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Fritz the Nite Owl Jazz
Smooth Jazz WJZA 103.5FM/104.3FM Sunday 9pm to 12 Midnight

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Chillicothe Gazette FEATURE of Fritz
Want to learn more about this guy? http://m.homestead.com/m.html

JULY 2008

FEATHER TICKLES JAZZ BONE AND FUNNY BONE: Swing, satire, and lyrical hip humor highlight her new CD

Some singers discover the world of jazz as they grow; others are born into it. Singer Lorraine Feather is one of the latter. Her father, Leonard Feather, is world-renowned as a jazz writer, reviewer, and music producer. His Encyclopedia of Jazz is one of the definitive and most-often-used reference books on the subject. Her mother, Jane, was a professional big band singer whose roommate in the early days was Peggy Lee. The legendary Billie Holiday is her godmother. The established stars, the young lions, the jazz leaders of the future were regular visitors. To her, “jazz” and “home” were synonymous.

Theatre courses at Los Angeles City College prompted her return to NYC to pursue an acting career. She toured, did a few off-Broadway shows, and eventually appeared in the Broadway production of Jesus Christ Superstar. However, her major role in the World of Theatre was that of unemployed actress and waitress in innumerable restaurants, which motivated her to give singing a shot. From that point on, it was a slow but steady rise into the world of professional musicians.

Along the way, she sang backup for Petula Clark and Grand Funk Railroad, made her recording debut on an album for Concord Records, wrote original lyrics for such instrumental jazz classics as Ellington’s “Rockin’ in Rhythm,” the Yellowjackets’ “Ballad of the Whale,” and Horace Henderson’s “Big John’s Special,” which was featured in the Goldie Hawn, Kurt Russell movie Swing Shift.

Her lyrics for Disney movies and television, PBS, MGM, and other diverse productions (such as the opening ceremonies for the 1996 Summer Olympics) earned for her seven EMMY nominations over the years.

Her singing career paralleled the success of her writing, with movie soundtrack vocal contributions to Warren Beatty’s Dick Tracy, Bette Midler‘s For The Boys, and many others, numerous club and concert appearances, along with at least seven outstanding CDs, the latest being:

Lorraine Feather: Language JazzEd Media: JM-1032
While most other jazz songs and singers deal with “love-found, lost, remembered,” Feather’s lyrics explore areas, problems and situations never before dealt with in song. The opener “Traffic and Weather” is a bright, brisk, tongue-in-cheek salute to that ubiquitous, inseparable pair heard on just about every morning radio show on the planet. A funky beat with ultrahip lyrics, delivered in Lorraine’s crisp, swingin’ style, counterbalanced nicely by guest Tierney Sutton, make this one a standout.

The subtle, somewhat laid-back “We Appreciate Your Patience” incorporates every mind-numbing, frustrating cliché rendered by those automated, computer-generated humanoids one hears while on “hold” waiting for a live customer service rep.

Sports cliches as a metaphor for life, misplaced car keys, waitressing, and the passing nature of fame are other familiar contemporary problems lyricized by Lorraine in her hip, humorous, and jazzy style.

For balance and variety, Feather adds a few guests along the way, including Yellowjackets’ pianist, Russell Ferrante, and Manhattan Transfer’s Cheryl Bentyne and Janis Seigel. And, in a more traditional mode, you’ll be emotionally touched by the bittersweet memories evoked in “I Love New York at Christmas,” the beauty of an elegant waltz evoking Strayhorn-Ellington, “In Flower,” and the romance of the closer, a gorgeous love ballad, a duet with pianist Michael Lang, “Making It Up As We Go Along.”

CNY Jazz Orchestra: Then, Now & Again CNY Jazz Orchestra: cny-102
The Central New York (CNY) Jazz Orchestra was established in 1996 in Syracuse as a not-for-profit regional jazz orchestra to serve as a year-round provider of jazz to the Upstate and Central New York populace, with concerts, workshops, cabaret, festival and scholastic presentations.

It took ‘em 12 years, but this powerhouse big band recently released their debut CD. And what a big band treat it is! An assemblage of 17 jazz heavyweights, swingin’ their way through a 10-tune collection of originals and standards.

Considerate of your personal big band favorites – Basie, Herman, Jones-Lewis, Ferguson, whoever – here’s a CD that will please just about any taste.
Who’da thought, or better yet, (conjure the Don Adams/Maxwell Smart voice) “Would you believe” the theme from TV’s Get Smart could lend itself to such a dynamic jazz presentation? It does indeed, complete with quotes from other TV themes of the times. A delight in all areas.

The Miles Davis/Ron Carter tune “Eighty One” features a trombone lead and a shimmering brass choir in an easy mid-tempo lope, which contrasts nicely with the melancholy elegance of the Gershwins’ “I Loves You Porgy,” highlighted by a show-stopping trumpet solo by Jeff Stockham, backed by blues-drenched ensemble sections by the entire band.

The theme from NPR’s “All Things Considered” swings solidly, as does the moving, multi-textured “Shimmer,” featuring fantastic French Horn jazz by the aforementioned Jeff Stockham, well-known as a member of the T.S. Monk Octet.

Everything on this CD is a winner, but, for da Owl (unashamedly addicted to romantic-nostalgia), I melted at their laid-back closer, “Mister Sandman,” done in that easy, Basie “Li’l Darlin’” groove. This track alone was worth the price of the album.

JUNE 2008

LOCAL PLAYER TIM CUMMISKEY EXPANDS THE TRADITION OF GREAT JAZZ GUITAR
Legendary Hank Marr in his final recording

Unlike the trumpet, clarinet, piano, and drums, the guitar was not originally used as a leading or solo instrument in the early jazz bands. It was considered by most groups, regardless of size, primarily a rhythm instrument, but, thanks to its more sophisticated, mellower sound, was a logical replacement for the usually raucous, tinnier-sounding banjo.

It was Paris in the early ‘30s when a Belgian guitarist, Django Reinhardt, combined his Gypsy folk roots, the string band format of European popular music, and American jazz to create a unique sound that presented the acoustic guitar as a leading instrument. He was regarded as jazz musician of his time, equally outstanding whether demonstrating his explosive speed on the up-tempo swingers or his tender elegance and introspection on ballads. His outstanding technique was made even more-memorable in that he had lost two fingers of his left hand some years earlier. He was one of the earliest artists to be internationally known by his first name only. Woody Allen’s 1999 movie, Sweet and Lowdown, featuring a memorable jazz-guitar soundtrack, dealt specifically on the impact Django had, worldwide, on the jazz guitarists of the day.

While Django was unique and astonished the jazz world with his acoustic guitar, it was the development of the electric guitar amplifier in the mid-’30s that allowed the guitar to stand out from the roar of big band brass and reeds, and rival them with sizzling solos and improvisation.

A few others had experimented with the potential of the electric guitar early on, but Charlie Christian is the musician generally regarded as the first and most influential innovator on the instrument. As a member of Benny Goodman’s Sextet in 1939, he was the first to feature single-string solos, experiment with new harmonies and sounds. When bebop arrived shortly thereafter, Christian made the electric guitar a major solo instrument that could phrase like a sax, or equal a pianist’s right hand.

His prowess, concepts, and techniques influenced countless others, each of whom added their own creativity to expand the sound and versatility of the instrument. These included Barney Kessell, whom many regard, even today, as the most rhythmically vital guitarist in modern jazz. Jim Hall and Joe Pass added elements of classical elegance and introspection; Wes Montgomery’s innovative use of his thumb instead of guitar pick gave him considerable speed, the nickname “The Golden Thumb,” a softer, rounded, bluesier sound, and the ability to improvise in octaves.

In addition, 93-year-old Les Paul, regarded by most as “the father of modern electric guitar” played jazz occasionally, but his technical innovations and new recording techniques contributed immensely to the evolution and popularity of the instrument, and have been used to some degree by just about every amplified player to date.

These Christian-and-Paul-influenced guitarists and their descendants continue to inspire the best players of today.

One of these is Tim Cummiskey, a Central Ohioan known nationally as a highly talented player, equally at ease as a leader or sideman, in small groups or large. In addition to his performance abilities, he is also an educator, currently a member of the Jazz Studies faculty at The Ohio State University School of Music. He conducts numerous guitar clinics, contributes articles to Downbeat, Jazz Improv, and Just Jazz Guitar Magazine. His book “Learning Tunes Workout,” published by Mel Bay is available at Amazon.com.

He has been the leader on three CDs, the two most recent being:

The Tim Cummiskey Trio: Redeeming The Time – Hank Marr and Jim Rupp; Tim Cummiskey and Jack Wilkins: Kindred – Andy Woodson and Jim Rupp

These two CDs vary considerably in sound and setting. Both however, demonstrate Cummiskey’s total command of the instrument, his formidable technique, improvisational abilities, and his skills as either a leader or sideman.

Redeeming the Time is earthy and blues-drenched. Cummiskey balances his mellower, bluesier sound with his brighter, crisper attack. In addition, this CD has historical significance in that it is the last session recorded by the popular and iconic B-3 legend, the late, great Hank Marr, who, not surprisingly, is magnificent throughout. Both are supported by the dynamic drums of Jim Rupp. Cummiskey brings all of his jazz guitar concepts to this, one of the historically great B-3 configurations. Outstanding tracks, showing the harmonic challenge for Hank and Tim are heard on “Invitation,” “Inner Urge,” and their soulful, bluesy, co-written original, “Hank’s Riff.”

Kindred is brighter and more sophisticated due to the two-guitar front line, with guest-guitarist Jack Wilkins challenging, supporting, interchanging ideas with Cummiskey. Wilkins has been in the front ranks of jazz for over 40 years. Influenced by Reinhardt, Christian, Montgomery, and Pass, he’s known for his flawless technique and imaginative chordal approach, which counterpoint dramatically with Tim’s single line improvisations and chord explorations. Bassist Andy Woodson lays down a great bottom rhythm line, abetted again by the drums of the rousing Rupp. Outstanding tracks include “Like Someone I Know,” and “Body and Soul,” which demonstrate the interaction and empathy between the two players. This is one of the great jazz guitar duo recordings ever!

Both CDs present a solid, varied selection of tunes: jazz swingers, pop standards, and originals. If great jazz guitar is your passion, Cummiskey and company will satisfy to the nth!

MAY 2008

THREE AMERICAN JAZZ MASTERS OUTSTANDING AS GUEST STARS
Senior Citizens Jones, Heath, Hampton still swing like they’re in their twenties!

While the mass public is probably not familiar with their names, just about every jazz fan on the planet recognizes these three longtime Hall of Fame performers: pianist Hank Jones, saxman Jimmy Heath, and the elegantly christened Locksley Wellington Hampton, best known by his nickname “Slide,” (which describes his profession) – one of the few left-handed trombonists in the universe.

All three have been big favorites with critics and audiences on the national/international jazz scene for well over a half-century; all three have been leaders or powerhouse sidemen on innumerable albums; all three have won countless awards, including multiple Grammy nominations, and most-prestigious of all, being named a “Jazz Master” by the National Endowment of the Arts.

They are all from musically oriented families, but only Jones and Heath have immediate family members who also enjoy mass national/international renown. The two younger brothers of Hank Jones – Thad, a trumpeter-composer-arranger big band leader, and Elvin, a super-drummer with such as Charles Mingus, Gil Evans and Miles Davis – easily rival their brother Hank in critical and audience acclaim.

Similarly Jimmy Heath’s older brother, Percy, is revered as the bassist for the incomparable MJQ (Modern Jazz Quartet), while his younger brother, Al, was a phenomenally successful drummer in numerous groups, including those of the Adderly Brothers and John Coltrane. Jimmy's son, Mtume, was percussionist for Herbie Hancock, and later, led his own successful urban contemporary-funk group, self-named "Mtume."

Hank Jones is one of the few pianists equally at home in swing, bop, and pop. His imagination, taste, effortless technique, and perfection-of-touch make him a favorite as a leader of his own groups, a sideman with such legends as Charlie Parker and Artie Shaw, and an invigorating, inspirational accompanist to numerous vocalists, including Ella Fitzgerald, Billy Eckstein, and currently, Roberta Gambarini, a relatively new singer, with whom he now co-stars, supports, and accompanies on:

You Are There: Roberta Gambarini & Hank Jones (Emarcy-80010622-02)
Gambarini, born and raised in Turin, Italy, began as a clarinet player at age 12, but due to her clear alto voice, and inherent jazz talents, switched to singing shortly thereafter. Less than five years later, she was performing nationwide in countless Italian performance venues, winning numerous awards and popular acclaim. A two-year scholarship to the New England Conservatory in Boston was followed by club dates in NYC, and her debut CD, “Easy To Love,” Grammy nominated as “Best Jazz Album of the Year” in 2006.

On this, her sequel, she and Hank, as a duet only, easily equal the jazz qualities of the former. They simply selected 25 of their favorite standards, show tunes, and ballads; set up Roberta’s mike next to Hank’s piano as in a live club performance, and recorded 14 of them, with no isolation booths, no headphones, and no overdubs. Once their combination of music and voice begins, the jazz magic starts, and listeners are transported to a timeless Audio-Nirvana of romantic, beautiful, haunting jazz at its best.

While every track is outstanding, I particularly favored “Stardust,” “Deep Purple,” and “You’re Getting To Be A Habit With Me” – three of my all-time favorite slo-dancin’/romancin’ tunes which I enjoyed so dreamily with my high school dates, as played so sensually by the bands at Valley Dale in the early ‘50s. Ain’t love grand? And so is this CD.

Whit Williams: Now’s the Time Big Band (MAMA Records-MAA1033)
Since 1959, when I started doing jazz shows on radio in Columbus, the listeners have always responded enthusiastically to the sound, power, and excitement of big band jazz, whether from already established, well-known names such as Basie, Ellington, Ferguson, and Rich, etc. to the newer, or hitherto-unknown ensembles, such as the Whit Williams Now’s The Time Big Band, whose debut CD, featuring Slide Hampton and Jimmy Heath, is well worth hearing and adding to your collection.

Williams, a multi-talented saxman for over 50 years, heads up this roaring 17-21 piece big band based in Baltimore since 1981. As tight and talented as this ensemble is, one wonders why Whit waited so long to put it on record. But, for whatever his reasons, the wait is worth it, as this cookin’ CD demonstrates, first track to last.

Heath’s sax soars sensationally on the first five selections, while Slide’s trombone is tasty, tantalizing and terrific on the remaining five. Williams also takes an occasional solo hither and yon to display his talents.

Heath’s tenor is solid and easily recognized on the bossa-based “Una Mas” and the easy-strollin’ “I Remember Tangle.” Slide is smooth and slippery on the easy-jazz-waltz “The Radiator Man Is Well,” a highly spirited “A Day in Copenhagen,“ and the jazz-noir “Diana.”

Other highlights include the rousing opener, “This Is What It Is,” highlighted by a bold bari-sax solo, and the closer, a whimsical, sometimes dissonant Monk classic “Little Rootie Tootie.”

Whit, Jimmy, and Slide are the well-established, well-known seniors of the group. Their inspiration is obvious in the tight ensemble and solo work of the younger players, most of whom are also given ample opportunities to show their skills.

Willliams composed three of the 10 selections; Heath provided three; Hampton, two; Monk and Dorham one each, giving the overall programming of the album an always-surprising, unpredictable diversity of mood, tempo, and rhythm.

APRIL 2008

SILVER SHINES ON RECENTLY DISCOVERED FESTIVAL TREASURE
Young quintet is impressive, exciting as 1958 Newport Festival closer

For over 50 years, pianist Horace Silver has maintained a solid position in the front ranks of jazz. He is one of the few jazzmen who excels in all areas – as a distinctive and dynamic player, innovator, bandleader, composer, and arranger.

His national career began in 1950 when he went on the road with saxophonist Stan Getz. Subsequent work with Terry Gibbs, Coleman Hawkins, Lester Young and others added to his audience recognition.

However, his association in the mid-fifties with drummer Art Blakey led to his international renown. Their collaborations and experimentations created a new style of jazz known as “hard bop,” an earthy, pulsating fusion of bebop, rhythm ‘n’ blues, and Gospel music, which helped coin the term “funky.” It was an effective counter-balance to the hip-but-cerebral sounds of the then-popular “cool” and West Coast forms. This mode also contributed to evolution of such diverse styles as soul, acid, and free jazz. Talk about an influence!

In 1956, he left Blakey to form his own quintet, which over the years started the careers of many now-famous players, including saxmen Hank Mobley and Junior Cook, trumpeter Blue Mitchell, and drummer Louis Hayes, to name a very few.

Silver compositions such as “The Preacher,” “Song for My Father,” “Filthy McNasty,” and many others easily jumped from the jazz charts to the pop charts and became standards.

Over the years, Silver and his groups exemplified that jazz could be fun, danceable, innovative, imaginatively stimulating, and diverse. In the ‘70s, he introduced a sound (best described as “cosmic philosophy”) which still maintained his signature funky undertones.

His autobiography, Let’s Get to the Nitty Gritty (University of California Press), released in late 2006, reveals “everything you wanted to know about Horace but were afraid to ask.”

Which brings us to an early-Silver treasure never before released:

Horace Silver: Live at Newport ‘58 (Blue Note Records: 0946-3-98070-2-4)
While auditioning jazz tapes at the Library of Congress last year, jazz writer Michael Cuscuna discovered this Newport performance by Silver, supervised by George Avakian, who was then associated with Columbia Records. Heading to the Columbia vaults, Cuscuna discovered a pristine three-track master of this early, historic Silver performance of July 6, 1958, which ultimately resulted in the Blue Note release in 2008.

From the opening announcement by Willis Conover to the conclusion of the set, 45 minutes later (when almost all other groups were given only 20 minutes), listeners were exposed to, and enjoyed the sounds of hard bop in its infancy, performed by one of the earliest and most exciting Silver Quintets, featuring trumpeter Louis Smith, tenorman Junior Cook, bassist Gene Taylor, and drummer Louis Hayes. This group, only together for a short time, played peerlessly, proving them an exciting choice as the festival’s closing band, demonstrating once again, the old show biz adage, “You save the best for last!”

Their opener, “Tippin” is a brisk 13-minute swinger that gives each player ample solo room to show off their phenomenal chops. “The Outlaw” has a Latin influence, as does “Senor Blues,” a massive hit for Silver then and now. It’s a sly, funky, minor blues that’s infectious fun, followed by their festival closer, “Cool Eyes,” which later became the group’s theme song.

Hard-core jazz aficionados and jazz newcomers alike will find this Silver a timeless treasure.

Bruce Eskovitz Jazz Orchestra: Invitation (Pacific Coast Jazz: PCJ-75100)
Superb arrangements, outstanding musicians, and the ability to handle any jazz style or tempo with dynamic solos and energized ensemble sections make this San Diego-based orchestra one of the best in the West. With just 10 players, it easily qualifies as a “Big Small Band” or “Small Big Band.” Whichever label you choose, this ensemble sounds like a lot more than just 10 guys. In addition to evoking the power and sound of the traditional big band (usually 16 players or more), it’s equally impressive when utilizing the spry agility and intimacy of smaller groups.

Bruce Eskovitz, the saxophonist-leader, wrote seven of the 10 tunes, with Bronislau Kaper, Herb Ellis, and Freddy Hubbard supplying the rest. In this collection, the orchestra covers the jazz bases: blues, ballads, and bop, along with some sassy salsas, mellow strollers, churchy-shouters, swingin’ shuffles, and moody jazz-noir. Tempo, rhythm, and style vary track-to-track, adding immensely to the overall listener appeal.

This is one of those rare CDs on which every selection is a winner. The horn section gives “Red Clay” a big, impressive opening, followed by their statement of the melody as the rhythm joins in. Solid solos by trombone, trumpet, guitar and sax give way to an industrial-strength horn interlude and an electric bass solo that builds to the band’s big finish.

Eskovitz on sax, is dark, subtoned, and breathy on the bloozy-noir standard “Detour Ahead,” while the band evokes the sad, melancholy and introspection of the tune’s theme, “love about to be gone.” This is jazz for late-night slo-dancing’– romancin’ at its sultriest.

If a San Diego trip is a part of your future plans, make time to hear this band live! If not, get this CD, or do both and hear jazz at its best.

MARCH 2008

TEENY DON'T LOSE WHEN SHE SINGS THE BLUES!

The blues are one of the basics of almost all types of jazz and popular American music. Their origins can be traced back to around 1850. Mass popularity began in 1914 with the writing and performing of W.C. Handy’s “St. Louis Blues.” In both the pure form and/or variations, the blues were soon regarded as the lifeblood of jazz, equally at home in Dixieland, ragtime, swing, bop, post-bop, and avant-garde. They reached into the classical realm with the Paul Whiteman Orchestra concert performance of Gershwin’s “Rhapsody in Blue” – and were the definitive ingredient of the first rock and roll.

Numerous instrumentalists and singers contributed to popularity and acceptance of the blues in the early days: Fletcher Henderson, Louis Armstrong, Ma Rainey and Bessie Smith, to name a few .

However, there were many others who, while enormously popular for a short time, were under-appreciated and less recognized than they should have been. Two of these were singers Big Mama Thornton (Willie May Thornton) and Big Maybelle (Mabel Smith) who enjoyed brief fame in the ‘50s and a few years beyond.

Big Mama Thornton was the first to record the Leiber-Stoller classic “Hound Dog” in 1953. While her rough, gritty, haughty, funky rendition was a big hit for her nationally, her fame was short-lived due to the Elvis-showier, more-frenzied, and humorous version three years later. Other career highlights included the writing of many passably popular songs, a memorable performance at the 1964 Monterey Jazz Festival, and her 1984 inclusion in the Blues Hall of Fame.

Big Maybelle’s voice was warm, deep, and gravelly. She was outstanding as a traditional blues shouter and was one of the premier blues singers of the ‘50s. In 1955, she was the first to record a hit version of “A Whole Lotta Shakin’ Goin” On,” produced by a young Quincy Jones, only to have it eclipsed by the showier, more-frenzied, over-the-top performance two years later by Jerry Lee Lewis. She wrote a few songs, was a hit at the Apollo, outstanding at the 1958 Newport Jazz Festival, and was featured in the Award-Winning Film Jazz On A Summer’s Day.

Long-overdue homage, recognition and respect is paid to these two talented ladies on the currently available CD:

Teeny Tucker: Two Big M’s (TeBo Records)
Teeny, a Central Ohio resident, is a rising star in the international world of blues. Her professional career started in 1996 with a crowd-pleasing appearance at the famed Apollo Theatre, followed by outstanding performances at major blues festivals, nationally and internationally, overwhelmingly praised by both critics and audiences.

She was “born to the blues.” Her father was the renowned blues-singer-pianist-composer Tommy Tucker who wrote and first recorded “High Heel Sneakers,” a pop-classic that’s been performed by Elvis, the Beatles, the Stones, and even Zsa Zsa Gabor, to name some of the over-200-plus-versions produced.

On this, her third CD, Tucker wrote the title track, which she performs both in song and spoken word. The lyrics capsulize the careers of Mama and Maybelle, who “never won a Grammy, never went Gold” and had “hits which someone stole from you.” She’s earthy, soulful, sincere, superbly supported by background singers Mary Lusco-Ashley, Paula Brown, and Jackie Tate.

Her “Hound Dog” is slower, raunchier, and more ironic than the Elvis version and features a wailing harmonica solo by David Gastel. “Unlucky Girl,” one of the five Thornton compositions in the set, is a briskly moving tune that showcases Teeny’s big voice and grasp of rasp. She slows down for “Bumble Bee” and evokes all the not-too-subtle nuances of the humorous double-meaning lyrics of the now-gone lover who “got the best ol’ stinger of anybody I ever seen.”

On “Whole Lotta Shakin’,” she easily matches the excitement generated by Jerry Lee Lewis, but without Lee’s excessive pounding. Her “easy now” section of the song is one of the best I’ve ever heard, subtle, sexy, swingin’ – a dynamic contrast to the uptempo flash which dominates the song.

Maybelle’s rousing “Rockhouse” demonstrates her confidence and high spirits, balanced nicely by the medium-tempoed “Ramblin’ Blues,” in which she easily portrays the woman who’s movin’ on from a man with “low down dirty ways.”

Teeny’s terrific on every track, as are background singers and musicians guitarist Robert Hughes, bass-guitarist Robert Blackburn, keyboards and B-3-driver Vernon Hairston, David Gastel on harmonica, alternating drummers Jeff Peters and Tom Sawyer, and tambourine-shaker Mary Lusco-Ashley.

You’ll go a long time before you hear a better set than this. For more information on Tucker, go to www.teenytucker.com. ‘Tis well worth the browse.

David ‘Fathead’ Newman: Diamondhead High Note HCD-7179
A master of all things saxophone, including the flute, “Fathead” has been infused with the blues from his early years with T-Bone Walker and Ray Charles. Since then, he’s expanded his horizons and now easily breezes through all forms of jazz, pop, Latin, you name it. But, whatever the style or genre, an element of the blues is present – sometimes subtle, but more often overtly obvious.

On this, his umpteenth career recording, he’s backed by an all-star quartet of jazz veterans: trombonist Curtis Fuller, pianist Cedar Walton, bassist Peter Washington, and drummer Yoron Israel. Collectively, they wail their way through a varied selection of originals and standards.

The title track is an uptempo, toe-tappin’ blues-Boogooloo, which contrasts nicely with the easy swing of the standard, “Can’t We Be Friends?” Flute is foremost on a moody, introspective take on “New York State Of Mind,’ followed by a brisk, bop-based blues by Walton, “Cedar’s Blues.”

While no new ground is broken here, this is a CD that will appeal to both the hard-core jazz fan who enjoys hearing five hall-of-famers work out on a variety of songs, and to jazz newcomers looking for an easily-accessible-and-enjoyable introduction to the music.

To paraphrase the headline, “YOU can’t lose when you HEAR the Blues!”

FEBRUARY 2008

PEGGY LEE, A HEP B-3, AND A SINGER WHO'S SAXY

Peggy Lee enjoyed international superstardom as a jazz and pop singer for most of her nearly 50-year career, which spanned the greatest and most glamorous era of American music. Downbeat voted her “jazz vocalist of the year” in 1946; Einstein loved her; Duke Ellington dubbed her “The Queen.”

She was a Grammy winner, an Oscar nominee, appeared regularly on the music pop charts from 1941-1972, sold over 20 million records, and influenced countless future performers. Her sultry voice and sophisticated appearance were aptly described as “platinum cool.”

While she no longer holds the public ear like she did during her many peak-performing years, her name and talent live on. In 2006, the best-selling biography, “Fever: The Life and Music of Miss Peggy Lee,” by Peter Richmond appeared almost simultaneously with her posthumous award-winning CD, Peggy Lee Sings Leiber and Stoller, which was reviewed in my Gazette column for May 2006.

This CD provided the basis for the world premier of the onstage musical, “Reflections,” a bio of the singer, which debuted in September 2007, starring Laura Theodore as Peggy. Laura continues her homage to Lee on her newest CD:

Laura Theodore and Joe Beck Golden Earrings (Bearcat Records: 2007)
Laura’s concept for this set was to focus on the hit tunes written and performed by Lee and her husband, guitarist Dave Barbour, along with a few other hits which they did not compose. She asked world-class jazz guitarist Joe Beck to be her co-star in the recording, a 21st century take on the Peggy Lee songbook.

For the set, Joe used a guitar he invented, the Alto Guitar, which allows him to play the bass part and the chords at the same time! ‘Tis a unique, never-before-heard sound and concept, adding immeasurably to the musical originality of the album.

Together, Laura and Joe form a dynamic duo as they cruise their way through this 15-song collection. They’re pensive and introspective on the opener, “What More Can a Woman Do?” on which Laura uses her outstanding 4-octave range. Joe shows his Gypsy-jazz prowess on the title tune from the 1947 movie “Golden Earrings,” while Laura demonstrates how Lee kept her version of this song on the pop-charts for nearly 20 weeks. On “Fever,” both are sultry, passionate, and physical, while “Don’t Smoke in Bed,” is languid, bittersweet, and good advice when ending a love affair. As a change of pace, the humorous, hit novelty tune “Mañana (“Is Soon Enough for Me”), boasts clever lyrics, sure to please the procrastinators in the crowd.

On this CD, as with her previous recordings, Theodore continues to impress any and all listeners with her superb voice, interpretation, originality, creativity, musicality, and performance.

Linda Dachtyl: For Hep Cats (Chicken Coup Records: CCP: 7010
It’s no secret that da Owl loves organ combos. Over the years, I’ve enjoyed the very best, by such giants as Jimmy Smith, Hank Marr, Don Patterson, Jack McDuff, Jimmy McGriff, and Tony Monaco, to name a few.

However, back in the summer of 2006, after hearing her debut CD, “Blue Bop,” I added to my list of Masters of the Medium Linda Dachtyl whose new CD continues the musical excitement she generated on her first.

Guitarist Robert Kraut and drummers Jim Rupp or Cary Dachtyl form the basic trio, which is aided and abetted by instrumental and vocal guest artists galore. Saxman Gene Walker wails on five of the 10 tracks, while vocalists Jazzmary, Larry Smith, and Lady Nikki Scott score on one track each.

This set, while still blues drenched, expands the musical variety with selections that include a street-hip take on “One Mint Julep,” the evolution of music on her original composition, the up-tempoed “Les Chats Bleus,” a church-based, McGriff original, “Turn Blue” with its undertones of Miles’ “All Blues,” and a romp on the innovative Monk classic, “Straight, No Chaser,” which features a terrific opening solo by Kraut.

Vocalist Larry Smith adds hip-humor to Willie Dixon’s “Little Red Rooster;” Jazzmary is sensual and exotic on Nina Simone’s “Do I Move You?,” while Lady Nikki Scott evokes all the emotion of love found-love lost on “Since I Fell for You,” featuring the smoky, sub-toned accents of Gene Walker.

Linda is superb in every department, on every track. Her solos soar, her unison playing is tight, her supporting fills like Baby Bear’s porridge – not too hot, not too cold, but just right!

Pattie Cossentino: Invitation (PC Jazz Records www.pattiecossentino.com)
On this, her debut album, Pattie proves her prowess on all the saxes (soprano, alto, tenor, and baritone), a flair for flute, and solid stylings as a vocalist. She’s backed by a quintet consisting of trumpet, trombone, piano, bass, and drums, all of whom shine, whatever the mood, style, or tempo.

Cossentino and Company open things up with a rousing bop-based “Doug’s Minor,” on which Pattie demonstrates her mastery of the tenor, with a straight-ahead, no-holds-barred solo and solid unison work with the group.

On the Sonny Rollins instrumental classic “Doxy,” she wrote original lyrics which capture the essence of the song, while showcasing her jazz vocal abilities, which are also dynamically displayed on seven of the 11 tracks, three of which show her abilities on flute, and one each for alto and soprano.

Overall, the CD encompasses a good sampling of vocal and instrumental jazz, including straight-ahead, standards, Latin, and swing – definitely an impressive introduction to a new rising star in the always-evolving world of jazz.

JANUARY 2008

GOOD VIBES START A GREAT '08

A silvery-crystalline tone describes the unique sound of the vibraharp or vibraphone, more popularly known as “vibes.” The music produced ranges from mellow and warm to swinging and aggressive. ‘Tis equally exciting and unique whatever its setting.

This electrically enhanced version of the xylophone came to America in 1916 and was used primarily as a novelty instrument. It entered the jazz world in the ‘30s courtesy of Lionel Hampton, a member of the Les Hite Band, then fronted by Louis Armstrong.

After leaving Hite, Hampton led his own groups for a while and attained “Star” status in the late ‘30s as a member of the Benny Goodman Quartet. “Superstar” status arrived in 1942 with Hampton’s new big band and its recording of “Flying Home,” featuring a still-remembered, still-quoted, excitingly propulsive vibes solo by the leader. His solid beat, superb musicianship, and tremendous energy kept him in the front ranks of popular musicians throughout his life.

With Hampton as their influence, other vibes stars emerged, each bringing a unique approach, sound, or style to the instrument. Red Norvo was noted for his lyricism without vibrato. Milt Jackson was the first to introduce vibes to be-bop. In addition, he used softer mallets, varied the electronics and produced a softer, more lyrical and emotional tone. Terry Gibbs and Teddy Charles were equally at home in swing or bop; Cal Tjader added Latin jazz to the repertoire; Gary Burton brought fusion to the sound, and later, with pianist Chick Corea, polished steel and ivory into the “new cool,” while Bobby Hutcherson used an approach that was inspired by the improvisations of saxophonist John Coltrane.

One of the newer masters of the mallets is Steve Nelson whose new CD, Sound-Effect (High Note Records: HCD-7175) presents the sound of good vibes to make ’08 start great. Using 4 mallets and a feathery-light style and sound, Nelson and his “hall-of-fame-sidemen” pianist Mulgrew Miller, bassist Peter Washington, and drummer Lewis Nash breeze their way through three originals by Nelson, along with five standards by such well-known jazz composers as Freddy Hubbard, Ahmad Jamal, and A.C. Jobim.

A briskly strollin’ “One Thin Dime” opens things up, and the guys let themselves have some foot-tappin’ fun. The mood changes to exotic and mysterious with another Nelson original, “Song For Tina,” which conjures images of perhaps a sensually beautiful Princess of some mythic time and place. “Desafinado” is pure jazz, Brazilian bossa style, which has lost none of its romance over the years. “Night Mist Blues” is exactly that: an easy, late-night blues written by the great pianist Ahmad Jamal, and one of my favorites in the set. The title track, “Sound Essence” is a seductively romantic ballad with “jazz-noir” overtones.

The Carl Saunders Exploration: The Lost Bill Holman Charts (MaMa Records: MAA-1032)
There are a few quadruple threats in Jazz: Bill Holman is one of them. He’s a tenor man of the first rank, an imaginative composer, a popular bandleader, and most importantly, a jazz orchestra arranger, second to none. His arrangements for the big bands of Stan Kenton, Shorty Rogers, and his own groups are innovative, powerful, timeless, and still studied and analyzed by musicians, professionals and students alike. Andre Previn described him as “… a first-rate saxophonist, but his true instrument is the orchestra, and he plays it with musicianship, honesty, and brilliance.”

While the bulk of his arrangements were for big bands and orchestras, he occasionally wrote for small groups. One project in the early ‘80s involved 11 new arrangements of standards and originals (five by Holman, one by Saunders) for the rarely used septet instrumentation, which many feel is the jazz equivalent of the string quartet. Unfortunately, the project never materialized, and the charts were filed and forgotten – until rediscovered in 2005 by Carl Saunders who instantly resolved to record them.

Saunders, a trumpeter of enormous range, strength, power, and imagination, used his existing all-star septet, aptly-named “The Exploration,” to bring the music vibrantly to life. The charts, written almost 30 years ago, sound like they were penned tomorrow. They are challenging in every musical area: concept, approach, style, and rhythm.

The standard, “Three Little Words,” opens things up with a fresh deconstruction and recomposition of this familiar tune. Pianist Christian Jacobs and Saunders-the-leader both provide outstanding solos, as they also do on many of the other tunes.

Dizzy Gillespie’s bebop classic, “OW!” is infused with surprising countermelodies that weave intriguingly, excitingly around the original line. “Mahogany Run” adds Calypso to the mix, with some smooth trombone work by Andy Martin, whose warm, fluid tone on “We’ll Be Together Again” is perfectly suited to this Frankie Laine classic. Tenorman Pete Christlieb shines on Jerome Kern’s “Dearly Beloved” and others, while the deep baritone sax of Bob Efford highlights the beautiful Duke Ellington tune “All Too Soon.” A rock-solid bassline is an essential for the Holman original “Scratch.” Bassist Kevin Axt is up for the challenge, and comes through like a champ. The septet expands to an octet, with the addition of guest flutist Sam Most on three of the selections. In every department, this CD is a winner!

DECEMBER 2007

GIVE YOURSELF A JAZZY LITTLE CHRISTMAS

Make your spirits bright. Good jazz sounds put your troubles out of sight. So give yourself, and the jazz fans on your Gift List, one of these albums and enjoy your holidays even more.

Buselli-Wallarab Jazz Orchestra: Carol of the Bells (Owl Studios: OWL 00101)
Here’s a 12-song collection of holiday favorites, both religious and popular, that will brighten the season for anyone to whom you give it, or add enormously to the sounds of joy at your place as the Big Day approaches.

The 17-piece Buselli-Wallarab Jazz Orchestra is one of the most dynamic and popular big bands in the nation. It is co-founded and led by Mark Buselli, head of Jazz Studies at Butler University, and Brent Wallarab, lead trombonist for the Smithsonian Jazz Masterworks Orchestra. Joined by many of the top jazz artists in the Midwest, the band sparkles with tight ensemble sections and exceptional soloists working their collective talents on some of the most creative, surprising and satisfying holiday arrangements ever recorded.

The five instrumental tracks showcase the band’s power and versatility. “O, Tannenbaum” avoids the ponderous, somber treatment usually given. Here it swings with an easy elegance sure to please listeners and dancers alike. Kinda’ suggests the way Basie woulda’ done it. “Jingle Bells” combines a New Orleans streetbeat with traditional swing, while Vince Guaraldi’s “Christmastime is Here” and “Skating” bring to mind Charlie Brown and the gang from the first “Peanuts” TV special. The title track, “Carol of the Bells,” initially stately and formal, evolves into a subtly swinging, powerful experience.

As impressive as the instrumental tracks are, I really flipped over the seven vocals, sung by the phenomenal Everett Greene. To me, he’s one of the very best “talent-deserving-much-wider-exposure,” male jazz vocalists on the scene today.

Surprisingly, he began his jazz singing career in his mid-60s after retiring from a lifetime day job as a machinist laborer at International Harvester in Indianapolis. His deep, smooth baritone à la Mr. B, Arthur Prysock and Barry White makes most other singers sound like they belong in the Vienna Boys Choir. He’s what male jazz singin’ is all about. Had he been able to start his career in the late ‘40s, early ‘50s, he’d be a giant, a jazz icon today.

His surprisingly blues-drenched version of “Silent Night” evokes the solemnity of the occasion, while giving the song jazz potentials rarely before explored. Definitely, a new evocative take on this oft-recorded favorite. “Have Yourself a Merry Little Christmas” and “The Christmas Song” get easy, strollin’ treatments. Conversely, “Joy To The World” effervesces with the excitement and exuberance of this joyous religious day. And granted, while the wonderful Wilson (our own Nancy, that is) owns the female vocal rights to “What Are You Doing New Year’s Eve,” Greene can lay claim to the male version.

I’ve heard and enjoyed an abundance of jazz-oriented Christmas albums; this is one of the very best.

Michael Berkowitz and the Gene Krupa Orchestra: Thinking of Gene (Sea Breeze-SBJ-2143)
This CD will cause explosions of delight to any jazz friend-or-fiend to whom you give it. On the other hand, after hearing it, you may decide to keep it for yourself and send the friend a fruitcake. Whatever. Suffice it to say, whoever gets this outstanding set will love it and play it repeatedly for years.

The legendary Gene Krupa was the first drummer in jazz history to achieve national and international acclaim after his appearances as a main guest-attraction with Benny Goodman. His featured performance and drum solos on Goodman’s “Sing, Sing, Sing” in 1941 are still quoted and used by many modern drummers in the 21st Century. As Buddy Rich once said, “If it wasn’t for Krupa, there wouldn’t be any of us today.”

Krupa’s first big band as a leader ran from 1938-1943. It was enormously popular due to such stars as Roy Eldridge and Anita O’Day. He also worked in gigs with Goodman, Dorsey and others before reforming and leading a new version from 1944-1951. His steady, relentless beat, ever-improving technique, showmanship, and dynamic personality contributed enormously to his sustained popularity over the years. So much for the brief bio and history of Krupa.

Drummer Michael Berkowitz was first inspired by Krupa at age 4; met him and became friends at 16. Who’da guessed that 35 years after Gene’s passing in 1973, Berkowitz would now be the leader of the current Gene Krupa Orchestra?

Using modern arrangements, which are extremely faithful to the originals, Berkowitz and his 16-piece band easily evoke that great ‘40s swing-sound, yet burst with the fire that defines the best of big band jazz today.

Krupa’s theme and intro, “Starburst,” is, to me, the most exciting show opener-ever! It is as dynamic here as when originally recorded. The same can be said for the 12 other selections. This is timeless music that will keep the spirit and sound of Krupa alive for years to come – and introduce him to new fans who never had the thrill of seeing or hearing him perform in person.

NOVEMBER 2007

RICH RIDES AGAIN!

It’s hard to believe that Buddy Rich has been absent from the jazz scene since going to that Big Rehearsal Hall in the Sky in 1987. But the music he produced in his lifetime is powerful, exciting, creatively excellent, timeless. Rich was one of those few artists who continually pleased the mass public and persnickety jazz critics alike.

Born in 1917 to vaudevillian parents, Rich began appearing on stage at an early age. In 1921, at age 4, he had his own solo act called “Traps the Drum Wonder.” At the peak of his kiddie career, he was the second-highest paid child entertainer in the world.

His adult jazz career began in 1937 with Joe Marsala at the famed Hickory House. By 1939, Rich, now dubbed “The Boy Wonder Of The Drums,” was with the Tommy Dorsey Band, which featured a new young singer named Sinatra. Gigs with Dizzy Gillespie, Charley Ventura and Louis Armstrong followed, along with movie appearances in such ‘40s films as Symphony of Swing, Ship Ahoy, and How’s About It, to name a few.

After forming his first band, he toured extensively, gaining more fans wherever he appeared. And, unlike most jazz musicians, he was a favorite on mass-audience TV talk shows due to his enjoyably caustic humor and provocative-but-comfortable interaction with such hosts as Johnny Carson, Mike Douglas, Merv Griffin, and Dick Cavett.

His recordings were phenomenally successful, and as far as anyone knew, all were completely catalogued and available. Until now.

Turns out that in the late ‘70s, Rich approved the recording of many of his live on-the-road appearances, which were never produced as recordings available to the public. Fortunately, these performances were re-discovered, and are now available on the CD titled:

Buddy Rich: Time Out (Lightyear-LTY-54799)
Fronting a 17-piece powerhouse he named “The Killer Force,” Rich and his compadres roar their way through a collection of some of his favorite tunes. The results are exciting big band jazz at its best!

From the dynamically swinging opener, “Goodbye Yesterday,” through the breakneck performance of the title track, the band never lets down. The ensemble sections soar; the many super-solos by Rich and his bandmates are sensational. Track-lengths vary from 2 minutes to well over 11. Rich gets ample space in all, as do such musical heavyweights as saxmen Bob Mintzer and Steve Marcus, trombonists Rick Stepton and John Mosca, trumpeters John Marshall and Dean Pratt, to name a few.

The liner notes don’t indicate exactly where and when these performances took place, but who cares? The recording quality is excellent, and the band never sounded better. A “must have” for all Rich and big band aficionados.

Pete Mills and Tony Monaco: Fresh Spin (Chicken Coup Records: CCP-7009)
Those of you familiar with my jazz radio shows since 1959 know that I have a tremendous liking for tenor-organ combos. Thus, it’ll come as no surprise that I’m gonna rave about this new locally produced gem by tenorman Pete Mills and B-3 burner Tony Monaco, aided and abetted by such heavyweights as guitarist Pete McCann, drummer Jim Rupp, and on three tracks by bassist Andy Woodson.

While eight of the 11 tracks are original compositions by Mills, the set also includes one each by guitarist McCann, whose “Crooked Cheese” is funkified-to-da-max, while Horace Silver’s “Diggin’ on Dexter” swings with an easy elegance. In a complete change of pace and mood, Mills and McCann team up for an evocative duet interpretation of Billy Stray-horn’s “A Flower Is A Lonesome Thing,”

Bop, blues, a waltz, and a couple of burnin’ flagwavers by Mills add to the variety and excitement of this outstanding collection, which displays the superb musicianship of our local jazzmen. For those of you with out-of-Ohio jazz fans on your Holiday Gift List, this would be a much appreciated album, which might not be readily available in their area.

Kenny Burrell: Have Yourself a Soulful Little Christmas (Verve: B0000764-02)
This was one of the earliest all-holiday music albums produced by a jazz artist. Originally recorded and released as a vinyl by the Cadet jazz label in 1966, it remains one of the best. Fortunately, it is still readily available on CD on the internationally distributed Verve label.

‘Tis unique in that the overall feel is festive, joyous, inspiring, swinging, bluesy, and soulful – a 12-song collection of both religious and popular carols, performed by master-guitarist Kenny Burrell, backed by a full orchestra, arranged and conducted by Richard Evans.

Subdued and stately horns introduce “The Little Drummer Boy” who then turns out to be a funky little swinger, which contrasts nicely with the gentle lullaby performances of “Away in a Manger,” and “Silent Night.” The rarely heard “Mary’s Little Boy Chile” gets a Latin flavor, while my all-time holiday favorite, “God Rest Ye, Merry Gentlemen,’’ is light, rollicking, and Dickensian. My leanings for the blues are satisfied by “Merry Christmas, Baby” and “Have Yourself a Merry Little Christmas.” The remaining five tracks are equally pleasing to both ear and soul.

OCTOBER 2007

Two pairs equal four aces in jazz CDs!

A pair of never-before-heard-releases, combined with an outstanding pair of locally produced CDs, make this an aces-high, winning month that will delight jazz fans, while depleting their wallets.

Billy Taylor & Gerry Mulligan: Live at MCG (MCGJ-1025)
I’m continually amazed at how outstanding jazz performances, live or in-studio, can be recorded, then lost, misplaced, misfiled, forgotten, or just never released by the Power Elite in charge.

Such is the case for this CD recorded in concert in 1993 at the MCG (Manchester Craftmen’s Guild) in Pittsburgh. It presents two of the world’s legendary players, pianist Billy Taylor and baritone-saxman Gerry Mulligan, in an exhilarating, timeless program of pop-and-jazz-standards and originals.

The combination of just piano and baritone sax, seems, on the surface, an unlikely pairing. Yet, it will come as no surprise that these two masters pull it off easily. Both were in top form for the event: they complement, anticipate, react to each other’s innovative phrases; they musically chuckle, chortle, guffaw at each other’s musical jokes.

While every track is jazz at its best, I particularly liked the ‘40s swing sound they got on “Stompin’ At The Savoy,” their shared musical heritage and off-stage friendship on “All The Things You Are,” the sensual elegance of “Body And Soul,” and the ultra-modern takes on their individual compositions, “Line For Lyons,” and “Capricious.”

Overall, it’s breezy, easy listener-friendly jazz, a good introduction for those not familiar with the form.

Charles Mingus Sextet with Eric Dolphy: Cornell 1964 (Blue Note Records-0946-3-92210-2-8)
Had not Sue Graham Mingus, wife of the legendary bassist, discovered this tape, which apparently no one knew existed, a dynamic and historic performance would have been lost forever.

The Cornell Concert was performed almost a month before the Mingus Town Hall Concert, which, until now, has been regarded as the debut and pinnacle for this outstanding sextet, featuring Mingus on bass, Dolphy on alto, flute, and bass-clarinet, shortly before his untimely and unexpected death, along with trumpeter Johnny Coles, tenorman Clifford Jordan, pianist Jaki Byard, and drummer Dannie Richmond.

This two-disc set presents each of these players at their best. The selections include compositions by Ellington, Strayhorn, Waller, and Mingus. Most are exceptionally long and allow for superb soloing by every member of the group. The Mingus classics, “Fables Of Fauvus” and “Meditations” are around a half-hour each. Even such familiar tunes as “Take The ‘A’ Train” and “Jitterbug Waltz” get longer-than-usual explorations and expositions: great for the in-home listeners, not-so-great for radio jazz programmers who have limited air-time and an over-abundance of great jazz they want to share.

As opposed to the Mulligan-Evans set above, this CD, while excellent in all areas, is not the CD to introduce jazz to those not familiar with the music.

Gene Walker: Friends (Xtra Large Records)
The CD title says it all: the Wailin’ Walker and his sensational sax, accompanied by many of his musical friends, in a program paying homage to another friend, the late-great Etta Jones.

For this swingin’ set, Walker used the finest rhythm sections from Columbus and Cincinnati, along with special guests, guitarist Wilbert Longmire and vocalists Jeanette Williams-Brewer, Gloria Cole-man, Bill Caffie, and one of my long-time favorites, Everette Greene, a singer out of the Mr. B School of Jazz Singing, a vocalist who makes most other male singers sound like sopranos.

Among the many outstanding performances are “Mike Coleman’s Blues,” a tribute to “Hiz Honor,” the first African-American Mayor of Columbus; the easy-swingin’ “One For Naldo” dedicated to Naldo Monaco who keeps the Walker-Sax in superb playing condition; “Everybody’s Somebody’s Fool” featuring superbly sensual vocalizing by Jeanette Williams-Brewer; and “Don’t Go To Strangers” rendered romantically by Everette Green.

Bobby Floyd: Notes To and From My Friends (Chicken Coup Records: CCP-7008)
As Jon Hendricks often said, “You want to know the roots of jazz? Go to church!” And it was in church, where his Mother played, that the young 5-or-6-year-old Bobby Floyd started his musical career. And that soulful, bluesy, rocking, rejoicing church-feel, subliminally and/or overtly, is heard in all of these selections, which either honor or feature his many friends, mentors, and B-3 idols.

Bobby opens with a rompin’, stompin’ good-time sound on his original, “Get On Board,” backed by his basic sidemen, drummer Reggie Jackson and guitarist Derek DiCenzo.

This good groove continues throughout, with a testifying, churchy rendition of Hank Marr’s “Your Basic Gospel Song,” amplified by the sanctimonious sax of “friend-guest” Bryan Oleshki, followed by the incomparable Jeanette Williams-Brewer who gives a surprising, up-tempo, bossa-version of “The Nearness Of You.” Quite a departure from the way the song is usually sung, but it works!‘

Add another Floyd-friend, Gene Walker and his big-toned, sensual sax for a bloozy, easy-strollin’ rendition of Don Patterson’s “Hip Cake Walk,” and you’re hearin’ one of the best tracks on the set.

If swingin’, timeless, feel-good jazz lights your fires, gets your fingers snappin’, and toes tappin’, this is the CD for you.

SEPTEMBER 2007

Say the word “bassoon” to anyone who’s not familiar with classical music. Chances are they won’t have a clue as to its meaning, even though they’ve probably heard and enjoyed this unusual-looking-and-sounding musical instrument more times than they’ve realized.

Hopefully, this column will help bring some well-deserved fame, popularity, and public awareness to this often-overlooked musical heavyweight and the talented musicians who play it.

As a concert musical instrument, the bassoon evolved into its present form in the mid-1800s and has been used ever since. Most symphony orchestras (the Columbus Symphony Orchestra included) usually utilize two bassoons and often a third playing contrabassoon.

Due to its double reed, difficult fingering, and unusual shape, the bassoon is probably the most difficult woodwind instrument to learn to play. On the plus side, it has a warm, dark, sometimes-ominous, reedy/woody tone as well as a lively, vibrant singing sound, both comparable to the male baritone voice. This versatility of tonal character and range allow it to perform a melodic as well as a bass role.

Melodically and popularly, know it or not, you’ve already enjoyed the bassoon – in the lyrical, seductive solos in Ravel’s Bolero (used effectively by Dudley Moore in his romantic tryst with Bo Derek in 10), the deep, humorous musical “voice” of the grandfather in Peter and The Wolf, and in the overture to The Marriage of Figaro to give a few examples.

Other ventures by the bassoon in its attempts to gain awareness and popularity in our overall culture include its prominence as the center of interest in the 1870 Degas painting, The Orchestra at the Opera House; its occasional use in Paul Whiteman’s Jazz Orchestra of the ‘20s; the eclectic experimentations of Yuseff Lateef and Chick Corea in the ‘60s; Frank Zappa’s endorsement as one of his all-time favorite instruments; a prominent part in Smokey Robinson’s “The Tears Of a Clown”; and Michael Gulland’s bassooning in the progressive rock band Gryphon. Saxmen Illinois Jacquet and Frank Tiberi now double on it occasionally. These forays notwithstanding, the bassoon still has an uphill battle in eventually getting a cover feature on Rolling Stone.

Hopefully, this new CD will help it achieve this treasured musical goal.

Daniel Smith: The Swingin’ Bassoon (Zah Zah: ZZCD-9824)
Daniel Smith is the world’s most-recorded bassoonist, a multiple musical award winner in a variety of categories, the only bassoonist performing and recording in both the classical and jazz fields. Classical musicians and fans regard him as the “Galway and Rampal of the Bassoon,” while the jazzmeisters refer to him as the “Gerry Mulligan of the instrument.”

On this, his third jazz recording, he demonstrates, swingingly, melodically, and dynamically just how well the instrument is suited to jazz. This is a major achievement in that, unlike most other jazz players who had idols or influences to lead, guide, and inspire their playing (ie: trumpeters had Louis, Miles, Chet, Maynard, etc., saxmen quote Bird, Prez, Getz, Coltrane, et al., pianists listened to Fats, Monk, Errol, Bud, Bru, you get the idea), Smith had no one to help him develop. He had to go it alone, which he did most successfully as you’ll hear on this remarkable CD.

Leading a quartet, Smith and compadres work their way through blues, ballads, bop, swing, Latin, pop, noir, to name a few of the styles they explore dynamically, creatively, uniquely.

There are highlights galore. On “Scrapple from the Apple,” Smith re-creates, note for note, Charlie Parker’s up-tempo tour-de-force solo; he captures the mood and swing of Dorsey’s Theme, “I’m Getting Sentimental Over You,” gets a big band feel on the Basie Orchestra classic “Hay Burner,” exudes the good humor and whimsy of Monk’s “Well You Needn’t,” evokes the noir-beauty and melancholy of Ellington’s “Mood Indigo,” and captures calypso on Sonny Rollins’ “St. Thomas,” to name a few.

This is truly the CD for the jazzfan who thinks he’s heard everything!!

Charles Mingus: The Clown (Rhino: R275590)
Prior to this album, released on vinyl in 1957, I had never heard of Charles Mingus. My loss. Fortunately, I was a regular listener to Jean Shepherd’s radio show in NYC, and it was he who hipped me to this incredible musician and creative artist.

Shepherd (who wrote and was the narrator for the enormously popular Holiday Movie A Christmas Story, in which Ralphie gets his Red Ryder B-B gun), ad-libs a narration to the Mingus title composition, “The Clown.” ‘Twas my first hearing of the spoken word improvised to music, a form that evolved into “Word Jazz,” which Ken Nordine performs so magnificently.

Mingus heads up a powerful quintet which includes Shafti Hadi (Curtis Porter), Jimmy Knepper, Wade Legge, and Danny Richmond, who give exceptional early performances of such Mingus classics as “Haitian Fight Song,” “Blue Cee,” and “Reincarnation of a Lovebird,” the totality of the vinyl album when originally released.

The CD version includes two more Mingus classics, “Passions of a Woman Loved” and “Tonite at Noon.” These tracks were recorded at the same session, but did not appear on the vinyl.

JULY 2007

While the date and tune are lost in the twists and turns of my vastly overcluttered memory banks, I do remember that I first heard the sensational trumpet of Maynard Ferguson back in the early ‘50s when he was a member of the Stan Kenton Orchestra. As a one-time trumpet player, I wasn’t remotely aware that such high notes could be hit on the horn as Maynard hit so easily. Thus, I coined the word “Maynardsphere” to describe the upper-upper register into which the MF trumpet soared so easily. Since then, a plethora of players have used these notes creatively and successfully, all thanks to Ferguson, the first to fly there. He continued to generate this excitement throughout his career in a variety of settings. He was equally effective in a big band or small group (quartet, quintet). For the last few years, he led a small big band – or a big small band, a 12-piece group he christened “Big Bop Nouveau.” Their latest, and final CD is ...

The One and Only Maynard Ferguson (www.maynardferguson.com)
This powerhouse CD was recorded in late July 2006. Surprisingly, unexpectedly, sadly, Maynard died less than a month later on August 23. He didn’t know this was going to be his last recording; he just knew it would be one of his best. And that it is. In the course of the nine tracks, he and the group work their way dynamically through a collection of five updates on some of his old favorites and four originals, one by his son-in-law, pianist Christian Jacob, titled “Lost Horizons,” a showcase for piano and trumpet. Among the many highlights are the thoroughly modern arrangements on such well-known standards as “Without A Song,” which swings like mad, “Besame Mucho,” boasting a super-funky horn feature and a searing trumpet duet by Maynard and Wayne Bergeron, and “Ain’t No Sunshine When She’s Gone,” with a groove that combines some Art Blakey with Gil Evans, and a shout chorus with Maynard soaring over the top. The uptempo “Dr. Fox Ph.D.” celebrates the honorary doctorate given him by Rowan University, which also created the “Maynard Ferguson Institute of Jazz.” The title also refers to MF’s nickname, “The Fox,” which was given to him early in his career as a member of the Birdland Dream Band. While most listeners usually associate him with his high notes, they frequently forget that “da Fox can play pretty too,” as demonstrated by his mellow flugelhorn on a new composition, “Vita Bella,” and his intimate trumpet work on “Darn That Dream.” Among the more-than-60 albums recorded during his life, this last one ranks in the upper echelon. It can be purchased only through his Web site, listed above.

Eileen Howard: Street of Dreams (www.singouteileen.com)
Central Ohio theatregoers know Eileen Howard as an exciting and imaginative actress; Central Ohio jazz aficionados know her as one of the most creative and swingin’ singers ever to vocalize on the local jazz scene. This, her second CD, showcases the marvelous Howard voice and her superb interpretation and meaningful presentation of lyrics. It also demonstrates her songwriting skills, with two of the 13 songs being Eileen originals. Backed by such heavyweight jazzmen as Richard Lopez on piano, Roger Hines on bass, Matt Wagner on drums, and Michael Cox on sax and clarinet, Eileen brings a fresh approach to such familiar, but not overdone songs as the title track, on which she ups the tempo considerably and effectively compared to the original. She handles easily the tricky rhythms of Dizzy Gillespie’s “A Night In Tunisia” and swings with a subtle Latin beat on the rarely recorded Chick Corea composition, “Open Your Eyes You Can Fly.” Midway through the set, she shows “You can’t lose when you sing the blues” and gives a performance of “Everybody’s Cryin’ Mercy” that rivals that of the song’s composer, Mose Allison. Other highlights include Dave Wheeler’s relaxed arrangement of “A Kiss to Build a Dream On,” which Eileen performs with leisurely elegance, while her intimately romantic rendition of “The Nearness of You” gets some extra-sensual fills and accents from tenorman Michael Cox.

Kenny Burrell: 75th Birthday Bash, Live! (Blue Note Records: 0946-3-74906-2-4)
Kenny Burrell’s mellow, bluesy tone and loose, easygoing solo style are equally at home in a roaring jazz ensemble or an intimate group. No wonder he was Duke Ellington’s favorite guitarist. On this, his 99th album, recorded live on his 75th birthday, he performs in a variety of settings. The first six tracks feature the impressive 18-piece Gerald Wilson Jazz Orchestra, while later selections find him leading a sextet, quartet, and trio. Talk about versatility! He even sings on two tracks. The program covers most of the jazz bases – blues, ballads, bop, and bossa, to name a few – with compositions from such jazz Hall-of-Famers as Ellington, Davis, Shorter, Gillespie, Strayhorn and more. Guest artists include Joey DeFrancesco burnin’ on the B-3, Hubert Laws tootin’ his flute, and Herman Riley swingin’ on sax. This is timeless jazz at its best – a CD you’ll enjoy for years to come!

JUNE 2007

Most hardcore audiophiles believe that vinyl recordings sound “warmer” than CD recordings. They may be right, although I’ve never been able to hear the difference, assuming one exists.

On the other hand, everyone agrees it’s next to impossible to play a vinyl recording in a car while driving. Thus, in getting CD versions of some of my favorite older jazz vinyls for car-play recently, I discovered an advantage that many CDs have over their vinyl counterparts, which is: one often gets more music on the CD version of an album than appeared on the original vinyl.

The CD frequently includes performances that, for a number of reasons (usually time and recording space), were not included on the original vinyl release. These “extras” may be longer unedited versions of the tunes as originally recorded, additional songs, and/or some alternate takes on various songs. In some cases, two separate, individual vinyl albums may appear on one CD release. Such is the case with...

Two Classic Albums From Mel Tormé: at the Red Hill and Live at the Maisonette (Rhino-CCM0074-2)
One of my all-time favorite jazz albums is Mel Tormé: Live at the Maisonette. Amazingly, this incredible set was never reproduced as an individual CD. However, thanks to the work, research, and facilities of Mike Depew at Ace In The Hole in The Kenny Center, he came up with this CD that features not only Maisonette, but as an added bonus, the equally-unavailable-as-a-single-CD album Mel Tormé at the Red Hill. This single CD combines both albums in their entirety, yet costs no more than a single CD. Talk about a bargain!!

Even more pleasing was Rhino’s creative concept in combining these two albums on one CD, which presents Mel at his best – in live performance – in two different decades and settings: At the Red Hill in 1962 with a trio, and Maisonette in 1974 with a dynamic 15-piece jazz orchestra led by powerhouse trumpeter Al Porcino.

Highlights on Red Hill include an uplifting “Shakin’ the Blues Away,” along with 11 timeless standards, on three of which Tormé plays piano as he sings.

Maisonette is an outstanding combination of great songs, incredible vocalizing, killer arrangements and solos by the musicians, all connected and interspersed with Mel’s casual commentary – a session so “live,” there should be a cover charge just for listening.

On “Route 66,” he combines Ella, scat, and “Rag Mop,” as he “motors west, takin’ the highway that’s the best…” The band is jet-powered on this one and soars stratospherically “…all the way, from Chicago to LA.”

The showstopper, however, is Tormé’s tribute to the Gershwins, a 16-minute homage to the best of George and Ira, featuring 17 of their most popular songs. As Mel puts it, “…this is the medley to end all medleys…it runs ‘til Christmas Eve.” Tormé earned a Grammy nomination for his arrangement on this track, and it alone makes the album worth the money.

Jazz Themes from the Wild One: Leith Stevens (Bear Family Records: BCD-16-393-AR)
As usual, Brando stole da’ show in this, the world’s first and best biker flick from 1954. Thus, some of the other outstanding elements of the film are usually overlooked when discussing the movie, such as the humorous-but-menacing performance by Lee Marvin, and the outstanding West Coast jazz soundtrack composed by Leith Stevens, performed by his All-Stars group, which ranged from 8 to 15 players. Stevens corralled the best of the West for his musical score: Shelly Manne, Russ Freeman, Bud Shank, Maynard Ferguson, Shorty Rogers, Bob Cooper, and Jimmy Guiffre, to name a few.

The original soundtrack album, released by Decca shortly after the film debuted, was a 10-inch vinyl and included 8 tracks from the movie score. This fairly recent German-produced CD version adds four more tracks from the movie, along with four variations, recorded later by Shorty Rogers and His Giants, an 18-piece “Who’s Who” of West Coast Jazz Heavyweights, including Bill Holman, Joe Mondragon, Bill Perkins, and many of those from the Stevens’ group.

In addition, the CD includes a 50-page booklet, which synopsizes the movie, gives cast and credits, assorted promotional materials and photos galore from the original film.

As for the music, it’s West Coast jazz at its best. Not only does it synergize the action on-screen, but each track stands excitingly on its own musically, evoking, but not needing the visual accompaniment.

If you’ve not yet seen the movie, rent it at your earliest. After that, relive it whenever, with this dynamic soundtrack.

This Is My Beloved: Arthur Prysock (Verve-827-012-2)
The “True Romantics” in our readership will love this CD, a dramatic recitation by Arthur Prysock, originally released in the late ‘60s. While nothing has been added to the original vinyl release, the content is timeless, dramatic, heartfelt, and worth hearing.

Prysock, a jazz baritone out of the “Billy Eckstein School,” uses his incredible voice to enliven this narrative free-verse poem by Walter Benton. Accompanied by a sensitive, occasionally jazz-and-blues-infused-score by Mort Garson, the album is a must for all who enjoy poetry, jazz, and the evocation of “love found and shared, love lost but remembered.”

MAY 2007

The multiple Muses of Music, Performance, and Composition generously bestowed their gifts upon the newly born Grace Kelly of Brookline, Mass., back in 1993. Apparently, Ms. Kelly (no relation to the late actress-Princess of Monaco) wasted no time in accepting and using the gifts as soon as she was able. By age 11, Grace was already recognized nationally as an outstanding alto-saxophonist, singer and composer, had performed with some of the foremost jazz artists of the day, and recorded her first nationally released CD.

Since then, she has performed at Carnegie Hall, Tanglewood and numerous other East Coast jazz clubs. In addition, she was a winner in the International Chamber Music Ensemble Competition, won Down Beat magazine’s 2006 Student Music Awards as a Jazz Soloist, Composer, Pop/Rock/Blues Soloist, and “Outstanding” Jazz Vocalist. In her spare time, she created two more nationally released albums, Times Too in 2005, and her latest, offered (at age 14) last month:

Grace Kelly: Every Road I Walked (PAZZ 14-6)
Kelly’s talents as a saxophonist and composer are evident from the first notes of the briskly moving title track, a sophisticated original composition written for trumpet and saxophone.

She follows with a thoroughly modern take on “I’ll Remember April,” featuring a lively Latin beat and an intriguing build-up of instruments as the song progresses.

On “East of the Sun (West of the Moon),” she unveils her vocalizing. Nothing about her vocal sound indicates her youth. Maturity, confidence, an understanding of the lyrics, and a great jazz sensibility are hallmarks of this impressive performance, which also features another formidable sax-solo on the bridge.

She’s equally impressive in all areas throughout the album, which features four more of her originals along with works by such familiar composers as Monk, The Gershwins, Harold Arlen, and Lennon-McCartney, to name a few.

Grace Kelly is a name to remember, a triple threat jazz performer we can enjoy as she continues to grow, both in age and creativity.

Mark Flugge: In Love, In Blue (markflugge.com)
Many musicians tend to stay in similar, familiar settings for all their recordings. Thus, it’s no surprise that most of their CDs sound essentially the same. The songs change, but that’s about it. This philosopy, while valid, safe, and popular with their fans, is just one approach to producing a CD; an approach so far avoided by pianist Mark Flugge, whose attitude seems to be “…and now, for something completely different.”

His first CD as a leader, February’s Promise, found him in a quintet setting with trumpet and sax support, in a program of his straight-ahead jazz compositions. The format, style, and overall sound changed for his second recording, Familiarity, in which he was accompanied only by guitar and bass.

This variety of setting, sound, and approach continues on In Love, In Blue, a diverse selection of Great American Songbook standards, including Ellington’s “Prelude to a Kiss,” in which he evokes the romance, the excitement the song title suggests. “Misty” is even more languidly longing than the Garner original, while on Buddy Johnson’s “Since I Fell for You,” he instrumentally retains the bloozy melancholy of “love found, love lost” heard in the original vocal version by Billy Eckstine. Two of Mark’s originals are also included in the program.

Classically trained, the Flugge fingers fly with ease and imagination through a variety of piano jazz styles throughout the set, including the liveliness of stride, a bit of bop, more than a dash of blues, introspection, reflection, romance, all of which appear in his finale, a unique rendition of Gershwin‘s “Rhapsody In Blue.”

John Fedchock New York Big Band: Up & Running (Reservoir Music: RSR-CD-188)
Trombonist-arranger-composer John Fedchock has been popular with Central Ohio jazz audiences since the late ‘70s when he was earning his degree in Music Education and Jazz Studies at Ohio State University and a member of the award-winning OSU Jazz Ensemble.

He is a graduate cum laude of The Woody Herman Band (Woody called him “My right hand man” along with other accolades) and a 2003 Grammy Nominee for Best Instrumental Arrangement. While he’s currently living and working on the East Coast as the leader of the internationally acclaimed New York Big Band, he still returns to Central Ohio for occasional gigs and sit-ins with local groups.

Up & Running is his fourth CD for the Reservoir Music label. Like its predecessors, his 17-piece band swings hard, first note to last. The ensemble work is tight and powerful, yet his arrangements leave ample room for plenty of top o’ the line soloing by such heavyweights as saxmen Rich Perry, Mark Vinci, and Gary Smulyan, trumpeters Scott Wehdholt and Barry Reis and pianist Allen Farnham, to name a few.
Needless to say, John-the-leader allows himself some space to stretch out and display his great technique, highlighted by his lush, warm tone; swift, smooth slide manipulation; and elegant, sophisticated phrasing.

Four Fedchock originals are intermixed with six jazz standards by such Hall-of-Fame jazzmen as John Coltrane, J.J. Johnson, Sonny Rollins, and Elvin Jones. Big Band for the 21st Century don’t come any better than this.

APRIL 2007

Surprise – the unusual– the unexpected – the unique: these are some of the fringe elements of jazz that I enjoy immensely. Hearing a completely new approach to a song that I’ve heard hundreds of times before; hearing an instrument usually not associated with jazz swingin’ like mad and mixing perfectly with the more traditional horns; hearing an outstanding performer whose origins and interests seem, on the surface, to be incompatible with a liking for or a talent for jazz performance; these, and many more instances are just a few examples of the inherent-but-unpredictable jazz elements mentioned in the opening sentence. Here are some current CDs that display some of these qualities.

Julian Yeo: Old New Borrowed Blue (www.julianyeo.com)
Julian Yeo is a young Asian from Australia, with a Ph.D. in accounting. He is currently a professor at Columbia University where his research focuses on the relationships between accounting information and stock prices. With a background and specialty like that, he’s certainly not the guy I’d expect to hear as a retro-jazz-vocalist with a unique “new-old” approach often described by New York music critics as “Woody Allen-ish.” He’s also one-of-a-kind in that he’s dynamically 21st-century savvy, while at the same time authentically reminiscent of those megaphoned, straw-hatted singers of the ‘20s and ‘30s, à la Vallee, Jolson, Astaire, et al.

Backed by a solid piano trio, Yeo works his charming, delightful, musical way through a collection of classics by such Tin Pan Alley composers as Irving Berlin, Cole Porter, Rodgers & Hart, Mercer & Arlen, Goodman & Webb, and Duke Ellington to name a few.

The whole set is happy, hip, upbeat, and refreshing. My favorite tracks include his sly, wry, tongue-in-cheek rendition of “Let’s Misbehave,” the passionate intimacy he exudes on “Fever,” and the leisurely elegance he brings to “Stompin’ at the Savoy.”

Russell Gunn: Plays Miles (High Note: HCD 7161)
Trumpeter Russell Gunn performs an astonishing and accurate homage to Miles Davis on this unusual set. ‘Tis surprising and unique in that Gunn doesn’t SOUND like Miles (there’s not a Harmon mute used on any track), but he still captures the spirit, concepts, rhythmic feel, placement of notes, and essence of the late, great Davis, using only an open horn with its bright, clear intonation throughout. Another surprise is the absence of a saxophone as a complementary front-line horn. One of the characteristics in describing the music of Miles Davis is the mention of the many great saxmen who performed in his bands: legends such as John Coltrane, Cannonball Adderley, Wayne Shorter, to name just three. For this presentation, Gunn is backed by the Elektrik Butterfly Band, composed of keyboards, bass, drums, and percussion, yet they channel the sound and approach of such legendary Davis sidemen as Wynton Kelly, Ron Carter, and Tony Williams. All of the selections are standouts, although I had a particular fondness for the tightly waltzing “All Blues,” the funky-noir of “Blue in Green,” the Mid-East groove of “Nardis,” and the relaxed strollin’ of “New New Blues.” If you liked Miles, you’ll appreciate this unusual, but accurate session.

Hendrik Meurkens: New York Samba Jazz Quintet (ZOHO: ZM-200701)
A clarinetist who doubles on sax and flute surprises me not, nor does a drummer who’s equally adept on congas or bongos. However, it does surprise me when I hear a musician who is equally adept and exciting on two completely diverse instruments. Such a musician is Hendrik Meurkens, who is outstanding on both vibes and harmonica, each of which require a completely different physical approach to playing, as well as written music that varies as drastically. Nonetheless, Meurkens has mastered the physical and mental challenges of both instruments quite well, and displays his formidable skills as a vibist and “harmonicat” equally on this lively collection of exhilarating, contemporary Brazilian jazz, recorded in performance at Cecil’s Jazz Club, in West Orange, New Jersey. This was my first exposure to Latin jazz performed on harmonica; I was surprised and delighted at how smoothly it swung, what excitement and dynamics the instrument’s clear, clean sound added to the marvelous collection of bossas, sambas, choros, and boleros. Five of the tunes were familiar, written by such well-known composers as Jobim, Donato, Vernon & Gershwin; the other four were originals by Meurkens. Meurkens is backed by Jed Levy on tenor sax and flute, Helio Alves on piano, Gustavo Amarante on bass, and Adriano Santos on drums, all had ample time in the solo spotlight, which they used imaginatively, expressively, and satisfyingly. As with all well-produced albums, variety abounds – in tempos, instrumentation, concept, performance, and mood. A lively “Flor De Lis” blends superbly with the exotically sensual “Prague In March,” which features a gorgeous combination of harmonica and tenor. This contrasts excitingly with the brisk chorino, “Mimosa,” showcasing the good vibes produced by Meurkens on that instrument. Harmonica and flute, another unusual instrumentation, synergize splendidly on the spritely choro, “Menina na Janela.”
Latin jazz aficionados should definitely add this to their collection.

MARCH 2007

“Good Time Jazz” is one of the mainstays in the many, diverse, unpredictable sounds of jazz. It may not be musically innovative, historically significant, or groundbreaking, but it is a joy to hear – a timeless sound that lifts the spirits, brightens the mood, puts a smile on the face, a spring in the step. And, most of the time, you can dance to it. Such is the case for the happy, swingin’ new release by Harry Connick, Jr.

Harry Connick, Jr.: Chanson Du Vieux Carré (Marsalis Music /Rounder: 749460-0002)
Connick is, in the world of sho-biz talent, a multiple threat. He’s a sensational singer, a powerful pianist, an accomplished actor, and, as this set shows, he’s also an awesome arranger, confident conductor, outstanding orchestrator, and, on three of the 12 tracks, a classy composer.

Leading a 17-piece big band, he takes a number of the most popular, well-known, two-beat Dixieland standards, adds more than a splash of swing, a bit of street-beat, funk, and bop, to come up with a sound that’s completely original, quite unlike anything heard before. And, surprisingly, although there are three vocals on the set, Harry doesn’t sing a note, first track to last.

Things start off with a boisterous big band version of Louis Armstrong’s “Someday You’ll Be Sorry,” showcasing the Connick piano, the Leroy Jones trumpet, and Craig Klein trombone. This one romps, non-stop, first note to last – Satchmo woulda’ loved it!!

He lets the good times roll as he and the band pound through “Panama,” goes, Latin-lite for one of his originals, “Ash Wednesday,” and moody-melancholy for his title track.

He maintains this variety throughout – happily romping his way through such “hot jazz” classics as “Bourbon Street Parade,” “Fidgety Feet,” and “That’s A Plenty,” while being a bit more leisurely on “Petit Fleur,” “New Orleans,” “Mardis Gras In New Orleans” and more.

It’s a most enjoyable session, sure to please jazz listeners of all tastes. As an added bonus, proceeds from the CD will go to provide housing for displaced musicians and other families in New Orleans. Great Jazz for a Great Cause. It don’t get much better than that!

Brian Bromberg: Downright Upright (Artistry Music: ART 7012)
Acoustic bass is a tough instrument to play. It requires formidable finger strength and dexterity, a solid sense of music, knowing that in most cases, it’s a supporting instrument that complements, synergizes, keeps time, and supports the front line players, who usually get the solos, notoriety, and audience acclaim. Plus, one’s gotta love it to play it, considering its bulk and the inconvenience and physical strength it takes to lug it from gig to gig.

Bassist Brian Bromberg takes all of these factors in stride, and has emerged as one of the premier players of the instrument. In addition to his immense musical prowess, he uses a bass that is over 300 years old. The mind boggles when conjuring the multitude of fingers and musical sounds produced by this majestic instrument over the years.

This is a CD that should appeal to jazz listeners of all tastes, along with professional bass players, teachers and students of the instrument, as Bromberg works his way through a collection of timeless jazz standards and originals, aided and abetted by such heavyweight guest artists as trumpeter Rick Braun, saxmen Kirk Whalum and Boney James, keyboardists George Duke and Jeff Lorber, and guitarist Lee Ritenour, to name a few.

Herbie Hancock’s sensually exotic “Cantaloupe Island” opens the set, followed by a nicely contrasting, soulful rendition of the Joe Zawinul classic, “Mercy, Mercy, Mercy.” This ear-pleasing variety continues throughout the entire ten-piece set, which includes such jazz favorites as Les McCann’s funky “Cold Duck Time,” and five Bromberg originals, all of which provide ample solos by the guest artists, along with exciting, innovative, melodic solos by the leader himself.

Kerry Strayer Quartet: Play it Where it Lays (Kerry Strayer Pdns: CD0601) www.KerryStrayer.com
This is straight-ahead jazz for the 21st century at its best. Headlined by leader Strayer on the baritone sax (“da Ol’ Stovepipe”), it also features one of the last recorded performances by Hall of Fame piano man Frank Mantooth, who shines on the easy-strollin’ opening track, “3265 Central,” which features an intriguing Lennie Tristano line.

While the credits list “Quartet,” the session is, for the most part, a Quintet, with many of the tracks showcasing guest-tenor man Gary Foster, who was a teacher/mentor to Strayer in his student-days at the Missouri-Kansas City Conservatory of Music.

A variety of sounds, tempos, and styles keep this interesting and enjoyable through all ten tracks. I particularly liked Strayer’s boppish original, “Jammin’ At The Kirk,” based on the chord changes of “Pennies From Heaven,” the easy-walkin’ re-visit to Johnny Hodges’ “Blues O’Mighty,” the soulful sound of Hank Mobley’s “Funk In A Deep Freeze,” the melancholy romance of Ellington’s “All Too Soon,“ and the briskly swingin’ update on Jimmy Knepper’s “Bertha The Dragoness,” a delightful variation on “Sweet Georgia Brown.”

FEBRUARY 2007

February, while neither the ending of winter nor the onset of spring, still has much to distinguish it from the other months. In addition to being the shortest month of the year, it’s the only one that gets an extra day added every four years.

It’s also set apart by two enormously popular holidays: President’s Day, on which many schools and offices are closed, and Valentine’s Day, on which True Love and Romance reign supreme – augmented by chocolate delights, flowers, greeting cards, baubles, bangles and beads, along with shiny-sparkly gifts galore, lacy red hearts, and one of the world’s great love songs, “My Funny Valentine.”

The song, written by Rodgers and Hart for their 1937 Broadway Musical “Babes in Arms,” was first sung by Mitzi Green. The song was an instant hit and gained even more popularity when it was sung by Judy Garland in the 1939 movie version.

Over the years, it’s been performed superbly by most of the greats: Frank, Bing, and Ella, Mel and Tony, Barbra and Dolly, Elvis Costello, Chaka Khan, Rufus Wainwright, and even Matt Damon in the 1999 film “The Talented Mr. Ripley.” Talk about timeless!

But, for most listeners, the definitive version belongs to jazz trumpeter/vocalist Chet Baker. He first recorded the tune as an instrumental single in 1952 when he was the trumpeter in Gerry Mulligan’s famous pianoless quartet. His haunting, glassy, and vaguely sinister tone stole the show and helped to establish the emerging sound of “cool.”

Two years later, Baker, now fronting his own quartet, released the album Chet Baker Sings on the Pacific Jazz label. His vocal styling, similar to the ethereal, lonely, romantic-but-vulnerable sound evoked by his trumpet, was a major departure from the romantic renditions by other male singers, past and present. Women loved not only his voice, but also his boyish, brooding, sensitive good looks. A frequent female response was that Baker reminded them of Brando or Dean, had Marlon or James been able to sing.

It was the hit of the set and became his “signature song,” which he included in many albums and live appearances thereafter. Four of his best renditions can be heard on the following CDs:

Chet Baker: Deep in a Dream (Pacific Jazz: 7243-5-35937-2-8)

Billed accurately as “The Ultimate Chet Baker Collection,” this CD features his two original versions of the tune, the instrumental with Mulligan, and his subsequent vocal. Both, while short, at under 3 minutes each, are as moving and sensually romantic today as when first recorded.

The other selections cover the years through 1965 and feature Chet’s trumpet and vocals equally. Two previously unissued tracks are also included. ‘Tis a superb overview of Baker at his best.

Chet Baker in Tokyo (Evidence: ECD-22158-2)

This marvelous two-disc set was recorded in 1987, less than a year before his death. Baker was in top form both instrumentally and vocally. His version of “Valentine” runs nearly 14 minutes and is a masterpiece in both areas. If I had to pick my favorite version of the song by anyone, anytime, this one would top the list.

Everything else on the set is equally well-done. His nearly 8-minute version of Elvis Costello’s “Almost Blue” is another ballad standout, proving once again, that as a singer and/or trumpeter his sound and style were one-of-a-kind.

On the up-tempo instrumental numbers, Baker is crisp, clean, bright, and lyrical, with all selections bearing Chet’s easily identifiable sound, approach, and melodic organization. While never regarded as a great technician among trumpeters, his performances here are top-o’-the-line and should cause numerous listeners to re-examine the Baker trumpet chops. He’s dazzling on “Seven Steps To Heaven” and West-coast breezy on “For Minors Only,” to name just two of the many superb selections included in this two-hour concert.

Jazz For Lovers: The Very Thought of You (Legacy/Columbia: CK-66954)

If there’s a romantic interlude, liason, special time with a special someone on your Valentine’s Day horizon, be sure to include this all-star anthology CD in your plans. It features 10 of the mellowest love songs ever written, performed by a veritable “Who’s Who in Jazz.”

For example, Chet Baker re-teams with Gerry Mulligan in an octet setting for nearly nine minutes of instrumental “Funny Valentine” magic. Recorded in concert at Carnegie Hall in 1974, the performance also features memorable ensemble and solo work by Bob James, Ron Carter, Harvey Mason, John Scofield, Dave Samuels and Ed Byrne.

I don’t know about you, but I still get lost in love whenever I hear Erroll Garner’s “Misty,” regardless of the Clint Eastwood film. Garner, who wrote the tune, is backed by a full orchestra, and his unique piano style evokes every iota of intimacy the memorable melody provides.

The sensual sax of Stan Getz whispers, teases and reminds us of love discovered as he purrs his way through “I’ve Grown Accustomed to Her Face.” Trombonist Bob Brookmeyer, pianist Herbie Hancock, vibist Gary Burton, bassist Ron Carter, and drummer Elvin Jones add their talents in this guaranteed-to-fog-your-lenses, steam-your-windows performance.

Paul Desmond, Thelonious Monk, Miles Davis and more contribute to this “I’m In The Mood For Love” slo-dancin’, romancin’ collection.

JANUARY 2007

“Ring out the old, swing in the new!” That’s the 2007 theme, approach, and essence of two new recently released CDs by two of the best-known names in Central Ohio jazz: The Columbus Jazz Orchestra and singer Kelly Delaveris.

The Columbus Jazz Orchestra The Colors of Jazz (jazzartsgroup.org)

This is the debut CD for the Columbus Jazz Orchestra under the artistic direction of trumpeter Byron Stripling. And what an exciting debut it is, highlighting the power and dynamics of a roaring big band at its best while showcasing the individual talents of its individual members, along with the incredible diversity-variety of sounds, styles, and approaches the Orchestra commands. ‘Tis a complete overview of things past, present, and to come by this artistic treasure of Columbus.

The set opens with a joyous, foot-tappin’ romp, celebrating “Sweet Georgia Brown,” sung exuberantly by leader Stripling, who also adds his formidable trumpet chops to the mix. This leads easily into a Latin-lite version of the Gershwin’s “‘S’wonderful,” featuring the talents of alto-flutist, Kris Keith and flugelhornist, Jim Powell.

“I Found A New Baby” gets a drummin’ “Sing Sing Sing” flavor from Bob Breithaupt, while “Amazing Grace” is infused with the blues, courtesy Bobby Floyd’s B-3 and the soulful tenor of Michael Cox. Wayne Shorter’s classic, “Infant Eyes” waltzes elegantly and sets the mood for the Vaughn Weister arrangement of the Ellington-Strayhorn ballad “Something To Live For,” evoked soulfully by vocalist Dwight Lenox.

A bit of swing, a smidgeon of soul, and a nod to New Orleans, precede the title track, “The Colors Of Jazz,” a dynamic three-movement suite, commissioned and written especially for the CJO by the renowned jazz composer-arranger John Clayton. Nearly 15-minutes long, it features outstanding ensemble work by the entire Orchestra and powerhouse soloing by Stripling, Floyd, Cox and Pete Mills.

You’ll definitely start ’07 with a swing in your step if you add this one to your CD collection early on.

Kelly Delaveris: My Gift (chicksingerkcd1@aol.com)

A mellower, more romantic approach to the New Year is taken by vocalist Kelly Delaveris, recently voted “Best Jazz Singer in Columbus” by a Columbus Dispatch Readers Poll.

This marvelous 18-song collection was created specifically by Kelly to benefit Cancer Research, and all proceeds from the sale of the album will go to that cause. For more information on this aspect of the CD or to make a purchase, call (614) 906-4700 or check www.achristmastocurecancer.org. Kudos to you La Belle Delaveris.

In addition to her commitment to this worthy project, listeners will enjoy great jazz, as the album is a showcase for Kelly at her best. In this 18-song, swing-easy set, she blends and smoothly intermixes her two favorite styles: breezy and sensual selections from The Great American Songbook and subtly smooth renditions of Brazilian Jazz in the original Portuguese, all aided-and-abetted by the very best of our local musicians.

Her son, Nikolas, along with Sean Fergus and Jim Rupp back her on the Songbook selections, which include an up-tempo “Old Devil Moon,” an introspective “Darn That Dream,” and a yearning “So Many Stars,” to name a few.

The Brazilian tunes, by such legendary composers as Luis Bonfa and Antonio Carlos Jobim, include solid instrumentation by Brett Allen, Chris Berg, Danny Agular, and Joe Nelson.

Put ‘em all together, and they spell “great listening for this year – and many years to come! “

Papa John DeFrancesco: Desert Heat (Savant: SCD-2075)

If you’re lucky enough to be going to the big OSU Championship game in nearby Glendale, Arizona, on January 8, and you’re in the mood for some great jazz before and after the game, be sure to check out the local listings to see if Papa John is performing in the area.

While his son Joey (who’s performed frequently in Columbus) is better known internationally, it’s Joey’s father, Papa John, who taught him how to drive that powerhouse Hammond B-3 so dynamically, emotionally, and excitingly. Papa recently moved from Philly to Phoenix (apparently he has a thing for living in cities whose names start in “Ph” and pronounced as “F”).

In an unusual and novel instrumental twist, son Joey performs on electronic keyboards throughout, replacing Papa’s usual guitar accompaniment. This gives the whole album a drastically different sound from that of the usual B-3 combo, which is usually amplified by either guitar or sax.

The set opens with the easy-walkin’, blues-based title track and works its way through an eclectic collection of tunes that include a wide variety of moods, styles and tempos. Funk ’n’ Fusion are covered solidly by the Eddie Harris composition “Cold Duck Time” and the Jeff Lorber work “Tune 88.”

There’s a surprisingly bouncy version of the French hit “What Now My Love” which contrasts dynamically with Papa’s searingly intense rendition of the traditional “House Of The Rising Sun.”

For slow dancin’, romancin’, you’ll go a long time before you hear anything more sensually seductive than Papa’s take on “I’ll Close My Eyes.” Play this track during your next romantic interlude and all things will go your way.

DECEMBER 2006

First of all, my best wishes to you and yours for a Happy Holiday and a sensational 2007, along with my thanks for your interest, input, and response to this column and the radio show.

A bit of trivia: I recently learned that the world’s first shopping center was the Country Club Plaza opened in Kansas City in 1926. By 1929, they held their first Plaza Lighting Ceremony, a tradition that has continued ‘til now.

In 1996, baritone sax player Kerry Strayer was tapped to put together a music and entertainment program, which was heavily influenced by one of KC’s main traditions, jazz.

A marvelously festive, jazzy overview, re-creation, and documentation of the jazz elements of those programs was recently recorded and released as...

The Kerry Strayer Orchestra Christmas in Kansas City (KSP-0602)

This Happy Holiday set features Strayer’s hard-swingin’ 17-piece orchestra, vocalists Kevin Mahogany, Lisa Henry and others, along with the John Knox Presbyterian Kirk Choir, in a compilation of 15 familiar carols that will bring cheer to even the Scroogiest.

Henry is superb in her blues-drenched version of Charles Brown’s “Christmas Comes But Once A Year,” while Mahogany’s at his up-tempo best on “Sleigh Ride,” and “Santa Claus is Coming To Town.”

The Choir is mellow and reflective on “We Wish You A Merry Christmas,” while everyone cooks on “The Most Wonderful Time of the Year.”
Definitely have this one in your CD player for any and all of your holiday get-togethers.

Various Artists: Jazz Yule Love II (Mack Avenue Records: MAC-1029)

Talk about variety! This set ranges from The Chipmunks to Tchaikovsky. In between you’ll enjoy such diverse experiences as “O Holy Night,” played solo trumpet by Sean Jones, “Let It Snow,” by the Bud Shank Quartet, a rompin’ “Jingle Bells,” by Gerald Wilson’s 18-piece band, Oscar Brown Jr.’s look-ahead to “Another Year,” a bit of Bach by guitarist Oscar Castro-Neves, and a Dickensian “God Rest Ye,” by The Hot Club of Detroit to name just a few of the winners included.

Etta Jones: Christmas with Etta Jones (Muse Records: MCD 5411)

The late-great Etta Jones could sing the Yellow Pages or obits and I’d give it 5-stars-with-clusters. Her holiday CD, released in 1990 is one of my most-played, most-enjoyed albums any time of the year.

Backed by such jazz Hall-of-Famers as Houston Person and Bill Easley on tenors, Johnny Coles on trumpet, Randy Johnston on guitar, Stan Hope and Horace Ott on keyboards, Etta romps her way through such favorites as “The Christmas Song,” “Ring The Bells,” “What Are You Doing New Years Eve,” and a host of other holiday favorites.

While every track is jazzily bluesily wreathed in mistletoe and holly, her version of “Merry Christmas, Baby” is outstanding. I play it – and enjoy it – even in July.

Geoff Tyus: Happy Piano Holidays (TYU1995CD)

Should your winter travels take you to nearby Naples, Florida, be sure to check out one of Central Ohio’s most talented pianists, Geoff Tyus, currently performing at the Naples Hyatt. While you’re there, be sure to pick up a copy of his outstanding Christmas CD.

Utilizing his classical training, jazz experience, and prowess on acoustic piano, electronic keyboards and synthesizers, Geoff has created a timeless holiday treat. The 10 selections are an inspiring combination of religious and secular favorites, and include a completely new composition, “In Santa’s Workshop,” which captures the cheery spirit of Santa’s Helpers as they happily build, build, build the toys for kiddies around the world.

“Jingle Bells” and “Winter Wonderland” are swingin’ jazz trio excursions; “Greensleeves” and “Ave Maria” are outstanding examples of solo acoustic piano.
My favorite track, however, is his completely new take on “Good King Wenceslas-Deck The Halls,” in which he intertwines, plays simultaneously, and incorporates such diverse elements as jazz visits to Bourbon Street, 52nd Street, a dash of Dickens, a bit of concert bravado and much more. You gotta hear it to believe it!

If Naples isn’t on your agenda this season, this CD and