AAJ reviews David Leonhardt's New CD, Bach to the Blues

Bach to the Blues
The David Leonhardt Trio | Big Bang Records (2009)

By Edward Blanco

Pianist David Leonhardt presents a tasteful marriage of classical music and jazz, sprinkled with a touch of the blues on Bach to the Blues, an improvisational statement on classical themes that is surprisingly entertaining. Leonhardt reinterprets the music of Bach, Schubert, Beethoven, Chopin, and others with a creative improvisational approach producing a texture of light classical jazz that is most enjoyable. With bassist Matthew Parrish and drummer Alvester Garnett, The David Leonhardt Trio offers eleven pieces from eight great composers from the classical genre delivered in a stylish graceful manner that may appeal to those who prefer the gentler side of jazz.

Throughout his thirty-eight years of professional experience, Leonhardt has often included a bit of improvisation on classical music as part of his concerts so it is only logical that these performances finally find their way to a recording studio. With Bach to the Blues, the pianist pays special attention to the music of Johann Sebastian Bach by performing three of his compositions, beginning with "Prelude in G Minor," containing the predictable Bach piano chords, the expected jazzy twist, and ending with an unexpected Latin jazz flurry. The other Bach pieces include "Prelude in A Minor," which retains much of the original classical flavor unlike "Prelude in Bb," which turns jazzy rather quickly highlighting strong performances from both Parrish and Garnett.

Leonhardt draws on the music of French Impressionist music pioneer Claude Debussy with a marvelous performance of the charming "Claire De Lune," known as one of Debussy's most popular compositions and follows with a humble reading of Schubert's renowned "Ave Maria." Perhaps the centerpiece of the album, if not the most ambitious and beautiful piece presented here, is the stunning version of 20th century avant-garde French composer/pianist, Erik Satie's "Gymnopedie No. 1."

The other outstanding piece of music is Chopin's "Mazurka in C Major," where Leonhardt is especially delightful in his treatment of this classical number. The project ends with the music of German Baroque composer Johann Pachelbel, as the trio performs a slow dance of the composer's best known work on "Canon in D," the only canon Pachelbel actually wrote, closing a superb selection of classical jazz.

Track listing: Prelude in G Major; Claire De Lune; Ave Maria; Gymnopedie No. 1; Prelude in A Minor; Adagio from Pathetique; Simple Gifts; Mazurka in G Minor; Prelude in Bb; Mazurka in C Major; Canon in D.

Fat Cat Big Band #32

Fat Cat Big Band hits the CMJ Jazz Charts at #32

LATEST RELEASE:

For Jade Synstelien Face is the product of years of reflection on unification and the end of war and suffering through music. A highly talented and uniquely gifted young composer, Synstelien has immersed himself in the traditions of jazz and world music while developing an irrepressible

individuality in his compositions and performance. Bathed in originality and melody, this CD is the final installment of the trilogy recorded at Clinton Recording Studios in New York City.

PERSONNEL

Jade Synstelien (composition, arrangements, guitar, vocals),

Phil Stewart (drums), Ben Meigners (bass, backing vocals),

Jack Glottman (piano), Sharel Cassity (alto sax),

Stacy Dillard (tenor sax), Geoff Vidal (tenor sax),

Tatum Greenblatt (trumpet), Brandon Lee (trumpet),

Jonathan Voltzok (trombone), Max Seigel (bass trombone)

Sylvia Bennett, Jazz Times Review

12/05/09 • By Susan Frances
Sylvia Bennett

It’s Christmas Time With Sylvia Bennett

Sylvia Bennett takes on the ambitious task of fashioning holiday tunes that eschew the past efforts of other recording artists, and shapes familiar favorites like “Silent Night” and “Silver Bells” to contemporary specifications. Fondly remembered as a vocalist for the internationally acclaimed vibraphonist/bandleader Lionel Hampton, Sylvia Bennett leads a diverse set of musicians through a repertoire of festive holiday standards on It’s Christmas Time With Sylvia Bennett from Out Of Sight Music label. Displaying influences from the vaults of gospel, techno-infused pop, contemporary chorals, and classic orchestral jazz, Bennett revitalizes perennial favorites symbolic of the Holiday Season, and merges classic tunage with a contemporary sheen. Produced by Hal S. Batt, It’s Christmas Time With Sylvia Bennett has the spirit of good cheer and communal love.

Employing the children’s choir at St. Rose of Lima School and assisted by choral director Tiffany Ezekowitz in “A Rainbow Christmas,” Bennett opens the album with an uplifting sing-along that inspires a caroling vibration in every corner of the room. Her treatment of “Winter Wonderland” is furnished with glorious orchestral tones reaming a nostalgic-tilt that dims in “Silent Night” to a soothing gospel-tinged lighting. Bennett’s vocal enunciation is clear and crisp as she nestles the tepid tides of the melodic versing. The waltzing tempo of “It’s Christmas Time” and “Silver Bells” are gracefully layered in swirling strings as Bennett sings them in a traditional fashion, while the hip hop/techno tweaking of “Santa Claus Is Coming To Town” has a stylish-pop whipping and modern-urban grooves accentuated by the springy rapping of George Llizo. The upbeat vibe of “Wrap You Up For Christmas” and “Let It Snow, Let It Snow, Let It Snow” have a sleigh ride coasting as the breezy spiritual gusts of “Christmas Lights” and “The Christmas Song” exude a calming setting as the lilting symphonies embroider a joyous mood.

Italian-born and American raised, Sylvia Bennett has enjoyed a vocal professional that has spanned over three decades. In that time, she has opened for some of the world’s most admired entertainers including the legendary Bob Hope, Phyllis Diller, Jackie Mason, Dizzy Gillespie, Barry Gibb, and David Brenner. As an aficionado of timeless love songs and classics from the American Songbook, Sylvia Bennett uses the power of her voice to spread good cheer, and touches souls in a warm way that induces positive thinking and love of community.

Jazz Times Loves Dan Moretti

12/02/09 • Albums • By Susan Frances

Dan Moretti, Tres Muse

Saxophonist Dan Moretti shows that democracy is not just applied in the political arena but can be implemented in a band’s rapport, which he does so confidently as a trio with bassist Marty Ballou and drummer Marty Richards on his latest recording, Tres Muse from Foundations Jazz Records. In the tracks, each musician has an equal say in the content of the compositions making space for everyone to indulge in a freedom of expression. The trio swings, bops, jams, and ruminates softly through the album without imposing constraints on their mobility.

For instance, the crashing high tops and rampant splashing of Richards ad-hoc drum solo in “Fais Do-Do” is earthshaking, though the ruckus he creates subsides as the album segues into the soothing surf of “The Whisper” where the caressing strums of Ballou’s bass softens the puncturing thrusts of Moretti’s saxophone. There are a few selections that show hints of New Orleans stylized jumping jazz like the swing-embellished trills that cuff “Cajun The Squirrel,” and the carousal ride of jostling shimmies coursing through “Mumbo Jumbo.” Other numbers are reflective of jam session-spiked energy like the smoke stacks of saxophone spurts landscaping “Guacamaya” which are augmented by a pulsating bongo beat, and the free-flowing exchanges made between the sleek saxophone twits and the gentle percolating beating in the rhythm section along “The Corner.” The album slows down in the closing tracks “Ready Set Free” and “Leelander” creating a candlelight jazz sonorous with inflections of ambient-spirituals and moonlight-blues.

Dan Moretti and his band offer plenty of zesty excursions and moments of in-depth contemplation on Tres Muse making it able to serve multiple purposes. Like most democracies, the album sounds like it was made with a purpose in mind as the musicians explore the many ways in which they spur each other onward and bond together. Tres Muse is one experiment whose outcome meets jam-activated jazz standards and encourages such organic exchanges and emotive channeling in all jazz forums.

Ulysses Owens Jr, Grammy Nomination for Kurt Elling's "Dedicated to You"

We have a new release coming your way late December for a January 5th RADIO ADD DATE. This will be Ulysses Owens debut CD as a leader, he is currently featured (drummer) on the Grammy Nominated Kurt Elling CD entitled "Dedicated to You", which was released this summer under the Concord/Universal Record Label. "DTY" has been nominated for the 2010 Grammy Awards in the “Best Jazz Vocal Album" category. Ulysses Owens is the dynamic sound under the master creating the rhythmic textures with Laurence Hobgood.

U.O. PROJECT, IT’S TIME FOR U
Man, I’m so in love with this cat. He is serious. He soaks up information quicker than a Google search, a very well-spoken, well-studied young brother, and extremely soulful to boot. As a drummer, he just put it in the pocket, a very difficult concept for some young drummers to grasp, but not Ulysses. He let the music come to him. He didn’t try to force anything. That’s an extreme rarity for drummers of ANY age! I predict Ulysses is going to be one of the next major cats. ~Christian Mcbride

Electronic Flash Kit (EFK):
www.karionpresskits.com/ulyssesowens/ulyssesowens.html

Kurt Elling (The Band):
http://kurtelling.com/band/

Brief Background:
Ulysses is currently touring with Multi-Grammy nominated artists Christian Mcbride, and Kurt Elling; on a national and international tour. Additionally, Ulysses has had the esteemed pleasure to perform with some of the world’s finest musicans including: Wynton Marsalis, Vanessa Rubin, Audrey McDonald, Dr. Lonnie Smith, Count Basie Jazz Orchestra, Benny Golson, Russell Malone, Mulgrew Miller, and many others. Being granted the opportunity to tour with many of these artists nationally and internationally has brought a great level of refinement to Ulysses’ ability as a musician. Through his experiences he’s obtained endorsements from Yamaha Drums, Craviotto Snares, Evans Drumheads, and Vic Firth Inc.

LATEST RELEASE: When I first begin to conceptualize what I wanted to record for my debut project, the first thought that came to my head was presenting material that everyone would identify with. I didn’t want to create music that catered to one particular audience. I believe the way to unite people to listen to great music, is to have one strand that unites us all. Simple melodies, subtle harmonic complexities, a great groove are all qualities that I believe will cause people to listen to your music with open ears, and with ease. I want those who purchase this CD to sit back and have an experience, that involves enjoyment of the compositions with no other challenge but to be open to musical statement I am trying to make. Most of my peers tend to be more focused in their creativity on composing something for either their own artistic pursuits, other musicians, or to make a point of how great they are. I want to bring music back to its original purpose, and that’s for people to escape through the music, and have inspiration to approach life with more vigor, and purpose.