Mary Jenson is reviewed by All About Vocals

Mary Jenson

WRITTEN BY: EDITOR - NOV• 29•11

Mary Jenson, Beyond
by:  Constance Tucker

Mary Jenson comes from a background of diversity, which lends itself to the explorative side of jazz.  Growing up as military child, which afforded her the opportunity to live in several locations, along with college studies at UNLV and experience behind a microphone at KFMB as a DJ along with a career in the financial industry which gave Jenson the ability to obtain success.  Through her career accomplishment she was able to understand what it took to be highly successful.  After an early retirement due to her successes in her business career, Jenson got back to basics and became solely focusing on her music career.  Her sophomore release Beyond, is a jazz/world/pop fusion features 4 originals, 4 covers of contemporary pop songs and 3 jazz standards.

Kicking off the festivities is a Tom Waits classic “Temptation,” previously covered by Diana Krall, Jenson thankfully gives this song with many possibilities a new shine.  Jenson’s ethereal and spacious version has the passion of Krall’s rendition, but she takes it far enough away from Waits version to actually make this cover unique and her own.

“Come Together,” best known and penned by John Lennon and Paul McCartney, Jenson gives this cut a grooving vibe that is reminiscent of Steve Miller’s “Joker” it is hip, cool and has a dab of Indian flavor. Continuing the eastern motif “Beyond” the title cut is riveting and draws the listener in with Jenson’s convincing vocal stylings.  Jenson has a true and pure instrument and she uses it to convey compelling lyrics and inflections to convince the listener of every note.

“Anouman” is an embracing melody, one of Django’s last compositions. He recorded “Anouman” in January 1953.  Jenson offers a compelling rendition; her vocals soar and are tender yet convincing.  Reaching into her low tones, while creating breathy clarity, the listener cannot help but be infatuated with Jenson immediately.

Closing the disc is a fun ditty entitled; “Things My Mother Said” written by Frank Martin and Mary Jenson. The reminding theme throughout the cut is ‘Don’t Dish It out If You Can’t Take It’ well thank goodness Jenson is up for the job and delivers it with sincerity and technical prowess.

Beyond is an album filled with artistry and strong performances. An inspiring offering by a talented and limitless vocalist, Jenson has put together not only a journey beyond the ordinary, but a measure of what all vocalists should aspire to, worth the listen, and certainly worth the buy.

Kate Reid Hits Top Sales on CD Baby

Vocalist & Pianist Kate Reid

Is Winning Hearts & Ears

As She Lands on the Top Sales Chart 

(Top Albums)

at 

CD Baby in the Jazz Category

Kate Reid has been described as a well seasoned swinger that understands the music inside and out. She is “known and loved by hipsters and insiders around the world for her impeccable sense of phrasing and unique sound”. Kate creates a very intimate musical experience with her quartet and puts a fresh spin on the great American songbook. As a vocalist and pianist, she blends her unique sound and sense of phrasing into a style all her own. She has established herself amongst the finest musicians in Los Angeles and is considered by her peers, vocalists and instrumentalists alike, as “one of the best jazz vocalists in L.A”. She has worked alongside and with the Duke Ellington Orchestra, Ira Sullivan, Ron Eschete, Ernie Watts and Roy McCurdy. Kate also chairs the music department and coordinates the jazz program at Cypress College in Cypress, CA. 


Kate is a working jazz singer and pianist appearing regularly with her quartet at jazz venues all over the Los Angeles area including Steamers Café and Jazz Club, Charlie O’s, The Jazz Bakery, The Lighthouse, Sangria, and Betty Hoover’s Jazz at the A Frame. She is in demand by audiences for her swing style and delivery of great jazz standard lyrics. Her 2008 release, “Sentimental Mood”, includes tunes from the American songbook and features saxophonist Ernie Watts and guitarist Ron Eschete. Kate’s next CD, released September 21, 2011, features pianist Otmaro Ruiz and again tenor saxophonist Ernie Watts. 


Kate spent her summers, 1998-2005, performing in Tokyo, Japan. She has worked with many noted artists including Joe Williams, Maynard Ferguson, Rosemary Clooney, Mercer Ellington, Della Reese, Don Shelton, Paul Anka, Liza Minelli, and Tito Puente to name a few. 

Kate is a working session singer in L.A. and has extensive experience in group singing and recording. Her film credits include “Land of the Lost” (2009) and “Tooth Fairy” (2010). Other recent recording work includes the soundtracks for the 2011 Cirque de Soleil show “Iris” with music by Danny Elfman and “World of Warcraft” video games, demos for Hal Leonard Publishing, commercial spots and backing vocals for artists including X Japan and Josh Groban. She has recorded many broadway and musical theater style shows for Royal Caribbean and Costa Cruise Lines. She also lent her voice to the Orange Bowl half time and parade shows in the mid 90s and was selected as one of four back-up vocalists for the recorded and nationally televised Summit of the Americas broadcast produced by Quincy Jones in 1996. 


Dr. Kate Reid is on the music faculty as head of the jazz program and chairs the music department at Cypress College in Cypress, California. She teaches the jazz vocal ensembles, jazz improvisation, music theory and coordinates the applied music program at the College. She conducted college vocal jazz ensemble at Carnegie Hall in New York City in April 2004. Kate holds a B.M. in Jazz Studies from Western Michigan University (1992), a M.M. (1996) and a D.M.A. (2002) in Jazz Performance from the University of Miami.

Carol Morgan Continues To Stay in the Top 5 at CMJ for 7 Weeks

Carol Morgan Continues To Chart in the Top 5

Female Trumpeter Carol Morgan Cements

Her Place Among Major Label Artists

With Her Follow Up Release Blue Glass Music

Running With the Pack She Stays Strong at

#5, Peaking at #3 for 7 Weeks Overall

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 highly regarded 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.

Alex Brown Continues to Chart on 2 National Jazz Charts

Alex Brown Continues to Chart on 2 National Jazz Charts

#4 peaking on the Jazzweek World Chart (11 weeks)

#8 peaking on the CMJ N Alternative (11 weeks)

#7 CMJ Jazz Chart (7 weeks)

#42 Jazzweek Mainstream Jazz Chart (3 weeks)

 

 
 
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.

Axel's Axiom Enjoys His 2nd Week on the CMJ Top 40 Jazz Chart

Axel's Axiom Holds Strong For Its Second Week

On the Top 40 CMJ Jazz Chart

Peaking at #11 So Far

In 2007, Axel moved to New York City, and has since busied himself with teaching piano, composing, and performing at local venues (including, e.g., the Iridium jazz club in the fall of 2010). He also kept playing at venues in Boston (e.g. for the band Soul Alley’s CD release concert at the House of Blues Foundation Room, in 2010), as well as the Kennedy Center for the Performing Arts in Washington, DC, in 2008. In 2009, he recorded his second album as a leader with his new group, Axel’s Axiom, featuring Marko Djordjevic on drums, Evan Gregor on bass, Aki Nishiguchi on tenor sax, Alex Terrier on alto sax, and Casper Gyldensøe on guitar. The album is entitled Uncommon Sense and features 10 original pieces.

Born in Cologne, Germany, Axel Schwintzer started to play the piano at the age of 10. He studied mostly classical music at first, and later switched primarily to Jazz and improvised music.

After completing a master’s program at the University of Bonn, Germany, where he majored in Political Science and English Linguistics, Axel received a scholarship to study at Boston’s Berklee College of Music, from which he graduated summa cum laude in 2004. In his studies, he concentrated on performance and composition in various styles.

After graduating from Berklee, Axel lived in Boston for two and a half years, playing throughout New England with various bands.

Among others, Axel has studied piano and music with Russell Ferrante, Charlie Banacos, Richie Beirach, Laszlo Gardony, Ed Tomassi, Hal Crook, Frank Carlberg, Alain Mallet, Alexei Tsiganov, Bruce Katz, Dave Limina, and Matthias Klimsch. Compositionally, Axel likes to blend Jazz with elements of other styles – mostly Pop, Funk, Brazilian, and World music. His main compositional influence is the band Yellowjackets.

Notable public performance venues include: Iridium Jazz Club (NYC), John F. Kennedy Center for the Performing Arts (DC), Embassy of the Federal Republic of Germany (DC), The Luxembourg House (NYC), Goethe-Institut (Boston), Bunker Hill College (Boston), Miles’ Café (NYC), Buona Sera (NY), Felt’s Club (Boston), Union Blues (Worcester, MA), Boom (NYC), Pane E Vino (NYC), and many others.

Ryan Davidson Holds Strong for His 2nd Week on the CMJ Top 40 Jazz Chart

Ryan Davidson Holds Strong His 3rd Week in Promotions

Holding Strong For A Second Week on the Top 40 Jazz Chart

Peaking at #9 Overall So Far

Ryan Davidson is an Edmonton guitarist who holds a Master of Music in Jazz Studies from the University of North Texas. In the final year of his degree, Ryan became the guitarist of the 6 time, Grammy nominated, One O’clock Lab band. With the One O’clock, he shared the stage with Jazz legends Dave Brubeck, James Carter, Eddie Gomez and George Garzone. Recently, Ryan recorded “LAB 09” with the “One O’clock” for which the group received 2 Grammy Nominations.

Among being chosen to endorse Fender guitars, Ryan’s other accolades include being selected as a teaching fellow at University of North Texas. He was responsible for directing the “8 O’clock Lab Band” and teaching private lessons to undergrad students. During his undergrad degree at Saint Francis Xavier, Ryan received the medal for “highest grades on the Dean’s list”. During this time, Ryan was enrolled in three years of classes in a two year period. Also, IAJE published an article on improvisational theory written by Ryan during his time at St. Francis Xavier.

In the Country music world, he has performed with many renowned country artists. He was fortunate to have shared the stage and/or recorded with great musicians like: Dave Alexander (Asleep at the Wheel), Carolyn Dawn Johnson, Steve Fox, Brad Johner, Chris Cummings, Jason McCoy (currently of the Road Hammers), Michelle Wright, Family Brown, Jason Blaine, Shane Yellowbird, Gord Bamford, Duane Steele, Corb Lund, Deric Ruttan, Farmer’s Daughter, Tracy Millar, Patricia Conroy, Adam Gregory, Jamie Warren, Joel Feeney, J.R. Voture, Dean Tuftin and many others. His guitar playing can be heard on top 10 Canadian country radio stations across North America, as well as numerous music videos on CMT.

Kate Reid Holds Strong for Her 3rd Week on the CMJ Top 40 Jazz Chart

Vocalist & Pianist Kate Reid Holds Strong For Her 3rd Week

On the CMJ Jazz Chart

Keeping The #22 Slot for Her 3rd week

 

Kate Has Been Selected to Perform At This Years

JEN Conference (January 2012)

& The Newport Beach Jazz Party (February 2012)

Kate Reid has been described as a well seasoned swinger that understands the music inside and out. She is “known and loved by hipsters and insiders around the world for her impeccable sense of phrasing and unique sound”. Kate creates a very intimate musical experience with her quartet and puts a fresh spin on the great American songbook. As a vocalist and pianist, she blends her unique sound and sense of phrasing into a style all her own. She has established herself amongst the finest musicians in Los Angeles and is considered by her peers, vocalists and instrumentalists alike, as “one of the best jazz vocalists in L.A”. She has worked alongside and with the Duke Ellington Orchestra, Ira Sullivan, Ron Eschete, Ernie Watts and Roy McCurdy. Kate also chairs the music department and coordinates the jazz program at Cypress College in Cypress, CA.


Kate is a working jazz singer and pianist appearing regularly with her quartet at jazz venues all over the Los Angeles area including Steamers Café and Jazz Club, Charlie O’s, The Jazz Bakery, The Lighthouse, Sangria, and Betty Hoover’s Jazz at the A Frame. She is in demand by audiences for her swing style and delivery of great jazz standard lyrics. Her 2008 release, “Sentimental Mood”, includes tunes from the American songbook and features saxophonist Ernie Watts and guitarist Ron Eschete. Kate’s next CD, released September 21, 2011, features pianist Otmaro Ruiz and again tenor saxophonist Ernie Watts.


Kate spent her summers, 1998-2005, performing in Tokyo, Japan. She has worked with many noted artists including Joe Williams, Maynard Ferguson, Rosemary Clooney, Mercer Ellington, Della Reese, Don Shelton, Paul Anka, Liza Minelli, and Tito Puente to name a few.

Kate is a working session singer in L.A. and has extensive experience in group singing and recording. Her film credits include “Land of the Lost” (2009) and “Tooth Fairy” (2010). Other recent recording work includes the soundtracks for the 2011 Cirque de Soleil show “Iris” with music by Danny Elfman and “World of Warcraft” video games, demos for Hal Leonard Publishing, commercial spots and backing vocals for artists including X Japan and Josh Groban. She has recorded many broadway and musical theater style shows for Royal Caribbean and Costa Cruise Lines. She also lent her voice to the Orange Bowl half time and parade shows in the mid 90s and was selected as one of four back-up vocalists for the recorded and nationally televised Summit of the Americas broadcast produced by Quincy Jones in 1996.


Dr. Kate Reid is on the music faculty as head of the jazz program and chairs the music department at Cypress College in Cypress, California. She teaches the jazz vocal ensembles, jazz improvisation, music theory and coordinates the applied music program at the College. She conducted college vocal jazz ensemble at Carnegie Hall in New York City in April 2004. Kate holds a B.M. in Jazz Studies from Western Michigan University (1992), a M.M. (1996) and a D.M.A. (2002) in Jazz Performance from the University of Miami.

Benji Kaplan is reviewed by Something Else Reviews!

by: Victor Aaron

Half Notes: Benji Kaplan – Meditações no Violão (2011)

The best time to listen to Benji Kaplan’s Meditações no Violão is on a quiet, Sunday morning as I’m doing now. An album of self-penned songs inspired by the Brazilian form he loved from childhood and studied intensely both at Brazil and his native NYC, the title is Portuguese for meditations on the guitar, a title that befits this solo acoustic guitar project.

His songs are very faithful representations of the more traditional Brazilian music form, especially the beautiful, passionate and complex music from the north east part of the country, and his guitar playing is convincingly indigenous to this style of music.

“In Memory Of Luke” (video below), “Choro Em Fado” and “Truffaut” are standouts among a slate of fourteen solid compositions. The nimble technique on numbers like “Introspective” is worth checking out as well.

Mike Cottone is reviewed by The Jazz Word

THE JAZZ WORD
by:  John Barron

Mike Cottone – Just Remember


2011 Self Published

With a mature tone, seasoned well beyond his years, and an improvisational style steeped in the jazz trumpet lineage, New York-based Mike Cottone presents a ten-track collection of original straight-ahead fare along with a couple of standards. The album, especially the introspective title track is a tribute to Daniel McMurray, Cottone's high school band director from Rochester, New York.

Cottone's energetic band swings hard and propels the trumpeter to memorable performances throughout. Standout tracks are the hard-bop Jazz Messengers-sounding "I'm Sure," the funky "Gyroscope" and Freddie Hubbard's "Dear John," a riff based on Coltrane's "Giant Steps." Tenor saxophonist Jeremy Viner and pianist Kris Bowers contribute strong solos with bassist Paul Sikivie and drummers Jared Schonig and Ulysses Owens Jr. providing strong grooves.

www.mikecottone.com

Duda Lucena is reviewed by Gapplegate Guitar and Bass Blog

GAPPLEGATE GUITAR AND BASS BLOG
by:  Grego Applegate Edwards

Duda Lucena Quartet Live

Who is Duda Lucena? He's a Brazilian singer, songwriter and guitarist of worth. His album Duda Lucena Live (Borboleta) shows you this nicely. It's a live gig he made with some good local South Carolinian musicians, piano, bass, drums...Gerald Gregory on piano in particular sounding quite comfortable in the relaxed bossa and beyond grooves.

As guitarist Duda is not out to overwhelm you with sixteenth note passagework. He has his nylon stringed instrument. He comps Brazil-style. He plays some tasteful solos. He sings well in the style made popular in the classic bossa days.

This is very nice! You like the style, you'll like Duda's album.

Ryan Davidson is reviewed by Yahoo!

by:  Susan Frances

Ryan Davidson Trio 

Self-Titled from Debris Field Records

Canadian guitarist Ryan Davidson straddles the worlds of country music and jazz with the adroit of a culinary chef who is apt in making dishes with flavors from multiple cultures. Its impossible to pigeonhole Davidson's music to one style. He traverses through a gamut of sonic milieus on his new self-titled release from Debris Field Records covering country western, nightclub swing, improvised jazz, simmering ballads, and pure rock. Produced by his trio which consists of Ryan Hagler on bass and Ryan Jacobi on drums, the album merges genres that have made odd bed-fellows in the past.

Jazz and country seem like two opposing forces, one spawned from city life and the other inspired by rural living. Davidson brings them together as if they were a visceral part of one another applying the principles of improvisation with at country flange as shown in his rendition of "Ghost Riders in the Sky." His treatment of this vintage tune brings out new attractions in the chord dynamics, which refresh the melodic patterns. The gradual building up of crescendos and the slow descents which Davidson alternate along "If You Need Me" is alluring. He transitions to a rock-based tunage in "Texas Oracle" with guitar riffs that roar and claw with gusto, and then dissolve into slender sprigs of chord movements. Contrasting the reflective musings which Davidson channels in his interpretation of Thelonious Monk's "'Round Midnight."

"Captain Positive" coordinates familiar swing-imbued motifs with a country flange and spurts of improvisation in the drum patterns. "Out of Nowhere" is an eclectic mix of vibrating guitar effects and splashing cymbal strikes bound by intervals of spontaneous arcs made by the acoustic bass. The dotted notes of "Im Wunderschonen Monat Mai" have a natural flow, albeit moving in unpredictable directions, while the balladry tendrils of "Conditional" have a set landscape that's sonically soothing.

Ryan Davidson's Trio are one of a kind. They wrap their instruments around multiple genres and produce compositions that are sonically interesting and aurally pleasing. They jump between genres with a seamless stride and make it all sound so good.

Musicians:

Ryan Davidson - guitar, Ryan Hagler - bass, and Ryan Jacobi - drums

Tracklisting:

Ghost Riders in the Sky, Im Wunderschonen Monat Mai (In Beautiful May), Captain Postive, Out of Nowhere, Conditional, 'Round Midnight, If You Need Me, Texas Oracle

Ryan Davidson is reviewed by Audiophile Audition

AUDIOPHILE AUDITION
by:  Robbie Gerson

Ryan Davidson – Ryan Davidson Trio – DebrisField Records, 41:09 [11/8/2011] ****:
(Ryan Davidson – guitar; Ryan Hagler – bass; Ryan Jacobi – drums)

As a member of the six-time Grammy-nominated One O’clock Band Lab Band, Ryan Davidson shared the stage with jazz artists like Dave Brubeck, James Carter, Eddie Gomez and George Garzone. All of this was accomplished as a student at the University of North Texas, where he earned a degree as a Master of Music in Jazz Studies. Within the community of country music, he has done sessions with dozens of acts. His project with the One O’clock Lab Band (Lab ’09) received two Grammy nominations. The alchemy of country and jazz is complex, but interesting.

His debut, Ryan Davidson Trio opens with a cover of “Ghost Riders In The Sky” (popularized by vocalists like Frankie Laine and Vaughn Monroe). Expanding the jazz/country construct, this muscular adaptation evokes the echo-laden rockabilly of Dick Dale or Duane Eddy. The interjection of jazzy chord structures gives the song a fusion sound. The following track, “Im Wunderschonen Monat Mai” gives Davidson an opportunity to showcase his classical training. His abstract interpretation captures the expressive lyrical nature of this seasonal rumination. Bassist Ryan Hagler delivers a nimble, complementary bass line. An intriguing version of Monk’s “Round Midnight” features a solo guitar improvisation that is intricate and spontaneous. Bringing a twang aesthetic to a traditional jazz piece is intriguing. His guitar has texture and a rich tone. The boldness of melodic interpretation is on full display with the standard, “Out Of Nowhere”. Unexpected sonic effects appear at the end of the track.

Original compositions are augmented by the trio dynamics. “Captain Positive” has a loopy bass line and drum solo (Ryan Jacobi…the final component of the “all Ryan” ensemble). The breezy swing is well-crafted. Davidson’s leads are fluid and engaging. This group can rock out, and they do on “Texas Oracle”. There is pretense and attitude in the jagged distortion of the guitar. A change of pace can be found on the moody, acoustic “If You Need Me”. Gentle rhythm and delicate instrumentation harness a subtle folk vibe.
Ryan Davidson Trio is diverse and serves as a listenable introduction to an emerging band.

TrackList: Ghost Riders In The Sky; I’m Wunderschonen Monat Mai (In The Wonderful Month Of May”); Captain Positive; Out Of Nowhere; Conditional; ‘Round Midnight; If You Need Me; Texas Oracle

Chris Bauer is reviewed by Audiophile Audition

AUDIOPHILE AUDITION
by:  John Henry


Chris Bauer – In a Yuletide Groove – Harmonica Jazz for the Holidays – Chris Bauer Music.com ****:

(Chris Bauer, harmonica; Glenn McClelland, keyboards; Chris Ziemer, guitar; Matt Parrish, bass; Dave Mohn, drums; guests: Rob Paparozzi, vocals & blues harp on “Santa Claus is Comin’ to Town”; Patty Bauer, keyboards on “Ave Maria”)

This CD is exactly what it says.  The harmonica seems to be either loved or hated by many jazz fans. It’s just the thing for this original take on the usual Christmas CD. Chris never gets overly bluesy, and it’s a most enjoyable harmonica romp thru the usual Christmas favorites.


TrackList: Winter Wonderland, Feliz Navidad, I’ll Be Home for Christmas, Frosty the Snowman, Christmastime is Here, God Rest ye Merry Gentlemen, Rudolph the Red-Nosed Reindeer, Home for the Holidays, We Three Kings, The Christmas Song, Let It Snow, White Christmas, O Tannenbaum, Santa Claus is Comin’ to Town, Ave Maria.

Sylvia Bennett is reviewed by All About Jazz

all.about.jazz

By 

EDWARD BLANCO

A specialist in interpreting music from The Great American Songbook, Grammy-nominated vocalist Silvia Bennett once again delivers an album of classic standards from the past with one major twist: she sings the lyrics in Spanish. Sonrie (Smile) is a Spanish-language follow-up to Smile (Out of Sight Music, 2010), presenting a largely different repertoire that also reprises the Charles Chaplin title song, Johnny Mandel's "The Shadow of Your Smile" ("La Sombra de Tu Amor") and Burt F. Bacharach's "The Look of Love" ("Mirada de Amor").

Inspired by her passion for Latin music, the South Florida singer has long sought to record an album of familiar standards in Spanish, and with Sonrie, Bennett finally realizes this dream. A veteran singer with vocal assets well-suited for ballads and love songs, her smooth approach to the music serves to enrich the album's gentle landscape with timely support from the Vienna Strings' lush background arrangements.

Bennett voices Consuelo Velasquez Torres Ortiz's internationally recognized "Bésame Mucho" with a measure of passion, this gorgeous interpretation enhanced by pianist Mike Levine and guitarist Hal S. Batt. The beautiful title track is as lovely in Spanish as it is in English, bolstered by Levine's string arrangement and Batt's light picking.

Bennett and her group lay down wonderful renditions of "Perfidia" and Alvaro Carrillo's immortal "Sabor a MI," capping off a session of timeless love songs. Sung with as much grace and taste in Spanish as would be expected in English, Bennett's Sonrie is sure to elicit a smile.

Track Listing: Mirada de Amor; Besame Mucho; Por Ti; Sonrie; Quien Sera; Somos Novios; Cuando Vuelva a Tu Lado; Tanto Vivir; Perfidia; La Sombra de Tu Amor; El Reloj; Sabor a Mi.

Personnel: Silvia Bennett: vocals; Mike Levine: piano, Vienna Strings arrangements; Chuck Bergeron: bass (1, 4, 7, 8, 10); Ranses Colon: bass (2, 3, 5, 6, 9); Richard Bravo: drums, percussion (1, 4, 7, 10); Hal S. Batt: guitars; Geremy Miller: violin (1, 4, 7, 10).

Carol Morgan Continues To Cement Her Stance at CMJ Jazz in the Top 5

Carol Morgan is Rocking the CMJ Jazz Charts in the Top 5

Female Trumpeter Carol Morgan Cements

Her Place Among Major Label Artists

With Her Follow Up Release Blue Glass Music

Running With the Pack She Stays Strong at
#5, Peaking at #3 for 6 Weeks Overall

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 highly regarded 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.

Ryan Davidson Debuts His 2nd Week in Promotions at #9

His 2nd Week in Promotions Ryan Davidson

Debuts at #9 on the CMJ Jazz Chart

and Continues to Take a Top Jazz Adds Slot

Ryan Davidson is an Edmonton guitarist who holds a Master of Music in Jazz Studies from the University of North Texas. In the final year of his degree, Ryan became the guitarist of the 6 time, Grammy nominated, One O’clock Lab band. With the One O’clock, he shared the stage with Jazz legends Dave Brubeck, James Carter, Eddie Gomez and George Garzone. Recently, Ryan recorded “LAB 09” with the “One O’clock” for which the group received 2 Grammy Nominations.

Among being chosen to endorse Fender guitars, Ryan’s other accolades include being selected as a teaching fellow at University of North Texas. He was responsible for directing the “8 O’clock Lab Band” and teaching private lessons to undergrad students. During his undergrad degree at Saint Francis Xavier, Ryan received the medal for “highest grades on the Dean’s list”. During this time, Ryan was enrolled in three years of classes in a two year period. Also, IAJE published an article on improvisational theory written by Ryan during his time at St. Francis Xavier.

In the Country music world, he has performed with many renowned country artists. He was fortunate to have shared the stage and/or recorded with great musicians like: Dave Alexander (Asleep at the Wheel), Carolyn Dawn Johnson, Steve Fox, Brad Johner, Chris Cummings, Jason McCoy (currently of the Road Hammers), Michelle Wright, Family Brown, Jason Blaine, Shane Yellowbird, Gord Bamford, Duane Steele, Corb Lund, Deric Ruttan, Farmer’s Daughter, Tracy Millar, Patricia Conroy, Adam Gregory, Jamie Warren, Joel Feeney, J.R. Voture, Dean Tuftin and many others. His guitar playing can be heard on top 10 Canadian country radio stations across North America, as well as numerous music videos on CMT.

Alex Brown Continues to Chart on Two National Jazz (Latin) Charts

Alex Brown Continues to Chart on 2 National Jazz Charts

#4 peaking on the Jazzweek World Chart (10 weeks)

#8 peaking on the CMJ N Alternative (10 weeks)

#7 CMJ Jazz Chart (7 weeks)

#42 Jazzweek Mainstream Jazz Chart (3 weeks)

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.

Axel's Axiom debuts on the CMJ Top 40 Jazz Chart at #11

3 Weeks Into Promotions Axel's Axiom Has Made the
Top Adds Chart Twice

And His First Week on the CMJ Top 40 Jazz Chart
He Debuts at #11

In 2007, Axel moved to New York City, and has since busied himself with teaching piano, composing, and performing at local venues (including, e.g., the Iridium jazz club in the fall of 2010). He also kept playing at venues in Boston (e.g. for the band Soul Alley’s CD release concert at the House of Blues Foundation Room, in 2010), as well as the Kennedy Center for the Performing Arts in Washington, DC, in 2008. In 2009, he recorded his second album as a leader with his new group, Axel’s Axiom, featuring Marko Djordjevic on drums, Evan Gregor on bass, Aki Nishiguchi on tenor sax, Alex Terrier on alto sax, and Casper Gyldensøe on guitar. The album is entitled Uncommon Sense and features 10 original pieces.

Born in Cologne, Germany, Axel Schwintzer started to play the piano at the age of 10. He studied mostly classical music at first, and later switched primarily to Jazz and improvised music.

After completing a master’s program at the University of Bonn, Germany, where he majored in Political Science and English Linguistics, Axel received a scholarship to study at Boston’s Berklee College of Music, from which he graduated summa cum laude in 2004. In his studies, he concentrated on performance and composition in various styles.

After graduating from Berklee, Axel lived in Boston for two and a half years, playing throughout New England with various bands.

Among others, Axel has studied piano and music with Russell Ferrante, Charlie Banacos, Richie Beirach, Laszlo Gardony, Ed Tomassi, Hal Crook, Frank Carlberg, Alain Mallet, Alexei Tsiganov, Bruce Katz, Dave Limina, and Matthias Klimsch. Compositionally, Axel likes to blend Jazz with elements of other styles – mostly Pop, Funk, Brazilian, and World music. His main compositional influence is the band Yellowjackets.

Notable public performance venues include: Iridium Jazz Club (NYC), John F. Kennedy Center for the Performing Arts (DC), Embassy of the Federal Republic of Germany (DC), The Luxembourg House (NYC), Goethe-Institut (Boston), Bunker Hill College (Boston), Miles’ Café (NYC), Buona Sera (NY), Felt’s Club (Boston), Union Blues (Worcester, MA), Boom (NYC), Pane E Vino (NYC), and many others.

Vocalist & Pianist Kate Reid Moves Up the CMJ Jazz Charts This Week

Pianist & Vocalist

Kate Reid Moves Up the CMJ Jazz Charts This Week
With Her Self-Released Title
 The Love I'm In

Hitting the #22 Slot

Kate Has Been Selected to Perform At This Years

JEN Conference  (January 2012)

&

The Newport Beach Jazz Party (February 2012)

Kate Reid has been described as a well seasoned swinger that understands the music inside and out. She is “known and loved by hipsters and insiders around the world for her impeccable sense of phrasing and unique sound”. Kate creates a very intimate musical experience with her quartet and puts a fresh spin on the great American songbook. As a vocalist and pianist, she blends her unique sound and sense of phrasing into a style all her own. She has established herself amongst the finest musicians in Los Angeles and is considered by her peers, vocalists and instrumentalists alike, as “one of the best jazz vocalists in L.A”. She has worked alongside and with the Duke Ellington Orchestra, Ira Sullivan, Ron Eschete, Ernie Watts and Roy McCurdy. Kate also chairs the music department and coordinates the jazz program at Cypress College in Cypress, CA.


Kate is a working jazz singer and pianist appearing regularly with her quartet at jazz venues all over the Los Angeles area including Steamers Café and Jazz Club, Charlie O’s, The Jazz Bakery, The Lighthouse, Sangria, and Betty Hoover’s Jazz at the A Frame. She is in demand by audiences for her swing style and delivery of great jazz standard lyrics. Her 2008 release, “Sentimental Mood”, includes tunes from the American songbook and features saxophonist Ernie Watts and guitarist Ron Eschete. Kate’s next CD, released September 21, 2011, features pianist Otmaro Ruiz and again tenor saxophonist Ernie Watts.

Kate spent her summers, 1998-2005, performing in Tokyo, Japan. She has worked with many noted artists including Joe Williams, Maynard Ferguson, Rosemary Clooney, Mercer Ellington, Della Reese, Don Shelton, Paul Anka, Liza Minelli, and Tito Puente to name a few.

Kate is a working session singer in L.A. and has extensive experience in group singing and recording. Her film credits include “Land of the Lost” (2009) and “Tooth Fairy” (2010). Other recent recording work includes the soundtracks for the 2011 Cirque de Soleil show “Iris” with music by Danny Elfman and “World of Warcraft” video games, demos for Hal Leonard Publishing, commercial spots and backing vocals for artists including X Japan and Josh Groban. She has recorded many broadway and musical theater style shows for Royal Caribbean and Costa Cruise Lines. She also lent her voice to the Orange Bowl half time and parade shows in the mid 90s and was selected as one of four back-up vocalists for the recorded and nationally televised Summit of the Americas broadcast produced by Quincy Jones in 1996.

Dr. Kate Reid is on the music faculty as head of the jazz program and chairs the music department at Cypress College in Cypress, California. She teaches the jazz vocal ensembles, jazz improvisation, music theory and coordinates the applied music program at the College. She conducted college vocal jazz ensemble at Carnegie Hall in New York City in April 2004. Kate holds a B.M. in Jazz Studies from Western Michigan University (1992), a M.M. (1996) and a D.M.A. (2002) in Jazz Performance from the University of Miami.

Kayla Taylor Jazz Continues to Chart on the CMJ Jazz Top 40 Jazz Chart

Vocal Debut Artist Kayla Taylor Continues

To Hold Strong on the CMJ Jazz Chart This Week

Among the Sea of Major Label Titles
With Her Self-Released Title
You'd Be Surprised

Making This Week #3 on the Charts

Her Vintage Sound is Winning Ears

Kayla Taylor, recipient of the 2010 OVATION Award for Outstanding Vocal Performance, performs in a style often described as Bette Midler meets Diana Krall, performing various genres of music but primarily vintage jazz from the 1930’s, 1940’s and 1950’s. With the release of You’d Be Surprised the listener has the opportunity to retro back to a time when jazz was intimate and organic.

The trip of nostalgia begins with “Good Morning Heartache,” presented with soft brushes, provided by drummer Michael Dana. Sensitive support is given by guitarist Steve Moore and bassist Justin Owen-Head. Will Scruggs, most notably known for his contributions to the Jazz Fellowship, offers a poignant solo that provides the right sizzle to this classic cut. A Latin flavored “Just One of Those Things,” transports the listener to the quiet evening sands of Brazil. While “You’d Be Surprised” the title track, is a slow-mid tempo swing that offers a playful texture change. Taylor turns on the charm, keeping the tune flirtatious and frolicsome.

A swinging mainstream take on “Our Love is Here to Stay” has an authentic chunking guitar style that propels the cut. You can almost hear Taylor smile as she sings. The joy is immediately evident in her voice as Steve Moore offers a stunning solo and Will Scruggs eloquently weaves in and out of Taylor’s voice. A doo-wop version of “I Only Have Eyes For You” gives the listener a chance to reminisce, with a romantic 12/8 ballad, that fits nicely among these well-placed standards. A bluesy “You’re Driving Me Crazy” is a light-hearted shuffle. The classic Gershwin cut “Treat Me Rough,” is a libidinous opportunity to fall in love with Kayla Taylor and all her sensual allure.

“Where or When” is given a bossa feel. Taylor offers a delicate intimacy on this cut that is impassioned and convincing. Again, the ensemble creates a beautiful canvas for Taylor to paint her lyrical storyline. A driving bass line provided by Justin Owen-Head sets off the festive Cole Porter cut, “It’s De-Lovely.” This is just plain foot-tapping fun. You will find yourself pulling out the ole’ De-dance shoes.

A Latin rendition of “Devil May Care” is given a slinky treatment of abandon. The journey is completed with “Blues Stay Away From Me” a befitting kin to jazz. A good old fashioned romp in the blues bed starts with Taylor and Moore kicking it off in a rootsy blues vamp. Moore’s solo is impassioned and seductive and Taylor gets a chance to lay it down with conviction and fiery delivery. Scruggs ties it in with a stirring blues solo that leaves the listener with a satisfied meal of jazz, soul and blues on this charmingly conceived release. Truly the sounds of yesteryear authentically recreated with fun, fervor and believability. So pull out your hipster clothes, put on your hat and dancing shoes and crank up the stereo for a night filled with fun and frolic. Make sure to invite all your friends and if you are close to Hotlanta, then your evening will be even more special as you hit that dance floor and spin to the vintage sounds of Kayla Taylor Jazz.

Troy Roberts is reviewed by Jazz Times

by:  Geannine Reid

Troy Roberts, Nu-Jive
There is Nothing Jive About Troy Roberts

Troy Roberts began playing the saxophone at age 13, and was granted an early entrance into The West Australian Academy of Performing Arts (WAAPA) just two years later. During this time, he won the PJS Encouragement Award for two consecutive years, performed at the 2000 Olympics, The Manly Jazz Festival, and other shows around Australia with the West Australian Youth Jazz Orchestra. In 2001 he graduated with a Bachelor of Music (Jazz Performance) degree at the young age of 19, winning the acclaimed Bob Wyllie Jazz Scholarship, the Melville Toyota Jazz Scholarship and the James Morrison Jazz Scholarship.

The following year he completed an Honors Degree on a student exchange program at the University of Miami, studying with Ron Miller, Gary Keller, Whit Sidner, James Moody, Dave Leibman and Frank Foster. During this time, he also won 2 Downbeat Awards (“Outstanding Soloist” and “Best Group Performance”) and performed with many great American musicians such as Ernesto Simpson, Kevin Mahogany and Silvano Monasterios. Troy returned to Australia in 2003 to record live at the Sydney Opera House on James Morrison’s album and DVD, “On The Edge”, which was immediately proceeded by 2 European tours with Morrison.

Troy recorded his debut album Soul Garbage (Morrison Records) and VOID’s debut album and DVD before traveling to the U.S.A. in 2005 where he acquired a Masters degree and taught mostly jazz saxophone at the University of Miami, and was the recipient of the Downbeat “Best Soloist Award” for 2005 and 2006. He commenced 2006 with performances at the I.A.J.E. (International Association of Jazz Educators) Conference in New York with the “Bop Brothers Jazz Sextet”, 3 European tours with Morrison, and VOID’s 1st European tour. Winning yet another 2 Downbeat Music Awards, 2007 was a busy year, with two successful USA tours, including performances and television appearances in Texas, L.A., San Fransisco, Santa Barbara, Miami, the I.A.J.E. Conference, NYC and headlining the Houston International Jazz Festival. VOID was also the proud recipient of the 2007 WAMI Award for Best Original Jazz Act.

Now with the release of his 4th endeavor Nu-Jive, Roberts explores the funky side of jazz with songs that range from contemporary to groove to modern jazz tensions.

“Chiver Town” opens the festivities like blazing guns in a western shootout, Roberts comes out of the gate with a powerful entrance that segues into a groovin’ vibe punctuated by drummer David Chiverton. “Brotherlation” is 8 minutes of sheer joy with 16th note phrases that build the energy with strong motivic development; this cut is sure to please the most avid jazzer.

Roberts has created a journey with Nu-Jive, including interludes like “Nu-Jive Interlude,” a swirling palate cleaner to get the listener connected in for the explosive “Shavon.” Traversing complex rhythmic terrain compelled by hits, stops and feel changes, Roberts keeps the listener intrigued with long flowing angular lines that build in complexity and intensity. Silvano Monasterios (keys) adds quick arpeggiated fender Rhoades lines, accentuated by the solid rhythm section of Eric England (bass) and David Chiverton (drums).

An introspective “Eclipse” shows the tender and delicate side of Roberts playing, muscular enough to be effective, but a quixotic mixture of illusion and reality as the composition transitions from a ballad feel to a double time feel giving the cut a propulsion, while still keeping the vibe intact.

While jazz is so strongly identified as swing, it is nice to see the next gen carving out their sound and ideas. Roberts, along with his well-equipped ensemble, is certainly up to the task - creating a jazz record that employs great playing and abundant ideas. Roberts though young in age, certainly has an arsenal of abilities under his belt, and has the makings and foundation of a lasting great saxophonist. Versatile in style, with a strong grasp of yesterday and today, he is a force to be reckoned with no matter the setting. He is more than one to watch, he is one to follow closely.