Roger Cairns continues to chart for 3 weeks on the RMR jazz chart

Roger Cairns has put together a collection of well-chosen standards in an intimate setting with pianist Gary Fukushima.

This week Cairns continues to win ears across the U.S. and Canada landing at #47 on the RMR jazz chart, this is Cairns 3rd week with a peak spot of #34 thus far.

Written By: C. Michael Bailey, Senior Contributor, All About Jazz, 2010

There are two things compelling about the art of Roger Cairns; his singular, rich voice and his studied knowledge of popular song. Each element informs the other in a way that invents a self-sustaining, Perpetuum Mobile of musical creativity.

Raised in the Edinburgh suburb of Moredun in the dawn of the post-World War II-baby boom, Roger was reared in a largely unmusical household and at 15, began an apprenticeship in mining engineering with the UK National Coal Board. After a little over a year of coal mining, he left the subterranean for London and his songful calling, where he met with success singing a variety of genres.

Leaving music for a number of years leading an offshore communications business, Roger again had the opportunity to return to music full time. In 1992, he auditioned with the Los Angeles-based Dirk Fischer Big Band, with whom he performed until 2005.

Fully vested on the West Coast, with arranger/pianist/composer Gary Fukushima, Roger began performing with small groups resulting in 2006's self-produced A Scot In L.A., featuring guitarist Larry Koonse and bassist Darek Oles, both of whom would also join the singer on his excellent 2008 recording, Let's.... Circuitously, this brings him to his present The Dream of Olwen, an ideal solo recital with musical soul mate, Fukushima.

The Dream of Olwen betrays a musical psyche steeped in the Great American Songbook. Not content in simply recasting its core, the singer draws on a life-time of listening and singing to the Songbook, choosing those songs that speak to him personally. His recorded repertoire is populated with sonic nuggets of surprise, songs that while certainly popular, have not been exhausted by overuse Roger’s distinctive voice pleasures these songs with a comfortable familiarity, one that provides the welcome sense of acceptance and recognition. He breathes vibrant life into nostalgic tunes like the 1934 Coots/Lewis piece, "For All We Know" and Rodgers and Hart's "Wait 'Til You See Her," from the 1942 show By Jupiter. Gary Fukushima provides perfectly modern accompaniment to these songs, sharing the care of selection and performance. The two musicians are well suited to one another, a nuclear empathy.

While encyclopedic in his musical knowledge, Cairns does play favorites. Johnny Mandel and Alec Wilder tunes make up almost half of the twelve selections present. Spare readings "Where Do You Start," "Solitary Moon," and "Don't Look Back," represent Mandel's lyrical genius amply, while Wilder is honored with the superb "Blackberry Winter" and "I'll Be Around." The singer and pianist meld into harmonic--lyric oneness.

Cairns also addresses music from his youth in the title piece, a Charles Williams tune featured in the 1947 John Harlow movie, While I Live and the 1953 Sigmund and Maxwell standard, "Ebb Tide." Roger Cairns treats all of these songs as if they were poetry deserving prominent reading. No matter the song, the composer, the mood: his voice, that voice, always has a smile in it.

Annie Kozuch is reviewed by Jersey Jazz

Review By: Joe Lang

When a singer like ANNIE KOZUCH has a voice of purity and expressiveness, can sing convincingly in Spanish and Portuguese as well as English, and has a great feel for lyrics, you end up with an album like Here with You (Kozuch Productions – No Catalog Number).

She was born in Mexico, studied drama and music in London and at Mills College, and is now based in New York City where she has had a busy career as a singer and actress. With accompaniment from Frank Ponzio on piano, Saadi Zahn on bass, Vito Lesczak on drums, Samuel Torres on percussion, Richard Pardon on guitar, Cecilia Tenconi on flute and saxophone, and Jose Gallegos on electric piano, Kozuch sings songs from Brazil, “Chega de Saudade,” “Corcovado/Quiet Nights” and “Carinhoso;” Cuba, “Nostros;” Mexico, “Novios;” and the United States, “I Love Being Here with You,” “How Deep Is the Ocean,” “You’ve Changed,” “I’m Through with Love,” “You’re Getting to Be a Habit with Me” and “Who Can I Turn To.” Kozuch is a joy to hear.

She has a pleasant soprano voice that sparkles, and makes each lyric come to life. I do not know Portuguese or Spanish, but she sure does sound convincing to my ears. Welcome to the world of singing in a jazz setting Annie Kozuch. You sound completely at home! (www.anniekozuch.com)

Lisa Maxwell is reviewed by Girl Singers

GIRL SINGERS

Lisa Maxwell – Return to Jazz Standards
Released – July 1, 2010CD Purchase Link...click here
Review By: Doug Boynton

Straight ahead, here. Nothing fancy, but then when you’re this talented, trickery isn’t needed. Lisa Maxwell is an artist on several fronts – a photographer, a free-lance graphic designer, and a top-notch vocal artist, as well. It’s an inspiring story – Ms. Maxwell nearly lost her voice entirely to something called “Bilateral Vocal Fold Paresis” three years ago. Several surgeries later, she was putting her newly-refurbished vocal cords to the test, backed by husband/producer/arranger/pianist George Newall.

You might know Mr. Newall by his work – he was one of the “Schoolhouse Rock” guys. He executive produced, and wrote “Unpack Your Adjectives,” along with “Them Not So Dry Bones” and “I’m Gonna Send Your Vote To College.” On this outing, he’s a literal one-man band, playing piano and just about everything else digitially. He’s one guy who sounds like about five.

But he’s in the background here, putting a frame around Ms. Maxwell’s sweet swing. No powerhouse, but when you’re singing as personally as she does, you don’t need to hit the balcony. Favorites on this disc included the Cole Porter classic, “You’d Be So Nice To Come Home To;” also Johnny Mandel’s “The Shadow Of Your Smile,” and “Moonlight Savings Time,” which Guy Lombardo took to Number One in 1931.

I find myself coming back to this disc over and over again on the ‘pod, and those three tracks (and maybe some others) will be in heavy rotation in the weeks to come.

Highly recommended.

Alex Levin continues to maintain his place on the RMR Chart for 5 weeks

Alex Levin continues to win hearts and ears on the RMR Jazz Chart, this week moving back up the chart to #7, and peaking thus far at #4. New York Portraits has maintained its position on the charts for 5 weeks total.

In order to give New York Portraits an extra-special vibe, Alex insisted on recording it between the hours of ten and two at night. If the trio sounds like it’s playing late, it’s because it’s true.

“Nobody’s playing jazz in the daytime in New York! Nobody! They may be practicing, but they’re not ‘playing’ together until way past nine o’clock. I’m a night-owl, and this record, like my first recording, Night and Distance, had to be made late at night to be right.”

Check out New York Portraits in the cool of the evening, when the workday is done, and you’re likely to start imagining yourself in New York City after dark, when folks are settling down to listen to jazz, and the musicians are just about to hit the bandstand. Enjoy the music!

Lisa Maxwell is reviewed by Ejazz News

Review By: Edward Blanco

CD Purchase Link...click here

Return to Jazz Standards is a collection of some of the most familiar oft recorded jazz standards of our time bathed in fresh new arrangements and interpreted a new by New York singer Lisa Maxwell. An advertising Art Director by profession, Maxwell had grown up in a household where jazz music was ever present. Her passion for singing and jazz finally led to a decade-long stint in the New York cabaret scene and the eventual meeting of fellow ad executive/musician, and husband George Newall. Essentially a family affair with husband and wife collaborating on a joint musical project, the album features Maxwell's resurgent vocals and Newall's musical talents as an arranger and musician ( performs on piano, bass and drums ).

When listening to Maxwell sing, one could hardly tell the singer had once suffered from serious nerve-damaged vocal chords as her introduction of Cole Porter's “You'd Be So Nice To Come Home To” provides no clue. On “Meditation,” Newall accompanies his partner well on a piano solo along with an array of other instruments digitally.

Though Newall is pronounced throughout the album, it's the vocalist who leads the music and here Maxwell delivers. From Ray Noble's “I Hadn't Anyone But You,” “Call Me,” to the immortal “The Shadow of Your Smile,” Maxwell's tender approach to each song is the underlying reason why this album is notable. The music remains warn and accessible as the singer adds her unique touch to other classic from Frank Loesser, Rodgers & Hart and George & Ira Gershwin. Although Return to Jazz Standards is not a swinging musical affair, Lisa Maxwell takes her best shot at framing another soft and beautiful rendition of time-honored standards, and with the help of husband and musician, George Newall, this album hits the mark.

Year: 2010
Label: Jazz, Lovers
Artist Web: www.lisamaxwellsingsjazz.com

Glenious Inner Planet is way out in Orbit! 6 weeks on the charts!

The Glenious Inner Planet is way gone into the stratosphere baby! 6 weeks on the CMJ Jazz Chart holding strong this week at #29 and peaking at #9 thus far!

Glen Ackerman has always been a composer. As a young child he blew up his parent’s stereo gear with wild tape loop experiments. When his mother (whose eclectic tastes fueled his musical imagination) noticed him experimenting with the family piano, she decided to put hi disastrously creative energy to good use by enrolling him in piano and guitar lessons. At the age of 12 he was given a bass, which today is his primary performance instrument.

Glen spent his middle and high school years writing tunes, practicing, and creating homemade

recording projects with an old four track. His musical influences flourished, and jazz became his genre of choice. After high school he spent some years exploring the palate of electric sounds found in rock.

However, restlessness settled in and he found his way back to jazz. The next few years found him firmly establishing himself as a top bassist in the Houston Jazz scene. As a sideman, Glen shared the bandstand with national artists such as; Randy Brecker, Bill Evans, and Bill Charlap. He has also been fortunate to perform with many local artists such as: Chris Cortez, Woody Witt, and Paul English.

Now, emerging as a bandleader in his own right, his new group The Glenious Inner Planet gives him the opportunity to flex his creative muscles.

Jazz Folk Hits the CMJ Jazz Chart at #18

Peter Scherr is an American bassist/composer/ musical strategist living in Hong Kong.

He has over 20 years professional experience ranging from positions with symphony orchestras through jazz and experimental music performance and composition.

Mr. Scherr has performed and recorded with leading creative musicians such as his brother Tony Scherr, Jenny Scheinman, Jim Black, Briggan Krauss, Allison Miller, Joe Rosenberg, Matt McMahon, Simon Barker and many others.

Mr. Scherr pursues musical excellence and inspiration in areas of unique interest. His current focus is the realization of creative music concepts.

One of his long-term goals is the establishment of a common practice of creative music in China, drawing on the talent of the most interesting improvisers from around the world.

The Reggie Pittman & Loren Daniels Quartet sail up the chart to #13

The Reggie Pittman & Loren Daniels Quartet sail up the CMJ Jazz Chart and land this week at #13. The quartet has enjoyed 3 weeks on the national jazz radio chart thus far.

What is even more impressive is Point A to Point A is the only self-released jazz title among a cavalcade of major label releases. Even more of a testament to the musicality

and appeal of this wonderful CD to listeners across the US and Canada.

Meet The Players:

Loren Daniels - pianist, vocalist, composer, lyricist Loren studied music at Hofstra University and Berklee College of Music before graduating from SUNY at Old Westbury with a B.S. in music and elementary education. He received an M.A. in music education from New York University. Loren currently teaches choral music and music technology in the Teaneck, NJ public schools. He has been a member of the facu

lty there since 1979. He is also music coordinator for Jazz Vespers at St. Paul’s Lutheran Church in Teaneck.

As a composer/lyricist, Loren has written music for a variety of settings. Many of his original pieces are performed by the Loren Daniels Trio. He has composed several highly successful musicals for elementary school students. Loren collaborated with choreographers Joanne Koob and Susan Cherniak and composed new music for a series of modern dance performances that were reviewed in the New York Times.

Loren composed and arranged music for two original theatrical productions, “The Man Was King” by Lottie Porch and “A Watch on King” by Veona Thomas. A suite of his choral pieces based on phrases from the Declaration of Independence recently had its premiere performance and the Teaneck Community Chorus has commissioned and performed several of his choral

pieces including, “A Place At The Table” and “I Like Jazz.” Loren has also composed, performed and recorded original soundtrack music which has been used on the Today Show and other NBC programs.

Loren’s professional experience as a jazz pianist/ vocalist spans over 25 years. He has performed with such notable musicians as Calvin Hill, Craig Harris, Milt Jackson, Rufus Reid, Makonda (Ken) McIntyre, Dan Willis, Warren Smith, Richard Harper, Fred Hendrix, Jim DeAngelis, David Demsey, Jimmy Owens, Andrei Strobert, Billy White, Jeff Sheloff, Alonzo Gardner, Reggie Pittman, Tim Horner, Eliot Zigmund, Lauren Hooker, Bradford Hayes, Mark Ivan Gross, David Robinson, Greg Searvance, Bruce Jackson, Bill Moring, Mike Richmond, Takashi Otsuka, Jackie Jones, Warren Batiste, Dave Brown and Johnny Maestro.

Reggie Pittman - trumpet, flugelhorn, composer Reggie Pittman is a professional musician with over 30 years experience in the music business. He actively works in the music fields of performance, recording and producing. Reggie's love for music began in Cleveland Ohio where, at a young age, he played the trumpet and developed his musical talent. As his love for the performing arts developed Reggie decided to further is knowledge in music, he earned his bachelor degree in Music Education and his Masters in Music Technology.

The bandstand is where Pittman’s predominate resume resides, he has had the great privilege of collaborating with some of the best performing artists in the music industry, and also recorded with many musical talents including: Sarah Vaughan, Louis Bellson, Lester Bowie, Branford Marsalis, Curtis Fuller, Eddie Palmieri, Hank Jones, Aretha Franklin, Diahanne Carroll, Mitzi Gaynor, Joe Williams, Gladys Knight, The O’Jays, The Brooklyn Philharmonic Orchestra, The Ohio Chamber Orchestra, Natalie Cole, Allman Brothers, The Pointer Sisters, Queen Latifa, The Temptations………..

Television and Movies:

Money Train, Malcolm X, “Loving” Soap Opera, The Tony Awards, The Apollo Night of Stars, One Hundred Years of Jazz ( Documentary), PSA for the Cleveland Pubic Schools. Recordings:

Babyface, New Jersey Lottery Commercial, Five Guys Named Moe, Lionel Hampton, Oscar

Figueroa, The Wheaton Family (Gospel), Lester Bowie and the Ohio Public Schools.

Kathryn Smith is reviewed by Rambles

Kathryn Smith,
With Every Breath I Take
(Kat, 2010)
Review By: Dave Howell

Kathryn Smith interprets 11 standards here in a refined manner. With her understated style she manages to put a lot of subtle interpretation into the lyrics of her songs.

Her choices are fairly mainstream, including "I Get Along Without You Very Well" and "So Many Stars," but there is nothing that has been done to death. There are a few unusual choices for vocalists that perform standards, like Joni Mitchell's "Urge for Going" and "With Every Breath I Take" by David Joel Zippel and Cy Coleman, but she adapts her style successfully to all her choices.

Unusually for this type of singing there are no keyboards. Brian Conigliaro fills the spot with acoustic and seven-string guitar, and a bit of mandolin and harmonica. His soft playing meshes well with Smith's singing. He wrote the track "Nothing Beats the Memories," which more than holds its own with the other songs (actually the CD has 10 standards, but this sounds like one).

Michael Goetz plays upright bass, and there are also some vibes, percussion and saxophone.

This CD has a traditional approach, but the excellent production gives it a modern sound that should appeal to listeners of the Great American Songbook.

Gene Ess is reviewed by All Music Guide

Review By: Adam Greenberg

A thick tone can go a long way on a jazz guitar album. Gene Ess seems to sense this, making his compositions all about the tone and timbre of his playing. On Modes of Limited Transcendence, Ess presents compositions spanning the gaps between jazz fusion and contemporary jazz, with just a touch of smooth jazz.

The compositions are quite good, finding the essence of each sound with surprising precision. However, it's the instruments that come out here, regardless of compositional intent. Tigran Hamasyan provides an outstanding piano throughout, twinkling a comp as needed (as in the intro to "Art of Nothingness") and pounding electrically as needed (as in "Trance Chant"). Ess himself plays similarly, working fast plucking into the extremely Chick Corea-like "Ryo's First Flight," growling like John McLaughlin in the Mahavishnu Orchestra's "Dance of Maya" in "Trance Chant," swirling and oozing sounds in conjunction with Hamasyan's Rhodes in "Gagaku Dreams."

The album moves all over the place over its course, but it remains interesting regardless of the direction taken in any given piece. That's a fine credit to Ess' compositions as well as the ensemble's chops with a moving sonic target.

Harvie S is reviewed by John Book (This is Books Music)

REVIEW: Harvie S’ “Cocolamus Bridge”

Published October 28th, 2010 at 9:52 am in Music Reviews with no comments
Tagged with Chris Cortez, Harvie S., James Metcalfe, jazz, Joel Fulgham, Jose Miguel Yamal, Woody Witt

You don’t have to be a bassist to understand how well Harvie S plays, but on the albums I’ve heard him on, the man plays the instrument as if it was the air he breathed. Now with an album under his own name,Cocolamus Bridge (Blue Bamboo Music) takes you on a journey that is not like any other. In other words, his music is damn good.

With help from Joel Fulgham (drums), Jose Miguel Yamal (piano), Woody Witt (tenor and soprano saxophones), Chris Cortez (guitar), and James Metcalfe(percussion), Cocolamus Bridge comes off like a jazz army troop with the kind of ammo meant to kill people with sound, but to bless them in a nice way before winning them over. Each song is over five minutes in length, with four of them surpassing the seven minute mark, and each of those tracks have the same kind of trusted feeling that one would get after hearing an ECM album. In other words, it’s a trusted brand with a trusted sound, and you take that going in and just listen for the save of being overwhelmed. With that said, will the music overwhelm you? Maybe that’s a big-headed claim but S. is a musician who just takes command of the bass and turns it into his voice, it is how he speaks musicially but without flash. There’s a bit of confidence in that playing, but that comes from years of knowing what he is playing, and how he wants to play it. His cover of Wayne Shorter‘s “Night Dreamer” (from the 1964 album of the same name) is proof of how well S. and friends perform individually and as a group, it’s just moving stuff.

Roberto Badoglio is reviewed by Cadence Magazine

Oct/Nov/Dec issue

Review By: Jerome Wilson

Definitely for electric bass guitar fans, the main focus of the CD. Roberto Badoglio is the lead and sometimes only instrument here. His command of the entire range of his bass is impressive.

"Abstract Love" and "Kriby" are technically formidable solo displays. "Bruce Wayne" mixes funk, Spanish breakbeats, and electronic scuzz to good effect; "Dojo" and "Perfect Landing" are more musical combinations of bass and electric atmospheres; and Peter Hunt contributes rocking electric piano solo to "Whenever It Takes."

Frank DiBussolo is reviewed by Cadence Magazine

Oct/Nov/Dec issue

Review By: Jerome Wilson

DiBussolo takes classy Swing guitar solos in several different settings. On "Average White Cats, " he's up and against the greasy Earl Bostic-style tenor of Greg Edwards and glides about elegantly on the waltz, "Gracie & Kate." "Vin Dolce" and "When You're Smiling" are charming pieces of solo guitar, the latter also featuring DiBussolo's warm singing.

"Samba Pequena," is the best thing on the disc; a proper sounding, spacious samba where DiBussolo mixes the singel notes and octaves in his playing while Edwards plays coolly against him before they both race off, soloing at a faster tempo.

Fred Fried is reviewed by Cadence Magazine

Oct/Nov/Dec issue

Review By: David Kane

Fred Fried and Core 3.0; here he eschews the obligatory electric guitar for the 8-string acoustic guitar and has produced a pleasant album of attractive originals in the company of two fine players, LaVoie and Matsuki. Fried plays in a primarily chordal style but is obviously comfortable with a more linear approach which he also employs frequently quite effectively.

Naturally, given the dynamic limitations of the acoustic guitar, this is a generally quiet album with an intimate vibe. That's not to say the group doesn't swing - they certainly do as "Melody 4" and other pieces prove. I liked this record for the charming sound of the acoustic guitar, Fried's attractive compositions and the fine playing from all the participants. Recommended.

Fat Cat Big Band is reviewed by Cadence Magazine

Oct/Nov/Dec 2010

Review By: David Franklin

This 11-piece band, which had been performing regularly at Greenwich Village's Fat Cat, recorded enough music for three CDs at their July, 2008 recording session, and this is the third to be released. Like the others, it contains all original compositions by leader Jade Synstelien. He also arranged all the tunes except the two he did with band tenorist Geoff Vidal or Roger Lent.

The scoring of these straight-ahead charts-up tunes (some with quite Boppish lines), lush ballads, and a Latin-often makes the group sound like a full-size band. Ant he ensemble executes the arrangements with precision and sure footed swing. The players also demonstrate excellent improvisational skills. Indeed, the blazing "Blues for Borden" features solos by all the horn players, the pianist, the guitarist, and the drummer, with no let-down at any time. There's even a bit of harmonious multi-instrument improvisation in "Ballade of Eternal Love," which otherwise is somewhat suggestive of Basie's "Li'l Darlin'." Throughout the CD, the soloists are given plenty of exposure, beginning with Sharel Cassity's album opener, very nice Hard Bob alto chorus, accompanied only by the leader's four to the bar guitar strums.

Michael William Gilbert is reviewed by Audiophile Audition

AUDIOPHILE AUDITION

Review By: Robbie Gerson

Michael William Gilbert – I Can See From Here – Gibex Recordings 006, 47:17 ****1/2:

(Michael William Gilbert – synthesizers, loops, percussion; Peter Kaukonen – guitar on “Amerikan Dream”)

There was a time when the image of a “One Man Band” conjured up a street performer holding a bass drum, cymbals on his knees and a blaring kazoo. The explosion of electronic music, largely generated by synthesizers, changed the face of music. The freedom for an individual to create multi-instrumental sound would replace the dependence on band dynamics. A decidedly technical, and occasional, remote feel would permeate the musical format.

Michael William Gilbert seemingly has the pedigree of an electronic practitioner. After studying electrical engineering at MIT, and electronic music at the Boston School of Electronic Music, he would teach at Smith and Hampshire Colleges, and the University of Massachusetts. He continues to this day as a research analyst with U. Mass and Amherst. Gilbert was exposed to music from East Africa and Asia during his youth. Having been raised at times in Brussels, he was influenced by the influential music of Edgar Varese and Pierre Henry. The inclusion of global motifs would infuse his compositions. He has released several albums with Gibex Recordings.

I Can See From Here is a meditative compilation of complex world music. Consisting of fourteen original pieces, each represents a musical sketch or reflection. Arranged in a percussive surrounding, Gilbert offers a variety of exotic melodies and orchestrations. Despite the technological implications of the synthesized tones, the songs have a very organic quality. A distinctly Middle Eastern flavor is detailed on “Eyeless In Gaza”, which captures a spiritual richness, supplemented by altered marimba, woodwind, guitar and choral intonation.

“Sometimes I See The Sky” offers an improvisational, moody interpretation with halting tempo shifts. This dynamic is part of “Dark Horizon” perpetuated by sitar tones and world influenced rhythm. With a driving, pulsating rhythm and horn like accompaniment, played against marimba tone, “Dance Myself To Sleep” sparkles with crisp, tempo beaks and halting accents.

Aficionados of spacey, ethereal new age structure will be pleased with the spaceship environment of “Rooftop Meditation”, reminiscent of the groundbreaking work of Malcolm Cecil. “Amerikan Dream" has the album’s sole guest musician, Peter Kaukonen (Black Kangaroo guitarist). He offers a sharp change of pace with reverberating acid-fusion guitar runs.

There is a diverse assortment of musical genres, including jazz, folk, fusion, new age and electronic. The pieces resonate with a natural fullness, avoiding pretense. This album is original and commands the attention of the listener.

TrackList: Dark Horizon; Nick’s Waking Dream; Eyeless in Gaza; Nick Flies Away (Interlude); Sometimes I See The Sky; Origami Riff; Dance Myself To Sleep; Nick’s Sleeping Dream; Over The Next Rise; Rat Race Redux; Rooftop Meditation; Short Ride Home (Interlude); Amerikan Dream; Adele At Sunrise.

Carol Morgan is reviewed by Cadence Magazine

Review By: Michael Steinman

The first track ("Opening Line") of Carol Morgan's Cd struck me as expertly played Hard Bobp. But with the quiet beginnings of "Nica's Dream," where her playing was nearly flutelike in its intensity and delicacy, I was won over by the beauty and grace of her sound. Then Morgan patters through Bud Powell's "Celia" as a great tap dancer would (with delicious backing from Harvie S and DeRosa). Through the rest of the CD, she impresses with her command of the instrument and her refusal to be compressed into one idiom. She moves from brassy assertive playing to great delicacy: Carol Morgan is someone to hear and to admire

Laura Harrison is reviewed by Cashbox Magazine

Review By: Christopher Llewellyn Adams

Jazz Reviewed 10/11/10
Laura Harrison
Here

The smooth sounds of jazz are coming our way from north of the border. Canadian native Laura Harrison is wowing fans and critics alike with her album, "Now...Here" from the 59 Steps Records label. It is a genuine collection of hits meant to keep the fires burning as autumn turns to winter.

Putting a fresh spin on tracks by the all time greats, Harrison is skilled at both respecting the works of legends past while creating a modern retelling for this generation. The album offers remakes from stars such as Cole Porter and Sarah Vaughan, among others.

The album's best song is Harrison's take on "Seven Days", originally done by Sting. It is a terrific rendition of a track not often heard. It is easy to appreciate when a music fan does their best to share one of their favorite songs, and Harrison does just that.

All told, the album stands out for it's overall tone and feeling. I can see it climbing jazz album charts on a pretty fast pace. Give your open minded music student a taste of "Now...Here", they won't be left hungry.

Alex Levin is reviewed by Cashbox Magazine

Review By: Christopher Llewellyn Adams

Jazz Reviewed 8/13/10
The Alex Levin Trio
New York Portraits

It's getting harder and harder to find a little peace in this world. Sometimes, music can provide some of our only chances to escape, if only on our commute to and from work. "New York Portraits," the latest from The Alex Levin Trio, just might have you taking the long road to work, as it's beauty and artistry shine through with every note.

With a collection of songs designed to smooth over the roughest day, "New York Portraits" is on the fast track to jazz chart dominance. Levin & his band deliver from start to finish on this album, going from Gershwin to Berlin, with original pieces mixed in with no dip in quality.

"Last Train To Brooklyn," a Levin original, shines brightest on this collection. The track is a master class in paying homage to your hometown while creating a work of art likely admired from coast to coast.

Any jazz fan, new or old, will easily be impressed with this album. It is everything that great music can be, with none of the dead weight that can drag down lesser works. Give your collection a bite of the Big Apple with "New York Portraits" today.

Henry Darragh is reviewed by Cashbox Magazine

Review By: Christopher Llewellyn Adams

Jazz Reviewed 6/15/10
Henry Darragh
Tell Her For Me

The best thing about modern jazz is it's ability to surprise people. Just when you think you've heard it all before, new music can jump out at you and become a new favorite. That would be, in a nutshell, my response to "Tell Her For Me" by Henry Darragh.

Without much pomp and circumstance, "Tell Her For Me" is American storytelling at it's finest. Darragh commands an attentive audience with his skills, and doesn't hesitate to please his fans, new and old, with each track.

The title song is the best on this album, and one of my favorite modern jazz tracks this year. Darragh is a prime example of the benefits of a great musical education, with influence clearly from the masters of the genre.

Make room in your collection for Henry Darragh's latest tonight. You and your loved ones will be glad you did.

Michael C. Lewis is reviewed by Cashbox Magazine

Review By: Christopher Llewellyn Adams
Jazz Reviewed 6/22/10

Michael C. Lewis

Reflection

Mix modern jazz with some vintage soul and you'll approach the feeling behind "Reflection," the latest album from Michael C. Lewis. A pleasure to the ears and mind alike, this album is tailor made for a nationwide tour of jazz clubs and better coffee houses.

Showcasing skills to mirror early Miles Davis, Michael C. Lewis is both a student and prophet, clearly showing his passion for the greats while paving the way for future stars to follow in. Any time you reach an album's closing notes yearning for more, it's a good thing, and I've already added his name to my watch list so I can grab whatever comes next.

Of all the songs on "Reflection," "Miles To Go" stands out as the best. A smooth blend of easy on the ears, it will take you back to the days when life was a little simpler, the sun shone a little brighter, and finding songs on the radio worth listening to was a whole lot easier.

Make a quick score with any jazz fan on your shopping list by grabbing a copy of "Reflection" today. The extra smiles come at no charge.

Michael William Gilbert is reviewed by Cashbox Magazine

Review By: Christopher Llewellyn Adams

Jazz Reviewed 9/5/10

Michael William Gilbert
I Can See From Here

There is never a day that can't be made better with great music. It's a shame when fans close their minds and ears to a world of sounds they may not know is out there. One of the best albums of pure musical bliss I have heard in a while is "I Can See From Here" by Michael William Gilbert. It is a breath of fresh air in today's musical landscape too often cluttered with the average.

Brought to us by the minds at GIBEX Recordings, "I Can See From Here" gives new life to styles of music rarely, if ever, heard on modern radio. The songs are expertly crafted, and the flow of the album definitely had me wanting more at it's finale.

Without a weak track throughout, it was difficult to choose a standout song, but "Rooftop Meditation" takes the cake. It is easily one of the ten best jazz tracks that I've heard this year, and a very well-timed release, potentially worthy of a 2011Grammy nomination.

f you have music young folks away at school, you can make an easy gift choice with "I Can See From Here." No true student of the craft will be disappointed.

Harvie S is reviewed by All About Jazz

all.about.jazz

Cocolamus Bridge
Harvie S | Blue Bamboo Music (2010)

Review By: Raul D'Gama Rose

The re-imagining of a traditional Irish ballad, "Eili Gheal Chiuin," does more than define the breathtaking skills of bassist Harvie S, as he takes wing on Cocolamus Bridge. It sets him apart as one of the very few virtuoso bassists of today. He has courage way beyond the narrow definition of the word, and has a fecund mind that is continually searching for new horizons towards which to stretch, taking with him a bass violin that sings with almost limitless possibilities. As unique as the solo bass choir of the Irish folk ballad is, it is just one facet of S' staggering talent: that of the unbridled soloist; making his bass sing with almost human facility is another.

Perhaps S gets that from his years in a duo role with legendary vocalist Sheila Jordan. It was, after all, Jordan who all but drove the bassist to play twin to her soaring bebop vocals. On "Cocolamus Bridge" the bassist provides a brilliant showcase of the voice-like sound of his instrument, which he explores in almost every tenor possible. He imagines lines that make great leaps across the soundscape, darting this way and that, zigzagging and flying in colorful whorls, and sometimes he underlines the harmony with a gravitas that recalls Charlie Haden's thunderously stuttering pizzicato. Like Haden, he makes the strongest showing in the very simplicity of his harmonic approach to the art of the song.

Harvie S can also undertake a complex course in the music. He plays a dramatic, contrapuntal role in "Courage," a decidedly abstract piece that seems to race along in the beginning almost as if it was mimicking a militaristic charge, while in "Coco Loco," he is puckish, prancing about the tune with child-like abandon. The triads that dapple his rendition of Wayne Shorter's "Night Dreamer"—not as close to the original as it might appear—especially in the solo, dart off from the beginning of a solo line that is brilliantly followed by dark notes in the low register of his bass, as he growls and grunts his way through the piece's edgy mood in tonal counterpoint to the shrill meandering of Woody Witt's soprano saxophone.

"To Bea" is a delightful and spritely dedication to Harvie S' mother, and features the bassist dancing around the piano line as he builds up towards a harmonically rich solo. This is followed by the guitar down low, as it is heard so often on the album. But the song has a Bossa Nova slant, and here, S shows his grasp of the swaggering rhythm, as does the percussionist on the date, James Metcalfe. "Ike (Take a Hike)" is inclined towards the Afro-Cuban danzon, but displays a similar shuffle as the song dedicated to the bassist's mother, before "Time and Beauty" returns the music back towards the abstract.

Following his beautifully crafted duet with pianist Kenny Barron, Now Was The Time (High Note, 2009), Cocolamus Bridgefurther cements the extraordinary career of Harvie S.

Track Listing: Eili Gheal Chiuin; Cocolamus Bridge; Courage; Coco Loco; Night Dreamer; To Bea; Ike (take a Hike); Truth and Beauty.

Personnel: Harvie S: bass; Chris Cortez: guitar; Woody Witt: tenor and soprano saxophones; José Miguel Yamal: piano: Joel Fulgham: drums; James Metcalfe: percussion.

Style: Beyond Jazz

Robert Branch is reviewed by Rambles

Robert Branch,
Courage to Be
(independent, 2010)

---

This CD seems to be made for electric guitarists. Robert Branch only works with bassist David Gonzalez and drummer Tim Zhorne with the 10 original compositions on Courage to Be. And while there is some variation in effects and rhythm, most of the playing is at top speed.

Branch has a quote from the Tao Teh Ching on the back of the CD sleeve, and his interests are reflected with titles including "The Veil Within" and "Exodus of Discipline." This is not new-age music, however. The closest comparison might be with John McLaughlin, who combined a bent for Eastern spiritual practices with superfast fretwork.

There is a lot of energy here. As with many instrumental CDs. The appeal of Courage To Be might be limited to guitarists and fans of players like Joe Satriani.

Save the Date - Leslie Lewis & Gerard Hagen

To: Listings/Critics/Features
From: Kari-On Productions, LLC Press
Contact: Kari Gaffney, Publicist http://www.karigaffney.com

SAVE THE DATE

FEATURED CLINICIAN AND ARTIST
LESLIE LEWIS
Wednesday 11/17/2010 – Clinic - 3:00 PM
Thursday 11/18/2010 - 7:30 PM: Evening Concert - Open to the Public (Free Admission)
Leslie Lewis and Gerard Hagen

Lehman College - Jazz Festival - The Second AnnualWednesday, November 17th - Friday, November 19th, 2010
Lovinger Theater
Lehman College, Bronx, NY
Open to: High School and Middle School Jazz Bands, Vocal Jazz Groups and Latin Bands

Artistic Directors: Alan Hollander and Allan Molnar

Leslie Lewis, a native of East Orange, New Jersey, enjoys a vibrant career as a jazz vocalist. She has
performed throughout the country including tours as a featured vocalist with the Cleveland Jazz Orchestra, and with members of the Duke Ellington Orchestra on an Ellington Tribute concert as well as performances with Jazz Tap Ensemble. Leslie was featured, along with Jack Sheldon, on the Tom Kubis Big Band recording “At Last”.

Her solo recording, Of Two Minds features Leslie with the Gerard Hagen Trio and L.A. jazz all-stars, Gary Foster, Ron Stout, Rob Lockart, and Larry Koonse. The recording charted at #28 on the CMJ national jazz radio chart and was released in Japan on SSJ Inc, where it received 5 stars in Swing Journal magazine. Recently, Leslie released her follow up recording Keeper Of The Flame, which features her and the Gerard Hagen Trio exploring Brazilian Jazz music.

She has worked with pianist John Bunch, trombonist Britt Woodman, trumpeter Joe Wilder, and saxophonists Norris Turney and Harry Allen. She recently appeared with Patrice Rushen at the L.A. County Museum of Art Jazz Series and in New York City with the Jazz Tap Ensemble. Currently she resides in Laguna Niguel, California with her husband, pianist Gerard Hagen and is busy performing throughout the Los Angeles area.

CD DESCRIPTION: Keeper of the Flame is Leslie Lewis’ follow up recording to Of Two Minds (2008). It is a vocal jazz recording of (mostly) Brazilian music with a few standards done (predominately) in a Brazilian style. The music has those things that make it feel like Jazz!

Leslie has taken these songs and put her imprint on them with the support of the Gerard Hagen Trio (Gerard Hagen piano, Domenic Genova bass, Jerry Kalaf drums) and guest artist Gary Foster (saxophone/flute). Some of the composers represented are: Antonio Carlos Jobim, Richard Rodgers, Mark Levine, Ivan Lins, and Kurt Weill. The music has a rhythmic energy that propels these songs in an engaging and dynamic fashion.

Indeed, Lewis comes across here as a mature artist. Lewis herself handles the vocals with admirable aplomb, displaying firm intonation and sure-footed time.
~ Peter Westbrook, Cadence Magazine

Sometimes we find a sound that seems to speak to a moment in a perfect way, but along the way we wonder if the same tune might play in another manner in another setting. Leslie Lewis can find such expression of mystery wrapped in vocal harmony on the latest release. Within the silky sweet chords, we find a smooth transition between the various ranges of vocal emotion Lewis can seem to offer at a whim. As a result, listeners will find themselves asking after each track if the song could have also been produced in the emotional response of an earlier tune. ~ J. Edward Sumerau, The Metro Spirit

Lewis’ vocal inflections touch the heart persuasively. The Gerard Hagen Trio are wonderful at complementing Lewis’s graceful strokes and velvety alto textures. Leslie Lewis and the Gerard Hagen Trio make for a lovely marriage in jazz circles. The band and Lewis complement each other beautifully, and instinctively know how to translate their beauty into lyrical forms. ~Susan Frances, Jazzreview

The first thing one notices is that Lewis is a jazz singer. She has that tough to define “something” which separates the jazz and pop worlds; phrasing, expressing real emotion in a lyric; knowing how much liberty to take -- these, I guess, are some of the qualities I look for. And Leslie Lewis gets it. ~George Fendel, The Jazzscene

Now this is vocal jazz I enjoy listening to. Lewis has the kind of spunk and classiness that comes from years of listening and singing this style of music. Lewis sings with a fervor that makes you itch in all the right places, and is the ointment towards the spots that aren’t. ~John Book, The Run Off Groove #226

A winning set for jazz vocal fans that are finding they just can’t keep listening to the same reissues forever.
~ Chris Spector, Midwest Record Recap

Lewis is her own stylistic vocalist, but what I do mean is she has certainly soaked in her fore-sisters and taken the painstaking, time consuming, commitment it actually takes to become fluent in the language of be-bop.
~Jeff Becker, Jazz Sensibilities

Jazz vocalist Leslie Lewis is one of those rare finds. She has a contralto voice, producing a dynamic and lovely sound. She just naturally struts on most of her songs as she sings them. ~Glenn A. Mitchell, LA Jazz Scene