Peter Scherr is reviewed by Improvijazzation Nation

by:  Improvijazzation Nation issue #113

Peter Scherr – SON OF AUGUST: Peter’s expatriate status (he lives in Hong Kong) does nothing to detract from the pure talent he shows on his bass.  The opener, “Tongue“, stride-walks you through what I imagine are murky alleys in some district on the “other side of the trax”… ha! ha!  

If you’re looking for tunes that are bit more on the “gentle” side, though with plenty of excitement in the mix, you’ll love “Willing“… bluesy, but full-bodied, with some great sax work.  I’m reminded of some tunes I’ve heard Dennis Rea compose here… lots of heavy guitar to accompany Peter’s bass beauty.  I found “August 2” to be my favorite of the 10 songs.  An all-round great jazz/rock excursion that gets a HIGHLY RECOMMENDED and an “EQ” (energy quotient) rating of 4.96.  Get more information at www.peterscherr.com Rotcod Zzaj

Nasar Abadey is reviewed by the Buffalo News

Jazz warrior

On Saturday, we’ll have the opportunity to welcome back one of our own, as jazz drummer, composer and theoretician Nasar Abadey returns for an 8 p. m. show in the Tralf Music Hall (622 Main St.).

Abadey grew up in Buffalo, studied music at the University at Buffalo and went on to become a first-call session player and touring musician. Abadey’s resume is absolutely ridiculous, a who’s who list packed to the brim with jazz luminaries such as Dizzy Gillespie, Charlie Rouse, Gary Bartz, Cyrus Chestnut, Sonny Fortune, Ella Fitzgerald and Eartha Kitt.

The project nearest and dearest to his musical heart, however, is surely Supernova, the band he has led for more than a decade, and the progenitor of a musical form he calls “Multi-D”— a reference to the trans-idiomatic nature of the music’s structure, and also to its post-Bop and modal aspirations.

The Tralf show marks the release of the band’s new disc, “Diamond In the Rough,” an inspired collection of pieces that display the lasting influence of Abadey’s initial musical idols — Miles Davis, Tony Williams and Wayne Shorter.

Supernova boasts another Buffalo native, in the form of alto/soprano saxophonist Joe Ford, and is rounded out by bassist James B. King and pianist Allyn Johnson.
Tickets are $20 (box office, Ticketmaster.com).

Brulee is reviewed by Jersey Jazz

by: Joseph Lang

There are many musicians around who are offering up sounds that direct the attention of younger listeners in the direction of jazz.  It takes many forms, some of it strongly in the jazz mainstream, and others that use elements of jazz and more contemporary sounds to form a synthesis that opens up the ears of the uninitiated, yet still has appeal to a more committed jazz audience.  BRULEE, a joint effort of vocalist Julie Wiener and pianist/ vocalist/songwriter David Onstad, have released New Beginnings (Owl Productions – No Catalog Number), an album that combines original material, a smattering of standards, and some rock songs to create a delightful amalgam of fun music.  Onstad is a clever songwriter who has written five of the songs. Wiener is an appealing vocalist with fine jazz instincts.  The three medleys are wonderfully conceived.  

“Tout Doucement” was memorably recorded by Blossom Dearie, and is combined here with “Ain’t Misbehavin’.”  “Come On-a My House” is a song of temptation that is matched up with the tale of woe that is “I Ain’t Got Nobody.”  Pairing a Cole Porter tune with one from the Rolling Stones might seem like an out there idea, but they make the combination of “I’ve Got You Under My Skin” and “My Thumb” work, and follow it with another from the Stones, “Dead Flowers,” a tortured lyric in which Brulee finds some dark humor.  If jazz is to survive, we need to have listeners with big ears.  Albums like this make me believe that there are creative ways to tap into new audiences.  (www.bruleesonomacounty.com)

Pamela Hines is interviewed by Yahoo

Pamela Hines

Dedicated to Music that Opens the Mind

By:  Susan Frances

Moon Germs, the latest CD from pianist Pamela Hines shows equal shares of classic chamber jazz principles and improvisational twists and turns. Structured bars are interspersed with free-style explorations which pique listener's interest and open their minds to accept new ideas of communication between instruments. Hines's ability to expand on familiar chord patterns is the grist for complex constructions, which depend on the musicians ingenuity while working within the framework of jazz elements.

Supported by a group of musicians who have played with Hines previously, she explains how the recording was arranged. "I do set up the order and when there have been duos that break out on recordings, they are planned. I think the longer you work with people, though, the more that will be spontaneous and fun. I do like some structure for the most part because that's actually where the freedom lies for me."

Joining Hines in the rhythm section are John Lockwood on bass and Bob Gullotti on drums, whom she raves, "Bob and John are legendary for their years of playing with 'The Fringe' with George Garzone. They have packed houses for years in Boston and beyond. I started my association with John in 2004, and with Bob in 2006. I love that we can enjoy free-jazz and straight-ahead jazz in the same set. They are flexible, adventuresome and amazing musicians and I am lucky when they are free to play with me because they are so in demand."

Creating moments of thought-provoking interludes alongside Hines are Darren Barrett on trumpet and Greg Dudzienski on tenor saxophone which she shares about, "Greg and I have been playing together for seven years and we enjoy a duo setting the most because that's when the musical chemistry blossoms for us to explore. Darren and I met at New England Conservatory back in the '90s and he was on my first CD, 9-45 with Bob Moses, Jaque Swarz-Bart, Rick McLaughlin and David Hines. I think natural musical chemistry is the thing I like. We share the commitment to the life of jazz and putting in the practice/exploration time as part of each day."

She remarks about her own approach to the recording, "I think over the years I have been the one who has been able to relax a bit more. In the earlier years, the mental aspect of performing and playing was something I worked at. We were all pretty relaxed on the Moon Germs sessions. It's not intense in any way but musically. These musicians are masters so all I think about is making sure my own preparation is in place. I already know they are going to be amazing and I need to make sure I come to a gig or session prepared."

Regarding the title of the album Moon Germs, she tells, "The title is from the Joe Farrell tune and I thought it was unique enough to perhaps attract some curiosity."

It does indeed give the impression that the musical particles come from out of this world, and share qualities with Earth's glowing satellite which is associated with inducing dreams and influencing the weather. Metaphorically that is what the listener experiences on Moon Germs, especially on "Lavender". Hines reveals about the composition, "Lavender is my composition. I composed it using a simple melody on top with less predictable chords underneath. It is more of a block chord style and my intent was spaciousness. My influence is George Russell who opened up the skies when he removed the notion of everything having to be 2-5-1 and the balance of the Lydian scale."

The greatest challenge which she encountered during the recording, she expresses was, "Practice time, practice time. After I wrote and/or decided on the tunes, I put in time so I could be prepared, thus as relaxed as possible on the session. It is a bit of a project getting people's schedules together and then mixing can be intense at times."

For preparation of live performances, she provides, "I do a warm-up on my piano at home a few hours before most gigs that are in the region. They are fundamentals, fundamentals and fundamentals...very basic."

She points out, "It's good to have someone on the gig calling out the general structure of the set but after that I love it when it breaks open into spontaneous stuff, like two players breaking off into a duo for a bit then everyone back in. Or, if something is heading into a freer direction, let it go, and come back in after a few romps into exploration."

Moon Germs enabled Hines to investigate another level of her creativity with her previous 2009 release, This Heart of Mine, acting as a bridge into new terrain. She examines, "This Heart of Mine was a commitment to playing what my soul was telling me to play and not worrying about how many notes or intense chords I was laying down. My approach was the pure communication of my music, often through simplicity and spaciousness. Moon Germs was a completely opposite approach. Completely dig in and throw it all down and throw it down hard. A few straight- ahead's but also a few free-form tunes."

A conservatory background is known for breeding musicians who find new possibilities for their instruments. Hines earned her Masters of Music from the New England Conservatory in Boston in 1998. She enthuses about the conservatory's environment, "I loved the commitment by the musicians there to the music. I felt like I had come home to 'my people'."

She cites, "I have a new release coming out soon with vocalist April Hall. All-new jazz original tunes," demonstrating that making music is a desire that comes from within a person. Hines has worked with vocalist April Hall once before on her 2008 album New Christmas which also featured Monica Hatch and Patrice Williamson.

Hines has traveled far in her musical journey beginning with her debut release 9-45 in 1998, followed by her album Twilight World in 2004, and then Return in 2007. Each album has procured new fruits for Hines, sometimes giving her critical acclaim which has thrust her forward, and sometimes spurring her creativity which has moved her forward in a different way. Whatever is the fodder that stokes her pistons, Pamela Hines cannot stop the process from happening nor does she seem to wish to stop it, which keeps her an influential force for chamber jazz models.

Marty Williams is interviewed by the Pacifica Tribune

One stop shopping for jazz - the Marty Williams Quartet plays Pacifica

By: Jean Bartlett

Pacifica tribune arts correspondent

Posted: 04/26/2011 05:00:51 PM PDT

Bay Area vocalist, pianist and composer Marty Williams has been part of the jazz scene for over 25 years. Along with his journeys into jazz, he has also turned heads with his forays into soul and hip hop. The San Francisco Chronicle called him a "catalyst" and other Bay Area critics have compared him to Oscar Brown Jr. and Mose Allison. Williams calls himself, "a jazz story teller." The Marty Williams Quartet is playing Saturday night at Pacifica Performances Mildred Owen Concert Hall. The quartet features Williams on piano and vocals, Eric Swinderman on guitar, Jon Evans on Bass and Ranzel Merritt on drums.

Born in Indiana, Williams was 20 years old when he took up playing the piano. He heard the record "Voices" by Ahmad Jamaal and suddenly he knew - playing the piano was his calling.

"The reason was to save my life though I didn't know it at the time," Williams said. "I thought I was just finding my way. Lessons were not mandatory but I was very aggressive at my attempt to play this music — 'jazz.'" Self taught, Williams would occasionally pull in artists to study under and they included Merrill Hoover, Ed Kelly and Don Haas. He was 32 when he realized that music was his career.

"There was a time it consumed me 100 percent, or what seemed like it," Williams said. "Now I split it with my 16 year old son and his academic and basketball careers and being a husband. A pretty full plate — always time for music though." Williams said his first professional gig at Orinda House was a special moment in time. Since then locals have caught him at such places as Bach Dancing and Dynamite Society, Pasta Moon (The Music Box), Caffé DiVino, Bird's Nest Jazz Party, Marq's in Menlo, Sausalito's No Name Bar and the Oak City Bar and Grill. He played that first gig with Eric Swinderman.

"Eric and all the guys in the quartet are world class and they have played around the world," the pianist said offering highlights. "Eric has played with Brenda Boykin. Jon has played with Tori Amos. Ranzel has played with David Murray. We all trust each other and there is this incredible talent." Williams has also played internationally. As to his influences, he lists Hampton Hawes, Les McCann, Ahmad Jamaal, Thelonious Monk, Ramsey Lewis, Herbie Hancock, Shirley Horn, Miles Davis and Junior Mance as the most significant.

Williams calls the music the quartet is playing Saturday night — "vocal jazz" or "jazz with vocals." They will touch down on tunes from a number of his CDs including the most recently released "Long Time Comin'." Songs on the evening's menu include "Brother (Where Are You)," "Caravan," "Come Together," and "Compared To What." "Tell your audience, I'm coming!" Williams laughed. "This concert is like a first take and I am the headliner — and as anyone knows, if you achieve your goal the first time down, it is indeed special. I plan to play beautifully!"

Where: Pacifica Performances Mildred Owen Concert Hall, 1220 Linda Mar Blvd.

When: Saturday, April 30 at 7:30 p.m.
Tickets: $20 general. $17 seniors (62+) and students with current ID. $15 members. $12 senior/student members. Under 18 FREE. Available at door 30 minutes before show or in advance online at www.pacificaperformances.org by Friday, noon.

One stop shopping for jazz - the Marty Williams Quartet plays Pacifica

Marty Williams is interviewed by the Palo Alto Daily News

Marty Williams: Pianist finds his voice

By Paul Freeman
For The Daily News

After decades of establishing himself as one of the Bay Area's top jazz pianists, Marty Williams has truly found his voice. His latest album, the aptly titled "Long Time Comin'," is the first to feature his gruff but highly expressive and entertaining vocals.  "It was just the time," said the Half Moon Bay resident. "It felt good. I was receiving a lot of encouragement."

He demonstrates a marvelous knack for unique phrasing, taking time to pour meaning into each lyric. "That's just the way I do it. It's relaxing to me to phrase like that. I don't like to be so on top of the music that I couldn't express myself."

On the new album, Williams puts his own strong imprint on such familiar numbers as "Falling In Love Again," "Love For Sale," "On A Clear Day," "Sunny," "The Look of Love" and The Beatles' "Come Together."

"I don't limit myself, as far as my own interpretation. I consider myself an interpreter, so that's just the way I sing, the way I do it."  He took his time in selecting the tunes.

"It was pretty drawn out. But it ended up having to do with my audience at a gig that I played at Marqs in Menlo. I had that gig for about a year and a half. And a lot of the tunes were chosen because of the way that audience responded."

Williams draws from many musical worlds, reflecting his eclectic taste.

"Well, good is good. Great is great. You hear, sometimes, people say things like, 'I don't like country music.' But good country music is good. And, if you can pull something from it, that's even better. I enjoy a lot of different kinds of music, and if it's well done, it's well done."

What Williams has learned over the years as a pianist benefits him as a vocalist.

"While training myself to play piano, there was a lot of singing involved, learning melodies and things of that nature."

Both his vocal and piano skills will be evident at his Pacifica Center for the Arts concert on Saturday evening. Williams will be joined by guitarist Eric Swinderman, bassist Ruth Davies and drummer Ranzel Merritt. Williams grew up primarily in Oakland, but traveled around a lot, because his father, a jazz buff, was in the service.

His passion for piano didn't ignite until age 19, when he first heard Ahmad Jamal. "That was a spiritual moment. At 19, you're pretty much in search of who you're going to be for the rest of your life. And at that time, I was having some youthful difficulties. But at the moment I listened to Ahmad Jamal, the album was called 'Ahmad Jamal with Voices,' It was a choir playing with his trio, I was inspired. I just decided, from that moment, that was what I was going to do. I felt like that's where I could be.

"I was confident that I could make it happen. I was on a gig three weeks after I started playing piano."

Williams didn't rely on formal training. "It was a matter of teaching myself as quickly as I possibly could and getting up to speed, where I could at least accompany a soloist. I have pretty good ears. So it was a matter of how quickly I could get the mechanics together.

"I was exposed at Laney College, by the instructors, Elvo Diamante and Ed Kelly. I tried out for the college jazz band. And when I auditioned, I was playing, by ear, from what I heard, what they were playing. And then Mr. Diamante changed the chord progression on the board and, of course, I couldn't read at that time," Williams recalled, chuckling. "But I went to the practice rooms and learned how to read chord progressions. And the rest is history."

There were both advantages and disadvantages in not having a lot of formal training, going his own way instead. "I don't think self-taught players are as rigid as some who are classically trained. But I still, to this day, can't look at a lead sheet and read it and play at the same time. I can learn it. And then interpret it."

Gradually, Williams developed his own voice as a pianist. "I didn't consciously try to establish my own style. I just am. I listened to a lot of people. A lot of people, if you want to put it in a spiritual state of mind, influenced me a lot by how they play, like Hampton Hawes, a percussive player, Tommy Flanagan, Les McCann, a spiritual funk genius. They all added to who I am, because I listened to them. But I didn't consciously say, 'I'm going to listen to this guy so he can influence my style.'"

In addition to playing piano and singing, Williams has become increasingly involved in writing, arranging and producing. He recently produced an album for vocalist Deb Silva. "I enjoy the creativity of producing, the opportunity to shape sound."

Williams continues to grow as an artist."It's a lifelong work. If you continue to work at it, you continue to get better. Now singing with playing, I don't know, if I had done that years ago, if I would have been as believable as I am today, not having the experience of some of the lyrical composition. Now I really understand what I'm saying, what I'm singing. You have to really believe it.

"Right now, on pretty much anything I sing, I have either experienced it or can really relate to it. This was a big achievement for me, doing this album. The next one is in my thoughts, but I've been told to let myself enjoy this one before I move on to the next one."

Two Guitars is reviewed by Yahoo

By:  Susan Frances
Two Guitars
Bending Time

A banquet for the ears, guitarists Gus Wieland and Brian Conigliano present smooth jazz melodies tooled with ambient décor on their new release Bending Time from Modish Creative Group. Under the band name Two Guitars, Wieland and Conigliano display soothing acoustic strokes synonymous with guitarist Gene Bertoncini heightened by dreamy Latin rhythms and the husky timbres of Wieland's vocals. Each track is beautifully groomed and branded with glittering chords versed with lulling swells.

The Latin pulsations suspending "Black Magic Woman" sets the album on a springy chassis draped in Conigliano's droning harmonica moans, and then shifts into a lullaby rhythm in "Riverfest". Wieland and Conigliano's sonic bursts caramelize their guitars into smooth flowing lines with an upright disposition. The meditative ambience of "Only Living Boy In New York" and "Overjoyed" is a luxuriating waterfall of guitar chords orbiting around each other and softly demarcated by short breaks along the points of intersection. The Latin flare of "She's Not There" is sparsely layered in refined instrumentation allowing Wieland's vocals to propel the progressions, while the placid phrasing of "Walk Away Renee" offers a revision of Mike Brown and Tony Sansom's pop tune complimenting the original.

Wieland and Conigliano create an easy listening album with serenely versed tunage and ambient décor. Bending Time lures the listener to relish time basking in good feeling vibrations.

Personnel:
Gus Wieland - guitars and vocals, Brian Conigliano - guitars, harmonica and vocals, and special guest Eddie Torrest on percussion

Tracklisting:
Black Magic Woman, Riverfest, Only Living Boy in New York, Overjoyed, She's Not There, Walk Away Renee

Frank Butrey is reviewed by Yahoo

By:  Susan Frances

Frank Butrey
Malicious Delicious
Lust for Toys Records

Modern jazz guitarist Frank Butrey collaborates with a slew of drummers, bass players and saxophonist Umar Raheem on his new recording Malicious Delicious. Like his surnames would suggest, his chord arrangements move like butter through the tracks making the transitions fluid and the dynamics sedate and subtle.

Intervals of sci-fi toned sound bytes move through "Boisterous Voiceterous" as waves of jutting movements coursing through "Malicious Delicious Blues". The softly hued ringlets in Butrey's chord patterns along "Acoustic Afternoon" is supported by links of jangly percussions and chimes which mutate into frothy psychedelics and echoing effects along "This End Up". The terrain nurtures moments of improvisations as instruments converge and entwine with a whimsical penmanship.

The undertow of rattling shakers in "Toast With A Ghost" are shrouded in shadowy guitar vibrations which soften into gently undulating crests swells through "Dimitri, Birks and Dewey" fringed in soothing bass knolls as soprano saxophonist Umar Raheem contours the shimmers and soars. The lulling ripples of Butrey's guitar strums along "Little Workshops" has a Latin swing-bent while the tightly rung chords of "Dodges, Denials, and Delays" roam wistfully. The album concludes with the silky silhouettes of "Niece and Nephews" create music that feels like a salve on the senses.

Butrey provides the fodder while his musicians supply the flint so when striked, the crossed lines illuminate at various degrees controlled by Butrey's strokes. His chord patterns crown the tracks while the rhythm section shapes the content. Calling Philadelphia his home, Butrey's music has a progressive slant that would suggest exposure to diverse cultures. A proponent of modern jazz, Butrey embraces methods used by improvisers and fusion guitarists. He has wheedled his own niche and added to the vernacular of modern jazz's language.

Personnel:
Clifton Kellem - acoustic and electric basses, Tony Wyatt - drums, Tom Lowery - percussion, Joe Ruscitto - percussion, Warren Oree- acoustic bass, Umar Raheem - soprano saxophone, Greg Jones - drums, Doug Edwards -  percussion, Leonard Hubbard - electric bass, and Frank Butrey - guitar

Tracklisting:

Boisterous Voiceterous, Malicious Delicious Blues, Acoustic Afternoon, This End Up, Toast With A Ghost, Dimitri Birks and Dewey, Little Workshops, Dodges Denials and Delays, Niece and Nephews

Carlo De Lorenzi is reviewed by Yahoo

by:  Susan Frances

Carlo de Lorenzi
Four Seasons in One Recess

Four Seasons in One Recess marks the first solo project from Northern Ontario keyboardist Carlo de Lorenzi. Produced by Lorenzi and his guitarist Jason Sadites, the album tosses in elements of smooth jazz, ambient-pop, soul, and reggae to make for a rich collage of refined melodies and complementing harmonies.

The subtle, propulsive beats of Brendan Colameco on drums hold up "Key Lime Pie" as Lorenzi weaves elegant etudes with his organ keys transitioning into a reposing stance along "Rocky Harbour" with a series of gently woven spirals. The tracks are tamed and penetrate the senses creating a mollifying mood in "Door to the Heart" as Lorenzi's keys form trickling droplets that melt into the nocturnal ethers of "Ode to Raven" as Steffany Venneri's vocals forge coasting grooves along the melody. Lorenzi's string arrangement on "Change of Pace" gives the album a bucolic tone which switches to a cabaret simmer in "Edge of the Rainstorm" assisted by the sensual voicing of Jessie Lefebvre's vocals. The reggae pulse of "The Calling" reverberates an island bliss into the album adjusting to folksy pop atmospherics in "Blue Sky Down" driven by the smooth timbres of Dave Carroll's vocals and kindle a jazz club aura through "Back Flip" with Dan Chabot on alto saxophone.

Carlo de Lorenzi's album is positively charged from beginning to end. The songs endorse a lifestyle filled with mirth and bliss showing complementing phrases reflective of Bruce Hornsby from the folk pop arena and Chick Corea from jazz. Four Seasons In One Recess is heavy in soothing atmospherics which proves to be Lorenzi's greatest asset.

Personnel:
 Mike Scardamaglia - bass, Dan Chabot - saxophones, Paul Colameco - lead guitar on "Baked Potato", Steffany and David Venneri - vocals on "Ode to Raven" and "The Calling", Jessie Lefebvre - vocals on "Edge of the Rainstorm", Dave Carroll - vocals on "Blue Sky Down", and Albert de Lorenzi - vocals on "Door to the Heart"

Tracklisting:
Key Lime Pie, Ode To Raven, Change of Pace, Edge of the Rainstorm, The Calling, Baked Potato, Blue Sky Down, Back Flip, Rocky Harbour, Door to the Heart

Dual Rhythm Big Band is reviewed by Yahoo

by:  Susan Frances

Dual Rhythm
Big Band
Self-Released

The pairing of keyboardist Paul Rosenberg and vocalist/percussionist Ernest Bland form Dual Rhythm. Their new album Big Band features a variety of guest musicians from the Washington, D.C. area which along with Dual Rhythm create a hybrid of music that crosses into the terrain of classic pop, Latin jazz, rhythm & blues, and twangy blues rock. 

The duo transcends labels and traverses from a vintage rock sound in "Absence of Excess" gilded in psychedelic wisps furnished by guitarist John Lee to the saloon stylizing of Rosenberg's jumping keys and Bland's bluesy intonations along "I Don't Know What Love Is". Dual Rhythm cannot be pinned down to a specific mode of music, but rather they deliver tracks with a multi-colored tint. The conga pumps backing "Mariposa" gives the melody an attractive hip swaying rhythm, and the harmonizing between the keys and percussion in "Shoreline" produces a buoyant vibe.

The duo's adaptation of the Beatles song "Sun Medley" presents it with a contemporary poise, and the shuddering percussive beats of "Summer's End" are adorned with gorgeous flute swirls from Perry Contichio. The dreamy tones give the track an airy quality which switches to thick pronunciations in the bolting keys and robust percussive beats traipsing through "Alice dances the Bossa Nova" composed by Rosenberg.

Bland's track "Desire" is landscaped to accommodate the bluesy tone of his vocals, while his number "Sligo Bop" has a prancing stride which positions Rosenberg's keys and Contichio's sax  in the forefront. The duo revisit Otis Redding's hit song "These Arms of Mine" with a tender voicing very similar to the original template, which then rolls into the sensual phrasing of "African Flower" penned by Duke Ellington peppered in exotic accents and cascading synth effects. Rosenberg does the song justice scripting the keys in bold lines and breathing new life into the number. The final track "Night Dreamer/Afro Blue" by Wayne Shorter and Mongo Santamaria was recorded live at Mayorga Coffee House in Silver Spring, Maryland. Rosenberg and Bland's handling of the song draws out the sharp inclines in the keys pressed by scrambling beats.

Dual Rhythm has a way with versing their harmonies to give the songs definition. The pair create an attractive crossbreed that bodes well in world music's niche.

Personnel:
Paul Rosenberg - keyboards, Ernest "Ebango" Bland - percussion and vocals, and special guests John Lee - guitar, Dan Hall - bass, Lawrence "Bubbles" Dean - drums, and Perry Contichio - flute and saxophone

Tracklisting:

Shoreline, Sun Medley, Absence of Excess, I Don't Know What Love Is, Mariposa, Summer's End, Alice Dances the Bossa Nova, Desire, Sligo Bop, These Arms of Mine, African Flower, Night Dreams/Afro Blue

Shawn Bell is reviewed by Yahoo

By:  Susan Frances

Shawn Bell Quintet
Things Yet Unknown
Self-Released

There are a handful of trombonists who can front a band simply because the low, slow drool of the instrument's notes places limitations on the musician, but Shawn Bell manages to be an exception to the rule. His self-released recording Things Yet Unknown demonstrates his prowess as a versatile artist and leader. This is not to say that Bell does not have some of those melancholic-toned meanderings synonymous with the trombone notably on his track "When I Cry", but he treats the instrument as if it had the limberness of a saxophone, and oftentimes, his trombone can be mistaken for a tenor sax.

Joining Bell on his recording are Quentin Coaxum on trumpet, Jonathan McQuade on flugelhorn, Ross Margitaz on piano, Nathan Brown on bass, and Samuel Jewel on drums. Produced by Bell, Things Yet Unknown features original compositions written by Bell along with two covers, Nacio Brown and Gus Kahn's "You Stepped Out of a Dream" and David Mann and Bob Hillard's "In the Wee Hours". Recorded on May 3 and 5, 2010 at Northern Illinois University Studios, Things Yet Unknown is agreeable with what people expect from jazz music such as the easy going stride of the rhythmic movements, the languid gait of the horns, and the succor effect which the instruments project when they brush across each other. The musicians move in sync with one another causing one track to stream into the next. The tones are muted and the dynamics are tamed.

Selections like "Requiem for the Lovers" and "In the Wee Small Hours" are arranged to soothe the senses, and the casual stroll of the horns along "Lost Pursuit" produces an ambience that is reflective of supper club music. Bell takes smooth jazz to the umpteenth power. The clarity in the instrument's lines are pristine and the mild temperament of their interaction creates an ethereal vibe emanating from the tracks. Bell's interval of improvised notes in "Flow" spurs other raptures to surface including a sequence of rippling keys and a glimpse at Nathan Brown's arduous bass pulls before the number simmers down to a lukewarm consistency.

Shawn Bell's music matches the impression that people have of jazz music. His compositions measure up to jazz standards and could be considered for the Great American Songbook even before they have aged.

Personnel:
Shawn Bell - trombone, Quentin Coaxum - trumpet, Jonathan McQuade - flugelhorn, Ross Margitaz - piano, Nathan Brown - bass, and Samuel Jewel - drums

Tracklisting:
Things Yet Unknown, You Stepped Out of a Dream, When I Cry, In The Wee Small Hours, Requiem for the Lovers, Lost Pursuit, Flow

John L. Holmes is reviewed by Yahoo

by:  Susan Frances

John L. Holmes y Los Amigos

The Holmes Stretch
Self-Released

A veritable pupil of musical art, John L. Holmes has mastered a myriad of musical styles from blues and experimental jazz to pop/rock and reggae. His latest endeavor The Holmes Stretch is an array of Latin jazz infused compositions with a contemporary-bent and features his band Los Amigos. His band consists of Glenn Ayers on drums and percussion, Steve Kim on bass, Dave Glenn on trombone, Mike Agidius on saxophone and trumpet, Mike Friedman on keyboards, and Ken Wilson on flute. On the recording, Holmes demonstrates an instinct for designing complementing phrases and tweaking them with elegant instrumentation even with the heavy blares of Dave Glenn's trombone in "Beyond Blue". The sophistication of Holmes's melodic soundscapes engage the listener's mind, stimulating thoughts to move towards feeling pleasure, and every track resonates with deep-skinned pleasure.

Though Holmes's professional experience have shown bouts with challenging conventional jazz idioms, The Holmes Stretch sounds as though it is based on traditional ideals like the gently rolling guitar swells of   "It's All About You" and the leisurely cadence of "Two for the Show". The discourse in the instruments sears a calming effect even when Holmes's guitar and Mike Agidius's saxophone explore a swig of improvised movements. The band reacts to each other and creates a cohesive congregation playing their rises and falls in unison along "And Then... no problema". Their tones compel a smoky Native American Indian/Andean timbre in "It's My Guitar" as Ken Wilson's flute tangles around Holmes's entrancing riffs to generate a sleek pairing. There is evidence of Spanish-African cumbia rhythms in "La Vida Loquita", mambo-influenced rhythms in "Back Burner", tropical grooves in "Momentito", and even American-funk grooves in the bass lines which manifest into a dialogue with the Spanish toned guitar chords in "Where We Goin'".

The Holmes Stretch is a cornucopia of musical styles that most people might not be acquainted with by name but the sounds are familiar and the music is pleasing. Holmes traces the roots of traditional styles which have affected contemporary music. He presents them with an appreciation for their dialect and emulsifying nature showing that these traditions resonate with a wide breadth of cultures.

Personnel:

John L. Holmes - guitar and synths, Glenn Ayers - drums and percussion, Steve Kim - bass, Dave Glenn - trombone, Mike Agidius - saxophone and trumpet, Mike Friedman - keyboards, and Ken Wilson - flute

Tracklisting:
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 Play It The Way I Want), Where We Goin', Quit That Some More, Two For The Show

Audrey Silver is reviewed by All About Jazz

all.about.jazz
by:  C. Michael Bailey


Reviews touting a singer's perfect diction are reminiscent of George Bernard Shaw's Pygmalion (or the Lerner and Lowe 1956 musical and 1964 movie,My Fair Lady), and the plight of Eliza Doolittle to straighten out her coarse Cockney into the Queen's speech). Diction has been a driving force in describing singer Audrey Silver's sophomore recording Dream Awhile. The issue is not that Silver has perfect diction (she has) but why it is so perfect.

Silver's first recording, Here in My Arms (Self Produced, 2004) was a prelude to the current offering in that Silver chose recital pieces less travelled. Certainly, all of her music is from the Great American Song Book, but it is chosen carefully, with the more tired pieces avoided. It was immediately evident that Silver's silvery alto is as perfect at the edges as it is in the middle, a phenomenon of uniform density throughout. It is this basic characteristic that allows Silver to sing what she wants and how she wants, while entertaining all at the same time.

Dream Awhile finds Silver again employing a smaller band (a rhythm section-based quintet) that provides perfect support, competent soloing, and plush cushion to Silver's sturdy, take-no-prisoner's voice. Her commanding stroll through "The Song is Ended," "In The Wee Small Hours" and "Too Marvelous for Words" shows Silver confident and sexy, well-supported by pianist Joe Barbato, who had the lion's share of the arranging duties. The result is an excellent vocal outing, one that shows how jazz singing is to be done.

MJ Territo is reviewed by Yahoo

by:  Susan Frances

The children of the swingsters who grew up listening to the smooth jazz vibrations of the '40s and '50s, which could have included such recording artists as Bing Crosby, Rosemary Clooney, Frank Sinatra, Billie

Holiday, and Lena Horne, are all grown up now and have that music whistling in their psyche. Jazz vocalist MJ Territo is an offspring of that generation and it is influenced her choice of songs for her debut CD, Down With Love. The album is a collection of standards, showtunes, and what she calls novelty songs such as the beautiful Abbey Lincoln's "Throw It Away" and Bob Dylan's "Gotta Serve Somebody". Territo delves into these songs with the loose hold of a butterfly, so as to never strangulate the melodies, and the warm intonations of a nightingale.

Her revamping of Bob Merrill's tune "Mambo Italiano" highlights the accented curves of the vocal melody. It could be one of the only numbers on the album that breaks away from the overall theme of the recording, which is to sing about love turning into the blues. Songs like the title track and "Devil May Care" are at the heart of Territo's objective to sing songs that speak about emotions other than being in love. Even though she strives to sing about falling out of love and being burned by love, there is a buoyant lilt in her voicing which gives these tracks a positive tint. As a listener you may not feel as blue as the words would suggest, but it is laudable that Territo sings the songs in a manner which she is comfortable with and represents her.

In this way, her vocals pervade the tone of a storyteller rather than someone who has experienced heartache particularly in "The Lady is a Tramp", which does not have the same gusto as when Debbie Reynolds sings it, but Territo treats the melody as if she was singing it for a Disney movie.

MJ Territo's affinity for smooth, easy listening tunage affects her selection for her recording. She shows that she knows what she likes and she knows how to deliver it to perfection. Down With Love might be more upbeat than one would expect from an album designed to be about the blues, but even the blues should be allowed to put a smile on the listener's face.

Personnel:
MJ Territo - vocals, Alan Rosenthal - piano, David Shaich - bass, Jon Doty - drums, Libby Richman - alto saxophone, and Dennis Winge - guitar

Tracklisting:
Down With Love, Devil May Care, Throw It Away, Waters of March, Mambo Italiano, Do You Miss New York, The Lady is a Tramp, Gotta Serve Somebody, Waltz for Debby, Small Day Tomorrow

David Leonhardt is Reviewed by This is Books Music

REVIEW: The David Leonhardt Jazz Group “Plays Cole Porter”

by:  John Book

As with any composer and musician, there are diehard Cole Porter fans who do not want to see his music ruined or messed-up by anyone. In the hands of most, it comes out great and in the hands of David Leonhardt, fans will not have to worry.

Plays Cole Porter (Big Bang) is a very respectable album that continues the breath of life for Porter and his music, with new renditions of “I’ve Got You Under My Skin” ,”I Love You”, “All of You” ,”Get Out Of Town”, and “Every Time We Say Goodbye”, there’s still a sense of assumed and perceived luxury, be it of love, of living, of being free, carefree if you will. 

Some may say, like Cee-Lo Green, that chivalry is dead, but then one may ask while listening to this CD “why is her body in my bed?”, right? Chivalry is far from dead, and if you feel it is, put on this music and bring it to life… tonight.

Nasar Abadey & Supernova are reviewed by This is Books Music

REVIEW: Nasar Abadey & Supernova’s “Diamond In The Rough”

by:  John Book

Nasar Abadey is a drummer who swims in his love of mystical jazz, and along with his group Supernova, they have recorded a brilliant album called Diamond In The Rough(self-released).

While the cover has him looking like someone who may have toured with Jimi Hendrix or The Isley Brothers circa 1976, the music on Diamond In The Rough is not hard rock or soul, but pure, sweet jazz. There are only seven songs here, but some of the best ones are those that clock over nine minutes: “There’s No Greater Love” (9:48), “Multi-D” (13:21), “Eternal Surrender” (13:21), “Sacred Space” (12:47) and the opening title track, clocking in at a few seconds short of the 10 minute mark. The album features help from James King (bass), Joe Ford (saxophones), Jamal Brown(flute), Thad Wilson (trumpet), Gary Thomas (tenor sax), Tom Teasley(percussion), Kush Abadey (djembe), Rashida Jolley, and Allyn Johnson), whose piano work throughout the album is nothing short of amazing. I’d like to hear a Johnson album.

Melvin Jones is reviewed by This is Books Music

REVIEW: Melvin Jones’ “Pivot”

by:  John Book

This is an album that I’d call “pure pump”, because it is an album that pumps. Melvin Jones is a trumpeter who will, for all intents and purposes, smack the fuck out of anyone who cares to claim they can play better than him. 

In other words, he’ll play and he’ll compliment and jam, but he’s in for the kill, he is not pulling any shit for the sake of making you feel good because you’re a special guest. Even if you’re not in a trumpet battle, you better enter his house in battle mode for once it’s on, you know it’s on, as he presents on each of the 13 songs that are on Pivot (Turnaround), including the mindfunk “The Jug-Or-Knot”, one of the more intense opening tracks on a jazz album I've heard in years. Jones plays with finesse and elegance, he knows how to make his instrument dance. But when he’s throwing out swords, move away. 

When it’s time to light a candle and place some rose pedals on the bed, move away as well. I love his playing because of that elegance and cocky swagger, and it’s nice to hear in 2011.

There are songs here that are perfect for the quiet storm, such as “Angels”, or something that carries you through a rough day, such as “Goodnight Moon”, but after hearing this album, I’m wondering why there wasn't more. Don’t get me wrong, it’s 13 songs deep, most of them are over the four minute mark, but I wanted an encore. Maybe that’s what the live experience is for. What does Pivot refer to? I’m sure as he shows in his playing, it could mean either or. It’s in your mind to decide how to use it.

Elizabeth Woodbury Kasius & Heard Continue to Chart on the Jazzweek World Chart for 9 Weeks

Elizabeth Woodbury Kasius & Heard

 Continue to Chart on

the Jazzweek World Chart 9 Weeks in A Row

The original repertoire of HEARD is the work of composer-arranger-pianist ELIZABETH WOODBURY KASIUS, who brings a wide array of styles --jazz, world and classical music-- into her captivating  soundscape. Her inspirations come from her diverse experiences and interests; often drawing from her travels, and the raw and powerful sources that nature provides. Heard’s dynamic and eclectic lineup of musicians gives Elizabeth a multitude of talents and textures to compose for as they develop their many-colored musical tapestry.

Elizabeth received her formal musical training at the University of Washington and Cornish College of the Arts in Seattle, where she studied ethnomusicology, piano performance and composition with Brazilian pianist Jovino Santos Neto, trombonist Julian Priester and Big Band leader/trumpet player Jim Knapp, as well as with Nigerian Juju musician IK Dairo. She received her BA in African Studies from Brown University. Elizabeth has also been a member of the Brazilian drumming group, The Berkshire Bateria for 10 years, where she has studied with Sambista, Jim Weber.

In addition to teaching composition and piano privately, she has been an adjunct professor for 11 years in the Dance Department at Russell Sage College in Troy, NY, where she works as a dance musician and composer-in-residence. Her collaborations with dancers have also led her to work with the NYC-based Mark Morris, José Limon, and Doug Varone Companies, and the NYC Ballet, and with Saratoga Springs’ TangoFusion. Her work with the Capital-District based Ellen Sinopoli Modern Dance Company has led to numerous Arts-in-Education Residencies in regional elementary schools.

Ekendra Das Hits the CMJ Ñ Alternative Chart for his 7th week

Ekendra Das Continues to Hold Strong On the

CMJ Ñ Alternative Chart for 7 Weeks

Ekendra Das is a multi-percussionist and drummer whose relationship with the drum goes back to his childhood. He often jammed with the musicians that played at the Blue Cornet night club managed by his father in New York.  Musicians like Miles Davis, John Coltrane, Max Roach, Art Blakey, Dizzy Gillespe and others. Ekendra’s uncle, a famous Katherine Dunham dancer, arranged for Ekendra’s first recording, singing and playing percussion on a Harry Belefonte recording. The spark was lit; music and the drum became a huge part of Ekendra’s life.

Ekendra went on to study drumming and music under various teachers from all styles. Ekendra worked the New York music scene after college, working with artists like Kashif, Living Color’s Vernon Reid, JazzMobile all stars, sax man Carlos Garnett, Pharaoh Saunders, Nat Aderly Jr., and a special performance with Dizzy Gillespe. Broadway shows and major dance companies also used his percussive skills. When Ekendra was offered a job working in Africa he took it as an opportunity for first hand drum and percussion study of Africa percussion. This also found him playing with African artists like Sonny Okoso, Kofi Ghanaba, Banda and Congolese artist Africa One. Ekendra decided to visit India on a vacation and fell in love with the music and returned several times to study both music and philosophy. Ekendra has played Indian percussion for artists both recording and live performances.

Ekendra began a refreshed music career after returning to the States, playing and recording with Fertile Ground, David Bach, Raheem Davaughn, Mary Ann Redmond, Imani, Tim Eyerman, Caje Mosaic, Bottomland, Amikaelya, Anthony David, The D.C. Mass Choir, Havana Select, Frank Macomb, Brian Culbertson, Marcus Johnson Project, Al Williams, Scott Ambush, Julie Dexter and others; including international artists Chucho Valdes, Susana Baca, Marixtrell, Armand Ntep, Rashik Priya, Los Munoquitos, Filipe Villamil and Emekeke.

One of the most inspiring moments was playing the Smithsonian Institute tribute to Celia Cruz with Havana Select. Ekendra has for the last eleven years been the percussionist for the soul/ jazz and world music, group Fertile Ground, recording and touring the world and sharing stages with everyone from BB King to the Black Eyed Peas.

Ekendra continues to teach workshops and clinics as well as private instruction. Ekendra is also a member of PASIC and the Drum circle facilitators’ guild.  World Radio 108 is a collection of musicians bought together by Ekendra Das who come from various musical and cultural backgrounds who are united by the common interest in inspired music, there are no formulas, or limitations, this is heart music, from ours to yours. WR108 marks the introduction of Ekendra as a producer and composer.

WR108 is about the message and the music, we hope that you find the moods and grooves in this recording help make your day better for years to come. Ethnomusicology its academic meaning, is the study of the music of various cultures, Ekendra Das is himself a study in various cultures having lived and been inspired by music and cultures from Africa to India, Europe South America and the Caribbean., Having played for over 25yrs in all musical Genres from Jazz to Hip Hop , Afro Cuban, to Indian Bhajans, and for years has been the percussive power behind the group Fertile Ground.

Add to that mix the rich multicultural tapestry that is WR108. The results the kind of music that you want to listen to now and for years to come. We all have many moods so why can’t the music we listen to also have many moods, WR108 is a musical experience, a sound track to life.

Melvin Jones Debuts at the #1 Top Jazz Adds Slot on CMJ

Melvin Jones' "Pivot" Opens and Clear Path To The #1 Top Jazz Adds Chart at CMJ His First Week in Promotions

Melvin Jones shines as a modern, consummate jazz artist. Whether performing simmering ballads in an intimate setting or screaming a solo over a professional horn section in front of thousands, Jones’ jazz trumpet delivers for fans and critics alike. His unique style, combined with his superb technical facility, crafts an almost hypnotic tone for audiences, seamlessly creating harmonious jazz compositions drawn from diverse musical genres.

Says Jones, “I believe that all music is essentially similar, and I strive to create art that takes my listeners on an imaginative journey through varied musical styles. I draw from many areas, including different forms of jazz, samba, blues, hip hop, and beyond. My music attempts to weave these influences together to create unique and memorable sounds and compositions.”

Jones, a native of Memphis, Tenn., began his own personal music journey as a student at Morehouse College in Atlanta. He made an appearance on TLC’s triple platinum hit album Fanmail, and he was a founding member of the popular Latin jazz ensemble called Rio Negro. Highly successful, this
distinctive group performed nationally to wide acclaim while recording three group albums.

Jones then pursued graduate music study at the Mason Gross School of the Arts where he studied under the world-renowned trumpeter and educator, the late William “Prof” Fielder. “Prof ’s” illustrious student roster includes greats like: Wynton Marsalis, Terence Blanchard, David Sanchez, Kenny Garrett, and classmate Sean Jones. After graduation, Jones continued a multi-faceted career, performing extensively throughout the United States and abroad while also teaching and lecturing at various universities and schools. Many jazz industry giants have graced the stage with Jones throughout his career, and he relishes these artistic collaborations. He has played and partnered with: Don Braden, Clark Terry, Victor Goines, Carmen Lundy, Terence Blanchard, Antonio Hart, and Freddy Cole. Jones is especially proud to have been a member of Illinois Jacquet’s last band, which captured his final recording at the Lincoln Center.

Jones has recently finished an eight-month-long national tour with Tyler Perry’s production entitled “Madea’s Big Happy Family,” an association which began with his appearance in Perry’s film “I Can Do Bad All By Myself.” Other Jones performance credits include being co-founder for the esteemed
pre-ensemble horn section named “Solid State,” which has recorded with The Anointed Pace Sisters, The Pussycat Dolls, Fergie, Nicole Scherzinger, Missy Elliott, Keri Hilson, and most recently the “Original Dreamgirl” herself, Jennifer Holiday. In addition to performing at jazz clubs around the country, he can now be seen as a reoccurring addition to the house band, the “Penthouse Players,” on the Mo’Nique Show which airs weekly on BET.

While Jones’ performing career is remarkable, his academic accomplishments are equally impressive. For six years, he served as the Director of Bands and Instrumental Studies at Morehouse College in Atlanta, where he had the opportunity to direct the world-renowned Morehouse College Jazz Ensemble and Marching Band.

Dubbed the “House of Funk,” the marching band has received wide acclaim playing for both local and international events, including a Super Bowl and multiple nationally televised appearances. Jones recently finished recording his debut album entitled Pivot on Turnaround Records. The album, released April 2011, is a highly unique and personal achievement. Pivot is Jones’ first recording as a bandleader, and nearly all of its compositions are original and self-written.

Says Jones, “The concept of Pivot is a reflection of multidirectional experiences and also the artists’ ability to perform diverse styles at one time.” Says Jones, “I am thrilled to have brought together for this album some of my favorite musicians who represent such a broad spectrum of creative talent.”

Danielle Reich Skyrockets Up the CMJ Jazz Chart

Reich's Self- Released Freshman Offering Proves 

Danielle Is An Artist Worth Watching!

Hitting the #15 Slot In A Sea of Label Releases

This Year’s Kisses marks the introduction of vocalist Danielle Reich. She is warm and inviting, completely unaffected and organic; Reich delivers the lyric with copious confidence that immediately makes you forget this is her debut CD. Produced by trumpeter extraordinaire Carol Morgan, This Year’s Kisses features lush arrangements and a stellar line up. Morgan clearly understands the qualities of Reich’s voice and as her producer, she has done a wonderful job of creating a creative and supportive ensemble that lends itself to an outstanding debut.

Reich has an innocent quality to her voice which shines through on ballads and slow-midtempos such as ”If I Loved You,” “How Long Has This Been Going On,” “Alone Together,” “Crazy He Calls Me” and “At Seventeen.” Her phrasing has an almost Billie Holiday overtone which lends itself to her intimate style.

Cuts like “Sabor A Mi” sung in Spanish and “Ne Me Quitte Pas” sung in French highlight Danielle’s instinctive ability to easily convey in multiple languages. Messages of love, joy, anguish and innocence all masterfully conveyed by a supremely talented players; Carol Morgan (trumpet), her tone and phrasing are unmatched, Andrew Lienhard on piano glides across the ivories with rich harmonies and supportive chords, Seth Paynter on tenor sax has a round and inviting tone that creates the right amount of texture on each track, David Craig on bass glues the ensemble together with on target intonation and perfectly placed colors; complimented by drummer Daleton Lee, the rhythm section carries each track through tender brushes to unabashed swinging delights. All in all, what a delightful debut offering, one that leaves the listener in a great position of discovering a new talent worth the listen.