Carol Morgan Debuts on the Top Jazz Adds Chart at #3

Carol Morgan Debuts on the CMJ Top Jazz Adds Chart

Her First Week in Promotions

LATEST RELEASE:

The opening track I Love You begins with a familiar melody, and one gets the impression that we might be about to hear a lovely, but perhaps safe reading of the Cole Porter chestnut. Gradually though, the group finds fresh, modern territory. Things percolate and morph into something new, yet never lose sight of the composer’s intent.

This is certainly one of the group’s strengths. April in Paris pulls off the same sort of magic trick. With one foot in the past and another in the future, they can rock back and forth, dancing between the ages. This is no easy thing to do, but they make it seem so.

Lonely Woman sounds as if the mournful American jazz horns are attending a native, African funeral. The bass and drums create an ethnic groove, but the horns remain ethereal. The effect is haunting.

Booker’s Waltz swings hard, as it was meant to. Joel Frahm’s Glyph is an enigmatic odd meter vehicle. Tightly played ensemble passages give way to Carol’s rubato solo. She brings everyone back in, by quoting the melody in time. Really impressive ensemble work!

I love the melodic interplay between Morgan and Frahm on Where Are You? They trade off playing melody and embellishment on the heads and solos. The result illustrates beautifully, why this group doesn't need a piano or guitar. Frahm tips his hat to Ben Webster here and there.

Martin Wind’s Last Waltz is a solemn and very personal tribute, and a beautiful end to this wonderfully engaging set.

The day of this recording, Carol purchased a pair of sunglasses with blue tinted lenses. As she was en route to the studio on that beautiful spring day, the world took on a new look. The warm, sunny, vibrant colors were all shaded in a lovely and surprising way. She kept remarking about it, and one by one, the musicians all tried on the blue glasses. At some point, while listening to a playback, Carol remarked, “Blue Glass Music.”

Just another example of why Carol Morgan is one of my heroes. That emotional availability, that “in the moment” mentality is exactly what makes her such a unique voice in jazz, and of course, exactly what we all should be striving for. It keeps me coming back again and again.


BIOGRAPHY:

Carol Morgan is a jazz trumpeter, composer, and author who resides in NYC. Originally from Texas, she is a Juilliard graduate who has worked with many remarkable teachers including Chris Gekker, Mark Gould, Ingrid Jensen, and Dennis Dotson.

Carol’s discography includes four CD’s as a leader. The Carol Morgan Trio CD, Opening, featuring Harvie S and Rich DeRosa was signed by Blue Bamboo Music and released in early 2010. Her follow-up and current release for the Blue Bamboo Music label is a quartet album featuring Joel Frahm, Martin Wind and Matt Wilson, called Blue Glass Music. Other session work includes solo outings, Classic Morgana and Passing Time with the Carol Morgan Quintet, as well as filling side-person roles on releases by DIVA
Jazz Orchestra, Hawk-Richard Jazz Orchestra, The Manhattan Chamber Orchestra, NPR’s The Engines of Our Ingenuity, Thomas Helton, Henry Darragh and Calvin Owens. As a composer, she has been commissioned by DiverseWorks, the Michele Brangwen Dance Ensemble, the Arch-diocese of Houston/Galveston and St. Thomas Presbyterian Church, Houston. In 2008, Carol authored
what is now a highlyregarded method for jazz improvisation--a textbook entitled The Practicing Improviser.

Currently, Carol leads her own trio, Carol Morgan’s Case Study--featuring Helen Sung and Mike Moreno, Morganix (an organ trio with Akiko Tsuruga), The Carol Morgan Quartet featuring Joel Frahm, and is a member of the New York-based DIVA Jazz Orchestra. Recent performing venues include Dizzy’s Club Coca-Cola (Jazz at Lincoln Center, NYC), Small’s Jazz Club (NYC), The 55 Bar (NYC), Blues Alley (DC), the Playboy Jazz Festival (The Hollywood Bowl, LA), The Lionel Hampton Jazz Club (Paris), The
Elephant Room (Austin), The Deer Head Inn (Delaware Gap, PA) and World Cafe’ Live (Philadelphia). Carol’s goal as an artist and teacher is to help people enjoy music more.

Mindy Canter Hits the Top 5 on the CMJ Top 40 Jazz Chart

Mindy Canter Moves Up the Chart to #5 This Week 

On the CMJ Top 40 Jazz Chart

BIOGRAPHY:

Music was always a destiny for Mindy Canter. At a young age, she learned to read music before she could read words. She began playing piano at the age of 4, and added the flute at the age of 9.

Although classically trained, Mindy’s earliest creative influences were blues and jazz, and later, soul, funk, roots, rock n roll….and anything else she could wrap her flute or keyboards around.

At age 19 Mindy performed with Albert King and over the years with, Michael Bloomfield, Boz Scaggs, Nick Gravenites, It’s A Beautiful Day, Dan Hicks, Ray Obiedo, Roberta Donnay, and Grammy winner Terrance Simien, among many others.

In 1977, Canter recorded a full length African Highlife record with Souleman E. Rowgie (world famous singer/songwriter from Sierra Leone, West Africa). Playing keyboards and flutes on all tracks.

Last year Canter released a single duet with Yo-Yo Ma, entitled Donna Nobis Pacem (Give Us Peace).

It is Canter’s desire to collaborate, perform and record with many top-notch performing artists in the coming future.

Canter’s ability to play many styles and articulate with genuine mastery is the cornerstone of her appeal. Her blend of blues, jazz, funk, and soul is rhythmically infectious and has been widely acclaimed. It is really a treat to experience such a passionate, soulful performer as she mixes musical genres with grace and ease. The listener can immediately hear the joy in her playing no matter the genre being presented. Jef Labes (Van Morrison) explains perfectly, “An original...one of

a kind.”

LATEST RELEASE:

Fluteus Maximus marks the release of flautist Mindy Canter’s third outing. A collection of groovin’ cuts with the main ingredients being musicality, technical prowess, and outstanding originals coupled with well-placed standards. Recorded in one session, with one take, the result is a spontaneous and enjoyable listen that is guaranteed to find a special place in your personal jazz collection.

A Canter original, “Slider” kicks off the session; a jazzed up Latin/world feel, flavored with percussion and Hammond B3 (also provided by Canter) and a solid rhythmic feel provided by bassist Paul Smith, guitarist Denny Geyer and drummer Roy Blumenfeld, make this cut an outstanding canvas for Canter to paint her beautiful musical flute strokes across. Canter gives the cut exactly the right touch with her soulful flute lines. Canter recounts the driving “literally” force behind this cut. “I wrote this driving home after a Latin jazz gig with some friends. I just started humming it....and out it came. We had never played this song and I showed my band how I wanted it to feel in the studio when we were setting up for the session. This was a warm up song and I’m glad the tape was rolling.”

“Watermelon Man,” taken at a slow pace, gives the listener a chance to savor each and every line and nuance the ensemble has to dish up on this classic Hancock tune. “Memphis Underground” has an authentic soul feel that Canter digs into with searing lines and quick stabs of passionate expression. Canter truly shows the listener why she is a top call flutist. Also providing the Hammond B3 with overdubs (same session); Canter offers well placed answer and call lines to the track. Canter explains, “We never played this song before....I established the feel, and off we went.”

“Do It Again,” a Steely Dan classic, is truly a befitting tribute and a well placed texture change in the offering. Canter skillfully unfolds the musical storyline with harmonically interesting lines that add depth for the listener. Guitarist Denny Geyer adds a funky 70’s sound that ties in the track perfectly. His tone is round and warm and adds to the overall beauty of the track.

“Karma,” another Canter original, really shows her ability as a composer. From the first notes, the listener is ingratiated by her endearing sound and well-crafted ideas as a composer. Canter recalls, “It was late afternoon and I was sitting on my couch practicing my flute; going through routine exercises, scales, patterns, etc while looking outside on a winter day. After awhile, I just started to just play whatever - when I started to feel tired, I realized that it was 4 hours later, the sun had gone down, and I was sitting in the dark playing this song.”

“Mercy, Mercy, Mercy” is an old school favorite of Canter’s and the band fell right into place immersing themselves in the history of the song and the true groove. A bluesy, “Hi Heel Sneakers” is a full romping cut that features Denny Geyer on vocals. His soulful and playful voice adds just the right spice to this just plain fun cut. A truly classic song “Funny How Time Slips Away” gets a new treatment with a groovin’ cool feel and again Geyer lends his organically pleasing voice to the festivities. Canter explains “We tend to pull songs out of a hat and try them on for size. We make them our own and really have fun playing off of each other.” This spirit is immediately evident on this song; the group exudes a welcoming energy and joy that immediately puts you in a great mood.

“Halleluyah” continues the soulful side of the journey in a relaxed setting that is like a long lost friend you finally see again. A hip and cool version of Johnny Cash’s classic, “16 Tons,” give this session a complete vibe of eclectic cool. “Over the Rainbow” is given a Caribbean feel. Blumenfeld plays drums with his fingertips and bassist Paul Smith and Canter create an interactive sound that truly makes this cut their own. A befitting closing with the classic Dale Evans tune “Happy Trails,” gives this jazz outing a completely enjoyable look at how to integrate all styles and genres into one cohesive message.

A truly fun, listenable and musically enjoyable journey through a collection of original and well-crafted classics, that all add up to a delightful offering by Canter, truly showing her abilities on flute to the maximus.

Fourthought Holds Strong at #9 on the CMJ Top 40 Jazz Chart

Fourthought Holds Strong For Their 4th Week 

On The CMJ Top 40 Jazz Chart
Staying in the Top 10 at #9

Peaking at #8 Thus Far

Every band member lends a personal and unique color to the sound of the ensemble, as they each hail from diverse places such as Singapore,
 Germany and New York City. 

LATEST RELEASE:
Fourthought is the self-titled debut album for the dynamic New York City-based Jazz quartet, collaboratively led by saxophonist Nick Biello and drummer Manuel Weyand. This classic instrumentation is propelled to new directions by its international cast of top-notch improvisers.


Every band member lends a personal and unique color to the sound of the ensemble, as they each hail from diverse places such as Singapore, Germany and New York City. Both Biello and Weyand combine to put forward their considerable compositional talents, fueling the repertoire of Fourthought that ranges from gritty, no-holds-barred to dark, moody, and cerebral. Fourthought presents original compositions that are as cutting-edge and modern as they are rooted in the tradition of jazz in every sense.

Biello and Weyand are supported by the talents of pianist Kerong Chok and bassist Cameron Kayne. Both musicians serve as empathic accompanists while simultaneously coloring the sound of the quartet through their distinct musical voices.

Fourthought has been featured as part of the Emerging Artist Series at the famed Blue Note Jazz Club in New York City. In addition, the members of Fourthought have performed at the premier music venues in New York City, such as Smalls, Jazz at Lincoln Center, Dizzy’s Club Coca-Cola, Smoke, The Knitting Factory, and Fat Cat.

BIOGRAPHIES:
Nicholas Biello - A product of the Manhattan School of Music Jazz Arts graduate program, Nicholas is a versatile saxophonist, keyboardist, and composer based out of New York City. A professional musician since the young age of 12, he was taken under the wing of his father Antonio, a classical flautist who studied under Jean-Pierre Rampal. Nick has performed around the world, appearing at venues such as the Blue Note, Smalls, and Smoke in New York City, the Pescara Jazz Festival in Italy, the New Haven and Hartford Jazz Festivals, and the Blaine Jazz Festival in Washington. During the course of his musical education, he was afforded the opportunity to perform with jazz luminaries such as Jimmy Heath, Slide Hampton, Barry Harris, and Cedar Walton. Nicholas is also a composer of chamber music, and has recently debuted original music with internationally-renowned bassoonist Martin Kuuskmann.

Manuel Weyand - As an experienced performer, New York drummer Manuel Weyand has appeared at marquee Manhattan venues such as The Blue Note, Jazz@Lincoln Center, Smoke, and Smalls. His talents offered him the chance to present concerts to audiences in Spain, Hungary, Israel, Germany and the United States. Manuel is active not only as a sideman but also as a bandleader. His group “Meaningtone”, a powerful post-bop sextet, placed second in the 2008 International Generations Jazz Competition in San Francisco. The group received tutelage from venerable Jazz masters such as Eric Alexander, Ray Drummond and Jimmy Cobb. Currently Manuel is the co-leader of the quartet Fourthought alongside saxophonist Nicholas Biello. Not only does Manuel contribute his strong sense of swing and advanced rhythmic conceptions to the music, but he also chips in his compositional talents to complete the sonic structure of Fourthought. Mr. Weyand is a conservatory trained musician, who holds a Bachelor’s Degree from the Purchase Conservatory as well as a Master’s Degree from the Manhattan School of Music.

Kerong Chok - A performer and composer whose work exhibits a keen intellect combined with emotional depth, Kerong is a familiar face on the New York music scene. Born and raised in Singapore, Kerong began studying the piano at the age of 4, and began playing professionally at the age of 18. He became the keyboardist of choice for visiting jazz stars such as Eli Degibri and Eugene Pao. Although he studied law while in Singapore, Kerong is still considered one of the strongest voices in jazz to emerge from that nation. He has performed with saxophonists Steve Wilson and Frank Wess, and has performed at venues such as Smoke, Fat Cat, the Berks Jazz Fest, and the Kennedy Center.

Cameron Kayne - Cameron Kayne is a bassist from Buffalo, NY. Growing up in a musical family, Cam was exposed to many great musicians at an early age, such as Jaco Pastorious. He started playing the electric bass at seven years old and the upright bass as a sophomore in high school. While in high school, he won back-to-back Downbeat awards in 2006 and in 2007. By the time he was a Senior, he was well established on the Buffalo jazz scene playing with greats such as Pete Malinverni and Don Menza. During his collegiate studies at the Purchase Conservatory of Music, he regularly performed with trumpeter Jim Rotondi at the Harlem club Creole. In addition to his work with the Fourthought Quartet, he has toured throughout southern France and performed in Nice, Cagnes-sur-Mer, and Monaco. Cameron has studied privately with bassists Paul LaDuca, Todd Coolman, John Patitucci, Doug Weiss, Mike Downes, Hans Glawischnig, Jeff Campbell, and Scott Colley.

Pamela HInes Hits The Top 10 with Lucky's Boy

Pamela Hines Moves Up the CMJ Top 40 Jazz Chart

Landing on the #10 Slot

Jazz pianist/ composer Pamela Hines is continuing her solid march into piano jazz history with her new release, Lucky’s Boy, she teams up with bluesy and soulful April Hall, bassist, John Lockwood and drummer, Les Harris, Jr. for nine brand new jazz vocal tunes that are sure to become a part of the contemporary American Songbook.

From the first tune, “Dreamerman,” it’s clear this CD is a high energy project with lyrics that paint a noticeably empathetic experience for the listener. The title tune, “Lucky’s Boy,” is an incredibly tender tune that transcends from a well-crafted composition to a befitting cut celebrating the maternal love between mother and son.

“Porter Please” offers the listener a Cole Porter inspired post-bop listen with harmonic complexities and swinging perceptiveness. While “Spectrum” is a modern jazz journey with quick runs, complex time signatures and rhythmic intensities, Hines lyrics are cerebral, yet accessible.

Pamela Hines has been a prolific and consistent presence in the world of jazz. Her creative stamina has established her as an artist who presents to her audiences an innovative newness, individuality and freshness that have made her piano style and originals identifiable. 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.

Hines last release, 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. Moon Germs was on national jazz charts for 8 weeks, and reached #2 on CMJ national jazz charts and #26 on the Jazzweek charts. Ed Love of WDET (Detroit) lists Moon Germs as one of the top albums of 2010.
In the October, 2010, issue of Jazz Times, Wilbert Sostre wrote, “Hines’ great technique and intuitive playing shows from the first track.... Hines is also a great composer. Moon Germs continues to do well on a global level. As of July, 2011, it is still on some top-ten radio charts in the United States, and received regular recurrent airplay.

In March, 2010, she contributed piano and original compositions for, Spectrum, with Trio Tutta. Also on the project were original tunes by bassist Tal Shalom-Kobi and drums by Miki Matsuki. Special guests on the CD were Ririka Masuda (as) and Tina Jacas (fl).
Her 2009 release, This Heart of Mine, was a solo project with liner notes by jazz critic and author Scott Yanow. This gave the listener and chance to hear Hines in a stripped down setting to enjoy every nuance of Hines abilities and sensibilities.

Susan Frances says in the November, 2009, issue of Jazz Times, “... Hines exhibits an intuitive nature when it comes to punctuating her notes and making distinctive accents that intensify the mood of her music... 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 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.”


Hines 2008 release, New Christmas, an album of original holiday tunes, featured vocalists April Hall, Monica Hatch and Patrice Williamson, with Dave Landoni on bass and Miki Matsuki on drums still enjoys regular airplay on jazz radio stations during the holidays. Jazz Review says, “In a world crowded with holiday music, pianist and composer Pamela Hines gives us something new. Make that, nine new original songs for the Christmas season. It’s a nice change from the usual rehashing of “Silver Bells” or “Silent Night.” Instead of those usual Christmas standards, Hines has assembled three of Boston’s top jazz vocalists, April Hall, Monica Hatch and Patrice Williamson, to interpret a set of her own holiday compositions. They take turns singing on seven of the tracks backed by Hines on piano, Dave Landoni on bass and Miki Matsuki on drums. New Christmas also features two instrumentals.

Hines 2007 release, Return, featured John Lockwood on bass, Bob Gullotti on drums and a special guest appearance by Jerry Bergonzi. The CD went to #13 on the Jazzweek national jazz charts, and garnered passionate critical acclaim. The trio’s pensive version of “I Will” on Drop 2 (2006, Lockwood, Gullotti) was included in a compilation series by ESC Records of Germany. Step Inside Love includes Beatles tunes by many of today’s jazz artists.

Her trio was the “Pick-of-the Week” in the Boston Globe in 2005 and a Globe Jazz-Pick in 2006. Hines’ interesting compositions and harmonies earned her a guest appearance on the Peabody Award winning show, Piano Jazz with Marian McPartland on National Public Radio in 2000.
9-45 (Brownstone), her debut CD, was released in 1998 to critical acclaim.

Pamela Trainor Hines grew up in Acton, Massachusetts and received her MM from New England Conservatory in 1998 with honors. She also has degrees from Boston University (on a full scholarship for basketball) and Old Dominion University. Hines married fusion bassist David Hines in 1995 and their family resides in the metro-west Boston area.

Reviews of her work can be found in Jazz Times Magazine, Jazz Improv Magazine, Elmore Magazine, Boston Herald and numerous jazz sites including All About Jazz, Jazzreview and beyond.

Alex Brown Holds Strong on 6 National Jazz Charts

Alex Brown Holds Strong on 6 National Jazz Charts

#5 on the Jazzweek World Chart (3 weeks)

#11 on CMJ Jazz Chart (3 weeks, peaking at #7)

#15 on CMJ N Alternative Chart (3 weeks, peaking at #8)

#42 on Jazzweek Mainstream Jazz Chart
Jazzweek World Most Added Chart
Jazzweek World Increased Airplay Chart

EMOTION. SPACE. VISION. GROOVE….

The understated virtuosity of pianist Alex Brown is a clear indication that reports of jazz music’s demise are greatly exaggerated. Fast emerging at the forefront of a new generation of artists, Brown is mightily armed with the technique of jazz tradition, reinvested with fresh curiosity and vision for what jazz is, and can be.

Featured in Keyboard Magazine, Alex Brown’s reputation continues expanding via his notable performances with everyone from innovative saxophonist Miguel Zenon to the legendary Wynton Marsalis and the Lincoln Center Jazz Orchestra. “A really fine record that leaves you wanting more,” said DownBeat magazine of Pianist, Alex Brown’s debut CD (Sunnyside), further emphasizing “…and Brown can play!” That is something jazz audiences throughout the world have been discovering since 2007, when he joined the group of the renowned Paquito D’Rivera, sharing in the ensemble’s 2010 Grammy nomination as a part of D’Rivera’s album, Jazz-Clazz.

In addition to touring with D’Rivera, Alex Brown performs regularly as the leader of his own jazz ensemble. “There are those who only play what audiences like,” says Alex. “Then there are those who only play what they want. I’m drawn to music that has complexity but that anyone can enjoy.” Classical, rhythm & blues, hip-hop, Afro-Caribbean and Brazilian styles all co-mingle – naturally and infectiously – in Brown’s music, reflecting his unique path, and the continued evolution of the genre.

It was D’Rivera’s bassist, Oscar Stagnaro, who was among the first to recognize Alex Brown’s special gifts, and began to gig with the young student around Boston. Stagnaro also hipped Brown to the depth and breadth of Latin-American rhythms. “He really expanded my conception of Latin music beyond ‘Afro-Cuban’,” says Brown. “Uruguay, Peru, Venezuela, Puerto Rico… each has their own rich, complex rhythmic traditions. And a lot of those rhythms don’t incorporate piano, so it becomes a slightly different thing, when you translate it into jazz.” During an impromptu 2007 performance at Washington DC’s Bossa Lounge as part of the DC Jazz Fest, Stagnaro invited Brown’s soon-to-be mentor, Paquito D’Rivera, to hear him for the first time. “He stayed for the first half of the gig, and then gave me his card,” says Brown. “Then… Nothing.” Thinking he’d blown it, Brown received a call from the jazz icon about a month later. “You sounded pretty good,” said Paquito, “even on that plastic piano!” And so began his professional career.

Now in Alex Brown’s rear-view mirror are appearances at some of the worlds top jazz venues, including Jazz at Lincoln Center’s Rose Theater, Dizzy’s Club Coca-Cola, Birdland and the Blue Note in New York (and Tokyo), Blues Alley in Washington DC, and Mexico City’s Palacio de Bellas Artes. His festival appearances include the Heineken Jazz Festival, Israel’s Red Sea Jazz Festival, the Panama Jazz Festival, and the Curacao Jazz Festival. In addition, he teaches and has led master classes at such institutions as the University of Panama.

In 2009, Brown graduated with a Bachelor of Music from New England Conservatory where he studied with Danilo Perez and Charlie Banacos, among others. His collection of notable awards began well before graduation, however, starting with ASCAP Foundation Young Jazz Composer Awards in 2003 and 2004. In 2007, Alex was a winner as a pianist in the Jazz Soloist category of Downbeat Magazine’s Student Music Awards (his first of five honors from the storied jazz chronicle). In 2009, the group LaTimbistica, which he was a part of while at NEC, won for best college group. Also an accomplished classical musician, Alex has recorded and performed with the group Imani Winds as well as with the clarinetist Sabine Meyer, and has performed with major orchestras in the United States, Mexico, Chile, and Spain.
Looking ahead, Alex Brown’s horizon is one devoid of hard and fast barriers – musical or otherwise. “The internet is changing things and opening things up so quickly,” says Brown. “You don’t have to wait for the record to come out. As soon as something happens, it’s out there.” Having recently completed his first commission for full concert orchestra (of a salsa hit, no less), Brown plans on doing more large-scale arranging and composing.

As for the rest of what’s next, Alex Brown knows precisely where he’s going but, as with most artists, he prefers to let his music tell the story. “I have a lot of trouble coming up with a title,” says Brown. “That’s one of the reasons I write music. I get these feelings that I can’t put into words.” Clear and inviting, Alex Brown’s music gives eloquent voice to a singular talent on the move.

Woody Witt Holds Strong For His 10th Week on the CMJ Jazz Chart

Woody Witt Continues to Hold Strong for 10 Weeks on the
CMJ Jazz ChartThis Week Hitting the #23 Slot,
and Peaking at #3 Overall

Written by: Bill Evans

Pots and Kettles marks the third release on Blue Bamboo Music of saxophonist/composer Woody Witt, but the overall eight CD as a leader. The main-goal of most jazz musicians is to tell a story with their music and take the listener on their own personal musical journey.

Woody accomplishes this and far more on Pots and Kettles. The CD starts out with the title track, “Pots and Kettles.” It is reminiscent of the writing of the late great Don Grolnick, with its very child like melody. Woody starts his solo slowly, building to an emotional crescendo that releases into an exciting piano solo by Gary Norian. To complete the rhythm section, there is Anthony Sapp, bass, Mark Simmons, drums, and Chris Cortez, guitar (on 3 tracks). They all have the sensitivity to really shine as individuals with their own personal styles. I, as the listener feel they can really communicate as one unit, playing off each other’s nuances and allowing the music to flow effortlessly.

“Listen Here,” is practically a Soul Jazz classic made popular by the late great saxophonist Eddie Harris and pianist Les Mccann from their “Live in Montreaux” session recorded in 1969. Here, Woody shows us his soulful side, while tipping his hat to Harris.

The rhythm section grooves and swings hard. Harris would have been proud. With gorgeous ballads like “Never Very Far” and “Just Because,” you hear some of the depth and beauty of this recording. The music is allowed to breathe and take on a spirit all its own.

Pots and Kettles is a refreshing work of music by musicians who are playing the art form at its highest level. While listening I am sometimes reminded of the old Blue Note jazz recordings of the early sixties, while at the same time, they writing and playing is very contemporary and modern.

Like a piece of art, I’m sure with each listen I will hear different things in the music. This music is ageless.

Tianna Hall is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION
by:  Rotcod Zzaj

Tianna Hall – NEVER LET ME GO:  This is some of the coolest vocal jazz I’ve heard this year… just scope out the lilting Latin on “Samba do Aviao” & you’ll hear (just) how deceiving looks can be (you know, don’t always judge an album by it’s cover & all that).  The groove is definitely present on “Charade“… I simply loved Ms. Hall’s rendition of this classic!  

Tianna has the perfect players to contribute to total success in Mike Wheeler & Mike Nase on guitars, with Lisa Vasdoganes on cello and James Metcalfe on percussion… they COOK!  I like this a lot & give it a HIGHLY RECOMMENDED, particularly for those who love female vocal jazz.  “EQ” (energy quotient) rating is 4.97.  Get more information at the BLUE BAMBOO site.   Rotcod Zzaj

Fourthought is reviewed by Yahoo!

by:  Susan Frances

Fourthought
Self-titled 

Nambulo Music

After hours music is Fourthought's specialty. The jazz quartet's self-titled album from Nambulo Music is loaded with billowing saxophone wails from Nicholas Biello and quick-wristed improvisations by pianist Kerong Chok as bassist Cameron Kayne and drummer Manuel Weyand sustain a steady rhythmic patter. Each one contributes their all from the swinging cuts of "Laurceny" to the silken silhouettes of "Intercession."

Their commentaries are thought-evoking resounding with capricious twists and pliable bends that change the tracks trajectory channeling the mind's psychosis and stimulating the listener's cerebral sensory. The fiery saxophone furls punctuating "Rumi-Native" propel the track into hard bop terrain, and the cool jazz swagger of "Arrival" makes room for the Biello's saxophone and Chok's keys which bow and retract in a whimsical manner. The sensual strut of the saxophone along "A Change of Heart" produces torchlight atmospherics contrasting the angular cuts of "Amethyst" stirred by an inner psychosis transcribed by the piano keys.

Fourthought's self-titled album is a product of the quartet's psyche tapping into a conceptual vernacular and converting the music in their heads into an audible manifestation. Their improvisations are cut and pasted into a flowing schematic that articulates the command they have over their instruments and their ability to integrate their thoughts. It is music to stimulate the mind and that it does.

Musicians:  Mauel Weyand - drums, Nicholas Biello - alto/tenor saxophone, Cameron Kayne - acoustic bass, Kerong Chok - piano and Fender Rhodes


Tracklisting: Laurceny, Rumi-Native, Green Dolphin Street, Intercession, Arrival, A Change of Heart, Amethyst (live)

Mindy Canter is reviewed by Yahoo!

by:  Susan Frances

Mindy Canter
Fluteus Maximus 

Mindela Music

Flutist Mindy Canter charms, soothes, and absorbs the listener in sweet melodic sounds. Her third recording Fluteus Maximus is a selection of original tunes and covers that bring out the beautiful curves of the flute's chordal forms permeating a heavenly sonorous. Produced by Canter, Fluteus Maximus is a timeless piece that inspires serenity in the soul.

Combining elements of chamber music, Latin rhythms, and island-tinged motifs the compositions blend agreeable aspects that unite diverse cultures in a flowing manner. The Latin fringes coruscating "Slider" give the track an optimistic vibe and keep an upbeat traction through "Memphis Underground." The tempo is slowed in "Watermelon Man" but still treated with upbeat vibrations. Carter's interpretation of Steely Dan's "Do It Again" has a riveting pulse furnished by bassist Paul Smith and drummer Roy Blumenfeld as guitarist Denny Geyer embeds sleek chord patterns.

Canter's spontaneous surges and swells move fluidly along "Karma" and sculpt smooth arches and inclines through "Mercy Mercy Mercy." The bluesy romper "High Heel Sneakers" features Geyer's playful vocals, while the relaxing stride of "Halleluyah" showcases the spiritual side of Canter's creativity. Her covers of Johnny Cash's "16 Tons," Dale Evans' "Happy Trails," and the movietune "Over The Rainbow" exhibit these songs from a new perspective weaving new textures into familiar melodies.

Woody Witt is reviewed by Yahoo!

by:  Susan Frances

Woody Witt
Pots and Kettles 

Blue Mambo Music Label

Saxophonist Woody Witt continues the time-honored tradition of making the saxophone project a phat, bold sound comparable to merlot saturating the palate. His new album Pots and Kettles, produced by Witt and his pianist Gary Norian, is a combination of uptown jazz, smooth blues, and torchlight atmospherics. The harmonious creations on the recording made by Witt, Norian, Anthony Sapp on bass, Mark Simmons on drums, and special guest Chris Cortez on guitar shows tinges of straight ahead jazz with a dusting of improvised cuts.

The snaking curves of Witt's saxophone along the title track add elevation to the melodic patterns as Norian's piano keys sow elegant lines. Changing to a funky tempo in "Listen Here," the saxophone embraces the mood with radiant swells. The leisurely stride of the saxophone and bass in "Slink" produces a nightclub ambience segueing into torchlight sprigs wheedling "Heart First" and accented by a bedding of shimmery cymbal strikes, winsome bass pulls, and lyrical piano motifs that display the intuitive rapport these musicians have.

The uptempo of "The Loop" is propelled by the jutting twirls of the saxophone and the perky doodles of the piano pervading an uptown jazz swagger synonymous with the music played in cabaret clubs in the '40s like Café Society and the Savoy Ballroom. The throngs of bluesy ripples from the saxophone toots and guitar riffs cruising along "Crying Blues" are calming, and the melancholic grazing of the piano keys in "Just Because" are partnered with a gentle spray of saxophone notes permeating emotion in every improvised notation. The music has an old time blues core with a touch of modern jazz.

Pots and Kettles shows influences of vintage blues and nightclub tinted atmospherics. It is Witt's fourth solo project following his self-titled debut in 2002, "Square Peg Round" in 2005, and "Live at Cezanne's" in 2007. Witt will be included in the upcoming book "The New Face of Jazz" by Cicily Janus, proof that Woody Witt's material has made an impact on the evolution of jazz.
Musicians: Woody Witt - tenor and soprano saxophones, Gary Norian - piano, Mark Simmons - drums, Anthony Sapp - bass, and special guest Chris Cortez on guitar
Tracklisting: Pots and Kettles, Listen Here, Slink, Heart First, The Loop, Crying Blues, Just Because, The Deprivator, Loose Change, Never Very Far

Fred Fried is reviewed by Yahoo!

by:  Susan Frances

Fred Fried and Core
EnCore
Bullet Free Jazz Productions

EnCore , the new CD from guitarist Fred Fried demonstrates the polyphonic textures of his instrument from the balladry ruffles of "Karenina" to the modern pop rustles of "the Gathering Storm." Produced by Fried, EnCore is an easy listening recording that appeases the aural senses without wearing out its allure.

There is honesty in Fried's compositions which makes the listener aware that he does not take his cues from external influences but rather searches inward for the commentaries and musical phrasings which he crafts. Accompanied by Michael Lavoie on bass and Miki Matsuki on drums, Fried strives to generate a softness in his chord arrangements that lures the listener into a homey sonic haven. The comfy strokes of "Three Fall" resonate like a chimeric lullaby, and the airy chambers of "Currents Above, Currents Below" are hewn into pacifying ethers in the guitar riffs and jangly cymbal taps.

The ambling strut of the rhythmic movements along "Spring Overture" puts a bounce in Fried's steps as the glistening tones of his strings in "The Road Taken" exhibit a heavenly aura. The upbeat tempo of "Come Each Simple Idea" is shrouded in a dance vibe, and the ethereal tint of his strings through "The Circus Left Town" has an optimistic tilt in his chord movements as he cruises into the meditative sounds of "The Threads That Hold The World."

The chord arrangements convey what is in Fried's mind with the goal to make music that is easy on the ears and inspires quiet contemplation. The melodic crests and lulls are beautifully bridged and take the listener to a haven dripping with serenity, even if it is only mentally.

Musicians: Fred Fried - 8 strong guitar, Michael Lavoie - bass, Miki Matsuki - drums

Tracklisting: The Gathering Storm, Karenina, Three Fall, Sing Me A Puzzle, Currents Above Currents Below, Spring Overture, The Road Taken, come Each Simple Idea, The Circus Left Town, Little Tears, The Threads That Hold The World

Steve Lipman is reviewed by Yahoo!

by:  Susan Frances


Steve Lipman
There's A Song in My Heart
Locomotion Records

It's no exaggeration to say Frank Sinatra inspired people to love swing music as unabashedly as he did. It is especially evident after listening to Steve Lipman's debut album There's A Song in My Heart from Locomotion Records. Produced by Rob Warner, the album is a collection of tunes straight out of the American Songbook. The music revels in the beauty and bliss of an art form that is drenched in American culture. It is also an art form which has slipped from the populace's consciousness. Lipman means to remind the populace of the harmonious entails of jazz standards.

Classics such as "Come Fly with Me" and "My Way" were once staples in Sinatra's repertoire. Lipman puts his own stamp on these golden tracks though remnants of Sinatra's renditions can still be heard in Lipman's delivery. As a torch singer, Limpman's vocals are entrancing as he strolls through the verses of "You Make Me Feel So Young," and picks up the tempo with the swinging momentum of "Fly Me to the Moon" and Road To Mandalay." His vocals linger around the curves of "All My Tomorrows" and nestle in the grooves of "I've Got A Crush on You." His voice towers over the music in "The Lady Is a Tramp" and slides softly along the smooth surf of "Please Be Kind."

Lipman shapes his vocals in the image he has of Sinatra singing these songs. Though his register if different from Sinatra, his handling and traction is Sinatra-esque displaying a devotion to swing that matches ol' blue eyes.

Musicians: Josh Evans - trumpet, Doug Lang - saxophone, clarinet and flute, Kim Hoffman - violin, Wayne Morphew - keyboards, Dan Prindle - bass, cello, piano, Nick Raisz - drums, Peter Sokolow - piano

Tracklisting: Come Fly with Me, You Make Me Feel So Young, I've Got You Under My Skin, Fly Me to the Moon, I've Got A Crush on You, Look Down That Lonesome Road, The Lady Is A Tramp, Please Be Kind, All My Tomorrows, My Way, Road to Mandalay

Mystefy is reviewed by Jazz Inside Magazine

by: Wilbert Sostre

CD Review: Mystefy - Me

• Genre: Jazz - Vocal
• Personnel:
  Mystefy - vocals, Tim Allhoff - piano, Dieter Ilg - bass, Knuth Jerxsen - percussion, Raphael Zweifel - cello, Jorn Anders - Fluegelhorn, Volker Bruder - soprano saxophone, Oliver Spanuth - drums
• Tracks:
  East of the Sun, It's a Beautiful day, Healing Hands, Creatures, I close my eyes, Sisters in Spirit, Magic Moments, Art by Heart, Wait for me, Big Secret, We are through

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Born in Germany but living in Canada, Mystefy is a singer with a unique voice and style. Me, her second album is a collection of intimate songs hard to classify in a particular genre.

Certainly there is a distinct jazz influence especially on songs like "Big Secret" and "Art by Heart". But there is so much more going on in Mystefy's music. One may hear some Broadway phrasing on "Creatures" and on the ballads "Its a Beautiful Day" and "Learn Just To Be", but the music and nice vocal harmonies on "Sisters in Spirit" are definetly gospel. No matter the style, Mystefy delivers convincingly good, hertfelt interpretations.

Nasar Abadey is reviewed by Jazz Inside Magazine

by: Wilbert Sostre

CD Review: Nasar Abadey - Diamond in the Rough

• Genre: Jazz - Contemporary
• Personnel:
  Nasar Abadey - drums, Joe Ford - alto and soprano saxophones, Gary Thomas - tenor saxophone, Allyn Johnson - piano, James King - bass, Jamal Brown - flute, Thad Wilson - trumpet, Rashida Jolley - Harp, Kush Abadey - Djembe, Tom Teasley - percussion
• Tracks:
  Diamond in the Rough, Sacred Space, Eternal Surrender, Multi-D, The Covenant, Notnu, There's no greater love

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The title of Nasar Abadey new album might be misleading, Abadey is certainly not a diamond in th rough, he is an accomplished and experienced drummer. This Washington DC native worked with such greats as Dizzy Gillespie and Ella Fitzgerald among others.

Even though he is the leader, the drums do not take center stage on Abadey's new album, Diamond in the Rough. The compositions are what really matters to Abadey and his group Supernova. And these musicians take us to a different place in each track. "Diamond in the Rough" has harmonized melodies in a Big Band style arrangement, "Multi-D" is a free jazz piece reminiscent of Ornette Coleman's music, "The Covenant" reminds me at times of another great drummer, Art Blakey. Abadey's sense of timing and rhythm creates a good balance on each track.

Tianna Hall is reviewed by Girlsingers

GIRLSINGERS
by: Doug Boynton

Tianna Hall – Never Let Me Go
(Blue Bamboo)



Intimate and insistent, the music created by Houston’s Tianna Hall and her band is never overpowering, but still manages to demand attention.

This set of a dozen classics is mostly taken down darker streets by Ms. Hall, joined by guitarists Mike Wheeler and Mike Nase – and percussionist James Metcalfe. Ms. Hall’s smoky alto is the inistent nudge, in pieces like Ray Evans’ and Jay Livingston’s “Never Let Me Go,” prodded on by a mystical turn from cellist Lisa Vosdoganes.

A pair of Jobim tunes – “Samba do Avião” and “Fotografia,” in Portuguese, provide a break from the insistent, mystical tone of the album, but manage to stay in character with the rest of the set.

It’ll be late nights for these tunes on the playlist – perfect for those “…of all the gin joints in all the world, she walks into mine…” kind of nights.
Highly recommended.

Mace Hibbard is reviewed by Improvijazzation Nation

IMPROVIJAZZATION NATION
by:  Rotcod Zzaj

Mace Hibbard – TIME GONE BY:   Mace & his mates play the kind of jazz that makes you feel (instantly) like you’re ON TOP, no matter what your current circumstance may be.  Just listen to the groovy feel of “Indecision” to hear why I like this so much… though it only clocks in at 6:45, you’ll feel like you’re a King!  

If you want something a little peppier, you’ll dig down deep into “Theme for Dos Lyn“… Mace’s sax, Melvin Jones trumpet & Louis Heriveaux piano, along with bass from marc Miller & drums by Justin Varnes will have you up on your feet & dancin’ ’round th’ room, to be sure.  Though this is my first listen to him, I’ve no doubt we will all be hearing much more from him!  The tune that got my vote for favorite track, though, was “Slip and Slide“… man, these cats are synched!  Mace & his players get a MOST HIGHLY RECOMMENDED, an “EQ” (energy quotient) rating of 4.98, and a “PICK” of this issue for “best quintet jazz”!  Get more information at macehibbard.com     Rotcod Zzaj

Troy Roberts is reviewed by Jazz Inside Magazine

by:  Wilbert Sostre

CD Review: Troy Roberts
Nu-Jive

• Personnel:
  Troy Roberts - saxophone, Silvano Monasterios - piano, Eric England - bass, David Chiverton - drums
• Tracks:
  Chiver Town, Brotherlation, Nu Jive Interlude, Shavon, Liberty Nights, Oscar and the shoe box, Siarus, Eclipse, Mademfalselle

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Don't be fooled by the cover art of Troy Roberts new release Nu-Jive. Nu-Jive is a collection of mostly funk jazz with accesible melodies and the sensuality of Troy Roberts tone on saxophone. Tracks like "Brotherlation" and "Shavon" brings to mind smooth jazz groups like Spyro Gyra. "Siarus" and "Eclipse" both start as funk ballads before speeding in tempo.

The more interesting track on the album is "Oscar and the Shoe Box", a composition with latin influences, and south american rhythms. Not a surprise considering Roberts was nominated for a Best Latin Jazz Album Grammy for his performance on Sammy Figueroa's The Magician. Actually Sammy Figueroa plays congas and shaker on this track. Roberts plays his most inventive solos, and Venezuela born pianist Silvano Monasterios also shines with excellent improvisations on this one.

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