres, and a variety of other self imposed limitations.

Roger Davidson continues to channel his passion for Brazilian music into a globally inspired multi-cultural feast for the senses!

4 Stars

Personnel: Roger Davidson: piano; Marcelo Martins: tenor and soprano saxophone and flute; Gilmar Ferreira: trombone; Leonardo Amuedo: guitar; Ney Conceicao: electric bass; Sergio Barrozo: acoustic bass; Rafael Barata: drums; Paulo Braga: drums; Marco Lobo: percussion.

Tracks: Journey To Rio; O Jogo; Summer Walk; Amantes para Sempre; Embrasse-moi; Minha Alegria; Memories of Deborah; Moonlight Bossa; Samba 3; Je m'en Souviens; Soir Bresilien; Gateway To Love; Viagem; Zilda;

Disc 2 : Sonho de Amanha; Bridge to Bahia; Sonho do Amor; Onde Esta o Amor; First Kiss; Olhos de Ouro; O Gato; O Unico Amor; Noite Triste; Morning Breeze; Sunset; One Samba Note; Love Across Time; To Brazil With Love.

Brian Simpson Just What You Need Shanachie 2013

noreply@blogger.com (brent black) — Thu, 16 May 2013 19:54:06 PDT

For some Brian Simpson is known primarily as the musical director for Dave Koz, nice work if you can get it! Others have followed Simpson and his steady rolling consistency as he has worked his way up to the top of the contemporary instrumental food chain. With Just What You Need, Simpson enlists the aid of some of the most dynamic talent working the radio format formerly known as smooth jazz and is instead leading the pack in reinventing the sound into a more fusion oriented vibe that should cut a wide path for listeners of discriminating taste.

The cast of characters here includes Marc Antoine, Dave Koz and former Trippin-N-Rhythm fixture in Nate Harasim. Shanachie is an Independent label that has managed to survive and squeak by with a level of predictability and mediocrity that has been uninspired to be kind. Brian Simpson is simply a step up in weight class. Simpson is a technical wizard ripe with soul and an innate sense of lyrical flow that is reminiscent of a modern day Oscar Peterson or Ramsey Lewis.
Other special guests include the great Jonathan Butler and rising star Nicholas Cole who turn in stellar performance on the opening track "Wherever You Go". The title track features a new shooter for contemporary saxophone in Elan Trotman and Gerald Albright highlights one of the finest tunes on Just What You Need in D'Groove where he lays down the righteous groove that is synonymous with one of the better contemporary players working today. Marc Antoine adds plenty of flavor to "In The Rain" while Nate Harasim continues to prove he is a formidable force when it comes to songwriting on "Soul Embrace" which was co-written with Simpson. The cover of "The Girl From Ipanema" could be fraught with lyrical landmines but the potential pitfalls of a pre-easy listening tune are avoided with a stellar arrangement that puts the paddles to a classic Jobim tune and gives the bright and breezy Brazilian vibe a shot of adrenalin that allows Simpson to take ownership of this classic if just for a brief moment in time.

While admittedly not a fan of the homogenized sound that seems to be associated with the Shanachie label, Brian Simpson has assembled some of the best established talent and hottest rising stars to offer up a release that is as varied in texture as it is lyrical flow. Brian Simpson is the real deal for contemporary instrumental music and would seem to be following the recipe for success which includes inviting similar talent that shares the same musical vision with stellar results. Contemporary jazz has the unfair stereotype of being a bit on the "one note" side but Simpson is a master at manipulating sound with color and a vibrant energy to reflect his own personal artistic statement. In terms of criticism, keep moving because there is none here.

Tracks: Wherever You Go; Just What You Need; Emerald City; Soul Embrace; A Love Like This; The Girl From Ipanema; D'Groove; In The Rain; Castaway; You Gotta Be.

Personnel: Brian Simpson: piano, keyboards; Jonathan Butler: lead guitar; Nicholas Cole; keyboards and programming; Darrell Crooks: guitar; Alex Al: bass; Brian Kilgore: percussion; Elan Trotman: tenor sax; Ron King: trumpet; Michael Broening: keyboards and programming; Yarone Levy: guitar, acoustic guitar; Nate Harasim: keyboards and programming; Dave Koz: tenor sax; Michael White: drums; Gerey Johnson: guitar; Marc Antoine: acoustic guitar; Oliver Wendell: keyboards; Jeff Robinson: vocals; Ray Fuller: guitar; Larry Kimpel: bass; Ronnie Gutierrez: percussion.

Dave Koz and Friends Summer Horns Concord Music 2013

noreply@blogger.com (brent black) — Thu, 16 May 2013 04:34:12 PDT

Remember when...

If you are my age and in that forty something age group then you remember that summer meant good times, good friends and great music! Dave Koz remembers and thanks to a little help from his friends Gerald Albright, Mindi Abair and Richard Elliot the summer releases from the late 60's and mid 70's live again in what has to be a dream release for saxophone fans!

You know the musical co-conspirators here with Grammy winner Gerald Albright, the incredibly versatile Mindi Abair and former member of Tower of Power the incomparable Richard Elliott. Toss in tunes including their own riff on the Earth Wind & Fire arrangement of "Got To Get You Into My Life" along with the classic album radio smash from Chicago "25 or 6 to 4" and the end result may well be "the" contemporary release for the summer of 2013. Additional guest artists include Michael McDonald, Jeffrey Osborne and Brian Culbertson (on trombone!). The tunes are eclectic in nature and incredibly well balanced running the sonic spectrum from the straight ahead classic "Take Five" to a righteous funk infused Jonathan Butler joint with Stevie Wonder's "You Haven't Done Nothin'." Rick Braun also makes an appearance and reinforces the fact that the arrangers play an integral role in the success of this project. Greg Adams who was the chief horn arranger for Tower of Power along with Tom Scott and Gordon Goodwin combine their talents with spectacular results. Legendary producer and guitarist Paul Brown drops by to solidify this all star line up and elevates a good recording to a level of greatness seldom reached in contemporary jazz that finds itself walking down the smoother side of the street.

For those that may struggle with the smoother side of jazz, Summer Horns is as cool as the other side of the pillow and is a far cry from what one may hear in the elevator of their doctors office.
Fresh off his critically acclaimed live release, Dave Koz and Summer Horns would have to be a critics best friend as this is a review that literally writes itself. A brilliantly balanced recording to appeal to all tastes. Dave Koz crushes this project!

Tracks: Always There; Got To Get You Into My Life; Rise; So Very Hard (featuring Michael McDonald); Hot Fun In The Summertime (featuring Brian Culbertson); Take Five; 25 or 6 to 4; Reasons; I Got You (I Feel Good); You Haven't Done Nothin' (featuring Rick Braun and Jonathan Butler); God Bless The Child (featuring Jeffrey Osborne).
Bonus Tracks: Summer Horns.

Obama threatens the press...

noreply@blogger.com (brent black) — Wed, 15 May 2013 09:59:18 PDT

From the desk of Brian Williams as reported on NBC News...

BRIAN WILLIAMS: Good evening. As a lot of American adults not so fondly remember, the last time the government was found looking into the phone calls of reporters and using the IRS for political purposes, it was the Nixon era, and while times have changed and circumstances are different, that subject came up at the Obama White House today as the administration now scrambles on several fronts. We begin with the potentially illegal use of the IRS to scrutinize some American groups and citizens because of their politics, and in this case because of conservative politics. Again, this is just one front we’re covering tonight.

Amazing...Now liberals will continue to defend the potentially criminal activities of this administration by STILL trying to invoke the imaginary war crimes of George Bush. This just in...Obama voted to fund the war that liberals are determined to hang on Bush. The war on terror is not your grandfathers war and as we have seen from the tragedy in Boston - the war on terror is a jihad that is a clear and present danger to our way of life. This mess falls under the Obama administration and justifying his incompetent and possibly criminal behavior based on the actions of another President that has nothing to do with these current issues is absurd to be kind.

Let us review...

1.) The Obama cover up of the Libyan terrorist attack where our own government turned its back and left brave Americans to die that could have been saved.

2.) The I.R.S is documented as targeting Conservative groups for investigation.

3.) Obama is now warning the media not to compare him to Nixon...

4.) Finally let us not forget the bone head move of the century with the administration spying on selected editors of the Associated Press...Had this been George Bush liberals would be having a collective anger stroke that would be epic in proportion.

There is no comparison. Two wrongs don't make a right but threats and intimidation by a President that promised the most transparent form of government we have ever known is a lie.
Obamacare is a coming train wreck as described by Senator Harkin who is the architect of this bureaucratic disaster...

I will say what many think but are not in the position to say. Were Obama not a President of color and ultra liberal, I believe impeachment proceedings would have all ready been scheduled. This is not about political ideology. This is about freedom whether you are Democrat, Republican or Independent. I'll take the under Obama does not last two more years and this will be real "Hope and Change."

Doug Sertle Beautiful Friendship 2012

noreply@blogger.com (brent black) — Tue, 14 May 2013 03:18:10 PDT

Originally issued in Sept. of 2012, Beautiful Friendship is the one that got away. Unfortunately an Independent critic can not review everything in a timely fashion and much like the Independent artist faces numerous obstacles in making their work known and hopefully accepted by the general public. Trombone veteran Doug Sertl is far from a newbie but the music business being what it is has found Sertl enjoying a great deal of success as an A list session player from the Bill Watrous school of trombone.

Beautiful Friendship is a somewhat eclectic bass-less 4tet with B3 player Rick Montalbano picking up the slack to give the illusion of a bassist with an incredibly organic feel when joined by Peter Bernstein on guitar and Terry Clarke on drums. With the release covering seven tunes some could easily mistake this effort for what may be considered the more traditional EP but as with most things it is quality not quantity that should grab the attention of most listeners. From a sonic perspective alone the sound quality is that of a live studio recording. The tunes here are straight from the old school wheelhouse of the more straigh ahead and performed with an amazing panache by these veteran musicians. "Nancy (With The Laughing Face), "Groovin High" and "The Nearness of You" highlight this virtuoso performance from Sertl and should be a welcome addition to the library of any old school or trombone fan.

Sertl has a musical resume that should be the envy of most performers having worked with such luminaries as Tony Bennett, Kenny Barron, and Freddie Hubbard to just scratch the surface. Critically acclaimed having received a 4.5 star write up from Down Beat in 1983 with a different project it would be safe to say Sertl has experienced exponential growth with Beautiful Friendship an all most perfect release.

Not to be out done by Down Beat...

Tracks: Beautiful Friendship; I'm Getting Sentimental Over You; I Hear A Rhapsody; Nancy (With The Laughing Face); Groovin High; The Nearness Of You; Things Ain't What They Used To Be.

Personnel: Doug Sertl: trombone; Peter Bernstein: guitar; Rick Montalbano: B3 organ; Terry Clarke: drums.

Eugenie Jones Black Lace Blue Tears 2013

noreply@blogger.com (brent black) — Mon, 13 May 2013 21:28:06 PDT

Seattle Washington is perhaps the best kept secret in jazz. When asked to name the jazz hot beds in the United States the usual suspect top the list in New York City, Chicago, New Orleans, Kansas City and to a slightly lesser extent Los Angeles. The city of Seattle can boast Jelly Roll Morton, Ray Charles and Quincy Jones and that is just scratching the surface. The jazz scene in Seattle is alive and well with the debut release from Seattle native vocalist Eugenie Jones. Black Lace and Blue Tears will street on May 28th 2013 and continues in the fine tradition Seattle has become famous for.

Nine of the eleven tunes on the release are original compositions showcasing the unique individuality and style of a vocalist with mad skills and unlimited potential not only as a singer but as an accomplished lyricist. A near perfect ebb and flow permeates the release as Jones makes that transition from straight ahead singer to lyrical poet look effortless. The original "All The King's Men" is a ballad that will tug at the heartstrings of even the most cynical critic while the covers of "My Funny Valentine" and the Paul Desmond gem "Take Five" are joyous reharms that breath new life into some timeless classics. The joyous "A Good Day" is another Jones original which opens the release and sits the table for an incredibly entertaining outing performed by a vocalist that should start turning some heads in short order.

Eugenie Jones is joined by some of Seattle's finest including Bill Anschell, Clipper Anderson, Mark Ivester & Michael Powers. There is a tightly clustered pack of female vocalists pounding the pavement while looking for that big break. A debut release is usually feast or famine and to include nine originals is going all in on your talent. Something tells me the smart money goes on the success of Eugenie Jones and Black Lace Blue Tears.

Eugenie Jones is full of passion and raw emotion and is that rare breed of artist that sidesteps pretentiousness and allows the music to take center stage. Highly entertaining!

4 Stars

Tracks: A Good Day; Can You Dance?; Take Five; All The King's Men; So Hard To Find; Black Lace Blue Tears; Perfect; I Want One; In A Shot of Tequila Or Two; My Funny Valentine; Sat'day Night Blues.

Personnel: Eugenie Jones: vocals; Bill Anschell: piano; Clipper Anderson: bass; Mark Ivester: drums; Michael Powers: guitar.

http://www.eugeniejones.com

Jason Miles Global Noize "Sly Reimagined" The Music of Sly and The Family Stone Zoho 2013

noreply@blogger.com (brent black) — Mon, 13 May 2013 20:28:49 PDT

Attempting to cover music from the more popular genres of rhythm & blues and funk can be the equivalent of tap dancing in a musical minefield. Some artists and some tunes simply do not make the transition along the way and the best musicians in the world can only do so much without a producer that has the ability to hear past the sound and the vision to manipulate the original work into a more contemporary setting without mangling the originals or disrespecting those involved in the process.

Sly and The Family Stone laid down a righteous groove that challenged the hearts and minds of a generation be it socially, culturally or politically. Thanks to the keen insight and amazing ability of keyboard wizard and producer Jason Miles the arrangements brought forth on Global Noize make tunes that are at least 40-45 years old sound as fresh and vibrant today as the originals did upon their inception. Miles takes on eight classic Sly Stone tunes and while some might consider that an EP at best, less is indeed more when you have talent such as Nona Hendryx and Roberta Flack on vocals and one of the finest saxophonists working today in Jeff Coffin (Dave Matthews Band). Miles is a Grammy winner and for those that ever doubted his talent, Global Noize welcomes you to the land of rhythm and groove and is a true testament as to the importance of the right producer in the success of a project of this nature.

Roberta Flack turns in an exemplary performance on the classic "It's A Family Affair" while Nona Hendryx slays "The Same Thing." Both tunes have dual versions that are groove oriented funk nasty versions fast forwarded to the more progressive tastes of the 2013 audience. From horns to the rhythm of DJ Logic the ensemble casts assembled hits on all cylinders. Maya Azucena takes on two tunes with the most successful yet another Sly Stone classic, "You Can Make It If You Try" which has the infectious groove of classic P-Funk along with the inspired trumpet of Ingrid Jensen. Jason Miles is the sonic glue that binds these musicians together be it through keyboards or the ability to use programming for artistic effect as opposed to obvious filler there are simply no missed steps from Miles.

You know the tunes and most of the musicians that put their heart and soul into the most eclectic of contemporary mixes and the transition is made complete with well arranged jazz sensibilities to make Global Noize an incredibly special release whether you were hip to Sly and The Family Stone of not. The crossover potential much like the overall enjoyment of this record is limitless!

Tracks: In Time; It's A Family Affair; Fun; The Same Thing; You Can Make It If You Try; Stand!; Thank You For Taking Me To Africa; It's A Family Affair; The Same Thing; Dreams.

Personnel: Jason Miles: keyboards, organ, synthesizers; DJ Logic: turntables; Nona Hendryx, Roberta Flack, Maya Azucena, James D. Train Williams, Maya Azucena, James D. Train Williams, Malika Zarra, Mike Mattison, Mudbone Cooper: vocals; Ingrid Jensen: trumpet; Jeff Coffin, Jay Rodriguez, Ron Holloway; saxophones; Dean Brown, Will Bernard: guitars; Amanda Ruzza: bass; Greg Errico: drums.

Freedom of the Press and the Obama Administration.

noreply@blogger.com (brent black) — Mon, 13 May 2013 21:04:40 PDT

When President Obama assumed power the citizens of the United States were promised an open government and the most transparent presidency this country has ever seen. First we have the cover up of the death of Americans thanks to the inherent incompetence of both President Obama and Hillary Clinton. On the heels of the Libyan crisis we find out the I.R.S was targeting various conservative groups in this country. Now...we find out that Eric Holder and the boys in the Justice Department are spying on the Associated Press.

President Obama was correct as his administration is the most transparent in history. Sad to say it is transparent in their attempt to persecute their enemies and illegally spy on members of the fourth estate. Liberals take note, George W. Bush can not be blamed any more. The mountain of evidence piling up against the President is worse then President Nixon. To justify or excuse bad behavior by the Obama Administration is to turn a blind eye toward freedom and everything that makes this country great. A line in the sand must be drawn. No President should be able to get away with the high crimes and misdemeanors that the Obama Administration has apparently been involved in. This trickles down to all walks of life including the arts when soon we will have the government attempting to dictate artistic freedom. Not if but when...Please read the link below for proof as some of you may have missed it.

Breaking News: Justice Department secretly obtained two months of telephone records of reporters and editors for the Associated Press. http://tinyurl.com/cmat6pn

Frank Wess Magic 101 IPO 2013

noreply@blogger.com (brent black) — Mon, 13 May 2013 12:25:42 PDT

Predictability is often used with a negative connotation when it comes to critical examination of any artistic work. When an individual brings his A game from a wheelhouse that is the cornerstone of the old school ballads and blues riff that takes one back to the days of Ben Webster and Lester Young then predictability is a beautiful thing.

Magic 101 is a captivating and incredibly organic presentation from 91 year old legend Frank Wess. Toss in one of the finest rhythm sections that includes the great Kenny Barron on piano, Kenny Davis on bass and Winard Harper on drums and the end result is a showcase for an instrumental artist that is original in presentation while sticking to that old school wheelhouse of the classic ballad interpretation of some timeless classic reinvented by a master story teller in Wess. This ensemble functions as a well oiled machine and puts the paddles to an incredibly important area and subsequent development of the jazz standard with amazing results. No tune may better exemplify the "predictability" of this release better then the dazzling duet with Kenny Barron on "Come Rain or Come Shine." At the time of this recording Frank Wess was 89 with plenty of gas still left in the tank.

Perfection can be a loaded word when describing any release given that taste is subjective but when carefully applied to the subject matter then there are those recordings where a legitimate case can be made. While a ballads and blues release can seem to some as an easy way out, most accomplished musicians can handle the tunes included on this delightful package but long story short has most musicians with the ability to play the notes but only a handful can actually make the music. A forward thinking lyrical approach coupled with a zen like performance where no notes are wasted as tunes such as "The Very Thought Of You" and "Blue Monk" recharged and reinvented for the next generation of jazz fans and performers alike. Frank Wess contributes the original "Pretty Lady" which if it were not for a working knowledge of the catalog that Wess is pulling from would seem to be a jazz standard in the on deck circle. The Wess composition is slightly edgier in tone but as a duet with pianist Kenny Barron achieves a delightful balance of texture and a layered effect that permeates the entire release. Frank Wess demonstrates an other worldly command of shifting dynamics on the solo performance of the Ellington tune "All To Soon."

It would be all to easy to go over board with a more incisive technical breakdown but here the music and the emotionally connectivity achieved within each tune far outweighs what some of us learned in theory class.

Frank Wess reminds us what pure passion is all about. A dynamic release and a genuine must have for most any library.

Tracks: Say It Isn't So; The Very Thought Of You; Pretty Lady; Come Rain or Come Shine; Easy Living; Blue Monk; All Too Soon.

Personnel: Frank Wess: tenor sax; Kenny Barron: piano; Kenny Davis: bass; Winard Harper: bass.

http://frankwess.org

Special Thanks To Jim at Jazz Promo Services.

Tony Craddock Jr. Convection 2013

noreply@blogger.com (brent black) — Mon, 13 May 2013 04:39:46 PDT

Gospel Jazz...Approach with caution.

Sad but that is in fact the attitude even the most enlightened followers of the radio format commonly known as smooth jazz hold when a formidable talent such as Tony Craddock Jr. shares a little bit of himself with the world. Meanwhile those keeping this segment of the contemporary jazz tree growing are writing and posting on social media their beliefs, ideals and moral convictions while the artist that chooses to pursue a more unified and inclusive secular approach are left holding the bag and forced to work twice as hard for the recognition they so rightfully deserve. Tony Craddock Jr. is no exception. Religion is not necessarily the primary focus here but an over all spiritual vibe is unmistakable.

Contributing music to the Weather Channel is certainly nothing for the jazz purists to look down their nose on as smooth jazz was essentially born on this channel with groups such as Spyro Gyra and the early days of the Jeff Lorber Fusion. With Convection Tony Craddock Jr. does his own riff on what has fascinated man the most since the dawn of time, specifically the weather and the search for true spiritual enlightenment. Special guest and guitarist extraordinaire Ken Navvaro makes a welcome cameo appearance with the end result a more open ended sound far removed from some of the artists whose releases sound as though they have been sanitized for your protection. Tony Craddock Jr. is a technician with a whole lot of soul and thus elevates a stagnate format back to an engaging experience for all jazz aficionados.

There is a solid ebb and flow that runs through Convection, something sadly missing in most attempts coming out of the smooth jazz camp. "You Brought The Sunshine" is a vibrant gospel tinged composition that is well developed and allows for Tony Craddock to shine as an instrumentalist that is far from a one trick pony as one could get. The previously mentioned Ken Navarro brings his acoustic guitar for a textured finish on "1102 Bradford Hall" while the lone vocal track is simply crushed by Ashli Rice. Convection breaks the mold of the run of the mill smooth jazz experience but never goes to the self righteous extreme of what some may consider the more hard core gospel jazz. This particular release offers something for everyone while alienating no one and this is why the release is so deserving of a serious look by sites such as www.smoothjazz.com.

Tony Craddock Jr. is just one of many Independent artists that have reached out to me in order to have someone give their work a fair shake and hopefully a platform from which to build more interest. A good critic has to have a little publicist lurking just below the surface. Convection has a warm accessible sound with incredibly depth and should peak the interests of not only the gospel jazz fan but those that enjoy taking a walk on the smoother side of jazz.

4 Stars and a name to remember!

Tracks: Convection (Acts 2:2); Retrograde Motion (Matthew 2:12); You Brought The Sunshine (John 8:12); 1102 Bradfield Hall (Job 37); Wind At My Back (Psalm 23); Moving Forward (Interlude) (Philippians 3:14); Let It Rise (Revelations 15:8); Second Glance (Proverbs 18:15); Tropical (Ezekiel 27:15); Virga (Philippians 4:6).

Personnel: Tony Craddock Jr.: soprano and alto saxophone; Ricchye Ric: keyboards, programming; Dee Dee Ball: bass guitar (1,2,3,4,8,10); Arturo Bermudez Ayala: bass guitar (9); Corey "Modrums" Wilson: drums (1,2,3,4,8); Eric Perez: percussion (9); Matthew Wiezien & Joshua Holmes: trumpet (2,3,8,10); Patrick Gillespie: trombone (2,3,8,10); Mark Campayno: lead & wah wah guitar (1,2,3,8); Ted Agnew: rhythm guitar (2,8); Kevin Williams: rhythm guitar (3).

Catching Up With Miho Wada The Exit 621 Interview!

noreply@blogger.com (brent black) — Sun, 12 May 2013 06:19:39 PDT

An artist that bleeds an eclectic mix of passion and unbridled joy and enthusiasm is the young flute phenom from New Zealand with her latest and best release in Exit 621. I was fortunate enough to catch up with her for a few questions.

Describe Exit 621 for us and where or what you were trying to establish from a musical perspective.

M.W. - "This is the third release I have produced myself. I think for the first two releases I was trying to create “beautiful” albums using more layers and extra musicians so I could create the sound I wanted. With “EXIT 621” I really wanted the album to be a souvenir of our live show for the audience, so both the players and the sound on the record are very close to how we perform live. I wanted the audience to be able to take us home with them and enjoy the experience again. My main focus was to capture our love for performing this music and the electricity of the band playing together as a unit."

You cover a great deal of ground, while as a former sax player I hate labels but if someone asked you to describe your music what would you tell them?

M.W. - "“Feel-good jazz” is what I usually describe to people. I want to make people smile. I want it to be like the old days when music was for dancing! I strongly believe that music should be a fun experience and I want to take people on a musical journey. I often have people telling me that I cover a lot of genres, but for me I am just trying to create a more interesting and original programme by incorporating different feels and styles."

Having shared the stage with punk rock legend and icon Iggy Pop, how has that transferred over to your music and what was the best thing you learned from the experience?

M.W - "I had this amazing opportunity to work with Iggy on TV adverts for Orcon in 2009, broadcasting a live performance over the Internet to promote their super-fast broadband services. So although we were playing together, he was in the States and I was in New Zealand! It was incredible working with Iggy - he was extremely warm and encouraging, making sure we were all comfortable and enjoying ourselves. It was absolutely wonderful to feel his enthusiasm and passion for music-making."

Your sound is incredibly unique. Passionate, energetic and wildly imaginative. So who do you listen to and what inspirations if any can you site in thinking about your music in general and the latest release in particular.

M.W. - "That is such a compliment thank you so much!

World music fascinates me. I love the authentic sound of different instruments and traditional folk songs. I especially love traveling to different parts of the world to experience local music performed in its country of origin. My biggest influences come from Cuban el Son music which I completely fell in love with during a jazz summer school in Cuba in 2008. I immediately knew I had to return there and study traditional Cuban music until the rhythm became imprinted on my heartbeat...

One of my favorite records of all time is Paul Simon’s “Graceland”. Included in the 25th Anniversary edition of the album is a special commentary with Paul discussing how he collaborated with musicians from South Africa and the magic of world music, which has only made me love it even more."

Ever given any thought to coming to the States to live permanently and is in store in the future for you?

M.W. - "I absolutely love visiting the States and performing to such open-minded audiences there. I have felt extremely welcome every time I have played there and my US tour crews have always been fantastic. However, home is where my heart is and I am very happy in New Zealand with my family. It gives me so much comfort and freedom to write music under this big blue sky, overlooking the hills and the ocean. I still feel like the best is yet to come and I have so much music within me that is waiting to be born."

As a woman in what is still (for the most part) a genre of music with a strong male domination have you found acceptance a little harder to come by or do you even allow yourself to dwell on things such as this?

"To be honest I haven’t really thought about this before! I guess studying flute has always been a female-dominated world so maybe that helps to balance things out ;-)

I think the most beautiful thing about music is that it doesn’t matter who you are, where you come from, or what your age is, it’s a universal language through which all of us can share both laughter and tears. I feel very lucky to be a part of this world and to be able to reach and connect with so many people through my music."

Thank you!!

Miho

******

My review of Exit 621
http://www.criticaljazz.com/2013/04/as-former-contributor-for-period-with.html

Special Thanks to Miho Wada and for more information check out www.mihowada.com

Why I Hate Facebook...

noreply@blogger.com (brent black) — Sat, 11 May 2013 20:25:49 PDT

I left writing political commentary that was picked up by our one and only newspaper here in Louisville due to the extreme negativity and occasional death threat I would receive by simply examining the factual math or lack there of when it came time for Obama to spend more of our money that simply was not there to spend. In our world we call it check kiting and at the level Obama was authorizing funds it is essentially the political equivalent of what would land the average citizen in jail but I digress.

While I have met numerous artists that are some of the nicest people on earth, I have met some individuals both in and outside of music that I would be more than happy to book seats on a plane crash for. I use face book to post reviews and virtually all my activity is business related given that music critics are some what of a solitary bunch and the whole "friend" concept is somewhat foreign to most of us. An individual shared what you see posted below. While my dislike for the Obama Administration is no secret, this post under the Christians Against Obama's Re-election Group is perhaps one of the most disgusting and offensive posts since Rich Siegel posted a photo of flag draped coffins of American war dead with the caption: None of these men died for your freedom.

Evidently these heroes that volunteered to protect our country against real and on going terrorism as evidenced by the tragedy in Boston means nothing to a Palestinian sympathizer such as Siegel. Another photo I pulled from his face book page YET he claims to be a peace activist.

This brings me to the photo someone shared and I left off the individuals commentary as it was too disgusting and racist to see the light of day.

To infer, imply or even laugh about the possibility of physical harm coming to another human being is crossing the line of basic human decency. Both the group Christians Against Obama and the incredibly sick individual that posted this garbage should be banned from face book and if possible prosecuted if the laws so dictate. This photo does Republicans no service but more than that it does no one any good but instead fosters and feeds the negative connotations associated with organized religion and their relationship with any political party not just Republicans. I previously did a column where I stated the responsibility of the press includes calling out those that have stepped over the line. Posting this disgusting garbage for a cheap laugh is an insult and dishonors the memory of the brave Americans left to die thanks to the Obama administration.

Let us stick to the issues of the day. I hope you join me in reporting this nonsense to face book.