Chris Graham Trio is reviewed by Rambles

Chris Graham, After-Birth of Cool (independent, 2010) Review By:  Dave Howell Vibes are pretty cool, and so is this CD. After-Birth of Cool is melodic and low-key. Alex Austin on bass and Oliver Hunt on drums provide a subtle background to Chris Graham's mallet work. The vibes here are set to sound less like a xylophone or marimba and more evenly electronic, which adds to the smoothness of the music. Graham plays quickly but with a soft touch, to create an even flow. The sound is relaxing but not vapid, with just enough tension to carry the listener on this journey of songs about childbirth. Graham has developed a technique for playing with five mallets, which helps him to bend notes and play chords. What stands out here, though, are his musical ideas. Everything is melodic. His cover of Paul Winter's beautiful "Icarus" fits in well with the other seven tracks. There do not seem to be any solos here, just well developed songs played with feeling.

Michael C Lewis is reviewed by Rambles

Michael C. Lewis, Reflection 
(independent, 2009)

Review By:  Dave Howell

This is a smooth jazz release that has Michael C. Lewis both playing and singing on mostly original songs. It begins with "Reflection (Sunrise)," which has Lewis playing flugelhorn on a simple but appealing tune backed only by keyboards. "Gulf Breeze" is a mildly funky tune with a breezy melody featuring Lewis on both trumpet and flugelhorn. 

Lewis also does a soul version of the Carpenters' "We've Only Just Begun."

"Kid Time" combines funk and effects like echoes and doubling for a groovy nu-jazz vibe, even adding some electric guitar work by William "Spaceman" Patterson. "Reflection (Sunset)" is a nice ending as well as beginning.

The whole CD is very synthesized, even crediting two people just for programming. There is no bass player or drummer, only drum programming. This approach provides a nice wash of sound backing Lewis's horns, which in turn have a rounded, softer feel that fits in with the melodies. This is a nicely done smooth jazz effort.

Reggie Pittman & Loren Daniels are reviewed by Rambles

Reggie Pittman & Loren Daniels Quartet
Point A to Point A
(Ivory Hornz, 2010)

Review By:  Dave Howell
Reggie Pittman and Loren Daniels work in a fairly traditional vein with these 10 tracks. All are their own compositions except for Charlie Parker's "Ornithology." The tunes are melodic and all have enough changes to make them engaging. 

All four musicians are accomplished, Pittman on trumpet, Daniels on piano, Bill Moring on standup bass and Tim Horner on drums. Pittman can play fast runs, as in "On the B.T.," and can be meditative as well, as when he switches to flugelhorn in his own "Fall." Daniels has an easy and melodic touch on the keys. Moring and Horner are expert at adding small touches, with tasteful string bends and cymbal flourishes.

This is a well-recorded CD with a clean sound, with no electric instruments or incoherent noodling to mar the uncluttered vibe. It is a tribute to the golden ages of jazz, as when Daniels sings its praises on "It's All Thelonious" in a lighthearted fashion. There is no funk, fusion, or rock here -- just a fresh viewpoint on straightforward jazz.

John L. Holmes is reviewed by Jazz Times

CD Review: John L. Holmes Y Los Amigos - The Holmes Stretch

Year: 2010

Record Label: Indepenpent

Style: Various Jazz Styles


Review By:  Wilbert Sostre

Musicians: John L. Holmes (guitar, synthesizer), Glenn Ayers (drums, percussion), Steve Kim (bass), Dave Glenn (trombone), Mike Agidius (sax, trumpet), Mike Friedman (keyboards), Ken Wilson (flute)

Review: 
An electric guitar is not the first instrument that comes to mind when someone thinks about Latin music. But the idea is not new; Carlos Santana did it in the 70's fusing Rock with his Latin heritage. The difference is that John fuses Jazz and Latin music playing the electric guitar.

A native of Walla Walla, Washington, John is an experienced guitar player. It was his experience in the 70's teaching English in Latin America that influenced his music to this day. And you may hear that influence all over his new CD, John L. Holmes y Los Amigos.

The first track "La Vida Loquita" feels like a Mambo and one can even sense the clave, a rhythm figure essential in Afro Cuban music. In contrast "Momentito" is a slow piece with kind of an ethereal feeling with the brass harmonizing with the electric guitar.

"Back Burner’s" groove kind of reminds me of the classic “Afro Blue” by Mongo Santamaria. But in "Beyond Blue" they are back to the Latin rhythms, reminiscent of a son cubano and when the trombone enters the improvisations it sounds like the salsa trombone players of the Fania era.

"It's All About You" and "There Will Come a Day" are more in a Jazz Fusion tradition, the last one with a little funk.  John shows his diverse influences in "And Then No Problema" kind of a reggae/funk. "It's My Guitar" has influences of South American music, especially the region of Peru and Ecuador. And there is also some Miles Davis in "Quit That Some More".

Tracks: La Vida Loquita, Momentito, Back Burner, Beyond Blue, There will come a day, It's all about you, And then no problema, It's my guitar and I'll pay it the way I want, Where we goin, Quit that some more, Two for the show

Sweet Lu is reviewed by Jazz Times

CD Review: Lutalo Olutosin - Tribute to Greatness

Year: 2010

Record Label: Independent

Style: Jazz Vocals

Review By:  Wilbert Sostre

Musicians: Lutalo Olutosin (vocals), Louis Heriveaux (piano), Henry Connerway III (drums, percussion), Winfield Gaylor (sax), Kevin Smith (bass)

Review: 
Indiana native Lutalo Sweet Lu Olutosin’s debut album Tribute to Greatness is a nice collection of songs that reflects and pays homage to his influences that include gospel, soul and jazz music.  Lutalo’s song selection is interesting with some music not often recorded like "Four", "On the Red Clay" and "All Blues".

Lutalo has a deep, soulful voice with a recognizable influence of singer Al Jarreau.  You may hear Jarreau influences in the first song, "I Bet You Thought I'd Never Find You", even the way Lutalo scats sounds very similar to Al Jarreau. On his original songs "My Sunshine" and "Your Touch" there is also influences of soul singers and little bit of funk.

Other songs like "Parker's Mood", the blues "Kansas City", "Baseball" and Miles Davis’ "Four" sound more like traditional jazz. Also included in the album are Freddie Hubbard’s "On the Red Clay", Mile Davis’ "All Blues" and Mongo Santamaria’s "Afro Blue" most people recognize the Coltrane version of this classic.

Tracks: I bet you thought I'd never find you, Parker's Mood, Kansas City, My Sunshine, Four, On the red clay, Baseball, Your touch, Afro Blue, All Blues

Shawn Bell Is Interviewed by WXOU, Rochester College, MI

Shawn Bell hooks up with Phil Berard at WXOU for an afternoon of great insight and the exploration of jazz as a language. 


Shawn talks about his new album, the recording process, and the elements of recording originals and not over rehearsing and keeping the feeling of spontaneity.  


Phil asks how he became a jazz musician, and they explored his favorite places to hang out in Kalamazoo, while in College. 


They explored the Chicago music scene and how to make a living playing.  The opportunities for jazz sessions and the opportunity to continue to work your craft. 



Click Here for the full interview

Fernandez & Wright are reviewed by Girlsingers

Fernandez & Wright – Unsung

Posted on December 26, 2010 by Doug Boynton

Fernandez & Wright – Unsung
Released – March, 2009 (Australia)

Impeccably crafted, this offering from a Melbourne, Australia, duo – vocalist Vanessa Fernandez and Steve Wright on guitar – is a mostly bluesy ten tracks – with some detours down the side streets of latin beats, funk, and contemporary pop.  It all plays to Ms. Fernandez’ strength, though – a remarkably soulful voice, with the range to handle the emotion of these pieces, from tender to intense.

My favorites are the quieter pieces, including “Seasons,” an ode to the seasons of love – and “Ain’t Love Cruel,” a blues track with a kind of back-and-forth between Ms. Fernandez and Mr. Wright’s riffs.  Mr. Wright is a skilled artist who makes the most of his moments, and the mix is outstanding – one more reason to let the pros handle the recording sessions.

There are plenty of samples of this duo’s work out there online – and the effort to become familiar with their work is worth it.

This disc is very highly recommended.

Fernandez & Wright is reviewed by Gapplegate

Fernandez and Wright Showcase Their Songs, Singing, Instrumentality

Review by:  Grego Applegate Edwards

Australia doesn't get a great deal of attention up here in the States. At least not unless you search around for what music is happening there. The Necks have been on my "A" list for a while now, for example, but I'd be hard-pressed to come up with a list of contemporary Australian artists of any length. It's not that things aren't happening there though.

Fernandez & Wright are definitely one thing that's happening. They are Vanessa Fernandez, songwriter and singer; and Steve Wright, guitarist and songwriter. Their album Unsung (New Market 3265.2) gives us a good listen to what they are about. It's ten original songs, done by the songwriting team, sung beautifully by Ms. Fernandez, with some very nicely subtle guitar work by Mr. Wright. The songs are personal, about love mostly, and they range from a bossa-Jobim feel to gently but thoroughly funky. It's all too contemporary to be cabaret, it's closer to jazzed singer-songwriter fare. Norah Jones comes to mind, but only in contrast. Vanessa's voice is more earthy and soulful, and really quite good. The music is actually closer to the jazz edge of the song spectrum than Norah's.

Some very nice songs, good instrumental arrangements and a deeply soulful vocal talent. That's a good thing to combine and this album does it in a way that brings much musical pleasure.

Alekos Galas is reviewed by Ejazz News

Review By: Geannine Reid

The sign of a true master is one that not only has mastered his genre and instrument but one who is an innovator of other genres. For many years pianist Herbie Hancock has stretched beyond the musical boundaries of jazz and reached audiences across the masses with his collaborations. Now let’s take a voyage into the instrument called the Bouzouki. Traditionally, this is an instrument that adorns the Greek/World genres with beauty and grace. So enters Bouzouki master Alekos Galas, widely known as a true genius of his instrument and a valued addition to any performance, hence why he is one of the busiest Bouzouki artists of his time.

Like a true innovator, Galas had a hunger even as a child to take the Bouzouki beyond its ethnic realm, and with the release of his debut endeavors as a leader, he certainly has done this and more. A long time in the making, like so many side-men who are in the trenches enhancing the sound of others, Mediterranean Breeze marks the introduction of Galas as a shining leader with confidence, polish and innovation.

Enlisted for this wonderful journey of uplifting and melodic compositions on various tracks are industry namesakes; Marc Russo (alto sax), Abraham Laboriel (bass), Alex Acuna (congas/percussion), and Steve Wood (piano, keyboard) along with a cavalcade of highly regarded contributors.

Each cut on Mediterranean Breeze is an individual storyline unto itself. Galas’ ability to fuse the Bouzouki in texture, sound and colors is truly a testament to his abilities as a player and composer. There are many times you forget you are even hearing a Bouzouki and are simply taken by the virtuosity of his playing, a true marker of his command and dexterity on his instrument. The cuts range in style from World-Fusion to Pop to Smooth Jazz, to compare it to any other release would truly detract from the innovation of this CD. To date, I am unaware of any Bouzouki player creating a fusion of these types of sounds. Mediterranean Breeze is a highly recommended listen and addition to any listener’s collection that desires a unique experience, but one that is highly palatable and a wonderful excursion into the hybrid canvas of amalgamated genres. 

Loren Daniels makes Ken Franckling's Top 10 list

Loren Daniels makes Ken Franckling's - Tops in Jazz - 2010

As the year winds down, I'll be preparing my Year-in-Jazz retrospective. In advance of that, here's a rundown of my favorites among 2010's new releases and historic recordings.

Always keep in mind that top 10 listings of this sort reflect what the reviewer gets a chance to hear during the year.. as well as musical taste at the moment he/she does the evaluations. They only carry significant weight when the same recordings show up on many such lists.

If you haven't done so already, these are projects I recommend you check out.

The 10 best new jazz releases of 2010, listed alphabetically:
- Dave Bass Quartet, Gone (Dave Bass Music)
- Lisa Engelken, Caravan (Little Angel)
- Tamir Hendelman, Destinations (Resonance)
- Dave Holland Octet, Pathways (Dare2)
- Christine Jensen, treelines (Justin Time)
- Pat Metheny, Orchestrion (Nonesuch)
- Jean-Michel Pilc, True Story (Dreyfus)
- Ellen Rowe Quartet, Wishing Well (PKO Records)
- Omar Sosa & NDR Bigband, Ceremony (Otá)
- Jacky Terrasson, Push (Concord Jazz)

The 10 best new songs of the year, listed alphabetically:
- John Britton, “Anticipation” from The Britton Brothers Band, Uncertain Living (Record Craft)
- Gerald Cleaver, “From a Life of the Same Name” from Jeremy Pelt, Men of Honor (HighNote)
- Loren Daniels, “Point A to Point A,” title track, Reggie Pittman-Loren Daniels Quartet (self-produced)- Tamir Hendelman, “Babushka” from Destinations (Resonance)
- Pat Metheny, “Spirit of the Air,” from Orchestrion (Nonesuch)
- Chris Potter, “Sea of Mamara” from Dave Holland Octet, Pathways (Dare2)
- Jean-Michel Pilc, “PBH Factor,” from True Story, (Dreyfus)
- Aldo Romano, “Gamelan” from Origine, Dreyfus Jazz)
- Ellen Rowe, “For That Which Was Living, Lost” from Wishing Well (PKO Records)
- Luciano Troja, “Earl and Bill” from At Home With Zindars (self-produced)

The five best historical/reissues of 2010, listed alphabetically:
- Miles Davis, Bitches Brew (Sony/Legacy)
- Stan Getz/Kenny Barron, People Time: The Complete Recordings (Sunnyside)
- Vince Guaraldi, Peanuts Portraits (Concord Music)
- Freddie Hubbard, Red Clay (CTI)
- Art Pepper, Unreleased Art, Vol. V: Stuttgart (Widow’s Taste)

The best jazz-related DVD of 2010:
- Sarah Vaughan -The Divine One, Masters of American Music Series (EuroArts)

Shawn Bell Quintet is reviewed by Jazz Times

Style: Straight-Ahead / Classic

Review by: Wilbert Sostre

Musicians: Shawn Bell (trombone), Quentin Coaxum (trumpet), Jonathan Mcquade (flugelhorn), Ross Margitaz (piano), Nathan Brown (bass), Samuel Jewel (drums)

Review: Things Yet Unknown is the debut album from Michigan native trombonist Shawn Bell. Shawn is a young musician who studied at Michigan University and Northern Illinois University.  All the music on Things Yet Unknown are Shawn Bell originals except “You Stepped Out of a Dream” and “In The Wee Small Hours.”

The trombone is a difficult instrument to play, and to play trombone in a Jazz band, even harder. The fact that there is not as many famous jazz trombonists, even though the trombone has been part of Jazz since the beginning, proves how hard is to master this instrument. To find a young trombonist like Shawn with this level of command and virtuosity is amazing.

Shawn has a magnificent tone, flawless technique and like any good trombonist, he is a master of glissando, the use of the slide to glide from one note to another. He is also a good improviser and his music has a lot swing. Shawn on trombone and Quentin on trumpet have the responsibilities of most of the improvisations with a fabulous rhythm section of Ross Margitaz on piano, Nathan Brown on bass and Samuel Jewel on drums.

The album has a great balance between swingin’ tunes, like “Things Yet Unknown” and others more in the tradition of cool jazz like “You Stepped Out Of a Dream” and “When I Cry”.  At times similar to Miles Davis music on the album The Birth of Cool.

Tracks: Things yet unknown, You stepped out of a dream, When I cry, In the wee small hours, Requiem for lovers, Lost Purs

Fernandez & Wright is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION
Review By:  Rotcod Zzaj

Fernandez & Wright – UNSUNG: There’s magic in the air these folks inhabit, no doubt about it… Vanessa’s strong and seductive vocal style will light up your world… Steve’s guitar work will lightly suck you into the sonic vortex he creates for you… this debut CD is one of the best listens I’ve had this year.  They picked expert talent to join them (Sam Keevers on keyboards, Ben Robertson on double bass, Dave Beck doing drums, Alex Pertout on percussion, and Chong Lim on hammond organ), and the recording is top quality.  One tune I loved was “Thinkin’ It Lately“… a total original with a “bouncy” spirit that will have you up & dancin’ ’round your living room in no time.  It was the very jazz-oriented “Ain’t Love Cruel“ one SLINKY tune, to be sure, that got my pick as favorite track!  You’ll find yourself listening over & over to all 10 tunes… this CD is a definite KEEPER that gets a MOST HIGHLY RECOMMENDED from me.  “EQ” (energy quotient) rating is 4.96

Jazz Folk is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION

Review By:  Rotcod Zzaj
Jazz Folk – JAZZ IN THE STONE AGE: One word pretty well describes this 8 tune CD – FUN!  As you may have guessed, “Jazz Folk” (on their original recordings, anyway) refers to the fact that many of the tunes they recorded are from folk artists.  On this outing, they do a great rendition of Joni’s “That Song About The Midway“… relaxed & laid-back, with no pretense or “fake jazz” – but it still comes out with a great vibe that’s clearly in the jazz arena.  Bassist Peter Scherr (essentially) pulled the group (Simon Barker on drums and Matt McMahon on piano) together, and their mutual talent shines through, especially on tunes like “Tropicalian Shadows” – definitely my favorite on the CD.  It’s clear they enjoy playing together, and that (in my player’s mind, anyway) is well over half the battle!  For any listener who wants jazz without complications, this is MOST HIGHLY RECOMMENDED, and gets an “EQ” (energy quotient) rating of 4.96.

MJ Territo is reviewed by Jazzscene (JSO)

Review By:  George Fendel

Down With Love, M. J. Territo, vocals.
Anyone whose repertoire includes two Bob Dorough songs ("Devil May Care" and "Small Day Tomorrow"); one Dave Frishberg opus ("Do You Miss New York?"); and a Bill Evans standard ("Waltz For Debbie") is okay in my book. And give her extra credit for additional material from the likes of Rodgers and Hart, A. C. Jobim and others. Territo brings a little Rosie Clooney-like maturity to her vocals, and works more than comfortably with the fine piano trio backing her.
Self-produced, 2010, 44:26.

Shawn Bell is reviewed by Jazzscene (JSO)

Review By:  George Fendel

Things Yet Unknown, Shawn Bell, trombone.
Michigan born but currently residing in Illinois, Bell is a product of a life-long love affair with jazz and a University education to help achieve his goals. A very mainstream trombone cat, deep in the well of tradition, Bell has produced a very listenable debut album that features a sextet of close Midwest colleagues. In addition to an efficient rhythm section, Bell's concept includes the rather odd pairing of both trumpet and flugelhorn. Mind you, not one guy doubling, but two distinct players. Different? Yes! Effective? Also yes! The CD is comprised of five of the leader's originals, and they are, for the most part, well-conceived, melodic entries. Real songs, one might say, with melody lines and bridges. The two standards here, both effectively rendered, are "You Stepped Out of a Dream" and "In the Wee Small Hours of the Morning." Bell has worked with jazz luminaries Curtis Fuller, Benny Golson and John Fedchock, among others. It's called honing his chops. And on this scintillating CD, he's given the chance to show 'em off!
Self-produced, 2010; 

The Marita Brake Video Hits the Over 1,000 Mark in less than 30 days

OVER 1,000 HITS AND COUNTING

Lisa Maxwell is reviewed by All Vocals

Lisa Maxwell Continues the 30 Year Love Affair

Purchase CD Link...click here

By: Harriet Goldsmith, Senior Editor

Jazz standards are musical compositions which are an important part of the musical repertoire of jazz musicians, in that they are widely known, performed, and recorded by jazz musicians, and widely known by listeners. There is no definitive list of jazz standards, and the list of songs deemed to be standards changes over time. Songs included in major fake book publications (sheet music collections of popular tunes) and jazz reference works offer a rough guide to which songs are considered standards.

Not all jazz standards were written by jazz composers. Many are originally Tin Pan Alley popular songs, Broadway show tunes or songs from Hollywood musicals – the so-called “Great American Songbook.”  A commonly played song can only be considered a jazz standard if it is widely played among jazz musicians. The jazz standard repertoire has some overlap with blues and pop standards.

So the introduction of jazz standards vocalist Lisa Maxwell, who seems to have had a 30 year love affair with jazz.  The wife of famed composer and arranger, pianist George Newell - together the two have chosen to create a recording that focuses on songs that speak directly to their close knit loving collaboration Return to Jazz Standards.

Lisa’s voice is very endearing; a non-affected delivery gives the listener a pleasing experience.  Husband George Newell provides all the instrumentation except for guest artist John Alfred on trombone.  All equally contribute to the beautiful fabric of the release.  A traditional take on the swinging classic “You’d Be So Nice to Come Home To” is a perfect way to open a CD, one of my all time favorite jazz CDs by Cheryl Bentene adopts this same approach.  Maxwell and Newell complement each other quite well; Newell creates a perfect pad for Maxwell to sell the listener on the lyric.

“Lazy Afternoon,” a classic standard that seems to be getting a lot more focus lately, is given a string treatment by Newell creating a dreamy mood for Maxwell to easily maneuver.   A truly stellar rendition, this is the track Maxwell really shines on.  Her matter of fact delivery is quite effective and transcends the listener to a late night supper club where Maxwell is front and center and the spotlight is firmly fixed on her.

Return to Jazz Standards offers a classic intimate sound and the opportunity to hear the standards as the writer intended, with a focus on the lyrics and the uncluttered simplicity of the catchy melodies, which is why standards continue to shine through generation after generation.

Michael William Gilbert is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION
Review By:  Rotcod Zzad
Issue #109


Michael William Gilbert – I CAN SEE FROM HERE: Any time a reviewer sees a name as long as Michael’s, there’s (somehow) an immediate impression that the album/CD will be “serious”… that’s often wrong, as in this case.  He does everything but the guitars on this dense and rich aural tapestry of adventure.  I can guarantee you won’t hear music that’s “like” this anywhere else – this is purely original & right from Mr. Gilbert’s soul… listen to the totally refreshing sonics on “Eyeless In Gaza“… it’s more than just the sound – Michael PAINTS images that will enlighten you and give you great insight.  One note of caution – DO the first listen with HEADPHONES!  I’m highly impressed with the 14 pieces on this wonderful CD, especially on my favorite, “Rooftop Meditation“… I give a MOST HIGHLY RECOMMENDED, an “EQ” (energy quotient) rating of 4.98, as well as the “PICK” of this issue for “dark-horse CD and most adventurous music”.  As I said earlier, this is a totally UNIQUE musical experience that you owe to your ears!

Pecolia Fitts is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATIONIssue #109
Review By:  Rotcod Zzaj


Pecolia Fitts – LOTS OF LITTLE GOODIES: Check my friend Kari’s BLOG to read a bit more about Pecolia.  This debut CD offers up little “snatches” of moods aplenty, ergo “little goodies’, I suspect.  Unfortunately, I couldn’t find any sound samples to link in (& that’s not a good thing), but I can tell you that the 8 tunes on Pecolia’s album take me back to an era when FUN was what soul music was all about… lots o’ bumpin’ & thumpin’ in an R&B groove that will surely make you get up off yer’ duff & step out on th’ floor!  There was a vid short on YOUTUBE, but I’d like to see something a little more performance-oriented, not just stills slapped over top of Pecolia’s vocals.  She certainly does merit a review, though, as she’s got a full range of jazz talents that will be attractive to jazz listeners across the spectrum.  I’ll expect more on the second CD, but in the meantime she gets a HIGHLY RECOMMENDED from me for jazzers who love female jazz vocals.  “EQ” (energy quotient) rating is 4.94.  Get more information from her PRESS KIT. Rotcod Zzaj

Pamela Hines is reviewed by Cashbox Magazine

Jazz 

Pamela Hines Trio 
Moon Germs

Review By: Christopher Llewellyn Adams

The soothing sounds of instrumental jazz are known to lessen the wear & tear of the average day like none other. Some of the best around is on display with "Moon Germs,' the latest album from Pamela Hines Trio.

Hines works splendidly with her group, which includes John Lockwood and Bob Gullotti. In unison, the trio creates a sound designed to evoke memories of the all time greats. This music would fit in well in the hopping coffee houses of Miles Davis' prime.

Of all the songs contained in "Moon Germs," I enjoyed "Variations On Invitation" the best. Penned by Hines, it is a smooth sailing journey into sonic harmony. I could see this track seeing major action on the charts.

Sometimes, decisions aren't that difficult to make. With the holidays approaching, great music is always a sure bet for happy loved ones. Give the gift of "Moon Germs" to your favorite jazz fan this season.

Lisa Maxwell is reviewed by Cashbox Magazine

Jazz 

Lisa Maxwell 
Return To Jazz Standards 

CD Purchase Link...click here

Review By: Christopher Llewellyn Adams 
There's nothing wrong with a talented artist paying homage to the greats from generations past. No singer or performer made it to the top without a little help from those that preceded them, and Lisa Maxwell is no exception. Her collection of hits, "Return To Jazz Standards", is a prime example of a genuine talent showing respect for those that influenced her.

Produced by the legendary George Newall, "Return" is a sincere tribute to some of the genre's all time greats. Incuded are hits from Cole Porter, Ray Noble, and several others whose efforts helped pave the way for others to have a career in music. From top to bottom, the album didn't have a single track that disappointed, and the music ended with me wanting to hear more.

Maxwell's take on "Isn't It A Pity" by George & Ira Gershwin was the best track. It reintroduces the classic song to a new audience with a modern spin to it. This would be the song most likely to see chart success and radio airplay. It just sounds like the perfect remedy for what ails you.

It takes a special talent to share their gifts with the world, and an even bigger star to stand aside and give thanks to the artists who influenced them. Lisa Maxwell is sure to have a career with many hits over the next few years, as her class & style shine through with this album. Give "Return To Jazz Standards" a spin today.

Alekos Galas is reviewed by Jazz Sensibilities

Alekos Galas, A Fusionary

Review By: Jeff Becker
Ehos Records

With a career that spans over 4 decades, it is with great anticipation audiences have waited for the release ofMediterranean Breeze from the virtuosic Bouzouki artist Alekas Galas. With four decades under his belt one would expect to hear true mastery, this expectation is not let down, as Galas has created a truly masterful weave of World, Pop and Smooth Jazz into his debut release as a leader. What makes this release even more intriguing is the innovation of adding Bouzouki, a widely recognized world instrument most commonly used in Greek music. The result is magnificent, and highly successful. Galas has created a landmark sound, melding for the first time a Bouzouki with the commercial sounds of Smooth Jazz and Pop along with cuts that are a hybrid of World fused with adult-contemporary influences.

Today we will examine the cut “The Road Home” which is augmented by legendary artists; Marc Russo (alto sax), Abraham Laboriel (bass) and Alex Acuna (congas, percussion). What is so delightful about this cut is the amount of musical prowess exhibited by each player and how is does not detract away from the musicality of the song. This cut has a contagious beat that highlighted even further by the musicians abilities on their instruments and the evident chemistry between the players. Strongly influenced by the Smooth Jazz genre but given the Greek spicing of the Bouzouki, the song is elevated to a new level of enjoyment, a grooving piece that each player clearly leaves their signature on. Galas have done a wonderful job connecting all the genre dots together for an extremely enjoyable listen no matter your setting. Highly Recommended!

Jazz Folk continues to chart for 7 weeks at CMJ

Jazz Folk continues to chart at CMJ for 7 weeks, peaking at #16 and continuing to maintain placement on the CMJ Jazz chart.  A new release is coming from Peter Scherr in January - keep your ears tuned for this wonderful new CD, Son of August!





1) Corinna: I grew up on Taj Mahal’s magnificent Blues and all that Stuff, and Corinna was one of my favorite tracks. I loved the singing, and the groove, and the way that the harmony went up to the ii minor chord on a strong beat before going to the four chord. I used to beg my brother to play this song with me when we jammed as teenagers. Now that I’m all grown up, I’ve decided to indulge myself with an arrangement of Corinna that uses a similar groove and structure. I thought Matt got some beautifully distressed blues-action going here.

2) That Song About the Midway: In the summer of 2008 I spent some time checking out older Joni Mitchell recordings, and I noticed this song for the first time. Chelsea Morning was the one that I really remembered from this record, but once I got familiar with Midway, I became taken with its structure and changes. I thought it would be perfect for Simon’s “Elvin via South Korea” thing. The phrase structure is very special, and it took us a bit of rehearsing to figure out how to set it up.

3) Nobody’s Fault but My Own: I saw the Beck album Mutations in my brother’s record collection many years ago, and asked him about it. He shrugged “Not his best…” was what he said. Something like that, anyway. So I didn’t get around to picking it up until spring of 08. And to my surprise, I was absolutely knocked out by the quality of the songs on there. This record did a lot of spinning duty on my player in the bedroom that summer. Nobody’s Fault would be done dead slow, Matt and Simon in meditative mode…

4) Tropicalian Shadows: This is actually from our rehearsal take. The Beck recording of Tropicalia is quite a bit faster, and more sinister too. We were just getting familiar with the structure of the song in this take. It wasn’t intended to be a keeper, but Simon came up with this beat that grouped 8th notes in 3’s, and I got fascinated with that. We stayed on the bass line for a long time towards the end of the song, more or less obliterating the structure. I thought that the sound of this was so interesting that I decided to release it. Kind of like an acoustic Drum ‘n Bass thing...


5) Pale Blue Eyes: One of my favorite Velvet Underground ballads. I thought it would be perfect for Matt and Simon, and we’ve had great times playing this live since the recording was done.

6) All Tomorrow’s Parties: Another Velvet Underground favorite. I wanted to see if we could approach the wild abandon of the original Velvet’s recording. I think we got pretty close, but it took a second piano part to really raise the roof on this one.


7) To Lay Me Down is a beautiful Jerry Garcia song. Anybody who knows me well is aware of my fondness for the Grateful Dead and Jerry Garcia. At his best, he was an eloquent soloist. He also wrote beautiful songs, and was a strangely affecting singer. I still listen to his music all the time. I knew that Matt and Simon would respond to this song, and it became one of our favorite concert pieces.


8) Cold Brains is the last of the Beck “Mutations” selections. We used our “rinse, repeat, destroy” procedure on this one, and I thought that it would be a good one on which to apply a lot of studio mangling. I played a bit of nasty electric guitar on this one too!

Glenious Inner Planet continues to chart at CMJ for 8 weeks

The Glenious Inner Planet continues to chart at CMJ for 8 weeks, peaking at #9 and continuing to make their impression at radio and winning new fans across the US, Canada & beyond!  Truly Glen Ackerman's brainchild has truly blasted into outer space.


Written By: Mark Piszczek
Ground Control to Major Glen!

The Glenious Inner Planet, the newest CD by bassist/composer Glen Ackerman is an imaginative romp through inner and outer space. Part Bitches Brew, part Forbidden Planet, this post fusion space epic concept album features some terrific compositions and an impressive lineup of some of Houston’s finest musicians. Ackerman’s first release on Blue Bamboo Music showcases his sizable talents as both a composer and a bassist.

Much of the music on this album is challenging, sometimes edgy and bold, but it never loses it’s lyrical underpinning or descends into total chaos. Ackerman also isn’t afraid to show a sophisticated sense of humor in some of his arrangements. From the 1950’s sci-fi, theremin sounds and space age electronics to the quirky song titles, this project isn’t afriad to have some fun and as a result, neither will the listener.

Ackerman is accompanied on his intergalactic musical excursion by saxophonist, Woody Witt, drummers, Joel Fulgham and J.D. Guzman, keyboardist, Ted Wenglinski, and guitarists, Chris Cortez and Paul Chester.

To his credit, Ackerman shows a high degree of taste and maturity on this project. In spite of all his virtuosity, he never allows ego to trump musicality and his superb playing always serves the greater musical good.

Ackerman’s “Blue Rondo a la Raad”, is an adaptation of the Brubeck classic and breathes new life into an already great work. The otherworldly funk odyssey, “There’s a Drop of Roppongi on My Shorts” and the floating title cut, “Inner Planet” are both abstract and stunningly beautiful. The pensive Middle Eastern flavored ballad, “Khalil”, features Woody Witt on clarinet and provides a perfect repose and prelude to the ensuing explorations. “Potato Wagon” throws down and up-tempo electric swing fest, while “This Lontano I” gently drifts on dark clouds of sound and time, the next two cuts, “The Thing an the Thing that makes the Thing the Thing and 4 is a Feeling” are further examples of Ackerman’s ample skills as a composer and soloist. The final cut, “The Angel of the Odd” is a delightfully twisted conversation between all the band members over a relentless and unnerving vamp. Guitarist Paul Chester ups the level of musical dementia and angst with some wild, out of key blues riffs that are simultaneously shocking and darkly humorous. It’s “Lost in Space” but with a dysfunctional family trapped on a very, very small ship. “Danger, Will Robinson!”

This album is enjoyable from beginning to end and a credit to its creator. Ackerman is a Jazz artist of exceptional ability and we should all look forward to his future contributions to the world of music.