THE JAZZ ARTS TRIO: Swing of Many Colors.

Year: 2012

Style: Jazz

Label: JRI Recordings

Musicians Frederick Moyer - piano; Peter Tillotson - bass; Peter Fraenkel - drums.

Review: When I first grappled with the concept behind The Jazz Arts Trio CD: "Swing of Many Colors," three questions surfaced immediately in my mind: Why perform re-interpretations of "untouchable" jazz classics? Isn't this already being done by many of the genre-stretching young jazz artists playing today? Where is it going, really?

On the other hand, the concept of re-interpretation and re-invention in the classical music genre, and in entertainment media  (film) remains vital, sustaining, and powerful. With this in mind, I was impelled to listen honestly, intently and objectively (if there is such a thing) to this conceptual musical brain-child of the The Jazz Arts Trio with the expectation of excitement built into the reference of "Swing" prominently positioned in the title of the date: "Swing of Many Colors."

Hearing the sounds of the first transcription of notes (note for note) from Ahmad Jamal's ground-breaking "Live At The Pershing," now performed under the title: "The Pershing Suite," I was amazed by my initial visceral reaction to George and Ira Gershwin's "But Not For Me." This was more than just a transcription and re-interpretation of an influential jazz classic, this was an uncannily accurate transcription of time and history, personal and musical, so profound, as to initiate powerful feelings and inquiries akin to: "Where were you, and what were you doing on November 22, 1963 at 12:30 p. m.?" The second selection, Rogers and Hammerstein's "The Surrey With the Fringe on Top" made my knees weak, and by the time Karl Suessdorf /John Blackburn's "Moonlight in Vermont " crested, I needed something to hold on to. But I was prepared (firmly ensconced in a comfortable seat) for the exotically attractive features, and rhythmic magic of "Poinciana"; one of the musical darlings of juke boxes all over the country after the CD was released, "Poinciana's" masterful arrangement, Jamal's use of space, and Vernel Fournier's epic percussion are now legendary, and made it one of the most influential and copied tunes by jazz musicians of the era. Miles Davis openly admitted being influenced by Ahmad Jamal on the importance of 'space' and its use.

It is important and fair to give credit and recognition to the very talented and bold musicians who have found the courage to see this idea that was unconsciously planted during junior high school, germinate thirty years later during a re-union at a fund raising concert, eventually come to fruition in a 2009 debut album: "Tribute," and now evolve into "Swing of Many Colors."


Pianist Frederick Moyer



Pianist Frederick Moyer is a much-traveled and accomplished classical pianist. He has performed in Tokyo, Japan, Sydney Opera House, Australia, Windsor Castle, England, Carnegie Recital Hall and The Kennedy Center. He has appeared as piano soloist with the Cleveland, Philadelphia and Minnesota Symphony Orchestras, and has made appearances in St. Louis, Dallas, Indianapolis, Milwaukee, Baltimore, Pittsburgh, Houston, and Boston.  His is the main interpretive voice on the CD, and paints much of the vitality, joy and moving emotional character into the music. 



Bassist Peter Tillotson



Bassist Peter Tillotson is a much in-demand artist in the New England area. He plays everything from be-bop to Bluegrass and has performed with the Boston Symphony, entertainers Steve Allen, Maureen McGovern, and Suzanne Summers. His expertise in acoustic amplification has made him a busy technical consultant to Acoustic Alchemy, Barenaked Ladies, Sheryl Crowe, the Count Basie Orchestra, Lisa Loeb, Lyle Lovett, Dixie Chicks, Dave Matthews, Paul Simon and Peter Townshend. 






Drummer Peter Fraenkel

Drummer Peter Fraenkel learned his percussive craft at the Berklee College of Music under the tutelage of Fred Buda and Alan Dawson and at the New England Conservatory again with Buda and Frank Epstein. He has performed with a wide array of musicians including, Claudio Roditi, Jed Levy, Fred Hersch, Paul Meyers and Margaret Whiting. He covers many rhythmic styles, including jazz, Brazilian, funk and rock. He has played across North America, in Nairobi, London, Santiago and Hong Kong. He is a successful psychotherapist in New York City, and is an internationally known professor of clinical psychology at The City College of New York.

The tastefully measured, immaculately tailored block chord stylings from Moyer's piano, describe the ebullient, swing of William "Red" Garland's "Billy Boy," all the way down to Tillotson's perfect reprise of Paul Laurance Dunbar Chambers' impeccable time, intonation, and virtuosic improvisational technique, and Peter Frankel's representation of the drumming genius of Philadelphia Joe Jones, the man whom Miles Davis and pianist Bill Evans lauded as their all-time favorite drummer.

If ever there was a jazz pianist whose unbridled 'swing' came in many colors, it had to be the inimitable Oscar Peterson, and his 1962 rendition of "Night Train" embodied the full measure of that swing with its signature Peterson melodic ring and iron-horse rhythmic stretch run, echoing like a distant train whistle out of Moyers' jumpin' pianism.

The liner notes, written by jazz commentator Scott Yanow, describe the three final selections (so why waste time) as, "different in that the two Peters (Tillotson & Fraenkel), instead of transcribing the bass and drum parts, went for the feel and the style of the original recordings in their improvisations. Keith Jarrett's reworking of "All the Things You Are" with bassist Gary Peacock and drummer Jack DeJohnette is quite intricate with ideas coming at a rapid pace, but the Jazz Art Trio's version sounds effortless although no less wondrous, and they assay the tempo changes flawlessly. "For All We Know" was originally an unaccompanied Marian McPartland piano solo. The new tasteful bass and drum parts fit perfectly into the mood of the performance." The date concludes with one of the most challenging and involved compositions on the CD: "Matrix" written by pianist Chick Corea, but the trio does a magnificent reading of the piece to accurately summon Corea's sound, feel and fire.

What is important, and ultimately will be enduring about "Swing of Many Colors is the effect it has on its listeners. It is the effect that removes any doubt about the need for such an interpretive retrospective, and makes moot such questions as: Why? Is it necessary? And 'quo vadis'? In the final analysis, I think the best reason for this collaborative effort lies in altruism: "That a portion of the sale of this CD will go to the Jazz Foundation of America which is dedicated to saving the homes and lives of elder jazz and blues musicians in crisis." This is one of the primary reasons that makes this work necessary and fulfilling!

Track Listing: The Pershing Suite: But Not for Me - The Surry With the Fringe on Top - Moonlight In Vermont - Music! Music! Music! - There is No Greater Love - Poinciana - Woody N' You - What's New. Billy Boy; Night Train; Fly Me to the Moon; All The Things You Are; For All We Know; Matrix

Recorded at Wellspring Studios, Acton, Massachusetts.

Producer: Frederick Moyer
Project Manager: Peter Tillotson
Recording Engineer: Matt Hayes
Mastering: Dana J. White at Specialized Mastering
Piano Technician: Frederick J. Mudge 

Mark Sherman: THE L.A. SESSIONS

Year: 2012

Style: Jazz

Label: Miles High Records

Musicians: Mark Shermanm - vibes; Bill Cunliffe - Hammomd B3 organ; John Chiodini - guitar; Charles Ruggiero - drums.

Review: Mention L. A. and jazz, and its almost impossible not to think in terms of  "West Coast" jazz: that 'cool' style of jazz that came out of Los Angeles and San Francisco during the 50's; a style that was less passionately improvisational than the hard-bop, sharp-edged alternative heard on the East Coast. Miles Davis' 1957 "Birth of The Cool" classic album, certainly comes to mind as one of the landmark dates of the era. "Cool Jazz" was not the only style of jazz that was heard in the West; but its share of iconic contributors is legendary: baritone saxophonist Gerry Mulligan; trumpeter Chet Baker; drummer Shelly Manne; alto saxophonist Paul Desmond; tenor saxophonist Stan Getz are but a few.

Drummer Charles Ruggiero

What brought about this nostalgic retrospective? No doubt the recent release of Mark Sherman's fine CD: "THE L. A. SESSIONS." Sherman who was born in the Bronx, NY, is a winner in Downbeat Magazine Critics and Readers Poll (2007 - 2011). With this CD he pays homage to the be bop masters and music that influenced his professional development: Charlie Parker, Miles Davis, Bud Powell, John Coltrane and Milt Jackson. Sherman engages the talents of three of LA's sharpest musicians in Hammond B3 organist Bill Cunliffe, guitarist John Chiodini, and drummer Charles Ruggiero...that's as West Coast cool as it gets!

Mark Sherman's music is described as "...relentlessly energetic, hard charging, and brimming with incredible improvisations from his refined skills and deep commitment to the art form itself (www.markshermanmusic.com). He starts off the date with Dizzy Gillespie's 1942 big band classic ("Woody N' You"), which was dedicated to bandleader Woody Herman and was detailed with penetrating, chromatic dissonance, that contrasted interestingly with its Afro-Cuban rhythmic affect. This opener sets the tone for the rest of the date, with a compliant, sophisticated charm heard in Sherman's vibes.

Hammond B3 Oganist
Bill Cunliffe

The supple sound of Sherman's vibes steps softly towards Charlie Parker's ("Quasimodo") to continue what can be viewed in the light of a musical pilgrimage. Organist Bill Cunliffe acknowledges the memory with an appropriately unhurried solo which he adorns with a fitting quote from Jay Livingston's popular standard "Buttons and Bows," also from the year 1947. 

Mark Sherman is the son of a star soprano who performed with the Cleveland and Boston Symphony Orchestras, and Sherman himself had 5 years of classical piano training before he fell in love with jazz. There must have been a very eclectic and high quality of music in the Sherman household, including music by the composers and lyricists of the popular music of the day; like  Jimmy Van Heusen and Johnny Burke whose 1944 standard ("It Could Happen To You") is beautifully reprised by the quartet through a progression of engrossing solos from drummer Charles Ruggieo, guitarist John Chiodini, Sherman's vibes, and organist Bill Cunliffe that develop into an extended, animated group conversation;  swinging delightfully to the end, and adding sparkling balance to the date. 

Sherman and the Quartet tread carefully, almost piously into the canons of be bop pianist Bud Powell ("Celia"), saxophonist Benny Golson  ("Whisper Not"), the unsurpassable tenor saxophonist John Coltrane ("Moment's Notice"), vibraphonist Milt Jackson ("Bag's Groove") and the "Prince of Darkness" himself, Miles Davis ("Serpent's Tooth"); but once entered into the shrines fully, the musical supplication is meaningful, powerful and sincere. 

Guitarist John Chiodini

Sherman's remembrance of Powell's be bop style is recollected fully, you can almost hear the famous Powell "growls,' Cunliffe and Chiodini do not miss any opportunities to swing whenever space opens up. Benny Golson's "Whisper Not" emerges with its lilting, melodious strut intact, thanks to the compact swing from Cunliffe's Hammond B3, which runs head-long into John Coltrane's 1960 classic "Moment's Notice" complete with all the Coltrane's harmonic progression variations that has made this jazz classic such a challenge and favorite for many post-bop musicians. But it is Milt Jackson's "Bag's Groove" that offers up itself as the selection that collectively embodies the significant, outstanding features of the CD; it's got that bluesy feel, deep swing, and muddy soul that the quartet wallows in with abandon; just listen to Chiodini's guitar's orgasmic tremors, Ruggiero's drums catch on fire, and Sherman's blissful Milt Jackson-influenced, Modern Jazz Quartet attentiveness to the variations on harmonics and rhythm. Miles Davis' surprisingly animated "Serpent's Tooth" ends this set and the CD, as though Sherman and the band wanted to try their hand at something really challenging, and they picked this number by Miles.

Admirers of Mark Sherman's music who are drawn towards his "relentlessly energetic, hard charging" style of playing will not be disappointed with this date and may be pleasantly surprised to encounter a refreshingly nuanced and sophisticated approach heard on some of the tracks of THE L. A. SESSIONS. Moreover, this excellent date not only serves as an instructive look back at Sherman's jazz heroes and influences, but it maybe a vehicle for re-discovery and re-invention that will point to a musical path forward for this acknowledged  "Ambassador of Jazz."    

Track Listing: Woody N' You; Quasimodo; It Could Happen To You; Celia; Far Away; Whisper Not; Moment"s Notice; Bag's Groove; Serpent's Tooth.

Bonus Tracks: Quasimodo; Woody N' You; Celia.

Recorded at Apogee's Berkeley Street Studios, Santa Monica, California.

Produced by Paul Rice & Miles Sherman

Engineered, mixed and mastered: Roger Robindore

Assistant Engineer: Brad Delava

Mark Sherman is a Yamaha performing artist and plays Pro Mark Mallets

Charles Ruggiero plays Zidjian cymbals and sticks, Remo drum heads and Yamaha drums.

Daniel Bennett Group: "Peace & Stability Among Bears"

Year: 2012

Style: Folkloric Jazz

Label: Bennett Alliance Records

Musicians: Daniel Bennett - alto saxophone/flute/clarinet; Chris Hersch - guitar; Jason Davis - bass; Rick Landwehr - drums.

Daniel Bennett

Review: It takes but a single exposure to multi-reed player/composer/bandleader Daniel Bennett, to realize that he is a very important talent and worthwhile contributor to the jazz genre, even though, or maybe, in spite of, his music being described as accented with folkloric elements. In fact, these elements seem to inculcate his innovative genius with a particular earnestness that is refreshingly avant-garde, and firmly establishes his nascent 'voice.' The import of an artists' voice, nascent or not, is that, it is one of the singular professional leitmotifs contributing to legacy, longevity, survival and influence. Plainly put, Bennett's music comes across with the same focused, exploring, clarity that beams from his own eyes, (seen 'em?)

This New England Conservatory-trained musician, plays with an airy, butterfly-like float that evokes cohesive, spontaneous, rhythmic responses from his band mates. The communication is democratically telepathic, they seem to know always where Bennett will take the music. Bennett starts off the CD ("The Local Sheriff) on alto saxophone, in a spheroid, lilting fashion, with an African-guitar rhythmic ring from Chris Hersch that matches the fresh, melodic lightness from the alto, and gives the tune an infectious, buoyant feel. Bennett plays the alto saxophone on eight of the CD's ten tracks.   

Drummer Rick Landwehr

A demonstration of effective, exotic percussion from Rick Landwehr's drums (The Lost Treasures of Lunta; The Village) adds significant depth to Bennett's alto attack, and shows his (Bennett's) awareness of the band's internal dynamics, and his ability to capture what he hears. 

Guitarist Chris Hersch

Bennett arrangements are not pedestrian. he utilizes an engaging, deeper hue from Chris Hersch's deliberate guitar chords and the clarinet's dulcet tone color to paint a picture as strikingly beautiful as a Western sunrise (Arizona); stretching like a sound scape of moving warmth; becoming increasingly vibrant and exhilarating with each down stroke of Rick Landwehr's custom-made drumsticks.    

Bennett's penchant for painting textured sound-pictures demands a stable, yet malleable rhythmic broadcloth, and in Jason Davis' bass, he find the perfect surface, complete with down-reaching warmth, body and depth (Ghost; Andrew Variations; Farmer Joe Was a Bear) that provides unimpeded full reign to his innovative and spontaneous flights. Davis, in essence is the essential foil to Bennett's quick versatile airiness on the reeds.

Bennett turns to the flute for the first and only time on ("Dogs of Our Time") marking the tune as unique in emotional character, requiring an emotive tone color to elicit a planned image, effect, and response. In this case, a delightful, mystic folk flavor, and a plaintive Celtic beckoning are captured with limpid purpose, transparently envisioned through Bennett's effortless mastery of the reed. This sequence reveals a seminal attribute in Bennett's artistic quiver: the ability to write lucidly what he 'hears.' It stamps Bennett's musical passport for passage to continued professional success.
.

Bassist Jason Davis

The final track on the CD ("Bears in a Covered Wagon") is the most exciting and raucous. Everybody gets off on its rhythmic Rock/Reggae/Funk/R&B bone marrow packed deep in its mix, and it handsomely acquits itself as a fitting climax to a genre-expanding and ultra enjoyable date.

I'm looking forward to hearing more from the Daniel Bennett Group in the future.

Track Listing: The Local Sheriff; The Lost Treasure of Lunta; Arizona; Ghost; Andrew Variations; Dogs of Our Time; Farmer Joe was a Bear; The Village; Open; Bears in a Covered Wagon.

Recorded at 9B Studio, 9B Lincoln St., Milford MA

Executive Producer: Daniel Bennett
Producer: Jessie Gonzalez
Recording Engineer: Brian Silver

Album dedicated to Marlin Rocco Costanzo (1919 - 2011)

Gary Smulyan - Smul's Paradise

Year: 2012

Style: Jazz

Label: CAPRI Records Ltd.

Musicians: Gary Smulyan - baritone saxophone; Mike LeDonne - hammond B3; Peter Bernstein - guitar; Kenny Washington - drums.

Review: "Gary Smulyan dresses sharply, sports attention-getting eye wear...He plays with a granite tone and a suitably raspy attack that suit the instrument well; that, along with his eminently refined technique, has made Smulyan the outstanding baritone player of his generation...Despite the mischievous glint in his eyes, he appears to be a perfect gentleman."  (Liner notes: Neil Tesser - Chicago News Cooperative and the Examiner.com)

In reality, this review of the CD "Smul's Paradise" could end right here...that is, until you hear the man and his band play. Then Neil Tesser's glowing assessment becomes...an understatement.

Bobby Hebb's popular 1963 hit ("Sunny"), starts the date like the Space Shuttle rocketing off from the Florida coast into Earth Orbit; with no need for the customary 'countdown.' Peter Washington's drums achieves immediate, flawless ignition; Mike LeDonne's surging B3, provides effortless lift and thrust; Gary Smulyan's baritone sax applies the after burners, and that stuff you see in the Shuttle's wake is not burning rocket fuel; it's the smoke coming from Peter Bernstein's fingers as he burns through his fret!

As luck would have it, Smulyan finds a smoldering gem written by organist Don Patterson, ("Up In Betty's Room") that has a swaying, unpretentious melody, perfectly constructed for Peter Bernstein's wonderfully understated and logical guitar solo. Bernstein eschews crowding his solos with piles of notes; the result is a persuasive technique, that is sonically very intelligent. Smulyan's baritone sax and LeDonne's Hammond B3 appear very relaxed in playing the melody; coloring the musical domain with charming familiarity; meanwhile Kenny Washington describes the beat and maintains the time with immaculate precision bordering on celestial.

Guirarist Peter Bernstein

"Smul's Paradise" swings uncontrollably with an effervescent emotional character, evenly distributed between the musical bookends of a "Sunny" disposition, and the rapturous delight of "Heavenly Hours." It is a date made with pride, and earmarked for enjoyment; remarkable in its bold concept, yet familiar and accessible (Pistaccio) on which LeDonne's B3 simply roasts the nuts to a crisp, and Kenny Washington adds a funky left brain bossa beat. Smulyan's baritone sax sound is coated with a signature golden-crusted patina developed through discipline, dedication, commitment to a high standard, and plain old big "chops."

The classic format for organ is usually - organ/tenor sax or, organ/guitar (musical rum and coke, or whiskey and soda), take your pick! But organ/baritone sax, not very often; even Smulyan admits that this is a first for him. Smulyan grew up on a steady musical diet of guitarist George Benson, organists Lonnie Smith, Larry Young, Don Patterson, and alto/tenor saxophone titan Sonny Stitt. It follows that Smulyan knows a thing or two about organs, organists and what he likes to hear.

His players have been around good music and iconic jazz musicians for their entire careers. In this regard they are kindred spirits. Peter Bernstein studied jazz at Rutgers University with Ted Dunbar and Kenny Barron. He has played with tenor saxophonists Sonny Rollins, , Joshua Redman, Eric Alexander, Joe Lovano, alto saxophonist Lou Donaldson, organist Jack McDuff, pianist Brad Meldau, singer Diana Krall, drummer Jimmy Cobb, trumpeter Roy Hargrove, and many, many more. His guitar solo on Smulyan's swinging, bopish composition (Smul's Paradise) is clean, clear, warm and evenly melodic. He always knows where he is going, and proceeds confidently.

Drummer Kenny Washington

In the drummer's chair, (probably still playing those "K's" Mel Lewis gave him long ago) is every body's current percussionist of choice, the very peripatetic Kenny Washington. Kenny is a thrill to listen to, but he's downright sensational to see live. He gets so much bounce, rise and rhythm out of his drum set, that it seems he has more than two hands; just listen to his blistering two-handed attack on hard bop saxophonist George Coleman's (Little Miss Half Step), and a Smulyan-composed burner (Heavenly Hours). Kenny studied at the Fiorello H. LaGuardia High School of Music & Art and Performing Arts. He has been in bands with alto saxophonists Lee Konitz, Phil Woods, Sonny Stitt; singer Betty Carter; tenor saxophonist Johnny Griffin; trumpeters Dizzy Gillespie, Clark Terry; pianist George Cables; bandleaders Benny Goodman, Lionel Hampton, Ahmad Jamal; and pianist Tommy Flanagan.

Hammond B3 organist
Mike Le Donne

Organist Mike LeDonne graduated from the New England Conservatory of Music at 21. He has played with his share of jazz giants; the great vibraphonists Milt "Bags" Jackson & Bobby Hutcherson; bandleaders Benny Goodman & Benny Golson; tenor saxophonist Sonny Rollins; trumpeters Art Farmer & Dizzy Gillespie. He is regarded as one of the leading players on the Hammond B3 organ, and is also a pianist of acclaim, having been described by the late, great pianist Oscar Peterson, "as one of the most promising and talented pianist of this era." Listen to the emphatic exclamatory fashion in which he ends each track. It's like a stinging knock out punch delivered short and sweet, that is never seen coming.

His is the voice that creates that bright emotional character and deep, unbridled, sense of swing throughout the CD. The sound colors (timbre) that he paints with Gary Smulyan's baritone saxophone are seamless as a cloud. Smulyan's voice has just enough of a muscular knarly, raspy edge and attitude that fits snugly with the percussion and preempts any stolidness or predictability in the music, Don Patterson/Sonny Stitt's (Aires) is the tune on the CD that brings this all into clear focus; it is by far the most down reaching and beautifully fulfilling selection on the date: it cries with longing.

It maybe simply a case of outrageous, fortuitous serendipity that makes this CD such a tour de force of tonal warmth, familiarity, modernity; not running afoul of the laws of good texture, or turning out an unrecognizable experiment. It seems patently obvious, to me at least, that Gary Smulyan's brain child of pairing the "granite tone" of his baritone saxophone, and "his eminently refined technique" with Mike LeDonne's  warm Hammond B3 organ has in it's own way elevated serendipity to stirring genius.

There may be a new bird in paradise, and Smulyan's "raspy" baritone saxophone might be its tweet!

Track Listing: Sunny; Up In Betty's Room; Pistaccio; Smul's Paradise; Little Miss Half Steps; Aires; Blues For D. P.; Heavenly Hours.

Produced by Thomas Burns
Recorded at Manfred Knoop Studio - River Edge, NJ
Recording and Mixing Engineer - Christopher Sulit
Mastered at Airshow Mastering, Boulder, CO
Mastering Engineer - David Glasser
Graphic Design - Nathalie Breakstone

Mike LeDonne appears courtesy of Savant Records
Gary Smulyan endorses Vandoren Woodwind Products

CAPRI Records, Ltd.
P. O. Box 892 Bailey. CO 80421
http://www.caprirecords.com/

CD Review: Josh Levinson Sextet: "Chauncey Street"

Year: 2012

Style: Jazz

Label: Jlevrecords

Musicians: Josh Levinson - trumpet, flugelhorn; Kenny Shanker - tenor/soprano saxophones; Noah Bless - trombone; Jeb Patton - piano; Mike Eckroth - piano on "180 Degrees"; Peter Brendler - bass; Brian Fishler - drums.

Anyone who has lived or worked in a large metropolitan area, like New York City, and waited on a subway platform for a train, has felt that rush of wind that bathes you, like a prelude to a symphony of rushing mechanical sound and speed; signaling the approach of a train, before you see it, or even hear it. This moving mass of air ruffles clothing, blows through hair, and feels cool on the eyes. It gives rise to a heightened sense of anticipation of 'catching the train';  has a calming effect on the nerves; and ignites a spark of excitement about the impending journey. A journey that may take in the mesmerizing blur of a scenic countryside; suspend the senses from an elevated bridge, beneath which the world seems to work and turn in eerie slow-motion; or speed through a darkened tunnel, ready-made for solitary rumination and complex problem solving. In a striking artistic parallel, The Josh Levinson Sextet delivers a musical rush with a similar bracing emotive and physical force, utilizing the rational musical principles of manifest rapport.

This journey on CD begins at Chauncey Street, which ironically, is a well known New York City subway station. ("Chauncey Street") has that sprawling, busy energy that exposes the hip, dangerous, gritty sub-culture of its New York City environs; sometimes cool and swinging, but beneath its movements is a darkly punctuated, ominous leitmotif, alike Benny Golson's classic "Killer Joe" bebop intro expressed through Jeb Patton's piano; slow-burning the soundscape; keeping the senses sharp and alert, like a big cat on the prowl.

Pianist Jeb Patton

Staying true to the City's street code, and tapping in to its vein of 'hip,' transforms the OG's 60's rejoinder of "So What!" into the contemporary, ("'F' It"), a quick, danceable melody, featuring Levinson's bright, straight ahead horn solo, and Kenny Shanker's saxophone 'shout out' from the near recesses of the front line, to open up listening/playing space for Levinson's return and Jeb Patton to nail down the mood with a glittering piano solo, that adroitly captures the song's explicit title, and swings with vigorous, unapologetic, New York brashness.

Trombonist Noah Bless

Levinson checks into his versatile composer's bag and adds some funky Latin jazz flavor (not doubt residue from his youthful meringue playing days) to deliver a harmonic sizzler he calls ("Wired.") Noah Bless' trombone swirls delightfully over Brian Fishler's tight precise percussion, and is swept along by a strong bebop/funk counter current from Shanker's tenor and Peter Brendler's kneading bass line.

The Sextet has a cool knack of securing riveted attention from the beginning bars of tunes, and Jeb Patton's opening piano pattern on one of Levinson's 'favorite' compositions that pays homage to the immortal words of Frederick Douglas ("Without Struggle) can be no progress," is arresting throughout the piece, as it moves through varying moods, from Latin counter melody, to exact, straight ahead soloing, that ignites bursts of  imaginative exotica in Fishler's drumming.



Bassist Peter Brendler

"Rain" is the tune that puts the stamp of maturity and readiness for 'primetime' on Levinson as a superb composer; and on the band's collective ability to interpret what his ear hears, that is in this case -serene and mysterious, especially out of Shanker's moving, baleful saxophone, and Levinson's trumpet's promise of returning warmth and brightness. Levinson not only hears astutely on a very elevated composer's level, but he engages a piercing musical vision to achieve a mood change in "Rain" from mysterious serenity, into a collaborative conversation describing the clarity and brilliance of emerging 'blue skies' and sun after the 'rain' through Peter Brendler's profoundly measured indigo weave, with an appealingly nuanced Paul Chambers-like (All Blues/Kind of Blue) introductory bass figure, that immediately transforms the character of the music from an 'aural' experience to one effulgently 'visual' employing a single, bold, simple instrument voicing, still maintaining the essence of the mood. The sextet closes ranks, coalescing around rational musical principles with manifest rapport. Masterful!

Drummer Brian Fishler

Levinson's artistry thrives on leading by example and creating lots of space for his players. On ("Heat") he gives Peter Brendler's bass and drummer Brian Fishler uncluttered space to break out the funk which is always lurking just beneath the rhythmic sinew of the band; ready to add bounce and an infectious groove to the unbridled energy and swinging harmonics of the front line horns. Then, "10, 9, 8, 7..."  becomes the countdown for a series of outstanding solos from piano, trumpet, saxophone and of particular note is Noah Bless' trombone work..



Tenor/Alto Saxophonist
Kenny Shanker

Levinson is unselfish in his recognition of artists he admires and who have profoundly influenced him, he wrote the beautiful ("Avishai") in honor of bassist Avishai Cohen,  featuring a blazing Kenny Shanker soprano saxophone solo, accented by stellar piano work from Jeb Patton, and Peter Brendler's best bass solo on the date. Levinson also bowed deeply in the direction of trumpeter Freddy Hubbard. The fiery brilliance and trend-setting articulation heard in Levinson's horns (trumpet, flugelhorn) were forged from the influence of Freddy Hubbard, truly one of the seminally important jazz trumpeters of the post bebop era. ("For Freddy") was composed in his honor, and Levinson admits aiming for "...the more advanced, modal harmonies Freddie worked with later in his career." It contains interesting conversations between the rhythm section, Bless' trombone, and Levinson's soaring reading of the piece. it probably has the most flowing melodic attack on the CD.

Boldness and genuine enthusiasm are definite hallmarks of  Levinson, the composer/arranger, and ("My Blues") showcases these qualities along with a very keen, active imagination. He is proficient across genres, and always willing to bring excitement, daring and surprise to his arrangements. As he notes "My Blues"... "is unusual in that it has a 7/4 figure to open the tune, but it transitions quickly into straight-ahead swing in 4/4 time."

Pianist Mike Eckroth

Coming full circle, the sextet ends the date as it began, with a strong presentation of straight-ahead swing in "180 Degrees" with Mike Eckroth taking over the piano chair. With this composition Levinson expresses a sincere theme in his life and work: "Cultivating the ability to effect change in oneself and others through the power of music is, I believe, my life's calling."

"Chancey Street" seems an excellent conduit and perfect medium  on whose tracks Josh Levinson may yet roll toward his goal.

Track Listing: Chauncey Street; 'F' It; Wired; Without Struggle; Rain; Heat; 10, 9, 8, 7...; Avishai; My Blues; For Freddy; 180 Degrees.

All compositions written and arranged by Josh Levinson.

Recorded at Peter Karl Studios, Brooklyn, New York.

Engineered by P. Karl. Mixed by P. Karl & J. Levinson with assistance from David Weiss.

Mastered by Fred Kevorkian, Kevorkian Mastering, Inc.

Josh Levinson can be reached at:

Jlevinson@nyc.rr.com

646-654-6873

917-608-5560