Monty Alexander: Jazz Pianist Extraordinaire.



.

Pianist Monty Alexander
Photo courtesy:bosquesonoro.blogspot.com

 Yoshi's Jazz Night Club's artist relations/talent coordinator, and management, finally managed to align their musical stars correctly and persuaded jazz pianist, Monty Alexander and his quartet to take a detour from their busy touring schedule and make a stop at their San Francisco location for a one-night performance. These days the quartet goes by the name: The Harlem-Kingston Express. No doubt a reference to Alexander's New York-Jamaica musical roots. Anyhow, this exciting musical Express found its way to San Francisco on Wednesday, June 22, 2011 for an 8:00pm show that thrilled the large crowd of Alexander fans, literally out of their seats.

I wanted to see Monty Alexander live, but could never seem to find him in my neck of the woods. I heard a lot of his music on radio and on CDs, especially the work he did with the great bassist Ray Brown and I knew that he was a talented pianist. Moreover, he was from the island of Jamaica, as was another elite jazz pianist that I admired: The great Wynton Kelly. So I made the trip into the city to hear him perform with his quartet.

I must admit that the Monty Alexander Quartet exceeded my expectations. This 'Express' has tons of rhythmic energy and horse power, under its hood; I actually found myself giving them two standing ovations with the rest of the audience; and standing ovations are not casual for me. But the performance of the group was exhilarating, exciting, joyous, enlightening and filled with humor. I think that anyone who attended the show had  to come away feeling that they had been entertained by an outstanding group of musicians, and that Monty Alexander had matched his advance billing as a consummate professional jazz pianist, with a performance bordering on virtuoso.

It was a Wednesday evening, and a large crowd turned out for the show. I am sure this must have made the musicians feel really good about performing in San Francisco. 

Drummer Winard Harper
Photo courtesy:washingtondcnetwork.ning.com

The first on stage was drummer Winard Harper, a native of Baltimore, Maryland, and whose influences include Max Roach, Art Blakey and Billy Higgins. He has played with jazz icons Dexter Gordon, Johnny Griffin and Betty Carter. He is considered a virtuoso on the drum, as well as the West African balafon (marimba).

Up next on stage was the ultra-versatile bassist Lorin Cohen from Chicago, Illinois, who has played extensively throughout North America, Europe, Asia, Africa, South America, The Middle East, and has been with Monty Alexander since 2005.



bassist Lorin Cohen
Photo courtesy: robertaonheart.com

Rounding out the quartet was the Grammy-award winning, self taught, multi-percussionist Bobby Thomas Jr., who was an original member of the legendary fusion rock band Weather Report and has performed along side David Sanborn, Stan Getz, Herby Mann and Jaco Pastorius. 

Percussionist Bobby Thomas Jr.

It is doubtful whether many in the audience were aware of the sheer artistic weight of musical talent confronting them; but by the end of the evening, most were staggered, but thrilled by the power, force and rhythmic displacement of the Harlem-Kingston Express. 

The quartet got going with three "warm up" tunes. The first was a rhythm-rich, uptempo calypso tune that, in retrospect, set the tone for evening ; the second was a reggae-flavored number that got an excited reaction from the audience when Bobby Thomas' percussion and Winard Harper's drums got into a spirited rhythmic conversation. Alexander began to display his piano mastery in the third tune, eliciting murmurs from audience as they began to pick up on his wizardry. He dropped a number of recognizable quotes into his solo, one of which was the Jamaica folk hit "Banana Boat Song" that got a section of the crowd into a spontaneous sing-along. A bridge was now formed between quartet and audience; one became an extension of the other. The atmosphere in the room became looser; less reserved; joy broke through, shining like a harvest moon for the remainder of the evening.

Sensing a musical vein to be mined, the band dug deeper into their reggae bag and brought out Bob Marley's "No Woman, No Cry." Alexander's piano was like a musical intoxicant laced with a Bobby Thomas Jr. percussion and Lorin Cohen bass mix that made the room giddy. 

Alexander is accomplished in any music genre, he displayed this facility and introduced some variety into the program with a reprise of the 1953 Frank Sinatra hit "Young at Heart" which he performed in a style reminiscent of the legendary pianist Art Tatum; then he quietly changed styles to capture the magic of one of his pianistic influences, another legend: Nat "King" Cole.

Monty Alexander, could do no wrong, and he knew it!

He took a short break to have a conversation with the patrons. He recounted his emergence as a pianist working in the gangster-filled entertainment emporiums of Miami, Florida, where he was 'spotted' by the opportunistic New York restaurateur/entertainer, Jilly Rizzo, who brought him to the attention of singer Frank Sinatra. As associations do, especially in the entertainment industry, this new association led Alexander into the "inner sanctum" (his words) of jazz music icons, vibraharpist Milt Jackson and bassist Ray Brown. He spoke of his work with his friend, recording engineer, Todd Barken of the famous jazz club Keystone Corner (long closed), which used to be located in the North Beach section of San Francisco, and who now runs Dizzy's Coca Cola Jazz Club, at Lincoln Center in New York. Alexander is a very sociable, engaging and humorous individual, and the audience seemed to enjoy his retrospective account.

Returning to his piano, Monty Alexander showed that he is a rabid Frank Sinatra fan. Next he played "one for Sinatra." This 'one' was the Jimmy Van Heusen/Sammy Cahn hit "Come Fly With Me," that Sinatra made his own; giving a mischievous wink, and a cool musical salute to "airline stewardesses" in the   friendly skies. He played it, as Sinatra sang it: Swingin'.

Alexander often brackets his tunes with introductions and endings that are masterpieces unto themselves; like the audience, the band seems spell bound, while they are intricately unveiled, as they did on the next tune, Hoagy Carmichael's heart stopper "In the Cool, Cool, Cool, of the Evening." The room literally let out an audible gasp as he artfully, nimbly, ambled the piano keyboard from end-to-end before he brought this tune to its final climax.

The Harlem-Kingston Express was on a roll now, they cruised over into the fast lane, let fly the 1925 pop tune, turned jazz classic, "Sweet Georgia Brown," and Bobby Thomas gave a stunning display of his talent as a 'percussive linguist.' At times, the rhythm patterns of his bongo drums were fluidly conversant with Alexander's piano,  stimulating and accentuating its colors; then he would switch to congas and boldly trade pungent broadsides with Winnard Harper's drums to bring a rocking rhythm to the surface; and like second nature, he'd search out the bass of Lorin Cohen and blend with it to add more body, bounce and swing to its voice. Thomas is a show by himself. His energy, stamina and hand strength seem unlimited. He pushed both bassist Cohen and drummer Harper into committing solo performances that in the end garnered "Sweet Georgia Brown" a standing ovation.

But the best was still to come. The band took a nostalgic look back with a medley of classic Jamaican folk songs, beginning with Irving Burgie's popular "Jamaica Farewell,"  a phenomenal hit in 1956 for Harry Belafonte; this segued into "Linstead Market" (Oh lawd! wat a night! wat a night! wat a saturday night!); a song maybe not so well known in the U. S., but a folk anthem in the Caribbean; this night Monty Alexander performed it with all its original richness and idiomatic appeal to rousing appreciation from the crowd. The medley was crowned with one of Alexander's compositions, "Love Song." Midway through this beautiful song, Laurin Cohen took an extended bass solo during which he turned the melody inside out and converted it masterfully, into Jerome Kern's "Smoke Gets in Your Eyes." It was a virtuoso performance that took every one's breath away; including Cohen. Alexander's piano then took over, restated "Love Song," and ended it with the Scholz/Sampson soulful 60's pop hit "I Need Your Love" (Unchained Melody). This performance was greeted with the second standing ovation of the evening!

This was as good a place as any to end the show; and that is what Monty Alexander tried to do, but this crowd demanded an encore; so Alexander and the Harlem-Kingston Express returned to the stage for an encore...and what an encore it turned out to be!

Alexander introduced the encore by stating that he would play a tune that he used to hear played in churches during his childhood in Jamaica; but later discovered that it was almost an "anthem" in the United States. He took his seat at the piano; the band took their positions, and Alexander commenced to play something deliberately pious, and church like; something meant for the 'dear departed.' Although the music sounded familiar, I could not identify its title. But then he paused; and if ever there was a "pregnant pause," this was it! Suddenly all of Harlem and Kingston went into over-drive, and all "swingin', rockin'" hell broke loose! Then I recognized the tune as one I knew called "John Brown's Body." Later someone gave me the official name: It was Julia Ward Howe's 1861 American Civil War Hymn: "The Battle Hymn of the Republic." That rousing cry that goes "Glory, glory, hallelujah! was now being 'swung' and 'rocked' to the rafters like it has never been before, or ever will be again! When Alexander and the band were done scorching this "hymn," incredibly, they were given the loudest, longest ovation of the show, and their third standing ovation of the night.

This was a first for me;  jazz musicians being given a standing ovation for rocking out a hymn!

There was nothing more that the band could do to top this, even though Monty Alexander spent a few more minutes on stage entertaining the now buzzing crowd with his harmonica-keyboard. I suspect that the audience was spent; the band surely. Eventually, he just laid the small instrument aside and said "good night."

And what a 'good night' it was!

                                         Watch

CD Review: Rich Halley Quartet - Requiem For A Pit Viper.

Year: 2011

Style: Free Jazz

Musicians: Rich Halley - tenor saxophone/percussion; Michael Vlatkovich - trombone/percussion/squeak toys; Clyde Reed - bass; Carson Halley - drums/percussion.

Label: Pine Eagle

Tenor saxophonist Rich Halley

Review: In the over populated music universe where anything labeled "jazz" is being relentlessly machined and hawked as America's sole indigenous art form, it is refreshing occasionally, to come face-to-face with freewheeling, spontaneous, innovative jazz music. These are the things (qualities) that are right about Rich Halley's "Requiem for a Pit Viper." The album consists entirely of original compositions by Halley, which immediately cast it in the light of "cutting edge." Combined with freedom of expression, independent thought, purposeful execution, the courage to follow the inner self, the talent to give it voice, and then, to let the chips fall where they may; suddenly, jazz in its purest, essential form is possible; jazz that must survive; jazz that is the original American art form, becomes the reality. This is the free jazz of The Rich Halley Quartet.

On the face of it, Halley has selected an interestingly strange title for this CD: "Requiem for a Pit Viper." That is, until you know a little more about the man. Not only is he "...an advanced modern player with a ferocious warbling tone, complete command of his horn and an eclectic approach that takes in both traditional  improvising  and freewheeling expressive sounds..." (Paul DeBarros, Seattle Times); But Halley is also a trained Field Biologist with a profound interest in nature and a love for adventure. I imagine Rich Halley knows a thing or two about Pit Vipers and music.

Halley's music has a wide emotional appeal, is deliberately nontraditional, daringly avant garde, boldly adventurous, brutally new and it never fails to surprise the ear. There is an excitement that stuns the senses with the rawness of a visit to a natural wild kingdom, and it commands the arrested attention reserved for rare and regal species.

Trombonist Michael Vlatkovich

Halley shows his distended composer's imagination of biologist and musician working in tandem, on the CD's opening titled track: "Requiem for a Pit Viper." The vertical layering of Michael Vlatkovich's trombone and his saxophone produces the busy movement of the viper searching out its prey; Halley's horn continues on to paint the prey's 'warm' picture, at times stealthily and then hurriedly, but always sure. The trombone transforms itself into an escaping quarry only to be tracked by the purposeful sensing of Clyde Reed's bass, until its ultimate demise, and Vlatkovich's trombone and Halley's saxophone catch up and end the drama. Throughout the CD, there is an identifying effectiveness about the way Halley uses the combination of the saxophone and trombone to introduce and release tension during the introduction and climax of his compositions.

Halley's extended free flowing 'saxophone-plunges' into the enveloping vastness of his own palette are directed with a dexterous control of speed and nimble maneuvering that never lose contact with form and coherency despite the newness of the musical terrain being covered, as evidenced on "Snippet Stop Warp" (track 2), and on "View from the Underpass" (track 3), where the raspy sound of the saxophone is exciting, engaging, humorous and is capable of exhibiting sensitivity by extending its emotional range so that the trombone, bass and drums can support and embellish the textures of the music.

Drummer Carson Halley

Halley seems to compose and improvise with a keen concern for the listener and his quartet. Even though the free flow in improvisation and execution are the hallmarks of his style, the listener is offered a sense of the familiar as they are immersed into this passionate world of sound. There are two very distinct examples of this on "Circumambulation" (track 4), and "Maj" (track 6). "Circumambulation" opens with Carson Halley's drums doing an almost reprise of drummer Joe Morello's attack on the Brubeck/Desmond classic "Take Five." The Saxophone and trombone then take turns at improvisational, spontaneous, ceremonial musical spinning; but Carson Halley's brilliant, innovative, drumming ideas keep the piece grounded, comfortably friendly, and swinging. If there is a masterpiece on the album; this is it! "Maj" hearkens back to the familiar work of the genius of free jazz Ornette Coleman and his classic composition "Lonely Woman." Here Halley mints "Maj" with a serene, stabbing melancholy and bruising pathos that pours out of his saxophone and Vlatkovich's trombone like a tortuous heartache. Again, this outstanding quartet shows its stunning ability to aver the wide range of emotions embedded in Halley's compositions.

Bassist Clyde Reed

The way Halley writes is reminiscent of Ellington: To the strengths of his players. As a result, the colors of their musical broadcloth match well and the underlying weave is so well stitched as to appear seamless; as a playing unit, they are tight and 'noise-free;' as soloists, they eschew cliches in favor of rigorous originality. One only has to listen to Clyde Reed's clear, clean, melodic, idea-rich bass on "Wake up Line" (track 7) and "Afternoon in June" (track 10); or Carson Halley's suave, versatile and perfectly accoutered drumming style, especially on "Circumambulation" (track 4), "Squeaker" (track 8), and "Subterranean Strut" (track 9) to hear what makes the Rich Halley Quartet stand out as an intensely crisp, rhythmic ensemble in the ever evolving, dynamic domain of free jazz.

Rich Halley is an outstanding composer working with a stellar group of musicians that are 'way ahead' of the current music pack hauling themselves towards the elusive nirvana of free improvisational jazz.There is no doubt that the 'pack,' and many in the listening audience, have a lot of catching up to do!

Track listing: Requiem for a Pit Viper; Snippet Stop Warp; View from the Underpass; Circumambulation; Purple and Gray; Maj; Wake Up Line; Squeaker; Subterranean Strut; Afternoon in June.

         

CD Review: VICIOUS WORLD - Plays the Music of Rufus Wainright.

Year: 2011

Style: New Jazz Classics

Musicians: Aaron Irwin - Saxophone/Clarinet/Flute; Matthew McDonald - Trombone; Sebastian Noelle - Guitar; Thomson Kneeland - Bass; Danny Fischer - Drums; Eliza Cho - Violin; Maria Jeffers - Cello.

Label: Spinaround Records.

Rufus Wainright
Photo courtesy: rateyourmusic.com

Review: On this CD, saxophonist Aaron Irwin and trombonist Matthew McDonald co-lead the septet "Vicious World" into a serious investigation of the work of contemporary, American-Canadian, composer Rufus Wainright. Mining the substantial catalogue of recordings by Wainright, Vicious World lays open a wide array of elements and occurrences that have had profound influences on Rufus Wainright's life and career. The wide swath of human emotional expressions resulting from tragedy, unrequited love, lost of love, personal and familial dysfunction and joy borne of nostalgia, are all nakedly captured and expressed in this creative body of work entitled: Vicious World - Plays the Music of Rufus Wainright. 

The CD opens with a song from Wainright's fifth album: "Release The Stars" (2007) called "Going to Town." It has political overtones, and is meant as an angry indictment of the country of his birth. It confronts the Bush Administration's perceived damage to America in the form of a love song. It starts with an ethereal, swirling passage by viola, violin and cello, then is turned into a smooth, lyrical melodic stroll by Aaron Irwin's almost tender saxophone and Matthew McDonald's reserved, contrapuntal trombone; guitar, bass and drums contribute to the sentimental aura of the piece, until the viola, violin and cello return to round out the work, and complete the tune. Irwin's arrangement of this piece shows great sensitivity to Wainright's genius in couching a political protest in love-letter terms.

Dysfunction and personal addiction surface in "Natasha" (track 2), from Wainright's third album: "Want One" (2003), and "In a Graveyard" (track 10), from his second album: "Poses." (2001). "Natasha" was written about Wainright's friend and actress Natasha Lyonne who had widely publicized struggles with substance abuse and other health issues. In this musical vignette, Thomson Kneeland's bass opens like a clock ticking off unnatural, presentiment seconds of time; Eliza Cho's sad, pensive, crying violin quietly overtakes the ticking bass as it floats solemnly above  a wailing narrative from Matthew McDonald's trombone. The trombone strives to reach a climax, but is silenced by the unrelenting 'ticking' of the bass that seems to presage the inevitability of a looming doom.

"In a Graveyard" relates Wainright's admitted debauchery, struggles with addiction, and quest for fame. It becomes "a soulful reflection on moribund themes, that momentarily leaves the oboes at the door for a direct heart-to-heart with the listener." (Wainright). Again Matthew McDonald's trombone sound is elegiac-like; the background is unstable and jagged, with angular guitar riffs, clashing drums and angry strings that violently rub out the staidness of the trombone.

Unrequited love and the consequences of falling out of love, though devastating, are nevertheless a part of human existence. These aspects of Rufus Wainright's life are brought into sharp focus by Vicious World in "This Love Affair," (track 3) from his fourth album: "Want Two" (2004); "Leaving For Paris," (track 5) from his fifth album: "Release The Stars" (2007); and "Peach Trees," (track 7) also from the album: "Want Two" (2004). In "This Love Affair," there is an intense musical rendezvous between the excited rock guitar sound of Sebastian Noelle and McDonald's grounded, laid back trombone exchange. It is the sound of opposites attracting each other. Each one determined to advance a particular point of view, while remaining true to their own code. The guitar is bold and forthright; the trombone is content to stay melodic, lyrical and noncommittal. Nothing gets resolved. 

CD: Vicious World
Plays the Music of Rufus Wainright

Viola, violin and trombone open "Leaving For Paris" with the colors of 'loss and longing' as if one is gazing out at a long, lifeless, open countryside from a speeding train; Irwin's clarinet does its best to introduce a warm reassuring feeling, but the stolid drumming of Danny Fischer relentlessly counts off the receding miles and the cherished memories. In the end, the sadness and longing return in the viola, violin, and trombone. 

The dawn of another day approaches in the sounds of "Peach Trees." The day slowly yawns itself awake; small morning creatures scurry around; and the perpetual sun slowly overtakes all life and space; it rises, and sets, and rises again, as the vicious world turns and plays: Unrequited love lives and dies, and seldom ever returns.

The ogre of tragedy raises its ugly head in "Memphis Skyline" (track 4) from Wainright's fourth album: "Want Two" (2004) and "Matinee Idol" (track 6) also from "Want Two" (2004). "Memphis Skyline" opens to a funereal, morbid-sounding passage from the viola cello, and violin, they are joined in procession-like order by, bass, flute, guitar, drums and a 'crying' trombone to commemorate the life of singer/songwriter Jeff Buckley who was drowned accidentally during a spontaneous evening swim - fully clothed - in the Memphis Tennessee, Wolf River on May 29, 1997. Irwin's flute and Fischer's drums attempt to draw the ensemble toward happier memories, but the piece remains incredibly beautiful in a sadness that never dies.

"Matinee Idol" which was written for American film actor/teen idol River Phoenix, has a markedly whimsical beginning with guitar and trombone marching energetically. River Phoenix died from a drug overdose on the sidewalk outside the West Hollywood night club, The Viper Room, on October 31, 1993. The penny arcade sounds of the septet seem to suggest that Phoenix must have been a rather colorful and enigmatic figure, prone to a personality that wavered between bizarre and genius. 

A noticeable lightness, airiness and joy of spirit seem to spring from the septet led by Irwin's clarinet and McDonald's trombone during the abbreviated, nostalgic backward glance in "Millbrook" (track 8) from Wainright's 1998 debut album: "Rufus Wainright." This piece was inspired by the name of the high school Wainright attended - Millbrook School in New York. Conversely dark colors from Sebastian Noelle's guiitar begin "The Art Teacher" (track 9) from Wainright's fourth album: "Want Two" (2004). The dark colors are dispersed by a jazzy Irwin saxophone solo, followed by the melodic bass of Thomson Kneeland, Sebastian Noelle's deliberate guitar chords, and Danny Fischer's quick drums, conspiring to preclude any movement back to the edge of darkness. The piece is intended as a first person/third person lament.

Rufus Wainright's parents divorced when he was 3 years old. He was raised by his mother (she died in Jan. 2010) and his relationship with his father was 'troubled.' The final track on the CD: "Dinner at Eight" from his album "Want One" (2003) depicts the family relationships; mother, sisters, and father. Essentially the tune is about a disagreement Wainright and his father had at a photo shoot for Rolling Stone Magazine. It has a David and Goliath motif. 

The music for "Dinner at eight" begins with Irwin's insistent, pleading clarinet; the sorrow in its tone is palpable. Discord enters with Noelle's agitated guitar and Fischer's busy drums. Underneath, McDonald's trombone seems reserved and orderly, as the clarinet persists with its dialogue, clearly speaking in reasonable terms. Slowly the trombone, aided by an authoritative and coherent saxophone, gains ground; the conversation becomes more conciliatory, as the clarinet calmly perseveres with reasonableness to the end. 

The gripping insights and revelations that flow from the CD: Vicious World - Plays the Music of Rufus Wainright; Wainright's prodigious abilities and genius as a lyrical songwriter, which have led to a comparison with the preeminent America songwriter, Cole Porter, insist that his work and that of Vicious World, be examined carefully, and taken very seriously.

Track listing: Going to a Town; Natasha; This Love Affair; Memphis Skyline: Leaving for Paris; Matinee Idol; Peach Trees; Millbrook; The Art Teacher; In a Graveyard; Dinner at Eight.

Songs: 1, 2, 5, 7, 9, 10, 11 arranged by Aaron Irwin.
Songs: 3, 4, 6, 8 arranged by Matthew McDonald. 

CD Review: Laszlo Gardony - Signature Time.

Year: 2011

Style: Jazz

Label: Sunny Side Communications

Musicians: Stan Strickland - tenor saxophone/vocals; Yoron Israel - drums, vibraharp; John Lockwood - bass; Laszlo Gardony - piano.

Pianist/Composer Laszlo Gardony
Photo courtesy: artsfoundation.org

Review: On Laszlo Gardony's ninth CD recording called "Signature Time," three things become obvious early; Gardony is an excellent pianist - Dave Brubeck goes farther and calls him " A great pianist;" Tenor saxophonist Stan Strickland, bassist John Lockwood and drummer Yoron Israel are outstanding, impressive players; each adding an essential rhythmic condiment that keeps the music playing in your head long after you've heard it; and most of tunes reach a musical 'high' that leave you just craving more.

This album is meant as a Gardony celebration of  "the various African-based musical styles that helped shape the development of his unique style, " and a tribute to "all African-inspired sound." Putting all that aside, the listener soon realizes that this CD is bursting with very good jazz music. Let's just not mince words here; this is a funky, strutting, gospel-based, rhythm-satiated, swinging collection of tunes that are impeccably dressed up, and will turn heads.

It all jumps off "With You At The Bridge," and you find yourself gazing into the wide, flowing piano sound of Gardony as he smoothly polishes the melody like a sleek vessel slicing effortlessly through a deep, clear river; bass and drums are like the rhythm from the wind and the water evenly massaging ship and sail.

Another interesting detail about Laszlo Gardony that you get hip to quickly is; he's a pianist with a 'killer' left hand; there is a hint of it "On African Land" (track 2), but he really unloads it on the swinging, funky, gospel-soaked Lennon & McCartney composition "Lady Madonna" (track 3); and just to make sure that the "Lady" gets her proper sampling of 'rhythm and blues,' Yoron Israel's drums deliver sumptuously, often, and on time.

Gardony is also a keen music interpreter; you understand why Brubeck calls him "A great pianist," with his reading of George Shearing's "Lullabye of Birdland" (track 4). He does not just play the tune; he coolly unfurls it, and calmly turns it inside out. His piano solo is clear, imaginative, and graceful; John Lockwood's bass adds solid harmonic support and sensuous swing to the melody with an abundance of skill and lyricism that is startling.

The band excels at giving old tunes stunning makeovers, and another Lennon & McCartney classic, "Eleanor Rigby" (track 8) is draped in gorgeous, new, swirling, curve hugging colors that follow the mellow groove carved by the rhythm section into a weave of swing elements for the piano to plant deep, swooning, chords that flush out another of the group's singular qualities; it shows no strain in creating changes in mood, or tempo. No where is this better demonstrated than on "Silent Words" (track 5) where Yoron Israel's patient, measured, percussion provides Gardony's piano with an uncluttered canvas to paint beautifully calming colors that seem to hypnotize through their sheer simplicity. Then with only a moment's notice, they swing effortlessly and energetically into Billy "Sweet Pea" Strayhorn's jazz standard "Johnny Come Lately" (track 6) on the delightful tenor saxophone of Stan Strickland, simultaneously revealing yet another striking feature: The group's ample stylistic range, further spread out through "Under the Sky" (track 7); "Spirit Dance" (track 9); and the delightfully energetic, danceable "Bourbon Street Boogie" (track 10) that 'rocks' this CD to its end .

As the composer of six of the ten tracks on the CD, Laszlo Gardony demonstrates a discerning awareness of form, melody and emotion. His pieces are structured to carry the listener along with excitement, and energy, toward a satisfying high point. The melodies are memorable because they work with the rest of the music, and their emotional character is delightful.

Gardony and his band have put together a well balanced and entertaining selection of music. There is something for all tastes, along with resplendent musicianship; and as the CD's release states, with his "ingenious use of challenging time signatures, innovative song forms and advanced harmonic  approach," "Signature Time" has made itself into an astral "celebration of Africa-based music styles" and an illustrious "tribute to all African-inspired sound."

Track listing: With You at the Bridge; On African Land; Lady Madonna; Lullaby of Birdland; Silent Words; Johnny Come Lately; Under the Sky; Eleanor Rigby; Spirit Dance; Bourbon Street Boogie., 

CD Review: Ernie Krivda - Blues For Pekar.

Year: 2011

Style: Jazz

Label: Capri Records

Musicians: Claude Black - Piano; Marion Hayden - Bass; Renell Gonsalves - drums; Ernie Krivda - Tenor Saxophone.

Guests: Sean Jones - Trumpet; Dominick Farinacci - Trumpet & Flugelhorn.

Tenor Saxophonost/Composer
Ernie Krivda
Photo courtesy:cleveland.com

Review: Ernie Krivda and The Detroit Connection comprise a band with loads of musical character and talent. From the first bars of English songwriter Edward Redding's "The End of a Love Affair," (track 1), you are hooked on the energy and excitement the group creates out of thin air. Krivda's tenor hits on all cylinders; asking no quarter; giving none. Krivda himself sounds like the kind of player that does not start 'love affairs' that he can't end; other than that, he's a hell of a special tenor man; he's just a glutton for punishment, that's all. Just dig the heart and soul he burns into his solos; and the way he ends them. But he is in good company on this tune, trumpeter Dominick Farinacci adds to the inferno with some high octane fuel of his own. Then they get into a ferocious exchange, with each horn insisting on having the last word. Luckily, the drums of Renell Gonsalves intervene to break up the melee; and he gets to take the last swig.

If somehow, you survived the end of that love affair, Krivda returns on (track 2), intending to tear your heart out with an impassioned interpretation of the Billy Rose/Edward Eliscu/Vincent Youmans standard "More Than You Know."  He is helped with some of the heavy lifting by pianist Claude Black who, as Krivda states, "...is a master of the great American standard song," and who has the uncanny ability to "orchestrate on the move." This interpretive magic is reprised on "Darn That Dream" (track 4) with the addition of a stellar performance from the rhythm section in sharpening the contours of the colors painted by Krivda's exciting tenor sax.

The Detroit Connection makes a New York Connection with the jazz classic "Valse Hot" (track 3). This is played with such feeling and skill, that it seems more akin to one tenor player paying homage and respect to another, who just happens to be one of the last (if not the last) living tenor legends; still active, and relevant on the current jazz scene: The incomparable tenor saxophonist, Theodore Walter "Sonny" Rollins, composer of "Valse Hot." The hot trumpet of Sean Jones is heard on the tune trading exchanges with Ernie Krivda's tenor, adding exhilaration and joy to the effort. Later in the CD, Krivda again gives a nod of acknowledgement and respect to another tenor titan, Dexter Keith Gordon, with his rendition of "Fried Bananas" (track 5). Krivda plays 'long and tall' in true Gordonian lyrical fashion after a crisp Renell Gonsalves (Paul's son) drum intro; Sean Jones digs in with a driving trumpet solo, while Marion Hayden plays steady, incisive bass figures and pianist Claude Black makes like Gordon, and drops a slick quote of "The Peanut Vendor" neatly into his solo. Dexter Gordon's 'fried bananas' never tasted better.

The last two tunes on the CD are dedications to a couple of Krivda's acquaintances who have 'checked out.' On "One for Willie" (track 6), for saxophone/arranger Willie Smith, there are two especially tasty duets with bassist Marion Hayden and Krivda and a beautiful extended bass solo that shines with Marion Hayden's dexterity and imaginative prowess.

The final offering is for jazz critic and Downbeat Magazine contributor Harvey Pekar, to whom the CD is dedicated, and titled: "Blues for Pekar" Both compositions move with a remarkably graceful swing, and serve as a fitting end to an extraordinarily outstanding jazz music CD.

If you like a tenor player with serious 'chops,' who's totally original, and radiates searing heat; then, Ernie Krivda is the real deal.

Track listing: The End of a Love Affair; More Than You Know; Valse Hot; Darn That Dream; Fried Bananas; One for Willie; Blues for Pekar.

CD Review: "Pursuit" By Guitarist/Composer Richard Nelson

Year: 2011

Style: Jazz - Large Ensemble & Quintet

Label: Heliotrope Records

Musicians (Large Ensemble): Bill Moseley, flute; Tim O'Dell, alto and soprano saxophones; Pamela Jenkins, alto Saxophone; Frank Mauceri, tenor saxophone; John Foss, trumpet; Don Stratton, trumpet; Sebastian Jerosch, trombone; Anita Jerosch, bass trombone; Jon Luoma, viola; Moira Wolohan, cello; Richard Nelson, guitar; Cassidy Holden, bass; Steve Grover, drums; Ron Lombardi, conductor.

Musicians (Quintet): Tim O'Dell, alto and soprano saxophones; Don Stratton, trumpet; Richard Nelson, guitar; Cassidy Holden, bass; Steve Grover, drums.



Composer/Guitarist Richard Nelson

Review: A pursuit usually suggests, a starting point that moves eventually, inevitably toward the achievement or realization of a specific objective. Pursuits by their very nature are seldom linear, never orderly and almost always challenging. These factors, as problematical as they can be, nevertheless help to generate the fuel, energy and innovation required to ensure the success of a pursuit.

Richard Nelson's CD: "Pursuit" though realized through the multi-faceted prism of music, in this instance via large ensemble and quintet, is no different. Since linearity and orderliness are not obvious obstacles for Mr. Davis, then what remains, it seems are; a starting point; the necessary "tools and resources" to deal with concomitant challenges attendant to a successful pursuit; and the achievement of a goal.

With regard to a goal, Davis states in the liner notes of this CD that, "on a personal level, Pursuit represents an attempt to honor a quality of child-like innocence...in these over-stimulated conflict-ridden times." His "tools and resources" manifest themselves in the talents and experience of the very accomplished musicians he has brought to his music. His challenge: To ensure that everyone clearly understands the objective.

"Pursuit" comes in five movements; its starting point is called "Portal." The entrance. It begins with the searching, careful, probing trumpet of Don Stratton, like a protagonist feeling out an opponent. 'Blow-by-blow' the trumpet triumphs; finds the way; the rest of the ensemble join en masse; saxophones, trumpets, trombones, woodwinds, bass, drums; bombarding the movement with high-energy voicings and chaos, as though giving wild, disjointed musical advice that gradually morphs into a thematic orderliness of the second movement called "Innocence." 

"Innocence" is the musical template of the desired goal. In it are found the core elements of childhood fascination; there is the feeling of security captured in the warm coherence of the ensemble's voicings, and then playful wonderment, discovery, adventure and suspense seem to spring gently from Steve Grover's drums.

Searching is an activity that is all-consuming during childhood and so it is in a pursuit. It is a continuum of innocence, but with a more intense focus. In the third movement of "Pursuit" called "Search," Steve Grover's drums pick up where they left off in "Innocence,"  the piercing, fervent focus of the search is heard in the soprano saxophone of Tim O'Dell; at times clear and articulate and then frenetic and uncertain; but the underlying ensemble is supportive with an "intriguing textural weave that includes flute, viola, and cello." 

A very obvious shift in the mood and colors of the music takes place in the fourth movement; "Azure." As its name implies, it is bluesy, jazzy, modern and cool. It's as if the ensemble senses, not only that "the attempt to honor a quality of child-like innocence" is possible, but that it is within musical reach. It is heard in the laid back guitar opening of Richard Nelson, the unhurried response of tenor saxophonist Frank Mauceri; it is so strikingly familiar, as though you've heard it before in one of those suspenseful film noir Mickey Spillane/Mike Hammer movie thrillers when all the twists have been revealed and the denouement is imminent. In it is revealed the safe harbor in which we are all prone to retreat during, "these over-stimulated, conflict-ridden times," as Richard Nelson succinctly puts it.

The final movement, "Strive" begins innocently enough with flute, viola,cello; then the full band takes over. At first, they swing together coherently; Nelson's guitar solos brightly. Suddenly, the band changes course, and crosses behind the guitar, with the brass dragging and jagged, outlining a microcosm of the movements, in reverse; from which, Steve Grover's drums emerge beating a steady retreat right up to Don Stratton's trumpet 'coda' that completes the frame, rounds out the entire work and brings the pursuit to a gripping end; as it had begun.

"Pursuit" tackles two difficult chores; a return to a child-like innocence; and an examination of the present by way of the past, in attempting to capture, through music, a challenging and elusive spark of life - the spark of childhood. It is challenging because of the profound simplicity of the years, but very elusive on account of the vast, complex memories contained in those years, and which are different for each individual. Nelson has no doubt achieved his musical arrival point in "Pursuit."  In the process, inadvertently, he has  presented listeners an opportunity, and a challenge, through immersion in his music, to discover a "quality of child-like innocence," in themselves, that may be applied to their current "over-stimulated, conflict-ridden times."

At the end of the five movements by the ensemble, there are two compositions played by the quintet on the CD: "Abol Stream" and "Stillness." They conjure up images of long, lovely, quiet, sojourns into the expansive, unspoiled tranquility of northern Maine's mountainous back country. They are like an exquisite dessert after a sumptuous meal. 

This is Richard Nelson's third album as a leader. His other works are "Origin Story" and "Figurations." He wears a very prominent musical hat in the Boston-based Aardvark Jazz Orchestra as a long-standing member, and divides his other creative existence in collaborations with other important jazz musicians such as Geri Allen, Sheila Jordan, Walter Thompson, Taylor Ho-Bynum and Mat Maneri.

Track Listing: (Large Ensemble): Portal; Innocence; Search; Azure; Strive. Quintet: Abol Stream; Stillness.

CD Review: Les Doigts de l'Homme/1910

Year: 2011

Style: Gypsy Jazz

Musicians: Olivier Kikteff - guitar; Yannick Alcocer - Guitar; Benoit "Binouche" Convert - Guitar; Tanguy Blum - Acoustic Bass

Additional Musicians: Adrien Moignard - Guitar (track 5); Stephane Chausse - Clarinet (tracks 8 & 12)

Label: Alma Records.

Django Reinhardt
Photo courtecy:basementrug.com

Review: The name of this CD: "Les Doigts de l'homme/1910" is a nom de guerre unwittingly soaked in irony and history. The name literally translates as 'The Fingers of Men' and is intended to convey an image of the musicians as "fleet-fingered wizards of the fret."  With an ironic twist however, it embodies and expresses a significant acknowledgement of gratitude to a musician around whom this CD revolves, and whose loss of two of his guitar playing fingers contributes profoundly to his legacy and legend; more refreshingly, it is intended as "a sincere and heartfelt tribute" on the centenary of his birth. The musician is Django Reinhardt (1910 - 1953).

The musicians lending their prodigious talents to this musical testimonial are also giving piercing voice to gypsy jazz, a music genre that still lives, is appealing, and continues to find acceptance in today's global melting pot.

The CD contains seventeen tracks, six of which are original compositions of Django Reinhardt: "Appel Indirect" (track 4); "Bolero" (track 8); "Feerie" (track 9); "Improvisation #2" (track 13); "Swing 48" (track 14); and "Minor Swing" (track 16).

Django Reinhardt said that he was 'impressed'  by Louis Armstrong, with whom he also played. He played and recorded with tenor saxophonist Coleman Hawkins, alto saxophonist Benny Carter, trumpeter Dizzy Gillespie, and he admitted that he 'appreciated' alto saxophonist Charlie Parker. It is hard to imagine that he was not also influenced by these great cutting edge jazz musicians, and this must certainly have some bearing on the wide appeal his brand of gypsy jazz had to audiences then, and is still found to be widely appealing to audiences today through the efforts of "Les Doigts de l'Homme."

But the influence of Reinhardt as a genius of the guitar cannot be overlooked or underestimated. He was truly a giant on his instrument. Having lost (in a fire) the use of two of the most important fingers for playing the guitar (the third and fourth of his left hand) and still be able to reach virtuoso status, made him a living legend. The list of guitar-playing musicians, of multiple genres, who have acknowledged his influence on their styles, is almost endless: Classical: Julian Bream; Rock: Eric Clapton; Jeff Beck; Stevie Ray Vaughan; Jerry Garcia (who also lost fingers in an accident); 50's &60's Rock & Roll: Les Paul; Jazz: Joe Pass; Barney Kessel; Charlie Christian; George Benson; Wes Montgomery; Blues: B. B. King; Country: Chet Atkins; Willie Nelson; Latin: Jose Feliciano; Carlos Santana. There are scores more. This is part of what makes "Les Doigts de l'Homme" not only important; but necessary.



Les Doigts de l'Homme. Photo courtesy:
le_doigts_de_l-homme.mondomix.com

The CD has as its starting point Irving Berlin's great American standard, "Blue Skies," It is played with speed, coherency, and an emotional buoyancy that all together underscore the realization that gypsy jazz is enjoyable and fit for global tastes. Particularly impressive is the blazing finger speed, uncanny accuracy and sense of rhythm imparted by the four players. It authentically reprises Reinhardt's musical personality and the sizzling fire that branded it.

On "Blue Skies" and Jerome Kern/Oscar Hammerstein's "Ol' Man River" (track 2), guitarists Olivier Kikteff and Benoit "Binouche"Convert deliver solos with such a fecundity of imagination, clarity and wit, that the descriptor of their music "gypsy jazz" seems a misnomer; 'beyond category' might be more fitting.


Olivier Kiktell composed three pieces for this CD: "Niglo 1 Waltz" (track 2); "1910" (track 5); and "Improsture #1" (track 17). They show the deep passion and respect that he holds for Django Reinhardt, his contribution to gypsy jazz, and music in general. In each piece, he has taken great care to allow the memory of Reinhardt and his influence full access to his (Kikteff's) talents, musicianship and insights; to be expressed as the spirit and essence of Django Reinhardt; and not be a mundane imitation. There is the true majesty of Reinhardt's music in "Niglo 1 Waltz;" the far reach of his 'sweet speed' and clear thought in "1910;" and his indomitable spirit that still lives in the classical serenity of "Improsture #1." 

In reprising Reinhardt's original compositions, Les Doigts de l'Homme gives the listener much more to absorb and be entertained by, than Reinhardt's technical dexterity and virtuosity. Keen insights are allowed into his imaginative processes, his eclectic musical tastes and influences. Much of which came through exposure to American music genres, associations with American jazz musicians and tours to the U. S. Of note is his 1946 tour to the United States as special guest soloist with Duke Ellington and his orchestra. In playing his composition "Appel Indirect" (track 4), Les Doigts de l'Homme includes a quote of  the 1925 jazz standard "Sweet Georgia Brown." One might consider this an indication of the jazz thread running through Reinhardt's music as he might imagine it. His other compositions "Bolero" (track 8); "Feerie" (track 9); "Improvisation #2" (track 13); "Swing 48" (track 14) and "Minor Swing" (track 16) serve to fill out the palette of emotions, moods, influences, colors and textures expressed as essentials contained in Reinhardt's musical scholarship and are presented with unblemished honesty.

The inclusion of the traditional folk song "St. James Infirmary Blues" (track 6) is a sure indication of Reinhardt's love for and influence by American blues. It is played with sincere poignancy and an authenticity of sadness that must have taken into account Reinhardt's imaginative tendency and thought process as they relate to this music genre. Not surprisingly, some of the popular standards of Reinhardt's day, Jack Palmer/Spencer Williams' 1926 "I've Found a New Baby" (track 7) and Harry Warren/Mack Gordon's 1942 "There Will Never Be Another You" (track 15) have found their way into this  tribute to Django Reinhardt. These tunes give the CD a well-rounded feel along with the expansion of the group's stylistic range found in the addition of Stepane Chausse's clarinet on the baleful "Russian Melody" (track 12).

The group stresses "that while gypsy styles are the core element of their sound, they are not gypsy musicians." They might well add, that even though their instruments are the instruments of the French Gypsy culture, 'they are no longer playing gypsy jazz.' This tribute to the inventor of "Hot Jazz" also accelerates its movement towards greater global appeal through the dedication and talent of Les Doigts de l'Homme.

Les Doigts de l'Homme/1910 is a musical 'tour de force' that has been brought off with enviable aplomb and glittering panache.

Track Listing: Blue Skies; Ol' Man River; Niglo 1 Waltz; Appel Indirect; 1910; St. James Infirmary Blues; I've Found a New Baby; Bolero; Feerie; Indifference; Blue Lou; Russian Melody; Improvisation #2; Swing 48; There Will Never Be Another You; Minor Swing; Improsture #1.

Joey DeFrancesco Trio at Yoshi's Oakland, California Jazz Club.

Joey DeFrancesco
Photo courtesy: gordoconbarba.com

It rained the weekend that Joey DeFrancesco and his trio floated into Yoshi's Oakland, California Jazz Club, June 4 - 5, 2011. The weather man threatened that as much as two inches of the wet stuff might be lapping at the heels before things cleared up. To make matters worse; it was windy and cold. These adverse conditions did not bother the organist in the slightest. He and his Hammond B-3 were red hot. Damn near burned the club down; the smoke was up to his ears.

Along for the jaunt to this virtual four-alarmer were; guitarist Rick Zunigar and drummer Ramon Banda. A sizable crowd turned out to see the organist and his trio, but the performance was not sold out; however, there weren't too many empty seats. I considered this a good sign; since it was a Sunday night.

They wasted no time on ignition; jumping right into a wicked swinger called "Blues in Three." DeFrancesco seemed oddly detached at first, nothing that was visible on his frame appeared to be alive or moving - hands; shoulders; head; nothing; but an incredible wave of energy and sound was coming out of that Hammond B-3 like a B-52 aircraft cleared for takeoff. It did not take long for drummer Ramon Banda to get into the act. He put his drum set through a thorough mugging and then turned things over to guitarist Rick Zunigar who kept DeFrancesco caged until he ran out of interesting things to do on the guitar's fret. Joey De then roared back in, took things up several decibels, dropping a few well placed quotes into his solo, one of which was "Pennies From Heaven." The room got excited! Now there was life! The sleeping giant had awakened. DeFrancesco's hands flew across the organ's keys, his body rocked from side-to-side, and he had a big, wide grin covering his face: The warm up was over. The fire was lit. The audience was put on notice: This dude was here to swing!

As a follow up, DeFrancesco pulled out another scorcher curiously named "V & G." He did not choose to disclose what V & G stood for, but when it ended and the smoke had cleared a bit, he initiated some banter with the crowd, letting on that he was really thrilled to be back at Yoshi's in Oakland, California, and that he considered it one of the best jazz clubs in the world. This unsolicited bit of information drove my heart rate racing in a northerly arc. I suddenly realized that not only was I diggin' the top jazz organist on the planet, but I was ensconced in "one of the best jazz clubs in the world." I mean, this is a guy that has places to go , lots of people to see, and mucho things to do. So I'm down for his word!

All of a sudden, life is good!

The mood was changed for the next two numbers, the first was a medium tempo piece with a distinct Latin feel, this set the audience up nicely for the Bob Haggard/Johnny Burke standard "What's New," during which  DeFrancesco took the room down to the stillness of a church; Zunigar's guitar painted beautiful stained-glass colors, and Banda applied his brushes to the drums with the practiced care of a monk. The air went out of the room, and a twilight descended.

After the audience was done confessin', DeFrancesco commenced a wanton assault on his Hammond B-3. He launched into Clifton Davis' "Never Can Say Goodbye" a song that was popularized by the Jackson 5. This toe-tapper was an instant hit with the crowd, now dating themselves through the sheer volume of their response and applause while the organ-growls pressed hard into the room's walls.

As a way of relieving the tension and emotional angst in the room, DeFrancesco turned to Mexican song writer Maria Mendez Grever for "What a Diff'rence a Day Makes." (Cuando Vuelva A Tu Lado) and which was turned into a big 1959 R & B hit by the late singer Dinah Washington. The room let out a collective gasp, and I suspect more than a few hearts began to flutter.

At this point I was becoming a little impatient with the song selections. I wanted DeFrancesco to crack open some James Oscar Smith (a. k. a. Jimmy Smith). I wanted him to pour me 'three or four fingers' of  "The Champ" or "The Sermon" or "Back at the Chicken Shack." I know that Jimmy Smith had given DeFrancesco the keys to the cellar before he checked out, and I had come out for a taste. But then I really noticed 'the crowd.' It was a Sunday night set; middle of the road; Not exactly hard core consumers of one-hundred-percent proof jazz funk libations; so I sat back, sipped some warm sake...and watched; and waited; like Elmer Fudd stalking Bugs Bunny .

Joey DeFrancesco is not only a dynamite jazz organist to listen to, he is also a fun performer to 'watch while he works' (as the great soul man Wilson Pickett used to say). He displays a natural ebullience towards his band mates; egging them on; encouraging them to prolong their solos, showing genuine satisfaction at their efforts; and subtly complimenting their dexterity. The audience naturally picks up on these nuances; they signal that the unit is tight; they never want to let go. DeFrancesco becomes a larger than life performer, and it's like one big, fun, family affair.

But he wasn't giving me my Jimmy Smith!

Then he jump-started my hopes with something jazzy and swingin.' I did not recognize the tune, and he did not say what it was; but I sensed that he was getting close to James Oscar, because in the furrows of the tune, he was inserting quotes, 'a la Dexter Gordon,' that glistened and danced through the ripples of the melody like shiny coins in a fountain. I felt comforted.

Just as that number ended, he announced calmly to the audience that the next tune was the last one and the reason he was telling them then, was to avoid them pounding the tables for him to return to the stage to do an encore; and with that he let loose, and I mean let loose...James Oscar Smith's, "Back at the Chicken Shack." He had descended the stairs to the cellar, put the key in the lock, and pulled out a gem. I closed my eyes; listened to that Hammond B-3 pour out a connoisseur's dream of Smith special reserve, and literally tasted it... James Oscar Smith was right there on the stage, making that Hammond B-3 weep and swing, deep and sonorous; getting it deep into your soul; grabbing you hard; moving you; and not letting you go. It was worth the wait. I heard what I had come to hear. Now, I could go home with a big, wide grin, covering my face!

"Jo-eee!Jo-eee!Jo-eee!" That's what they shouted when he got through and walked off the stage. I was speechless.

"Jo-eee!Jo-eee!Jo-eee!" they continued. To my surprise DeFrancesco and the band came back out on stage. He greeted them with:

"You want more? You don't sound like you want more!"

The room almost broke out in pandemonium. People that probably never had screamed before for anything in their lives, were now beside themselves with excitement.

So DeFrancesco tells them, "OK. I'm gonna play you some blues."

Now that DeFrancesco had promised to play "the blues," the crowd was ready for 'the blues' and there was no denying them.

Joey DeFrancesco sat down at the Hammond B-3, Rick Zunigar and Ramon Banda took up their positions, and they played about forty-five seconds of "the blues."  Then they all calmly got up. DeFrancesco said "good night," and they all walked off the stage.....

"Joey! Joey!Joey!Joey!Joey!"

                                         Watch

Joey DeFrancesco on the NUMA keyboard by StudioLogic at NAMM 2011:

"The Sermon"