CD Review: The Stream of Pearls Project: Artist: Claire Ritter



Pianist/composer Clair Ritter admits to thinking 'in motion and color' as a composer; and of music, "more as a painter or even as a poet." ( Jazzreview.com interview with Donna Kimura). These exceptional abilities find themselves displayed with consummate elan in her soon to be released, 10th CD: The Stream of Pearls Project. 

Claire Ritter



Employing the imagery of water as an inspiration, Ritter artfully manipulates the confluence of music, nature and multiple aqueous sources into a recording which features esthetically nuanced variations of color, movement and mood.

This CD contrasts starkly in style and content with Ritter's more recent releases (Greener Than Blue: 2007; lighthearted rags & bluish pieces. Waltzing the Splendor: 2004; classical jazz. River of Joy: 2001; solo piano). This speaks to her discerning musical sensibilities, fertile imagination and fearlessness of spirit as a composer. The peripatetic, North Carolina native, recipient of a 2006 Arts and Science Regional Artist Grant, collaborates on this recording date with: Ashima Scripp - Cello; Richie Stearns - banjo; Toni Naples - accordion; Rick Hansen - accordion; John Metzger - vibraphone; Takaai Masuko - percussion, drums & Producer.

The CD is divided into two opus variations: North American Watercolors (tracks 1 - 10) and The Outer Banks Crystal Scores (tracks 11 - 18). Listening to this CD in its entirety is prerequisite in assisting the mind's eye and ear to explore fully the sequential aural/visual panoramic palette served up by the artists.

The sensitivity displayed in the musicianship, combined with the unique voicings employed - cello; banjo; accordion; vibraphone - effectively support the ensemble in filtering out any inherent, extraneous "clatter and noise." The effect is the 'birthing' of an undiluted aestheticism, subtly layered with a patina of disarming charm.

The opening track, an elegiac-like lament on Boston's Charles River; "The Beauty of its Stillness, Overflowed Me Like a Tide." gently awakens the senses, and tenderly nudges the listener towards a swelling curiosity.

Ritter's piano teases us to unwind with supporting cues from Masuko's smooth percussion on the danceable "Bolero on the Charles." (track 2): Then cymbals crash and tumble and the pulse quickens; the senses find themselves in a "Swiftly Winding" mode (track 3),  but Ashima Scripp's cello offers calm assurance by way of its steady, resonant tone and warm color.

Ritter's pianism serves as the primary medium of color, tone and variation as it traverses and describes the picturesque "Blue Ridge in Watercolor"; a "Stream of Pearls"; "Across the Gorge" and "The Brook, the Bird" (tracks 4 - 7). Masuko's percussion and Ashima Scripp's cello appear now and again to lend cascading color effects and heighten the mood.

As the "Catfish Shuffle" we hear the "Valse of the Ponds" and realize a state of "Fortuity." (tracks 8, 9, 10). There is a tinge of Calypso humor in the give and take between Masuko's throbbing bongo drums and Ritter's insistent piano as these hip catfish frolic. Abruptly, the the mood changes into Ritter's classical piano artistry as the scene at the 'Ponds' unfolds, and just as quickly, and as tantalizing as an event of singularly good luck, her piano springs forth the very jazzy "Fortuity."

And so, ends the first opus of North American Watercolors!

A listener who has waded this far into Claire Ritter's wonderful 'Stream of Pearls Project' CD, should be anxious to continue this adventurous musical exploration, and can be assured of an arresting aural experience as more exciting colors and voicings are introduced through the outstanding accordion contributions of Toni Naples and Rick Hansen, the "sweet' banjo played by Richie Stearns and John Metzger's wonderful vibraphone sound in the second opus: The Outer Banks Crystal Scores.

Claire Ritter is a rare artist who possesses, not only a unique ability to "think in motion and color," but she also displays an incisive facility to see subtle, complex natural beauty and translates its meaning and effect into irreducible colors and symbols for the music lover to comprehend, appreciate and digest. Her propensity for creativity is boundless, endowing her as an important, essential talent.

Like Ellington, she has, by her own account, "...an overflow of ideas." (Jazzreview.com). The listening public then, must be patient, and await the continued flow of her "Stream of Pearls."

Track listing: (North American Watercolors) The Beauty of its Stillness, Overflowed Me Like a Tide; Bolero on the Charles; Swiftly Winding; Blue Ridge in Watercolor; Stream of Pearls; Across the Gorge; The Brook, the Bird; Catfish shuffle; Valse of the Ponds; Fortuity.
(Outer Banks Crystal Scores) Under the Moonrise; Skydune Mambo; Ballad of the Flight; Wild Ponies Run Free; Sailing Pamlico; Mustang Calypso; Along the Banks; Island Jingle, Dancing With My Heart.  

CD Review: Featured Artists: The Michael O'Neill Quintet Featuring Kenny Washington

CD Title: The Long and the Short of it.

Year: 2004

Record Label: Mosax.com

Style: Contemporary Jazz/Vocal

Musicians: Michael O'Neill - Tenor Sax, Soprano Sax, Clarinet, Bass Clarinet, Flute; Kenny Washington - Vocals; Steve Campos -Trumpet,  flugelhorn; Michael Bluestein - Piano; Murray Lowe - Piano; Peter Barshay - Bass; Alan Hall - Drums; Danilo Paiz -Percussion.

Review: Every once in a great musical while, an exceptional vocalist finds the absolute right musicians to work with; and magic happens. The chemistry is right; they strike the proper musical balance and something spiritual seems to occur: Nancy Wilson's classic 1962 debut Capitol album with the Julian "Cannonball Adderley Quintet readily springs to mind.

Listening to "The Long and the Short of it" featuring Vocalist Kenny Washington with the Michael O'Neill Quintet is 'deja vu all over again!' From the swinging opening track, "It's Alright With Me" to the closing, "Bye Bye Blackbird," nothing holds this CD back.

This is an important date for both artists. O'Neill is a multi-instrumentalist and Washington sings with a four-octave range, near-perfect intonation and a keen interpretive sense.

O'Neill is also a prolific composer of some stature, having written four of the eight tracks on the CD - "Masai"; "Kilimanjaro" (with John Worley); "Grey Whale Cove"; and "I Know What Love is." His ability to traverse effortlessly, efficiently, and imaginatively between many instruments affords him the space to be ultra-creative with his solos (especially on "Kilimanjaro"; tenor  sax and "The Nearness of You"; bass clarinet) and imbues the quintet with a distinctive larger-than-life jazz feel.

The sublime muted trumpet work of Steve Campos on "Caravan" and "I Know What Love Is"; Pianist Michael Bluestein's melodic excursion on "The Nearness of You"; the artistic piano of Murray Lowe describing "Grey Whale Cove"; the subtle brush work of Alan Hall on "Bye Bye Blackbird" ; the understated percussion of Danilo Paiz and the securely rooted bass of Peter Barshay throughout the session, indicate strong individual talents, but with a balanced cohesiveness that maintains freshness, and gleans exciting combinations of colors from their musical palette .

Vocalist Kenny Washington is perfectly at home with a tender ballad or an uptempo tune, as can be heard in his handling of Hoagy Carmichael"s "The Nearness of You" and Cole Porter's "It's Alright With Me." Kenny is a jazz vocalist virtuoso. On "Masai," "Caravan," and  "Bye Bye Blackbird" he displays an extra dimension of his vocal talent as he tastefully scats his way around, between, and often, just ahead of the reeds, and the rhythm section to great effect.

I once heard singer Tony Bennett during a radio interview, recall a seminal piece of advice Frank Sinatra laid on him during Bennett's nascent career. Sinatra said: "Sing the songs of the best song writers; use the best musicians and bands; finally, do not sing silly songs." Kenny Washington gets it; that's why he is one of the most exciting and refreshing vocal standouts on today's jazz scene. It shows on this CD.

 And that, in essence - Is The Long and the Short of it. 

Track Listing: It's Alright With Me; Masai; The Nearness Of You; Kilimanjaro; Grey Whale Cove; Caravan; I Know What Love Is; Bye Bye Blackbird.

A Jazz Piano Legend Comes To San Francisco...

Yoshi's S. F. building sign: Photo courtesy
of  Cameron Jackman

Alfred McCoy Tyner loves to play ballads-by his own admission-and on a splendid Thursday night on the 10th of March, 2011 he and his jazz piano came to "The City by The Bay," San Francisco no less; to do just that and more at Yoshi's fabulous Jazz Emporium located at 1330 Fillmore Street. I can think of another giant of jazz who shared this inexorable enthusiasm for the ballad: Miles Dewey Davis III: What is it they say about great minds?

 McCoy Tyner was influenced by Earl "Bud" Powell and Thelonious Sphere Monk. Powell was arguably the best bebop pianist in jazz history, who was in turn tutored by the now legendary Thelonious Monk during Powell's artistic emergence. These two influences represent significant guideposts in Tyner's jazz lineage and together contribute mightily in making his artistic pedigree unquestionable. It is not surprising, that such reliable hands should have guided McCoy Tyner's "Giant Steps" into the stellar musical orbit of John William Coltrane-the greatest tenor saxophonist in modern jazz history-to become one of his most important and lasting jazz piano accompanist.



McCoy Tyner: Photo
courtesy of josejamesmusic.com

I went to see and hear McCoy Tyner on this night at Yoshi's. In addition to his quartet, featuring alto saxophonist Gary Bartz, Gerald Cannon on bass and Herlin Riley on drums, he had as special guest, vibraphonist Bobby Hutcherson, a legend in his own right.

The sold out show attracted an appreciative and knowledgeable audience who gave this special group of musicians a sustained, standing ovation at the end of their first show. Throughout their ninety-minute show, they played with a calm, sophisticated elegance imbued with beautifully shimmering musical colors and balanced voicings that were almost mesmerizing. The 'elder' statesmen-Tyner, Bartz and Hutcherson-displayed such masterful control of varying force and tone in their musical approach, as to be clinical. Hutcherson in particular played with an ease of imagination, poignancy and magician-like flair that showed why he is the most important modern jazz vibraphonist since Milt Jackson.

Bassist Gerald Cannon excelled with thoughtful, coherent, well constructed solos, and drummer Herlin Riley was simply sharp. In one particular Tyner composition, "Mellow Minor," Riley came as close to re-igniting the fire, dexterity and drumming authority of the late Art Blakey as I have heard; including skillful, well placed quotes of  Blakey's signature "press roll."

On another Tyner composition, "Blues On The Corner," dedicated to "...some of the guys from his old Philly neighborhood," Tyner left no doubt that his deft left hand still possessed the propulsive power, uncanny accuracy, withering speed and bluesy lyricism reminiscent of Monk and Bud Powell.

The performance that the audience heard this night was vintage McCoy Tyner, entirely and spontaneously "in the moment" and matchless as is the man himself. This living legend with this quartet, had subtly demonstrated, for me at least, that good music need not be loud to be "heard," neither do good musicians.

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