Kenny Wheeler, Norma Winstone, John Taylor with the
Maritime Jazz Orchestra - "Siren's Song"
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RealAudio Sample |
You don't have to be a hard core jazz fan to be able to understand that
without question Kenny Wheeler is one of the true improvisers in jazz
today, and he transmits that power to those around him, as he does here
in this meeting with this ensemble.
Apart from the beauty and emotional warmth provided by the voice of
Norma Winstone and the piano of John Taylor one gets to hear some gutsy
solos by some of Canada's best.
The infectious biting tenor of Mike Murley and confrere Kirk McDonald,
robust excursions of guitarist Alan Sutherland, high note perfection by
trumpeter Arnie Chycoski ("Sumother Song"), the brash haunting trombone
of Gene Smith and all the way through the seven tracks the dazzling and
superbly crafted solos by Kenny Wheeler on trumpet and flugelhorn.
Regardless of how many Wheeler recordings you have in your collection,
add this one for sure. (H.H.)
Justin Time JTR 8465-2to order
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Nancy Walker - "Invitation"
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RealAudio Sample |
Every once in a while a new voice on the piano jumps out at you and says
"hey listen to what I have to say". Such is the case here with pianist
Walker who demonstrates her ability to offer new renditions of standards
and also display some keen compositional skills as well.
Supported by bassist Kieran Overs and drummer Barry Romberg she creates
a freshness to Ornette Coleman's " The Blessing", gently and lovingly
visits Thad Jones' "A Child is Born", and treats us to a gorgeous
reading of the title track "Invitation" (Bronislaw Kaper). The
interplay between this stellar trio is a pleasure to hear, constantly
feeding off each other, and producing some surprises that make you want
to go back to check out what you may have missed first time around.
Nancy Walker has a lot to say, and it is all joyful. (H.H.)
Unity 155to order
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Barry Romberg - "Greatest Hits"
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Culled from three studio sessions in 1990, 1991 and 1992 this CD
features drummer Romberg with bassist Jim Vivian, saxophonist Perry
White (on six of the ten tracks), Geoff Young on guitar, and the
addition of Mark McCarron - guitar and Michael White - trumpet on track
ten. At times dark and almost ethereal - "Ragu" and "No Windows", Bright
and Swinging - "Tilt" and "Stratusphunk", Soulful - "Beatrice" and
arrogant/forceful - "In Pursuit", the band achieves intriguing textures
throughout. Romberg has chosen just the right composers for this unit,
Les Portelli, Sam Rivers, George Russell, Duke Ellington, Geoff Young,
and he has written two of the tunes himself. Every member struts his
stuff making this recording, regardless of how long it has been in the
archives, a delight to hear. (H.H.)
Unity 156 to order
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Bernie Senensky - "Rhapsody" |
RealAudio Sample |
This is the ninth recording with Bernie as a leader, and he has appeared
on numerous other recordings as a sideman over the years. This is a
first rate- trio session recorded in 1993 and made available in 1997 on
the excellent label out of Holland. It is interesting to note that this
recording is very much a tribute to the late Bill Evans, a great
inspiration to Bernie, and the tunes attest to his love of Evans'
treatment of compositions and in the way he has written some of the
music for this session. Drummer Bob Moses is a feisty modern-minded
artist who can deliver straight time and free jazz pulsations with equal
ease and enthusiasm, and he listens to what is happening around him all
the time. So does bassist Jim Vivian who has become very much in demand
of late for his ability to fit into any setting and work hard to achieve
excellence for the group effect. Outstanding tracks include: "Goodbye,
Mr.Evans", "Winnibop", "Together" and "Someday My Prince Will
Come". (H.H.)
Timeless CD SJP 434 to order
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Kenny Wheeler/Sonny Greenwich Quintet - "Live at the Montreal Bistro" |
This recording is taken from two different nights, four years apart. The
first two songs were from June 26th, 1993 with Don Thompson on piano,
Jim Vivian on bass and Joe LaBarbera on drums. The last four songs were
from April 16th, 1997 with the same lineup with the exception of drummer
Barry Elmes replacing Joe LaBarbera.
The compositions are a mix of standards and originals penned by Wheeler
(1), Greenwich (2) and Thompson (1). The songs are beautifully played
and show off the depth of each player. The original compositions are
incredibly strong (Kenny Wheeler being one of my favourite composers)
that the two standards weren't really needed. I would rather have heard
two more originals.
Kenny Wheeler continues to stretch as a musician and proves without a
question that he is one of the greatest trumpet/flugelhorn players in
the world. Sonny Greenwich is also a national treasure who is a very
original guitar player with a strong identity. Don Thompson, who rounds
out the composers on this disc is one of the most talented musicians I
have ever heard and continues to amaze me how he can fit seamlessly into
so many different jazz styles depending on the leader.
Finally, the rhythm section of Jim Vivian and Joe LaBarbera locked in
and sounding so comfortable with each other and the style of the
compositions that my only regret of the whole recording is that the
rhythm section did not remain constant throughout the whole disc.
Regardless, this is a great recording and I highly recommend it.
(S.B.)
Justin Time Just 114-2 to order
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Joe Puma - "Shining Hour" |
This is a recording featuring guitarist Joe Puma in a drumless trio
format reminiscent of Oscar Peterson's trio in the 1950's with Ray Brown
and Herb Ellis or Nat King Cole's trio with the same piano, bass and
guitar configuration. On this session the guitar is the leader handling
all the melodies and a lot of solo space. The trio works well together
with Red Mitchell's bass playing taking up any slack left by the missing
drummer, and pianist Hod O'Brien filling out the harmony nicely as well
as soloing strongly. The set list consists of a mix of standards and
not-so-familiar songs from the same ilk. Puma penned one of the tunes
and it fits in well amongst the other song choices.
This is a live session recorded at Orpheus Music (New York?) on June 1st
1984, and the whole set has a 4 to the bar, happy, bouncy feeling to it.
The solos are all well thought out, but if anything lack a sense of
spontaneity and overall excitement you might find in a live performance.
The recording is only 38 minutes long, which is fairly short to put out
as a CD.
This recording is a good listen and for those who like their jazz
straight ahead and familiar then this is well worth it. (S.B.)
Reservoir RSR CD 102 to order
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Levon Ichkhanian - "After Hours" |
This is the debut recording by Levon Ichkhanian and it definitely shows
him off in a positive light. Most of the recording has a real Armenian
flavour to it, which immediately sets it a part from most other jazz
recordings. The blending of Armenian music with jazz harmony is a
successful one here and not only shows off Levon's talents as a composer
but also as a guitar player. Tunes such as "Siroun", "Caterina" and
"Yerevan" are personal favourites and highlight his modern approach to
jazz.
The musicians he chose such as John Patitucci on bass, Paquito D'Rivera
on clarinet and alto saxophone, Bernie Senensky on keyboards and Doug
Riley on organ lend star quality to the session as well as serving the
music well.
My only criticism to the recording is that two of the songs didn't seem
to fit with the Armenian theme but were good tunes unto themselves.
This is a strong recording by a guitar player we will hearing from a lot
more in the future. (S.B.)
Mediterrano Productions LIP 1068-2 to order
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New York All Stars - "Count Basie Remembered" |
RealAudio Sample |
Rhythm sections always propelled the flow in Basie aggregations, and
this tribute concert to Basie, recorded live at the Amerika Haus in
Hamburg (1996), aptly reflects that recognizable ingredient. The
combined efforts of Mark Shane (piano), James Chirillo (guitar), Bob
Haggart (bass), and Joe Ascione (drums) drive such ensemble pieces as
"Down for Double", "9:20 Special", and "One O'clock Jump", with Shane,
prominently and effectively, adding his own special touches to early
Basie on "Shoe Shine Boy" and "How Long Blues". Trumpeter Randy Sandke
assumes the leadership mantle on this outing, and solos on Frank
Foster's popular "Shiny Stockings" and "9:20 Special"are especially
noteworthy. Also memorable are the 'chase' sequences of tenorman Billy
Mitchell and Brian Ogilvie with "Lester Leaps In", Ogilvie's clarinet
contribution to the Neal Heft ballad "Softly with Feeling", as well as
Dan Barrrett's muted trombone rendering behind piano/guitar on an old
Jimmy Rushing showcase, "I Want a Little Girl". This disc is not an
attempt simply to reproduce Basie originals, but rather to capture the
unforgettable musical highlights. Liner notes are excellent.
(J.S.)
Nagel-Heyer 031 to order
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Joe Ascione Octet - "My Buddy" |
RealAudio Sample |
Drummer Joe Ascione's idols were Gene Krupa and Buddy Rich. In keeping
with that concept, Ascione is the nominal leader on this 1996 studio
date dedicated to Buddy Rich. The personnel is identical to that of the
previous disc (#031), and everyone is given front-and-centre duties as
well as determining arrangements. Many of the numbers had "at one time
been recorded by Buddy Rich in a variety of instrumental configurations"
(liner notes) such as the blistering opener, "Cottontail" (early 80's),
the pulsating piano and horns on "Limehouse Blues" (1959), the ensemble
sweep of Monk's "Straight No Chaser" (1971), or a reflective uptempo
Cole/Young/Rich induced "I Want to be Happy" (1945). Billy Mitchell and
Brian Ogilvie (alto sax) trade moods on Ascione's "J & B's Bag" and
"Here's That Rainy Day" respectively, while the clarinet (Ogilve),
guitar (Chirillo), trombone (Barrette) trio floats beautifully along
with Goodman's "Soft Winds".However, it is Ascione's fire that ignites
the ensemble playing, especially on "Cottontail", Cole Porter's "Love
for Sale", and the lengthy closer, "Blues #5"; in addition, there is the
wonderful empathy shown by the drummer and trumpeter Randy Sandke to
Horace Silver's "Nica's Dream". This is an excellent "big band sound"
for fans searching for a medium too long neglected. (J.S.)
Nagel-Heyer 036 to order
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Bob Wilber & Friends - "What Swing is All About" |
RealAudio Sample |
I continue to marvel at the freshness and audacity of Bob Wilber's
consistency as an exciting performer over the years. On this 1996 disc,
recorded live at Hamburg's Amerika Haus, he is joined by Finnish reedman
Antti Sarpila, bassist Phil Flanagan, pianist Mark Shane, drummer Joe
Ascione, and vocalist Pug Horton; the musical energy of the concert is
transmuted to an increasingly responsive audience, for this is
infectious, foot-tapping entertainment indeed. Sarpila's tenor is an
ideal complement to Wilber's soprano on such numbers as "I Gotta Right
to Sing the Blues", and the two chord variations of "Undecided" with
"You'd Be So Nice to Come Home To" and the Herschel Evans' closer
"Doggin' Around", while the clarinet work of both ("Feeling I'm
Falling"/"Tickle Toe"/"Basiec Jump") is delightful. Vocalist Pug Horton
shows that she knows how to shade a melody with appropriate inflections
("I Gotta Right to Sing the Blues") or capture a Lee Wiley essence in
her tribute medley with "I've Got a Crush on You"/"You Do Something to
Me". Moreover, the rhythm section adds its own cohesive contributions
throughout, notably on marked tempo shifts ("Indiana"), the sheer joy of
swinging ("Smiles"), or the laying down of an unlikely bossa beat with
"Billie's Bounce". This is 78:13 minutes of heart-warming music with
the pleasure principle in full operation. (J.S.)
Nagel-Heyer 035 to order
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Ralph Sutton & his All Stars - "Echoes of Swing" |
RealAudio Sample |
This 2-CD set, the first recorded under the leadership of pianist Ralph
Sutton in nearly 16 years, was aired in concert at Hamburg's Amerika
Haus (1997), with Jon-Erik Kellso (trumpet), Bill Allred (trombone),
Antti Sarpila (reeds), Jack Lesberg (bass), and Gregor Beck (drums).
The 17 numbers, most of them standards, date originally from as early as
1907 (My Gal Sal") up to the late thirties; nevertheless, they sound as
fresh and exciting in the hands of this sextet as if they were presented
for the first time. Though many are ensemble pieces, with solos from
all, highlights abound. One marvels at the confidence and skill
displayed by the youthful Sarpila on "Runnin' Wild" or of Kellso's open,
warm sound with "Thanks a Million", while veterans Allred ("Some of
These Days") and Lesberg ("Blame It On My Youth") show that they lost
none of their vitality; nor has the ageless Sutton who strides and
struts his keyboard stuff throughout, but especially on Fats Waller's
1934 feature, ("Clothesline Ballet" and "Shine", the latter with a
great exchange between Lesberg and Gregor Beck, a la Haggart/Bauduc.
It's effervescent music designed to please an audience. And it does
that! (J.S.)
Nagel-Heyer 038 to order
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Marty Grosz Quartet - "Just for Fun" |
RealAudio Sample |
The title of this 1996 concert performance in Hamburg's Amerika Haus
defines the nature of the music; however, one should not be misled into
dismissing the calibre or conviction of the performers as slight. There
is an interactive magic at work here, with the quartet of Grosz
(guitar), Alan Elsdon (trumpet), John Barnes (reeds) and Murray Wall
(bass) sounding, at times, like a much more expansive aggregation than
their numbers would seem to suggest, especially on ensemble pieces such
as "All I Do Is Dream of You", "Love is Just Around the Corner", or "The
Lady's in Love With You". Grosz and Wall lay down a steady rhythmic
backdrop throughout making this drummerless/pianoless group in no need
of further dynamic propulsion. Solos abound, and the pairing of
Elsdon/Barnes on Lombardo's 1929 "Sweethearts on Parade" (trumpet/alto),
Ellington's "Mood Indigo" (trumpet/clarinet) or Waller's "How Can You
Face Me?" (trumpet/baritone) adds a special touch. Grosz's vocals always
fit the occasion (Notice how he updates the lyrics on "Ain't Misbehavin'
", gentle and sincere with "Just Friends", playfully appropriate on
"Love is Just Around the Corner". Audience response is predictable: they
loved it! (J.S.)
Nagel-Heyer 039 to order
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Montreal Jubilation Gospel Choir - "Hamba Ekhaya" |
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This seventh recording (1996) by the Juno Award winning Montreal
Jubilation Gospel Choir, directed by founder Trevor W.Payne and
performed before an enthusiastic audience in Montreal's St.James United
Church, looks back to the "musical maps of African culture" (liner) for
much of its inspiration. In general, the music draws upon the evolved
township jive of South Africa with its rollicking rhythms and percussive
beat; in particular, the guitar and vocal stylings of the legendary
Phuzekhemisi are featured with the choir on seven of the fourteen
numbers, each telling a story of celebration, history or everyday life,
and expressed in the Zulu language. As well, there are choral renditions
of "Nikosi Sikelel' iAfrika", the South African national anthem (in
Zulu) and "Hamba Ku Jesu" (in the Kenyan Luhiya language), stirring
testimony to the choir's adaptability. More traditional gospel songs
round out the concert, with special accolades to the choir and soloist
for a soul-wrenching arrangement of "Amazing Grace". This is moving
music, both literally and figuratively. Notes are excellent and
necessary. (J.S.)
Justin Time 96-2 to order
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Ray Alexander - "Vigorous Vibes" |
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Long Island vibraphonist, Ray Alexander, is joined by a New England
based contingent of Mac Chrupcala (piano), Marshall Wood (bass), and
John Anter (drums) for a swinging, cohesively impressive programme of
the familiar, the showcase modern, and two originals. Alexander, who has
the daring and the humour of a Red Norvo and the cool delicacy of a Milt
Jackson at his fingertips, delights us with the sudden rhythmic shifts
in such numbers as "Georgia on My Mind" or Randy Weston's "Hi-Fly";
however, it is the subtle, responsive nuances shared with pianist
Chrupcala - "Sunday", "Samba De Orpheu" - that caught my attention
especially. Chrupcala is a fine soloist, boppish to the Latin beat of
"Sweet Bossa", gently introspective on "Old Folks". Woods' bass duet
(with vibes) and solo on "Love Walked Right In", and Auter's remarkable
brushwork on the same number reveal how adroitly they fit into the
overall scheme of things. This is a group whose limited popularity
definitely is in need of greater exposure for it is talent-loaded.
(J.S.)
Cats Paw 4104 to order
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York University Artists - "Rhythms, Riffs & Rhymes" |
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The York University music programme, founded in 1970, included jazz as
an integral component, with emphasis on small ensemble playing. Though
bop-oriented at the start, it soon expanded to encompass a wide range of
jazz idioms; hence, York became "a vibrant centre of contemporary
music-making" (liner). This is reflected in the ten original
compositions on this 1996 disc, ranging from post-bop, delicate solo
tone poems, to rock/funk inspired pieces. The former is captured chiefly
by the trio of Mike Murley (sax), Al Henderson (bass) and Barry Elmes
(drums) on such free-wheeling numbers as "Project B" and "Something Like
Sonny", or moodier offerings of "Feelings in Exile" and a loping blues
beat of "Cornerstone Blues". The latter takes the form of a wiry, sinewy
electric blues sound in Tim Posgate's "New Axis Blues", the vocal
rap-like stylings of Rita di Ghent )"Rita's Looking for a
Boyfriend"/"Peace Conspiracy"), and the Lighthouse group's "Time Tides"
with an impressive display of control, mood swings and musicianship. The
impressionistic "Song for Jenny", with Mark Crawford (guitar), and the
effortless workings of David Mott's baritone ("Serge Chaloff in
Memoriam") round out this collective cross-section of musical
achievement. (J.S.)
YFA (York Fine Arts) 00496 to order
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Highly recommended CD's without reviews, star rated
as follows:
***** Excellent
**** Good
Rating
| Artist
| Title
| Label & Cat. No.
|
***** | Harry Allen, Randy Sandke & RIAS Big Band Berlin
| Trumpet Kings | Nagel-Heyer CD 037
|
***** | Various | Eastwood After Hours | Malpaso CDW 46546
|
***** | Chris Potter | Unspoken | Concord CCD-4775-2
|
***** | Warren Vache | Warren plays Warren | Nagel-Heyer CD 033
|
***** | Clark Terry | Top and Bottom | Chiaroscuro (D)347
|
***** | Gerry Gibbs | The Thrasher | QWest 9 46228-2
|
***** | Claudio Roditi | Double Standards | Reservoir CD 148
|
***** | One for All | Too Soon to Tell | Sharp Nine CD 1006-2
|
***** | Brian Lynch | Spheres of Influence | Sharp Nine CD 1007-2
|
**** | New York All Stars | Count Basie Remembered Volume 2 | Nagel-Heyer CD 041
|
**** | Terry Gibbs | Play That Song | Chiaroscuro (D)337
|
Reissues: |
***** | Bud Powell/Don Byas
| A Tribute to Cannonball | Columbia CK 65186
|
***** | Tony Williams |
Turn it Over | Verve 314 539 118-2
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