Henry Darragh is reviewed by All About Jazz

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Tell Her for Me
Henry Darragh | A-Train Creative (2011)
Review by: C. Michael Bailey

Click here to buy

Do we really need one more trombonist/singer from Texas? Well, seeing that the only one that comes to mind presently is "Tea" Jack Teagarden, then, well, yes we do. Multi-instrumentalist Henry Darragh completely fits the musical bill. While Darragh looks more like a physics graduate student at UT-Austin, he is, actually, an accomplished composer/performer, who leads multiple combos in everything from Tejano-jazz to mainstream. Don't let his appearance scare you, Henry Darragh is not a statistician.

On a completely different subject, except that it involves Darragh: It would seem impossible that there could be a sweeter-natured jazz vocal voice than John Proulx's or Beat Kaestli's? Well, yes, there is...and he is this same Henry Darragh. Tell Her For Me is an august collection of surprising an delightful standards and originals.
Darragh begins his recital with the Ross-Adler standard, "Hey There." The only thing more clever than than the lyrics is Darragh's almost teenage innocent delivery. His is such a fragile and friable voice; the voice Chet Baker would have died for, had he not already done so, falling from that Amsterdam hotel window in 1988. John Proulx's voice may be smoother and Beat Kaestil's more sophisticated, but Darragh's is more organic and authentic (no knock to Proulx or Kaestil, who are superb singers).

Darragh's piano and trombone playing are also excellent throughout. Trumpeter Carol Morgan is onhand, toning down the muscular tone of her playing from her own debut, Opening (Blue Bamboo, 2010), to be more in keeping with Darragh's Texas sugarcane voice. Her tone resembles a melancholy Bix Beiderbecke, breathy with gin and time, while saxophonist Seth Paynter fully indoctrinates the recording as jazz.

Darragh barrows broadly from both the songbooks of Chet Baker  and Bill Evans. His "Everything Happens to Me" demonstrating how the song should be sung—full of innocence and guile. Darragh makes "Look for the Silver Lining," also covered by Baker, sound so comfortable, one would like to dress in it and step out into the harsh winter...protected by his love.

Peter Scherr is Reviewed by All About Jazz

Son of August
Peter Scherr | Self Produced (2011)

By: C. Michael Bailey

Track review of "Willing"

Bassist Peter Sherr made a splash with his trio recording with Jazz Folk—Jazz in the Stone Age (Self Produced, 2010)—a strange collection of grunge covered jazz. Son of August pairs the bassist with his slide guitar playing brother, Tony Scherr, second guitarist Brad Shepik, and saxophonist Michael Blake, for a curious collection of progressive jazz and retro-proto-rhythm and blues. Among these latter musings is the powerful "Willing."

  Scherr covers Canadian multi-instrumentalist Chris Brown's "Willin,'" featuring his brother playing slide guitar. This treatment recalls recent Stanton Moore performances like "He Stopped Loving Her Today," from Groove Alchemy (Telarc, 2010). Big, loud, chaotic, soulful, it is a sound that is as big as America and twice as proud. Guitarist Scherr speaks the language of the blues if it were translated to the Midwest. Blake's tenor saxophone sounds as dry as Paul Desmond's alto throughout the song. The arrangement is a study in blues dynamics, with diminuendi and crescendi ebbing and flowing throughout the eight-plus minutes piece; a tonal landscape.

Alekos Galas is reviewed by Cashbox Magazine

Alekos Galas 
Mediterranean Breeze 

Review By: Christopher Llewellyn Adams      

The pure and unfettered sonic bliss of the Mediterranean is on full display with Alekos Galas' latest album, "Mediterranean Breeze." Showcasing his mastery of many genres and musical styles, the work is a master class in art for the senses.

Featuring Galas on the mystical Bouzouki, the album introduces the world to one of its finest melody makers. Hearing the sounds of this for the first time, I find myself not only clamoring for the next album from Galas, but will also hope to see it featured on future releases from other artists.

Of all the songs contained, "Midnight" took me for the most enjoyable ride. It treats the audience to a paradise of sound and light, making it possible to forget and escape the day's drama, if only for a few minutes. An absolute must for a music student's iPod.

Beauty and art are both readily sought and difficult to attain. Any chance to find both in a single piece of work is rare. Shower your soul with the blessings of one of the world's finest entertainers with "Mediterranean Breeze" today.

Roxy Coss is Reviewed by All About Jazz

all.about.jazz

Roxy Coss
Roxy Coss | Self Produced (2010)

Review by: Wilbert Sostre

With the exception of a few instrumentalists like pianist Mary Lou Williams, most women in the so called golden era of jazz were singers. That situation has changed in the last few years, with more and more extraordinaire female musicians entering the jazz scene. Bassist Esperanza Spalding, pianist Hiromi, drummer Cindy Blackman and saxophonist/clarinetist Anat Cohen are just a few examples of the quality of female jazz musicians today. Newcomer Roxy Coss should be consider for inclusion in that list.

Coss is a saxophonist and flautist with a round, rich tone, and a composer well-versed in the jazz tradition. Coss' self-titled debut is a collection of original compositions, each one reflecting the diversity of influences in her music. Tracks like "Lately" and "July" can be classified as smooth jazz, while the funky sounds of "The Slow Accent" lean towards jazz fusion; but on "The Cherry On Top" and "Wandering One," the music is reminiscent of the Miles Davis/John Coltrane recordings.

Like most tenor saxophonists there is a Coltrane influence in Coss' sound, especially in her scalar approach to improvisation. And just like Coltrane, Coss achieves a perfect balance of lyricism and intensity in her improvisations through a superb sense of timing, rhythmic and harmonic structure. As a flautist she is equally impressive in the Latin-influenced "A New Time."

Roxy Coss  is a promising debut from a multi-talented young musician.

Peter Scherr is Reviewed by Something Else Reviews

SOMETHING ELSE REVIEWS

Review By:  S. Victor Aaron


Peter Scherr Son Of August: 

Peter Scherr is an American jazz bassist who resides in Hong Kong and spends his time trying to foster creative music within China. A few years ago, he got the urge to fulfill a longtime goal of making music with saxophonist Michael Blake, and he wanted to make sure it was going to be done right. So, he headed over halfway around the globe to NYC where the studio Brooklyn Recording is located and pulled together some of his favorite musicians for the session. That meant his brother Tony on guitar (and a second bass for one track), Mike Sarin on drums and Brad Shepik on a second guitar. Scherr likes Blake for his soulful, gruff but warm tenor sound, and made the music fit perfectly around it; listen to the slow blues rock of "August" for a good place to find just how well the music meshes with the man. 


Though Scherr set out to do an album that walks the line between jazz and rock, the two-guitar lineup and the forceful playing of Sarin put this more over on the rock side. That's okay, as it still rocks with some swing, mainly due to the boppish, rhythmically precise playing of Scherr himself. Shepik sounds as loose and relaxed as I've ever heard him; his solo on the funky "Son Of August" is righteously bluesy with a bit of an edge. "Lucky 13" is an exception in that it is pretty much straight-up jazz and the group plays with a laid back but steady stride. Son Of August, out on Scherr's own 1 Hour Music label, is heady---and head-nodding---fusion that was well worth the thirty-six hour flight Peter Scherr endured in order to make this record a reality

Shawn Costantino is Reviewed by Something Else Reviews

SOMETHING ELSE REVIEWS


Review by:  S. Victor Aaron

Shawn Costantino Waltz For Anne: Listening to Shawn Costantino's Waltz For Anne, I can draw a lot of parallels between this and Roxy Coss' record. Both specialize in various woodwind instruments as well as the flute, and both records are contemporary jazz, sometimes electric and sometimes acoustic, but none too fluffy. In all, both unsigned artists made very agreeable debut albums that showcases their multi-instrument skills and composing acumen. But Costantino's tenor has a harder edge to it, more akin to Stanley Turrentine or Gene Ammons. 


Also, he takes on a few standards, but only one of them ("The Touch of your Lips") is a jazz one. The other two are taken from The Beatles ("Can't Buy Me Love") and James Taylor ("Don't Let Me Be Lonely Tonight"). However, the best cut comes from his own pen: the dreamy, soulful "Whatever You Do" not only features some inspired sax playing from Costantino, but Andrew Synowiec's distinctly rockin' Larry Carlton dialect on guitar.  Costantino seems to have a lot to say musically, and hopefully we'll be hearing more from him. 

Purchase: Shawn Costantino - Waltz For Anne

Shawn Costantino is Reviewed by Something Else Reviews

SOMETHING ELSE REVIEWS


Review by:  S. Victor Aaron

Shawn Costantino Waltz For Anne: Listening to Shawn Costantino's Waltz For Anne, I can draw a lot of parallels between this and Roxy Coss' record. Both specialize in various woodwind instruments as well as the flute, and both records are contemporary jazz, sometimes electric and sometimes acoustic, but none too fluffy. In all, both unsigned artists made very agreeable debut albums that showcases their multi-instrument skills and composing acumen. But Costantino's tenor has a harder edge to it, more akin to Stanley Turrentine or Gene Ammons. 


Also, he takes on a few standards, but only one of them ("The Touch of your Lips") is a jazz one. The other two are taken from The Beatles ("Can't Buy Me Love") and James Taylor ("Don't Let Me Be Lonely Tonight"). However, the best cut comes from his own pen: the dreamy, soulful "Whatever You Do" not only features some inspired sax playing from Costantino, but Andrew Synowiec's distinctly rockin' Larry Carlton dialect on guitar.  Costantino seems to have a lot to say musically, and hopefully we'll be hearing more from him. 

Purchase: Shawn Costantino - Waltz For Anne

Roxy Coss is Reviewed by Something Else Reviews

SOMETHING ELSE REVIEWS

Review by:  S. Victor Aaron

Roxy Coss Roxy Coss: 


Women continue to move into areas of jazz long dominated by men, and in a big way. Even since I made a big to-do about this trend a couple of summers ago the parade of girls muscling their way into the boys' club continues on stronger than ever. The latest to tear down that barrier is a tenor/soprano saxophonist and flautist Roxy Coss. 


Ms. Coss has just released her first CD and although there's pretty face on the cover of it, she's anything but just that. She's got a very sweet but full tone and knows not to pile on too many notes, just play the right ones and makes it sound easy in the process. Moreover, she wrote all eight tracks for her self-made CD, which range from waltzing balladry ("Wandering One") to slowly sizzling soul ("Lately") to fusion ("The Slow Ascent"), to full-on straight ahead jazz ("The Cherry On Top"). This and her changing instruments of choice keeps the record varied and interesting. Even though many of the tracks are electric jazz with a contemporary vibe, none of it ever sounds like something that would find its way on a smooth jazz station; Coss' music might be very listenable but it's not overly light. Backed by a quintet that includes Kate Miller as a very capable foil on trumpet, Roxy Coss is an easy record to get into without any guilty feelings. Visit her website here.

John L. Holmes is Reviewed by The Borderland

THE BORDERLAND (musicwatch column)

John L Holmes Y Los Amigos - The Holmes Stretch

Review By:  John M. Peters

The Holmes Stretch is a jazz album but it is so richly infused with elements of Rock and Latin music that it could equally fall into those genres as well. John L Holmes is an electric guitarist with the nimble fingers and the virtuosity to fulfil the expectations. The album opens with La Vida Loquita, a fast paced Latino piece with the muscular vibrancy of Salsa, while track Two, Momentito, is a lushly romantic ballad - that beach of golden sand and glass of pina colada are almost within reach! The album contains eleven tracks, all composed by John L Holmes, and they showcase the musical chops of both Mr Holmes and his excellent band, Y Los Amigos.

 The musicians are:- Glenn Ayers - drums, Michael Friedman - keyboards, Ken Wilson - flute, Steve Kim - bass, Mike Agidius - sax, Dave Glenn - trombone, oh and Mr Holms also doubles up synthesiser. So a wide palette of sound, and yes, the album even gets funky on tracks like There Will Come A Day. There's a slight hint of Weather Report and Azymuth to the overall sound of the album, but those aren't bad influences to have, I must say. The Holmes Stretch is a fine debut album with an impressive attention to musical detail, but not afraid to swing and sashay like a good 'un when the music warrants it. Mr Holmes doesn't appear to have a website so I assume the CD is available from all the usual online outlets.

Laura Harrison is Reviewed by All About Jazz

all.about.jazz

Now...here

Laura Harrison | 59 Steps Records (2011)

Review By: C. Michael Bailey

Canadian cum California girl Laura Harrison is blessed with a perfect mid-range alto that is sharply defined and true. She honed her talent in music through study and then by becoming a music educator. Finally, Dr. Harrison has gotten around to recording a jazz vocal disc, Now...here, and it is a daring treat. Harrison shows little fear in her repertoire, taking a wide variety of challenges and if the Great American Songbook fails to provide adequate challenge, she composes her own.

Harrison employs two separate piano trios on Now...here, dividing the 12 tunes evenly, with the second trio—pianist John Proulx, bassist Kevin Axt and drummer Steve Barnes—performing solely Harrison's four original compositions, "Now...Here," "Mi Alma" and "Teesa's Blues." Those are the demographics.

What's special is the eutection of Harrison's carefully schooled craft regarding melody and her "no fear" attitude toward taking chances. Did you say scat singing? Harrison proves her scat bona fides with the songs book-ending her collection. "Shulie A Bop," opening the recital, was a staple of "Sassy," the divine Miss Sarah Vaughan, who with Betty Carter and Ella Fitzgerald, perfected the art founded in Louis Armstrong's "Heebie Jeebies." The closing vocalese on Duke Ellington's "Cottontail" approaches bebop in its ferocious tempo.

Harrison's original compositions are informed by her broad background. "Now...Here" celebrates the singer's full time arrival in the U.S. propelled by Steve Barnes' clever drumming and John Proulx's deliberate pianism. The singer's clever combination of her "Reflections" and Cole Porter's "I Concentrate on You" complement one another very well, accented by bassist Kevin Axt's deft walking. It is proper that Laura Harrison has her say musically.

Shawn Bell Fly's Up the CMJ Jazz Chart #10

Shawn Bell Fly's Up the CMJ Jazz Chart and Hits

#10

A Pinch of History and An Eye To Tomorrow

the Recipe of Things Yet Unknown

Shawn began his musical journey at the age of ten in his hometown of Dowagiac, Michigan. He excelled at all things musical, including his school’s band program, local and state honor bands, and any other playing
opportunities he could find. At age 16, Shawn began playing with a local big band and started learning the art
of improvisation. Since then, he has pursued music relentlessly.

In 2002 Shawn began his collegiate studies at Western Michigan University in the music department. While attending WMU, Shawn had the opportunity to perform with some of the Jazz world’s top musicians such as Slide Hampton, Bobby McFerrin, Stephon Harris, and Randy Brecker.

He also began leading his own quintet in gigs throughout West Michigan and maintained a busy schedule as a commercial trombonist playing in many pit orchestras, a Motown cover band, and with a large gospel church. In the spring of 2007, Shawn was selected to be a part of the Betty Carter Jazz Ahead program at the Kennedy Center in Washington, DC. This program features  fifteen to twenty young jazz musicians and composers from around the world who perform several concerts of their original music. They come together for a two week residency program that culminates with performances at the Kennedy Center.

Shawn is still very active as a composer and arranger. His writing can be heard in his own group, high school big bands, and collegiate big bands. As an arranger, Shawn has worked in genres ranging from straight
ahead jazz, to pop, to R&B. He is currently published through Walrus Music.

In 2010 Shawn completed his graduate studies at Northern Illinois University. During this time, he studied with the great trombonist and writer Tom Garling and had the opportunity to tour with jazz legends such as

Curtis Fuller, Benny Golson, Lew Soloff, John Fedchock, and Lewis Nash. While in school, Shawn was also afforded the opportunity to perform at the Lima International Jazz Festival in Peru and the Teatro Libre International Jazz Festival in Bogota, Colombia.

Along with performing, Shawn is also sought after as an educator. He has worked as a private instructor, clinician, and band leader throughout the Midwest. Many of his students have won awards, gone on to collegiate music programs, and begun careers in music. At the collegiate level, Shawn has coached
undergraduate combos at Northern Illinois University for two years. He has also directed the All University Jazz Band at Northern Illinois University. Along with putting on concerts and attending festivals, this big band helps first year college students refine the basics of the jazz idiom and is a great training ground for many non-jazz musicians and future educators.

Shawn currently lives in Rockford, Illinois. Here he is busy as a freelance musician, teacher, and composer. In the fall of 2010, Shawn will release his debut album as a leader: Things Yet Unknown . This features some of the Midwest’s top up and coming jazz musicians along with Shawn’s award winning compositions.

Jenny Davis Charts at CMJ for the 2nd week

Jenny Davis Hits the CMJ Jazz Chart For the 2nd Week

AT #40

Unaffected and Organic
Davis Hits All the Right Notes

Jenny Davis has a very unaffected organic vocal quality. Her notes ring pure and her diction is crystalline and inviting. This coupled with the intimacy of a guitar led ensemble creates the transparency that is so beautiful within the jazz genre, bassist Ted Enderle and guest saxist Louis Aissen round out the ensemble for a delightfully engaging offering.

Inside You features a well chosen set of standards not so commonly covered in the vocal jazz arena, which is a signature trait of Davis’ carried over into her junior release. The title track is also a Davis original that has an angular vibe to the melody. Her ability to easily translate from one transition to the next within this composition is a true testament to her abilities and musicality as a vocalist and writer.

Jazz is a genre that is presented live in many venues across the nation in small ensemble settings. The intimacy and chemistry between the players is at its best when presented in this setting. What is most evident immediately is the strength and control Davis has with her instrument. Guitarist, Chuck Easton and Davis along with bassist Ted Enderle have created a conversational jazz, which is truly why many listen to standards in the first place. They enjoy the lyrical story line and intimacy of the genre.

What Inside You offers is a clear signature sound vocally, texturally and musically. Davis is truly coming into her own stride as a performer and writer. A befitting junior offering from this northwest artist, we hope to continue to enjoy for years to come.

Marty Williams Debuts on the CMJ Jazz Chart at #36

Marty Williams May Have Been A
Long Time Comin'

But Radio Is Welcoming Him With Open Arms

Williams Charts His 2nd Week in Promotions 

 Debuting at #36 on the CMJ Jazz Chart

I called this CD Long Time Comin’ because it has been…

My musical journey started on a snowy night, long ago and far away, listening to Ahmad Jamal’s album “Voices.” That album touched my soul, it spoke to me, called me to play, and set me off on the journey that has brought me to today. For as long as I can remember, my music has been at the center of my dreams and, at times, the core of my heartache. And since that snowy night, through all that life has had to offer, I have never been able to let go of my dream and my desire to create music that my listeners will love as much as I do.

So here, on Long Time Comin’ I offer you my own voices – on the piano I play and in the words that I sing. I offer you my interpretation of songs I love, songs that in many ways tell the story of my journey. I hope you enjoy this CD as much as I enjoyed making it…and maybe even a little more.

Pamela HInes Continues to Chart at CMJ for 6 weeks

Pamela Hines Jumps Back on the
MJ Jazz Chart For the 6th Week
Her Powerful Trio Recording Continues to 

Chart across the US & Canada

Peaking at #2 and this week coming in at #35

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.

Susan Frances says in the November issue of JazzTimes, “... Hines exhibits an intuitive nature when it comes to punctuating her notes and making distinctive accents that intensify the mood of her music...that demonstrate her ability to mold expressive vignettes and bridge her vamps and counterpoints into... jazz forms. Her notations depict her emotions even as she covers compositions written by Cole Porter and Duke Ellington.

At times, her sequences are embroiling, and at other moments they exhibit a serenity along the ruminations. Hines’ playing creates an imaginary world as she looms cascading falls and melodic swells in the piano keys producing settings which are conducive for deep contemplation and transition into unbridled fun around the corner. She travels through a gamut of musical ideas that honor the giants in jazz while infusing harmonious style changes in American standards.

Jacqui Sutton Continues to Chart for 6 weeks at CMJ

Jacqui Sutton aka Jazzgrass Chic

Continues to Hold Strong on the
CMJ Jazz Chart for 6 Weeks

Peaking at #7 and This Week Coming in At #28

Turning 50 and starting a garage band is not the usual vocalist’s narrative. But that’s what happened with me. It’s not just any band, but what I call the Frontier Jazz Orchestra—a stylistic mash-up of jazz, bluegrass and
orchestral/chamber music that come together in my debut CD Billie and Dolly—an homage to my two vocal heroes, Billie Holiday and Dolly Parton. As a singer, getting there wasn’t a straightforward trip.

I was born in Orlando, Florida, the second of six children. In the 1960s, my mother (newly single, and pregnant with her sixth child), was determined to make a better life for all of us. She moved us to Rochester, New York. Think: Martin Luther King, Jr., the Beatles, school busing, and the Jackson 5. It was about crossing lines. That sense of boundary trespass filtered into my world as I found myself drawn to experiences
that were the opposite of my own. I could never get enough of Stevie Wonder’s Songs in the Key of Life,
nor the Beatles’ “Yesterday.” We had one of those old-fashioned, what I call “kitchen table radios”, with the  round wooden body, fabric over the speakers, and a crackly dial. I’d lean against that radio and be consumed by the sadness of “Yesterday.” Later in life, even certain songs that I heard on Muzak radio stations could make me stop in my tracks. It just had to sound beautiful to my ears.

As a musician, I had a brief stint in grade school as a flutist—recitals and everything—which ended
abruptly at around age 11 when I lost the instrument and was terrified to report it. Around 1982
(my early 20s), I realized that there were no flute police in the Rochester City School District, and
I could well have gone on to have some kind of instrumental career.

I made this revelation during my time in the San Francisco Bay Area. Bobby McFerrin and Tuck & Patty were on the rise. As soon as I got there, I cast aside what I thought was my dream to be an environmental designer and at the insistence of one of my roommates, I auditioned for Jazzmouth, a vocal jazz ensemble led by Molly Holm. I had been a competitive gymnast for 11 years, but nothing seemed more
dangerous, physically precarious or, paradoxically, beautiful than singing. My roommate helped me prepare one song: “Summertime.” I had several false starts in the audition room, the most serious being I could not find my starting note. I finally pleaded to sing it acapella so I could get the heck out of there. Embarrassed, I bolted as soon as I was done. Molly called me up several days later and asked me to join, with one admonition: “You’ve got to study.” I did. A lot. Well, Jazzmouth came and went.
I moved to Portland, Oregon and got lured into the world of stage acting—from Shakespeare to dance theatre. Acting felt safer than singing because I was part of an ensemble—and besides there was “work to do.” I could distract myself—plus, there was all that cathartic emoting! Things changed after I moved to New York. I began studying with Jane Burbank, which was a partnership that lasted my entire 15-year stay.

When my husband and I moved to Houston, Texas, the foundation that Jane gave me helped me fully appreciate the last steps that were needed to help my voice become reliable. And I took those steps with Cynthia Clayton, an amazing, no-nonsense instructor who helped me love singing for the
first time in my life. Not the idea of singing, but the act. Now you can’t shut me up! She gave me the freedom to create a vocal style and sound that produced what I think of as “vocal honesty”—something I hope that is authoritative, and my own.

Billie & Dolly is the beginning of the journey for me. I’m curious to see where this will lead. Stay
tuned …

Roxy Coss Debuts on The CMJ Jazz Chart at #14

Roxy Coss Hits Pay-dirt with CMJ

Not Only Did Roxy Hit the Top Adds Jazz Chart

She Also Debuts at #14 her 2nd Week in Promotion

Saxophonist and Flutist Roxy Coss is changing the face of Jazz with her self released debut album, Roxy Coss. No longer can you say that the role of Jazz Saxophonist belongs to the traditional male player. Renaissance Woman Coss proves otherwise with truly inspired performances on eight original compositions.

Coss is proving to be a breakthrough talent on the New York City Jazz scene, which is arguably the best in the world. All About Jazz said, [Roxy Coss is] “enterprising, impressive, meticulous, poised, and centered.” These qualities are clear as she takes a front and center role in the album, without sounding overbearing or overdone. With a strong vision, she unpretentiously allows the music to develop organically and speak for itself. Roxy plays Tenor and soprano Saxophones as well as Flute on the recording, and is joined by Kate Miller on Trumpet and Flugelhorn, Justin Kauflin on Piano and Rhodes, Ryan Brennan on Guitar, Kellen Harrison on Bass, and Shawn Baltazor on Drums. This roster is comprised of musicians Coss played with during her studies at William Paterson University, as well as in her long-time residency at the Manhattan Restaurant 181 Cabrini. The sextet presents unique, tasteful performances proving that these young and energetic musicians can offer a new take on what Jazz is today.

Coss, who has played on stage with the great trumpet legend Clark Terry, brings the experience of tradition to the album, but challenges the boundaries with imaginative and refreshing material. Her compositions push beyond Jazz and reach into the pockets of Soul, Rock, Hip-Hop, R&B, Classical, Funk, Latin, and beyond. The first track, “Wandering One,” features a pretty and relaxed swing melody. Coss takes her time with her solo, starting with a low and breathy rich tone and sparse ideas, until she eventually breaks out into a high-energy, high flying and hard-swinging improvisation. You can feel her channeling an old soul, which is typical of her playing; it provides an appropriate introduction for the other seven tunes on the recording.

“Lately,” the second track on the album, is a back-beat heavy ballad in the style of a neo-soul crooner, but is laced with complex chords reminiscent of the great compositions of Charles Mingus and Wayne Shorter. “A New Time” introduces Coss’ sweet and pure flute tone over a languid, sexy Cha-Cha layered with authentic percussion and the strong thud of the acoustic bass. Clearly her flute is not a “double” instrument; as she commands her prowess through strong, biting quarter notes and flourishing runs throughout the range of the instrument.

Kauflin’s uplifting solo piano on “Enlightenment” sets the mood for a gospel-influenced ballad reminiscent of Coltrane‘s “Dear Lord.” “The Slow Ascent,” lays down a fun, driving funk beat, heading in a more intense and hard grooving direction, until “The Cherry On Top,” which showcases Coss’ strong sense of swing on her Basie-esque flute playing, and the delicate brush work of Baltazor. “I Think So,” a melancholy and rich ballad, features Coss’ liquid Soprano playing in a chord-less trio setting; providing a close look at the interplay between Coss, Harrison and Baltazor. The album finishes with “July,” a strong anthem to the integration of jazz with other genres.

Peter Scheer Debuts On the CMJ Top Jazz Adds Chart

Bassist, Peter Scherr Comes Out Strong With His Follow Up Release, Son of August

Jazz Folk was a stirring success, and
Son of August is showing a similar promise

Son of August is the latest collection of Peter Scherr's songs, featuring Michael Blake, Tony Scherr, Brad Shepik and Mike Sarin. Recorded at Brooklyn Recording in Sept 2008, this record has a sonic heft and rhythmic punch that is very seductive. In addition to Scherr's writing, there are spirited readings of the Kinks "Strangers" and "Willing" by Canadian songwriter Chris Brown. It's a goodie!

Peter Scherr is an American bassist/composer/ musical strategist living in Hong Kong. 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. In a richly varied career spanning more than twenty years, Mr. Scherr has held positions with symphony orchestras, written music for film and documentaries, and performed widely in jazz and experimental music settings. Mr. Scherr has appeared on many recordings, and is the founder of the 1 Hour Music label, which produces creative music recordings. 1 Hour Music currently has nine titles available, and is planning the release of several new titles in 2011.

Shawn Costantino debuts on the CMJ Top Jazz Adds Chart

Saxophonist Shawn Costantino 

Robust and Fiery 

debuts on CMJ's Top Jazz Adds Chart

Waltz for Anne marks the introduction of Shawn Costantino as a leader. A highly pedigreed player who has won all the right awards and played in all the right groups, growing up Shawn was mentored by some of the top names in jazz and popular music. His tone is robust, round and unaffected with a strong bite reminiscent of his forefather’s, Stitt and Turrentine. Costantino creates interesting lines with creative harmonic approaches which builds his solos in an organic and flowing manner.

The compositions on Waltz for Anne are full spectrum, ranging from hard edge Modern Jazz to grooving cuts that seamlessly fuses old and new, to tender, but powerful pieces like “Don’t Let Me Be Lonely,” “The Touch of Your Lips” and “Song for Ryan.” Born in the 70’s Shawn grew up in an era that was filled with many flavors, and Shawn certainly has absorbed the sounds with communicative dexterity on Alto, Tenor, Flute, Alto Flute,
Bass Clarinet and Clarinet. Cuts like “Can’t Buy Me Love,” “The Transplant,” “Waltz for Anne” and “Bailout” dip, twist and turn into a simmering pot of fluid evolvements that will satisfy the listener’s angst for depth.

Joined by Andrew Synowiec (acoustic, electric guitars), Lincoln Cleary (piano, Fender Rhoades, organ), Jens Kuross (drums), and David Hughes (bass), the band jumps right out of the gate with a big sound, underscored by Shawn’s commanding and fiery sound.

From climatic opuses, to compositions spiked with intricacies, Waltz for Anne is certainly the jazz of the next “gen.” Costantino and his group more than rise to the occasion; in fact, with this new release they are creating a bar that will most assuredly stimulate the neural network in concert with a thrills-per-minute musical panorama.

Alekos Galas is reviewed by Midwest Record

Alekos "Alex" Galas 

Tasty stuff that keeps the flavor coming

Volume 34/Number 85
January 25, 2011
CHRIS SPECTOR, Editor and Publisher
Copyright 2011 Midwest Record

EHOS
ALEKOS GALAS/Mediterranean Breeze:  If you want to piss off John Belizjikian, call his oud a bouzouki.  Wonder if you can piss off Galas by calling his bouzouki an oud?  Either way, neither of these august pickers should be pissed off for blowing them a little gas, they rock and they should know it.  Galas brings his bouzouki to a session with a bunch of LA world jazz cats for a world fusion date that hits it out of the park.  Sounding at first like Ottmar Liebert on steroids, the crew finds their groove right off and makes a heady, adult listening date that new age companies leaning toward world should have picked up on before the big crash.  Tasty stuff that keeps the flavor coming, you’ve got to be dead if this doesn’t brighten your day or mood.  First class throughout.
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Jenny Davis debuts on the Canadian Jazz Chart !Earshot

Jenny Davis debuts at #10

Highly respected by critics and a favorite of audiences, Jenny Davis is an authentic jazz vocalist whose traditional approach to the standards demonstrates her deep-rooted commitment to the art of jazz and swing. A passionate steward of straight-ahead jazz, Davis combines clear, lush vocals and sophisticated phrasing to bring the listener inside her soulful journey. Whether improvising over Charlie Parker, or delivering the composer’s heart of a haunting ballad, her commitment to the art form is never more evident than in her third, and newest CD release of INSIDE YOU.

The release of INSIDE YOU includes some compelling originals and little known tracks drawn from some of the best jazz composers. “The intimacy of guitar and bass allowed me the freedom to get fully inside the honesty of the music” Jenny explains. “It just felt like a natural evolution, after 15 years of working together, for (guitarist) Chuck Easton and I to finally record these tunes.” They added veteran bass Ted Enderle and San Francisco tenor sax, Louis Aissen, which earned them a full standing ovation at their CD release performance in January 2010. “The instrumental combination with these specific tunes, just created an honesty that I was searching for and the audience has been responding to it”, Jenny added. Internationally renowned composer, RODGERS GRANT, contributed with his sultry ballad, “MORNING GLORY,” while Davis displays her commitment to jazz with her deeply personal composition and title track; “INSIDE YOU.”

A Seattle native, Jenny is a Cornish college of the Arts graduate and recipient of the Maggie Hawthorne scholarship. She actively performs throughout the Pacific Northwest at clubs, festivals and jazz venues with such jazz staples as Randy Halberstadt, Chuck Easton, Chuck Deardorf, Chris Symer, John Hansen,

Leslie Lewis is reviewed by Jazz Times

Review By•  By Susan Frances

Leslie Lewis with The Gerard Hagen Trio

Keeper of the Flame

Perfecting dreamy jazz oases is vocalist Leslie Lewis’ specialty. She is accompanied by The Gerard Hagen Trio on her new CD, Keeper of the Flame comprised of Gerard Hagen on piano, Domenic Genova on bass, and Jerry Kalaf on drums and percussion. The album is vintage beaux jazz reminiscent of the likes of Lena Horne and Dinah Washington featuring a repertoire of classic jazz tunage including Richard Rodgers and Lorenz Hart’s “Spring Is Here” and Antonio Carlos Jobim’s “Fotographia” tweaked with modern swing-inspired tracks like “Keeper of the Flame” penned by Mark Levine and the bluesy soul shading of “Don’t Know What Love Is” by Don Raye and Gene de Paul. Lewis’ new album is conducive to candlelit supper club ambiences with an emphasis on Brazilian jazz. She offers audiences an escape into the tranquility of beaux jazz.

The tapping beats of “No more Blues (Chega de Saudade)” are shrouded in bluesy overtones that permeate a peppy vibe as Lewis breaks into a few bars of scat, which elevates into the feather-light swags that valance “Speak Low” and the percolating rhythm of “Caravan.” The deep timbres of Lewis’ register burrow along the chord progressions creating smoldering grill marks that make these tunes her own. The wispy flutters brushing across “The Island” produce a dreamy aura and the hopping strut of “Day By Day” are decked in flouncing piano keys. Lewis takes audiences back in time to when dreamy beaux jazz was all the rage, but she also treats classic tunes with a modern flare that makes them connect with contemporary audiences.

The caressing vibrations of Lewis’ dark timbres demonstrate a richness that is comparable to Lena Horne and Dinah Washington. Keeper of the Flame is Lewis’ follow up to her debut solo album Of Two Minds which was also recorded with The Gerard Hagen Trio. Lewis maintains a standard of excellence throughout both recordings that is admirable and worthy of beaux jazz status.

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