Lisa Maxwell is reviewed by Jersey Jazz

Jersey Jazz
Review By: Joseph Lang
January issue
CD Purchase Link...click here

Reading through the liner notes by LISA MAXWELL for her new album Return to Jazz Standards (Jazz, Lovers – No Catalog Number), you have to be impressed by the perseverance of this resilient vocalist. She relates the story of her battle with a potentially career ending throat problem, and her amazing recovery. I was doubly impressed when I listened to the disc. She sounds just fine, and has made an album that she could not have made three years earlier. Her husband George Newall, the co-creator and producer of Schoolhouse Rock, is also a fine jazz pianist. He wrote the arrangements and produced the album, playing the piano, and digitally creating the other instruments.

The result is a nicely paced eleven-song program that features the pleasant vocalizing of Maxwell. She has a nice feeling for the lyrics of each song, and her phrasing is right on. The songs are familiar ones, “You’d Be So Nice to Come Home To,” Meditation,” “Lazy Afternoon,” “I Hadn’t Anyone Till You,” “Love Dance,” “Call Me,” “The Shadow of Your Smile,” “Isn’t It a Pity,” What Are You Doing New Year’s Eve,” “My Romance,” and “Moonlight Savings Time.” The last track has a guest appearance by trombonist John Allred. This is Maxwell’s first album, and it is good news that she has been able to overcome her battle with health issues to produce a highly listenable and enjoyable collection of great songs well sung. (www.lisamaxwellsingsjazz.com)

Shawn Bell is reviewed in the January issue of Jersey Jazz

Jersey Jazz
Review By: Joseph Lang
January issue

Trombonist SHAWN BELL is based in Rockford, Illinois, about an hour away from Northern Illinois University where he recently completed his graduate studies in jazz. He is currently teaching, freelancing and composing. The fruits of his playing and composing activities are nicely displayed on Things Yet Unknown (Shawn Bell Music – No Catalog Number).

He is joined by Ross Margitza on piano, Nate Brown on bass and Samuel Jewell on drums, with Quentin Coaxum guesting on trumpet for three tunes, and Jonathan McQuade adding his flugelhorn to four of the seven selections. The program includes two standards, “You Stepped Out of a Dream” and “In the Wee Small Hours,” and five Bell originals. Bell is a strong and melodic player, and his fine sense of melody is evident on his compositions. This is Bell’s debut album, and it augers well for a bright future for this talented player and composer. (www.cdbaby.com)

Roger Cairns is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION

Review By: Rotcod Zzaj

Roger Cairns – THE DREAM OF OLWEN: I must say, up front, this is not my normal style of music to listen to… Roger’s talent for balladry shows immediately, even on the first few bars, though, so he’s able to wrap me into his vocal spell. Gary Fukushima’s gentle piano accompaniment is a large part of that mystique, I think, since I love good solid piano, but it’s ultimately the wide range Roger has, along with the clearly heartfelt emotion he’s able to pack into each song that will make a very attentive listener out of you. An even dozen tunes to warm the cockles of anyone contemplating the pain/pleasure of love. I give this one a HIGHLY RECOMMENDED, as well as an “EQ” (energy quotient) rating of 4.95. Get more information at www.rogercairns.com

Glenious Inner Planet is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION
Review By: Rotcod Zzaj

The Glenious – INNER PLANET: During the years I was growing up (’50′s and ’60′s), there was a carryover word from the “Beatnik Generation” that surely applies to the music that bassist/composer Glen Ackerman is putting down for your aural pleasure here – HEP (I mean, YEAH, MAN – that’s really HEP).

While I realize that that dates me pretty significantly, I care not a whit, because it doesn’t matter what decade you’re from, you’ll recognize POWER jazz when you hear it – & “INNER PLANET” is that without doubt. Just listen to the way-cool “There Is A Drop of Roppongi On My Shorts” & you’ll know why I love this guy’s music so much… of course, I had to Google “Roppongi” for hours, but you’ll soon realize that these folks love to have FUN with their music, and that makes them a class act in this reviewer’s ears anytime! Every beat is DOW-un, and there’s no slippage anywhere. When “4 Is A Feeling” started, I thought they were gonna’ launch into some strange Zappa-like orchestral

Leslie Lewis is reviewed by O's Place Jazz Magazine

O's Place Jazz Magazine

Review By: D. Oscar Groomes

Leslie Lewis
O's Notes: Jazz vocalist Leslie Lewis performs ten classic tunes in front of the Gerard Hagen Trio. The mood is light and packed with romantic interludes. Special guest Gary Foster does a fine job with accents on sax and flute.

Lewis has a pleasant voice that is easy to enjoy on tunes like "Day By Day". Lewis adds some Latin flavor with a few Jobim tunes notably "Fotographia". We also enjoyed "Speak Low" in a balanced session.

Dual Rhythm is reviewed by O's Place Jazz Magazine

O's Place Jazz Magazine

Review By: D. Oscar Groomes

Dual Rhythm
O's Notes: Dual Rhythm is Earnest Bland (percussion and vocals) and Paul Rosenberg (keyboards). At times the duo

sounds larger that two people, as many audiences have suggested and is suggested by the title.

They play a mix of Latin, R&B and popular music reflecting their experiences. Most of the music is original but there are also a few covers notably the medley of "Night Dreamer/Afro Blue". We also liked "Absence of Excess".

Annie Kozuch is reviewed by Improvijazzation Nation Issue #109

Improvijazzation Nation Issue #109
Review By: Rotcod Zzaj

Annie Kozuch – HERE WITH YOU: A decidedly Latin feel on the opening track, “Chega de Saudade“, originally an Antionio Carlos Jobim tune… the keyword I find most accurate for Annie’s way-cool vocals is “energetic”. No sad/lame lounge-lizard foolishness here, all 11 tracks will set your world afire, no doubt… some very nice jazz vocal work!

I also liked (yet another Latin tune) her rendition of “Corcovado-Quiet Nights“… a quick skim of her BIO shows why she sings lots of Latino-based music – she grew up in Mexico City, so I’m sure that gave her lots of exposure to the “real thing”, if you will. She’s a performer all around, though, doing television, movies and lots of other artistic endeavors. It turns out that my favorite piece on this debut CD, though, was “You’re Getting To Be A Habit With Me“, which personifies “energy”, in the musical sense anyway.

I give this a well-deserved MOST HIGHLY RECOMMENDED, especially for jazz lovers who have to have quality vocals spinning all the time. “EQ” (energy quotient) rating if 4.96. Get more information at www.anniekozuch.com

Henry Darragh is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION
Review By: Rotcod Zzaj

Henry Darragh – Tell Her For Me: This 11-song CD from Henry is way-cool, to be sure… Henry’s trombone and piano work are complimented by a vocal style that seems far too advanced for a young cat like this… as though he had been “inhabited” by the spirit of the old jazz crooners like Al Jarreau, Andy Williams or Dean Martin. The August 2nd release has a “gentle” feel not often present on jazz albums these days… that takes talent; to be able to “find one’s own style”, then play AND sing it, without coming across as forced or phony is a clear accomplishment.

He’s chosen some great folks to accompany him (Seth Paynter on tenor sax; Carol Morgan’s trumpet; Erin Wright on guitar and bass; Glen Ackerman on bass & Chuck Payne’s drums. One of the coolest tracks (for this reviewer, anyway) was “Once In A While“, in great part because of Henry’s vocal. I also enjoyed the “jump” in “Early“, where you really get to hear how joyful he makes the trombone sound.

The main impression I get as I listen through this masterful set of tunes is that Henry & krew have a clear understanding of that old axiom – “if it ain’t FUN – it ain’t MUSIC” – totally “on”, yet they project a totally relaxed attitude that will infect your listens. I rate this one as HIGHLY RECOMMENDED, and full-well expect we will be hearing much more from this talented young player. “EQ” (energy quotient) rating is 4.97. Get more information at www.henrydarragh.com/

MJ Territo debuts on the CMJ Top Jazz Adds Chart at #3

MJ Territo debuts on the CMJ Top Jazz Adds Chart this week at #3.

The songs on D

own With Love reflect my eclectic musical tastes – there are standards, show tunes, and novelty songs. Ballads, Brazilian, and rock, too. They also highlight my sense of fun, my background, and what is important to me in life.

Making the CD was a wonderful, if sometimes anxiety producing, adventure. I am grateful to the musicians, all of whom I’d worked with before, for the collaborative nature of the rehearsals and sessions. Everyone made thoughtful and valuable contributions to the final product, making the m

illions of small choices less daunting. David Shaich was particularly important to the project, and not only for his lively, swinging work on bass. He also mixed and mastered the CD, working tirelessly with me to get exactly the sound we wanted.

Down With Love I’ve got nothing against love, honestly. Couldn’t wouldn’t shouldn’t live without it. I was just a bit tired of singing about it all the time. There really is more to life. And there are so many terrific not-love tunes--songs about freedom and family; about places we love and leave; about harmony and hope. Songs that celebrate; songs that contemplate; songs that are just plain fun. So here they are. Up with life!

When I’m not singing, I enjoy writing lyrics to jazz tunes as well as my own songs. I am also a music educator, writer, and early childhood arts advocate. At home in Yonkers, NY, my heart belongs to my husband Richard, our daughter Emma, and Wee Willie, our 16-year-old Cairn terrier with ‘tude.

John L. Holmes debuts on the CMJ Jazz Chart at #38

Guitarist John L. Holmes debuts this week on the CMJ Jazz Chart at #38

John L. Holmes was born in Walla Walla, WA in 1950. He began classical guitar instruction at the age of nine and played his first recital at twelve. Since then he has taught himself to play many different styles such as: blues, rock, folk, jazz, free jazz and Latin

jazz. He has played professionally since he was 13 years old.

Holmes attended Whitman College, San Francisco Art Institute and Pratt Art Institute in

Brooklyn, NY. He received a BFA from San Francisco Art Institute. At Whitman, while attending a Jazz history class, Holmes met visiting professor, Downbeat writer and musician, Bill

Cole. Bill was able to put together a performance with students and some great musicians, such as Jimmy Garrison, Ed Blackwell, Sam Rivers and others. This was when “free music,” challenged the conventions of the establishment. The experience of getting to meet these musicians and play in this context was a profound inspiration for Holmes.

In the early 1970’s he took a year off from Whitman to teach English in Bogota, Colombia, where

he and his wife, Patsy, worked and traveled as far south as Macchu Picchu, Peru. These experiences were pivotal in his approach to music composition. The influence of the Andean people as well as the ubiquitous cumbias, mambos, and folkloric festival became an

integral part of his life. These elements are in evidence throughout his latest CD, The Holmes Stretch.

After returning to Whitman College, Holmes began to focus on art and music to the point that a move away from Whitman was necessary and Holmes moved to San Francisco to attend the Art Institute. It was there that he met artist and guitarist, Takeshi Nakayoshi. This resulted in

a long standing friendship and many recordings (all unpublished) and performances in the Bay Area, not just as a duet, but also often with larger improvisational ensembles. Holmes also recorded and gigged with Bob Drew (a local saxophonist who had played with Cannonball Adderly).

After experiencing city life in San Francisco and Brooklyn, NY, the couple decided to rural Walla Walla in 1977, John began collaboration with his old friend and poet, Larry Leier. With original words and music they played as a duet at the Bumbershoot Festival in Seattle. They then recorded with bassist E.J. Dickerson and percussionist Glenn Ayers (a former native who

returned after an extensive career in Seattle). They released a “45” under the band name, “Jazzmen Tea.” Holmes then recorded and performed with the Walla Walla group, “Non-Stop,” featuring the compositions of Mike Friedman and Holmes, and recorded in Hawaii with the group, “Hooves,” which featured the compositions and performances of Holmes and multi-instrumentalist Paul Noel.

In 2007 Holmes released, Listening for a Vision, with the trio “Myth America,” featuring the latest words and music of Leier, Ayers and Holmes. Holmes has spent much of his recent time recording his original compositions and performing with the group, environs and various other

groups in Walla Walla. Currently Holmes and Glenn Ayers have co-produced and released a CD of Holmes’ original music entitled, The Holmes Stretch. Featuring Ayers on drums and percussion, Seattle bassist, Steve Kim, nationally known trombonist and Whitman professor,

Dave Glenn and a strong contingent of “los amigos,” on the side.

Pamela Hines soars up the CMJ Chart to #2

Pamela Hines soars up the chart to #2 this week on CMJ. Her new CD "Moon Germs" is pleasing listeners across the US, Canada and beyond.

Moon Germs, with John Lockwood (b), Bob Gullotti (d), Greg Dudzienski (ts) and Darren Barrett (t) is a riveting and eclectic mix of driving tempos and romps into free jazz explorations. Pamela Hines finds a way to tastefully mix well-known standards and free interpretations into an interesting eleven track set that highlights the strengths of each band member.

Hines has proven to be a prolific presence in the first decade of the century.

She has received critical acclaim for edgy instrumental compositions that contribute to the contemporary jazz genre and vocal jazz originals that are more at home in the American Songbook.

Artists often say that they play with passion and it shows with Pamela Hines. She wears that passion on her sleeves as her notes depict what she is going through like an autobiography set to music.

Jenny Davis is reviewed by Talking Broadway

TALKING BROADWAY
JENNY DAVIS, INSIDE YOU
Review By: Rob Lester

"Morning Glory" is one of the appealing, if atypical, tracks on the latest CD by the understated, ear-pleasing singer Jenny Davis. Writer Rodgers Grant is telling the story of emotional attachment between a "lady of the evening" and one of her men. There's nothing smarmy or blatantly sexual about it; in fact, it's rather poetic and vulnerable. The singer gets "inside" a song at times, but subtly so. The first cut, "When Your Lover Has Gone," at first strikes one used to its renditions as a lonely, lovelorn, love-worn lament sung weepily by Sinatra and others may be taken aback. Why so dispassionate and matter-of-fact? Is she to be lumped in with so many jazz-oriented vocalists who eschew the demonstrative and the digging deeply inside the lyrics, just digging the groove of the music and glorying in that? That's the temptation of the first impression if you haven't encountered her before. She could be "one of those." But wait a minute. The lyric really is about feeling rather apathetic and energy-sapped more than crying in anguish ("When you're alone/ Who cares for starlit skies? ... Like faded flowers, life can't mean anything..."). Maybe it's a calculated choice. Maybe not. The other songs don't get her especially riled up and there is a "cool" distance from some other lyrics that might call out for more intensity. Her light, jazzy voice sounds comfortably in her own comfort zone of understated vocalizing with some touches of improvisation.

So, who is this Miss Davis? This pleasing, easy-on-the-ears singer based in the state of Washington had not previously in my state of awareness. I'm glad to belatedly find her on this latest self-produced CD. Her website tells me that this is her first album in five years, and the brief liner notes say that the main accompanist here, guitarist Chuck Easton (who doubles on flute, briefly), has been a musical colleague for 15 years. He's excellent as a player and true partner. Rodgers & Hart's perennial "My Romance" gives his instrument a nod in the lyric, of course, as the things not needed for romance and romantic mood are ticked off ("No month of May, no twinkling stars, no hideaway, no soft guitars"). It's a cozy rendition of a song that never seems to get old and tired, despite having debuted on Broadway 75 years ago this week. They sing and play this with real affection and no affectation. The other show tune is the even-older operetta warhorse that ends the album, "Softly, As in a Morning Sunrise" (Sigmund Romberg/ Oscar Hammerstein II); the old school expectation of something stiff and stoic, floridly and poetically parading the aspects of love is loose and limber in these hands. Though they are hardly the first to take this route, it still impresses, if the operetta context is your reference point. Easy does it and it's a pleasure to ease into their relaxed manner that makes the lyric seem more conversationally contemporary—to an extent.

Along the way, there are other jazz touchstones: something from Charlie Parker (a well-tackled trip through the tricky "Confirmation" that confirms Jenny's ease with big league jazz challenges; a breezy stroll "On Green Dolphin Street"; skimming across Jobim's infectious "No More Blues"). The title song is the one example of the singer's own songwriting and it's a nimble number, too, low-key but well-crafted. Rounding out this jazzy flight is "Blackbird," Paul McCartney's piece which might seem a bit too casual if you know its context of commenting on a racial incident that inspired it, but admittedly often gets a relaxed rundown by others and suits guitar and vocal combo well.

Bassist Ted Enderle is mostly in the background but does get one very prominent time in the spotlight and Louis Aissen, a tenor sax player, comes in for a guest appearance on one track, an old, old pop ditty, "Into Each Life Some Rain Must Fall," that is saved from Hallmark Homily Hell or self-pity (had its "too much is falling in mine" whine taken to the max); instead, it's treated genially and with a good-natured shrug. The sun'll come out tomorrow, we might think. Sunny spirits are present throughout, but it doesn't take much looking between the sunbeams to see inside the workings—there's some very competent musicianship quietly on display with a "no fuss" attitude that some might miss on a casual hearing.

This is the kind of album that wears well, left on repeat play, and can get its appealing flavor inside you.

Fernandez & Wright are reviewed by Cashbox Magazine

Jazz
Fernandez & Wright
Unsung
Review By: Christopher Llewellyn Adams

The change of seasons brings about a new appreciation for natural beauty in all forms. The classic sounds of great music, especially, can warm a home when even the coldest winds blow past. Fernandez & Wright may have just the thing to keep your fires burning.

"Unsung" is the latest collection of songs from the hitmakers at Newmarket Music. The duet compliment each other flawlessly, delivering greatness with each track. This album would be a perfect gift for a traveler adjusting back to life on solid ground.

"If Only" is my pick for the album's best song. It offers seamless musicianship and lyrics meant for daily reading. The pair give the best they've got with this song, and it's clear a lot of emotion and care went into it's production.

It isn't always easy to put a smile on the face of some people. Great music might just do the trick. Put your favorite "Scrooge" in the holiday spirit with a copy of "Unsung" today.

Happy Thanksgiving from Kari-On Productions, LLC

Happy Thanksgiving from all of us, we are truly thankful each day!!

Jacqui Sutton is interviewed by KHID/KMBH

Join Jacqui Sutton and Chris Maley on KMBH/KHID as they discuss the process of creating "Billie & Dolly." Jacqui speaks about how bluegrass has influenced her musical endeavor.

Jacqui also discusses her process of meeting and choosing just the right musicians to create her unique sound. She also gives props to arranger Henry Darragh.

Click Here for the full interview

Pamela Hines is interviewed by WXOU

Pamela and Phil explore Pamela's compositional process and why she chose the title "Moon Germs." Pamela talks about her freedom with composing and how she learned the process and how Kenny Werner's philosophy influences her.

Pamela talks about the players and their contributions to the recording and the chemistry they create together.

Click Here for the full interview.

Glenious Inner Planet is reviewed by Gapplegate

GAPPLEGATE GUITAR AND BASS BLOG
Review By: Grego Applegate Edwards

"The Glenious Inner Planet" is a Very Cool Place

Electric Bassist Glen Ackerman is on to something good with his band and new CD, both titled The Glenious Inner Planet (Blue Bamboo Music 016). This is the not-stupid sort of fusion. It has the rock aspect with some sophistication and brightness to the compositions, which are by Glen (except for a nice version of Brubeck's "Blue Rondo"). Woody Witt puts in good solo time on reeds, Paul Chester sounds good on guitar, Ted Wenglinski gives us some nice electric piano, and either JD Guzman or Joel Fulgum occupy the drum throne with the properly driving sensibilities.

This is Glen Ackerman's album though, so you get his vision up front: some nice bass solos and a post-Return-to-Forever perspective with nothing coy or cute, nothing commercially vapid. Just really solid, good fusion. I would recommend it. In fact I DO recommend it!

Kari-On Productions, LLC Now Offers Video Concepts For Your Project

Kari-On Productions, LLC also offers video editing. We can customize your video footage into a professional presentation. Below is an example of what we created for our client Greg Chako.

Kari-On Productions, LLC Now Offers Video Concepts For Your Project

Jeff Williams of Kari-On Productions, LLC has created a new concept available to our clients and beyond. We now have the added capability of creating a slide show for an artist that may not have video footage. This slide show was custom created for the artist. Each picture was carefully created for this particular slide show. So even if an artist does not have video footage, we can create a custom video just for your song, or a slideshow of multiple tracks (snippets) for an album.

Give us a call today for a quote specific to your project.

Richard Blake is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION
Review By: Rotcod Zzaj

Richard Blake – MIDTOWN AT MIDNIGHT: The truly spooky thing about Richard’s guitar and bass work (together with Dennis Kohrherr on drums) is just how much it reminds me of midnight towns I’ve been in all over the globe… laid-back, but with a tantalizing taste of the mystery that late-night/early-morning brings to the mix for those of us who creep/crawl through the dark in search of the joy of living. This excellent CD puts you in that mood… be certain to check out the opener, “Lollipops and Roses“, to hear what I’m talking about. It’s quite simply amazing what a talented duo like this can make happen in the musical zone… pieces like the classic “Get Your Kicks On Route 66” will have you on that road to oblivion in only a few bars. For a genuinely fun musical experience that you’ll listen to over and over, you’ll want to add this one to your collection… my personal favorite was Richard’s rendition of “Desafinado“, but you’ve got 11 tracks to choose from, so your choice may be different. I give this one a HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.94. Get more information at www.richardblake.net/

Matt Garrison is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION

Review By: Rotcod Zzaj

Matt Garrison – FAMILIAR PLACES: There are a whole host of players we’re familiar with on Matt’s stunningly creative CD (Sharel Cassity and Michael Dease, just to name a couple), and that in itself lends itself to a “comfort level” that many new musical efforts just don’t have. Garrison’s tenor and baritone saxophone
stand right out in front, but the 9 all-original tunes feature a sense of “variety” that often isn’t part of a leader’s first outing.

Just listen to the contrasts between the richly-toned “Convergence” and the moody deepness on “A Thoughtful Attempt“; they are both full of energy, but each with a totally different vibe. This is wonderful, as it gives your ears something to ponder… not one of these compositions is a “throwaway”, they’re all keepers! My personal favorite, though, was the closer, “A Clear Path“… the funk vibe on this one will have you thinkin’ HEAVY jazz in only one note! I give this superb young player a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.97. Make sure you tell you’re friends that Zzaj predicts you will be hearing much, MUCH more from Matt, too! Get the information at http://mattgarrisonmusic.com/

Robert Branch is reviewed by Improvijazzation Nation

Improvijazzation Nation

Review By: Rotcod Zzaj

Robert Branch – COURAGE TO BE: No doubt in this reviewer’s mind that Robert’s guitar work on this latest release clearly makes him one of my most recent heroes! He’s not afraid to tackle interesting and diverse structures, as you’ll hear when you listen through “North of Center“, one of my favorites on the CD.

For something a little more laid-back, you’ll certainly find “Letting Go” as pleasurable as I did. Since I enjoy tunes that are complex and involved, though, I found the 11:42 “Backyard Hallucination” to be the most enjoyable piece on the CD… after the expected “floating intro” (about 52 seconds in), Robert JUMPS into the dream with some strident rhythm that will give you a flashback without the benefit of dropping out… serene is the word I’d use to describe this beauty. All 10 tunes are that way, in bold new ways; I give Robert a MOST HIGHLY RECOMMENDED on this one, and an “EQ” (energy quotient) rating of 4.98. Get more information at www.robertbranchmusic.com/

Henry Darragh is reviewed by O's Place Jazz Magazine

Review By: D. Oscar Groomes, O's Place Jazz Magazine

Henry Darragh - Tell Her For Me 3/3
O's Notes: Henry is a crooner. He also plays piano and trombone. Tell Her For Me is a mix of five standards and six originals, all romantic ballads. Seth Paynter (sax), Carol Morgan (t), Glen Ackerman (b), Erin Wright (g, b) and Chuck Payne (d) provide support as Henry walks through his life. "Regret", "Everything Happens To Me", Missing You" and "Wrong Ending" hit the sad notes while "Early" and "Look For the Silver Lining" are more upbeat. The title track says it all as Darragh states he is tired of crying. We are ready to hear about the rebound.

Michael William Gilbert is reviewed by O's Place Jazz Magazine

Review By: D. Oscar Groomes, O's Place Jazz Magazine

Michael William Gilbert - I Can See From Here 3/4
O's Notes: Gilbert plays a vast assortment of synthesizers and percussion. He adds programming, samplers and loops to arrive at a futuristic techno-jazz vibe. He composed all of the music except "Amerikan Dream" written by Peter Kaukonen who plays guitar on the track. This music is commonly played in Europe in eclectic hotel lobbies and modern art museums.

Rodrigo Ferrari Nunes is reviewed by Rambles

Rodrigo Ferrari Nunes, The Bias Project
(Elegiax, 2005)
Review By: Ann Flynt

The Bias Project begins with a 1960s-style homage to such greats as John Coltrane, Charlie Parker, Charles Mingus and Bill Evans. The first song, "Fables of Faubus" (Mingus), takes the listener through a riotous romp of horns, piano and joyous improvisational melody. Rodrigo Ferrari Nunes is not only a composer, producer, bass player and a student of anthropology, but also an artist that does not limit himself to playing it safe.

Nunes was born in Sao Paulo, Brazil, and was exposed to a number of different musical traditions and styles since he was quite young. With this early exposure to so many artists and styles, as well as the influence of his father, a scholar, Nunes reflects his innate skills in music, a knowledge of English, passion for and success in anthropology and the classics in North America at the University of British Columbia, and a desire to study, teach, compose and expose others to the world of Brazilian music, as well as music from other culture.

"Giant Steps" (Coltrane) has a more Latin beat with a flair and bounce that implies the instruments are throwing down musical notes as a challenge to a fight, albeit one among good friends. Interestingly, the CD concludes with "Giant Steps, Take 2" (also Coltrane) and leaves the listener with the raspy, joyous horn notes of a master, playing off the quiet current of a river of sound from piano, drums and bass that serve as a strong counterpoint to the second song, which is quite cleverly, "Giant Steps."

"Up Jumped Spring" (Freddie Hubbard) is lilting, mellow, harmonic and full of strong horn, piano, bass and drums, and is sweet without being cloying. Its richness reminds one of how spring starts out slowly and gradually and finally yields to the magnificence of summer and other delights.

Sandro Haick, a very close associate and mentor to Nunes, is one of the great unknown Brazilian musicians, and beautifully plays his composition, "Marmaleda." Haick is a multi-instrumentalist on drums, semi-acoustic guitars, Fender Rhodes and both acoustic piano and melodica. This particular piece is lush and smooth, with overtones of a tropical night where love and passion are in the air.

Nunes, along with Haick, Vinicius Dorin, Pepe Rodriquez, Daniel D'Aleantara and Cuca Teixeira, play a great variety of instruments, and songs from primarily Norte Americano artists, and they improvise with flair and passion. On The Bias Project, Nunes shares the commonality we can have in loving music for its promise and universality.

Harvie S is reviewed by Rambles

Harvie S,
Cocolamus Bridge
(Blue Bamboo, 2010)

Review By: Dave Howell

Harvie S has been around a long time, with a biography that includes work with many major jazz stars. But on this, his 13th disc as a leader, he does not show any sign of losing his creativity or freshness on eight varied tracks of five-and-a-half to eight minutes each.

The first track has standup bassist Harvie soloing on the traditional "Eili Gheal Chiuin," with a bit of over tracking. The next work, the title cut, brings in his band. Both are quiet, beautiful pieces. Four livelier cuts have a Latin beat, but in a jazz rather than a salsa style.

The songs are carefully arranged in flowing melodic style without falling into predictable formats. There is room allowed for solos, but they never overcome the structure of the compositions. Woody Witt stands out on his intricate tenor and soprano sax, especially his soprano on Wayne Shorter's "Night Dreamer," the only other cover besides the first Celtic song.

The other musicians are Chris Cortez on guitar, Jose Miguel Yamal on piano, Joel Fulgham on drums and James Metcalfe on percussion.

This CD does not fall into any standard jazz category, but instead stands out all over for its songwriting, production, playing and overall tastefulness.

Laura Harrison is reviewed by Jazz Times

Review By: Wilbert Sostre

CD Review: Laura Harrison - Now Here
Year: 2010
Record Label: Steps Records
Style: Jazz Vocals

Musicians: Laura Harrison (vocals), Peter Smith, John Proulx (piano), Chris Colangelo, Kevin Axt (bass), Jimmy Branly, Steve Barnes (drums)

Review:
What a better way to start, Canadian singer/composer Laura Harrison’s debut album Now Here than with the extraordinaire interpretation and fabulous scats in the Sarah Vaughan song “Shulie A Bop.” The hard swing, superb scats and amazing phrasing on this first track should tell you what this lady is all about. Laura is a singer with complete command over her voice, a master of scatting and improvisations. This is what a jazz singer should sound like.

Laura sings in perfect Portuguese on Vinicius de Moraes “Berimbau.” Two other great choices are Ellington’s swingin’ compositions, “Cottontail” and “Love You Madly” with some more great scats by Laura, this time reminiscent of another legend of Jazz, Ms. Ella Fitzgerald.

Laura’s technique and mezzo soprano voice allows her to sound just as good singing classical pieces like Bizet’s “Habanera.” Her compositions, “Now Here” with lyrics that reflect the struggle to finally record her first album, “Reflection,” and the two jazzy tunes “Mi Alma” and “Teesa's Blues” are interesting both melodically and harmonically with a touch of poetry and personal lyrics, but always leaving space for vocal improvisations.

Laura shows her versatility as a singer in Ralph Towner’s “Icarus,” Sting’s “Seven Days,” and in the funky groove arrangement of “Wouldn't It Be Loverly.”

Tracks: Shulie a bop, Now Here, Berimbau, Reflections I concentrate on you, Mi alma, Love you madly, Wouldn't it be loverly, Teesa's blues, Habanera, Icarus, Seven days, Cottontail

MJ Territo is reviewed by Midwest Record

Volume 34/Number 19
November 19, 2010
MIDWEST RECORD
CHRIS SPECTOR, Editor and Publisher
Copyright 2010 Midwest Record

WWW.MJTERRITO.COM
MJ TERRITO/Down With Love: Taking a highly roundabout way to becoming a jazz vocalist, she waited until she could shake off her middle class commitments and jump in with both feet. Coming to the fore later in life, Territo brings a world weary cynicism to her cynical songs and a bright outlook to her upbeat stuff.

Don’t confuse this with a bad case of frustrated housewife syndrome, Territo has the music in her and now it’s time for it to finally come out. A solid jazz vocal date well worth checking out.

Shawn Bell is reviewed by Midwest Record

Volume 34/Number 19
November 19, 2010
MIDWEST RECORD
CHRIS SPECTOR, Editor and Publisher
Copyright 2010 Midwest Record

SHAWN BELL MUSIC
SHAWN BELL QUARTET/Things Yet Unknown: Here’s a young bone man, fresh out of college, that makes a record to kick off his adult life and it’s squarely in the jazz tradition.

A smoky, after hours set for a world that only knows no smoking bars, Bell and his crew show that jazz was flowing in the blood at an early age. Solid playing and writing, a great tone and a young, untamed spirit all team up to make this a delightfully auspicious debut that brings a liberal dose of flavor to an increasingly flavorless world. Hot stuff that mainstream jazzbos will love.

Jenny Davis is reviewed by All About Jazz

Inside You
Jenny Davis | Self Produced (2010)

By: C. Michael Bailey

Jenny Davis' It Amazes Me (Self Produced, 2006) was a relaxed tuneful affair employing a crack quintet capable of multiple layers of musicianship. For Inside You, Davis whittles her quintet to a duo, featuring her regular guitarist Chuck Easton, and bassist Ted Enderle, furnishing a stripped-down swing that depends on its own momentum with which to propel it. From the near orchestral duet with Easton on "When Your Lover Has Gone" to the brilliantly spare duet with Enderle on "Softly, As In A Morning Sunrise" Davis displays major deep and dense growth since her flagship It Amazes Me.

Outstanding in the mix is Davis' note-perfect performance of Eddie Jefferson's lyric-fortified version of Charlie Parker's "Confirmation." Where King Pleasure was able to divine Parker's blues aesthetic from "Parker's Mood," Jefferson captures the whole of be bop in his love affair with "Confirmation." Fast, complex, and readily engaging, the head of "Confirmation" invites intricate duets like that of alto saxophonist Art Pepper and bassist George Mraz from Art Pepper: The Complete Village Vanguard Sessions (Contemporary,1995). Davis and Easton dodge raindrops in a spring shower as they skip through it, with Enderle showing the way. Easton and Enderle each take a chorus solo, each supporting the other, before scooping up Davis for the coda. Vocalese rarely gets better than this.

Shawn Bell is #1 on the CMJ Top Adds Jazz Chart

Things Yet Unknown is the album I have always wanted to make. It features a group of terrific players from my generation performing original compositions. I am always composing, and deciding which pieces to record in order to make a complete and cohesive album was a challenge. However, I think the final product offers a good mix of styles and moods that keeps things interesting.

By choosing to record with trumpet and trombone as the front line, I immediately thought of the great JJ Johnson–Nat Adderly recordings of the late 1950’s and the recordings put out by Woody Shaw in the 1970’s and 1980’s that feature himself with Steve Turre. This has given the album a different feel than a more typical lineup featuring tenor sax and trombone would be able to offer.

The interplay between trombone and trumpet was a central concept that I focused on when arranging the music for this album. Both horns are featured as melodic voices and in support roles. I tried to blend some of the traditional roles of each instrument in order to create something that adds to the oeuvre of trombone-trumpet recordings.

While recording original music was the primary focus of this project, I still wanted to include a few standards. I thought it would be interesting to completely re-imagine both “You Stepped Out of a Dream” and “In the Wee Small Hours of the Morning.” I tried to alter each of these songs enough in order to make them feel like original compositions but still be recognizable and accessible as the great pieces of American song writing that they are.

As a whole, this album represents my career up to this point. Some of the songs I had been performing for several years, while others only a few weeks. This is how I see the career of any complete Jazz musician, continuing to mine for great performance in tested material while always moving forward to new influences.