[JPL] bopndicks 10 picks Dec 2008

[Dick Crockett]

Bopndicks
10 Picks December 2008
BOBO
STENSON TRIO      CANTANDO  ECM
Swedish
pianist Bobo Stenson has occupied and composed a near world in
ebullient pastoral colors, subtle half notes with dramatic intonation
as “Song For Ruth,” a solitary spoken intent of beauty and
parlance with a cotere' of rumbling anticipation by bassist Anders
Jorman, fused with intricate cymbal work by percussionist Jon Fait.  
“Wooden
Church”  delves in more progressive tones with cascading rhythm
signatures.  
It all
makes sense when you step back, concentrate on the out-of-body
language to the whole text and try not to do too many things at one
time. For Bobo Stenson can be spiritual, metaphoric, illusive and
contemplative as an early Ingmar Bergman film.
Bobo
Stinson has a swinging kind of versatility, to bang the right gong
within the song, “M.” “Chiquilin de Bachin” is an outer world
space time classic with a twist of Latin,  that changes too, as early
morning drizzly Gothic Stockholm skies, then to switch to a lively
warm dinner conversation, a dance to then conclude quietly, with
“Pages” emoting  a timeless future as a slow contrapuntal ballad
pitting Jormin's prominent bass line with Stenson rhythmic piano
lines through cool mists of ancient fjords as Jormin's bowing adds a
forlorn wistfulness.  
“Cantando”
has many dramatic contrasting intensities, as in Don Cherry's “Don's
Kora Song” and why this profound robato dance with Stenson
exchanging rhymes with Jorman remains a complicated glorious
experience!  
And in
this case Ornette Coleman's “A Fixed Goal,” presents a somewhat
avant with tasty swing, not a raging happenstance.  
“Cantando”
is classy, savory enough, worldly enough to be applied seamlessly  in
privacy as  Bobo Stinson through his distinctive understated style
examines a voice, aplomb and sophistication, ever so effortlessly.
THE
JAMES MOODY AND HANK JONES QUARTET    OUR DELIGHT  
IPO Records
Whenever you by chance to see and hear James Moody and
Hank Jones in the same room, you take it!  These are the roots of
bebop. Tad Dameron's “Our Delight” is the real signature of the
music, the way it was and still is! This is more than an oldies
station, for no tune is played by these emeritus, not the same way
twice.  Three other memorable bop Dameron's “Lady Bird,” “Good
Bait” and “Soul Trane”  are performed on this set.  
Saxophonist James Moody and pianist Hank Jones are so
evasively excellent on this cd, a testimonial to the good times in
jazz. Our times.
Moody and Jones are so good together as old friends
playing this marvelous music that'll bring fond video memories on
your 'you tube.' No, not the same way twice, for every moment in a
new experience.
This is the way two jazz legends play it on this
recording, not the same way, twice, Gillespie's “Birk's Works,”
“Con Alma” and “Wouldn't You.”  Think of it. You'll be able
able to hear over and over on your personal surround sound audio
device, imagine you're there and now enjoy it again. This is a play
for the jazz classics, just wait until you hear James Moody on “Body
and Soul.”
BUENA
VISTA SOCIAL CLUB  LIVE AT CARNEGIE HALL Nonesuch
Records
When you hear “Chan Chan,” right off, you're beck in
call for the Buena Vista Social Club. The tradition, musicianship, el
historia, the life! Then “De Camino a la Verada” and you're into
the language, the rhythm, la musica, even if you can't translate.
Just enjoy the love. “El Caurto de Tula” will have you moving
your hips en la wandering Walkman, for the band says this is
wandering minstrel old time Havana.
They're all there, Ry Cooder, Ibrahim Ferrer, Ruben
Gonzalez, Eliades Ochoa, Omara Portuondo and Compay Segundo.  
Buena Vista Social Club of Havana was a people's club
you were fortunate enough to attend prior to Fidel Castro's
revolution.  
Their live performance at Carnegie Hall is reflective of
those days, the music, the dance, the love, de La Familia.
The Cubans, who inhabit this music, created a hybrid
from traditional Spanish, folk and jazz to this romantic, folk,
physical, traditional sound.  The classic Cuban, “Siboney” is the
most seductive magical sermon of love, life and dance. Remember Ricky
Ricardo singing this classic song on “I Love Lucy,” in a
different life, decades ago.  
With “ Buena Vista Social Club At Carnegie Hall,” we
are the most fortunate to have this unprecedented, spectacular and
superb performance on a 2 cd set for collective karma.
SHEILA
JORDAN     WINTER SUNSHINE Justin Time Records
Simple pleasures are the most memorable, for astute
(finicky)  jazz lovers ( and old guys like me,) as a young man imbued
with the full force of this music, uninhibited by hype and superbly.  
Those long gone days, when we were up against
conformity, paper immediacy, taking thus by greed and frog march
avarice. where greed was no good in 'dem' dare weeds of bourgeois
convention, which has become the git dejour nowadays to our recent
collaborative self destruction.
Sheila Jordan celebrates these days of the new
improvisation with an exhilarating live performance on a wintry night
in February at the Upstairs in Montreal.  
She's so natural, in command and present as a 79 year
old, we should all be so lucky! She does free verse scat reminders of
King Pleasure in “All God's Chillun Got Rhythm” with a native
American chant in an Ella 'semper fi' dose, magma euphoria. This is
what this 79 year old can do, can you, mia culpa, por a mia!?
This is a class lesson from Scat University, a lecture
on free verse bebop from an honorary Doctor of Improvisation, Sheila
Jordan and “Sheila Blues” tells another complete life story of
love and affection to your intention.  
Believe me when Sheila says 'being born in Detroit,' it
makes sense to me. The angioplasty thing hasn't hit me yet, but it
says that when she's on stage that she'll say it real, whatever comes
to mind, differently every time.  
Sheila represents another great Detroit improvisational
jazz vocalist Betty Carter in free style, not burdened by TV hard
breaks and computerized time outs.
Face it, we're bombarded with fazed in hyperbole, tv
structured events and 24 hour text.
“How's
that working out for ya!!!”
So meditate on a low soft note to communal convergence
with Sheila Jordan's new live CD, “Winter Sunshine.”  
It'll add a least 10 years onto your addled extreme love
life.
When you hear her version of “Lady Be Good,” we're
so fortunate to have this legendary lady Sheila Jordan with us.
ROGER
KELLAWAY   LIVE AT THE JAZZ STANDARD IPO  Records
You talk about classic jazz, post modern, then you seize
upon a night or two at the Jazz Standard, a live session on IPO
records with pianist Roger Kellaway, bassist Jay Leonhart and
guitarist Russel Malone, a Charlie Christian sound a like, with
vibraphonist Stefan Harris doing the best Lionel Hampton as you hear
it in Ellington's “Cotton Tail” and “C Jam Blues.”  
Kellaway's solo on “C Jam” is vital attesting his
skill as one heck of a jazz player, bringing in all the moves. He's
one of the originals from Oliver Nelson's classic “Blues And The
Abstract Truth” album on Impulse Records. Then a smooth “Someday
My Prince Will Come” accompanied by Stefan Harris with a fond solo
to this classic standard, set in fifties jazz by Miles Davis.
Kellaway's original ballad, “All My Life,”
orchestrated with Borislav Strulev's melodic  cello, embellished in a
pastoral European mood.
And with “I'm Beginning To See The Light,” notice
the Kellaway approach, to do what Ellington would do...  
If you ever heard Ellington in a small group setting,
then you'd do what Ellington would do, too.
It says so much of Roger Kellaway as it demonstrates his
command and full repertoire, which enhances the impact of this 
memorable 2 CD set to what he refers to, as his east coast trio, a
reminder of Nat Cole's early jazz years in the same format.
The good times of this music is that pizazz 'forties'
attitude with “Doxy” and “Take Five” on side one.  
“Tumbling
Tumbleweeds” kicks jumps into side two with Kellaway and Jay
Leonhart's bass trading licks, almost stride in tone. That's what
this gig is all about, swinging black and white jazz noir. You can't
colorize this cd, as you would,  a Ted Turner MGM  movie. You'll lose
the bliss of Hampton's late night bebop ambiance in “You Don't Know
What Love Is.” Kellaway extends that feeling further with “Freddie
Freeloader.”
By
this time the full impact of this marvelous CD is at play in the
period mind. And what a denouement perfecta, to conclude on a
swinging Monk note with the “52ndStreet Theme.” For these are the seeds of today's sugar plum music
to keeping on dancing in a post modern world.
KENNY
BARRON       THE TRAVELER Sunnyside
Records
He's the quintessential jazz pianist, for those much
younger artists who benefit from his extensive music knowledge, and
his many fans, aware of his vast experience in the ever evolving work
of jazz.  
We remember him as a young man touring with Dizzy
Gillespie Quintet with James Moody.
The new 'Traveler' CD features some original songs  with
lyrics penned by Janice Jarrett, “Clouds” featuring distinctive
vocalizing by Ann Hampton Callaway, “Um Beijo” with percussionist
Grady Tate, singing in a Arthur Prysock/ Johnny Hartman misty room
and Gretchen Parlato's  impressionist views in “Phantoms.”
Steve Wilson's melodic soprano is heard, adding graceful
intent of some tunes along with Lionel Loueke's unique inventive
guitar links on others. Born in Philadelphia, known for his lyrical
adaptive style, he's in demand for his perceptive bop piano
knowledge. He currently teaches  at the Manhattan School Of Music and
for 25 years at Rutgers in New Brunswick, New Jersey.
“Time
Traveler” is a testimonial toward moving forward, leaving no stone
unturned in the hands of pianist, composer, educator Kenny Barron,
formative benefactor to the state of the art to jazz.  
CHRISTIAN
SCOTT      LIVE AT NEWPORT Concord
Jazz
Young trumpet artist, Christian Scott, holding his own
on conception with other more prominent young musicians, keyboardist
Aaron Parks, Matt Stevens, guitar, Joe Sanders, bass, Jamire
Williams, drums and Walter Smith III, saxophone within fare dose of
dynamic tension generated amongst the Quintet, Live At Newport in a
memorable performance. New Orleans is where Christian Scott was born,
the seat of jazz, place of joy and Preservation Hall remembrance,
second line celebration and post modern resurgence. Christian Scott
is part of a nu wave of young musicians carrying on the further
adventures of Miles.  
It's in the heroic dissertation, “Litany Against Fear”
with cadences from trumpet, saxophone and guitar, all this in an
outward serene atmosphere of Newport juxtaposed  to the solid
affirmations from the young contemporaries.  A nicer soft “Isadora”
convergence of Scott's acoustic romanticism with the rest of band, 
slowing it down to a sensual slithery viscera. “Rumor” begins
with a somewhat restrained, yet free and roiling percussive intro,
aka Tony Williams, into a rock like “Anthem,” dynamic with   Matt
Stevens staunch rhythmic pace to a soaring Walter Smith's saxophone
solo approaching, not reaching a plateau that only the likes of 
Albert Ayler assailed. Then other very dynamic acoustic
electricities, as “Crawler,””James Crow Jr.  Esq.” and
“Rewind That.” There's just enough melodic rage and young poetic
energy to make this a special CD, the 'Oh Yeah,' culmination of
Christian Scott's early work.  
REYNOLDS
JAZZ ORCHESTRA     CUBE Shanti
Records
“Cube
is a profound moving suite...a universal theme restoring the Deity's
effort to restore peace and union with mankind.”
This adds to the sustenance as you listen, 'get into'
this remarkable piece of music.  
Swiss alto saxophonist, composer Fritz Reynold, a
remarkable big band aficionado of Ellington, Basie and the sometime
avant George Russell and Helen Savari-Renold, vocalist and lyricist
on Cube,  both alumni of the Berklee school, the moderns immersed in
the new music and for Euro Jazz the many sophisticated affirmatives,
as Fritz Renold and Helen say it with succinct clarity with reverence
of those artists, composers before them.  It's a directory to the
21st century  jazz future with an all star enthusiastic band of
musicians, Randy Brecker, Donny McCaslin, Tommy Smith, Greg Tardy,
Steven Bernstein, Jamshied Sharifi,  Miroslav Vituous and Adam
Nussbaum, among others in this exceptional orchestra.  
“Cube”
combines many diverse socially conscious and spiritual elements
explored by Ellington, Mingus, Russell and Coltrane, decades ago and
perpetuated now by the Renolds with an exploration that moves the
heart and soul to a higher plain.
“Grave
Intrigues” implores an Ellington tone of “Black And Tan Fantasy”
as we say that Reynold's orchestrations are profound and mellow
throughout this suite.
As you listen enjoy the roaring Latin mixed with klesmer
cocktail with Tardy's clarinet and Bernstein's jubilant trumpet and
Tommy Smith's wild saxophone entrail on “Calaphas.” Utterly
fantastic!!!
“Potter's
Field” almost explains a delphi of seductive big band as the
poetess soprano, Helen Renold's vocal soars through the mundane
abyss, high above life's video game to a more poetic Potter's Field
assault irrelevance, the profound imbalance of a festive feeding as
the birds of prey pick among the newly bloating corpse. It may seem
not suitable for children or adults over 18, but here's a way to say
it with remarkable nobility.  
The coda here is Life, Death and Resurrection.
“Let
The Blood Be On Us,” a raging Charles Mingus awakening of what goes
on and on, a swinging hip goings on, only  of what Charles was saying
in the sixties at The Jazz Workshop. “The Rooster Crows” keeps
saying the same thing in an postulating  sequential voice to the next
big band powerhouse.
With a beginning, middle and end, “Eloi, Eloi, Lama,
Sabachthani!” signifies a climax of sorts with Helen's lyrics
soaring above this searing mortification with Fritz Renolds
orchestration especially lush, dynamic and grandiose. Helen's vocal
swings on “Resurrection” with dynamic orchestration and solos
from Donny McCaslin and Barrie Lee Hall's eruptive fusing of Summer's
solstice.  
Yes,  the magic would be especially magnificent outside
in June as the sun sinks below the horizon. “The Great Commission”
is a slow rumba Latina, a prelude to the future, probably the most
notable from the listener text, the “Ascension” and a mystical
fina episode, “Cube,” as if Xavier Cugat foretelling coming
events through very dynamic orchestration with poignancy, power and
mystification, “Cube” has to be one pleasant surprise.
LAIKA
FATIEN a tribute to Billy Holiday   MISERY in memory of Thomas Shipp
& Abraham Smith blujazz
A
wondrous occurrence, singer, musician and song combining a memorable
performance,  Laika Fatien (Le-ache-a) and young pianist Robert
Glasper combine in an emotive duet of “Strange Fruit” with
Glasper offering nobility to a tragic circumstance all to prevalent
in early 20thcentury South, elegy to man's self- destructiveness.  “Lady's Back
In Town” penned by Ms Fatien with Robert Glasper's trio
accompaniment and then a classic interpretation of Billy's “Don't
Explain.”  
The repor with Fatien and Glasper is one that Robert
Glasper will not forget anytime soon.
Saxophonist David el Malek enters in “You Can't Lose A
Broken Heart” with Laika   potent musician's phrasing leading you
onto a sensual duet, “What's New”  with Fatien and  Malek.  Then
a musician's musician could only nail it, “All Of You” and “How
Deep Is The Ocean,””Lover Come Back To Me,”arrangements  that
are free, pure, nihilist and angelic.  
Laika Fatien has opened up the songbook in a musician,
Chet Baker zeitgeist hip “Misery.”  
Fatien has it all, the voice, the tools for knowing and
the blues for going.... and hip tonality that'll take you back to old
style, “You Turned The Tables On Me” in blushes   of Morpheus
sentimentality.  
Laika
Fatien and Robert Glasper trio are magic in “Misery,”so much
enough to say this tribute to Billy Holiday is a rare emotive jazz CD experience.
DEPAUL
UNIVERSITY JAZZ ENSEMBLE w Jim McNeely  THAT BEING SAID
Jazzed Media
Arranger, composer and pianist Jim McNeely revisits
Chicago to perform with the DePaul University Jazz Ensemble. The jazz
big band program is headed by Bob Lark who places improvisation as
requirement to students and you hear it in this presentation.
There was a time when numerous big bands crossed North
America, playing nightly gigs, where the musicians receive chops
staying loose to keep it different every night. Now most who love to
play this music now do it at highly regarded schools to ply their
trade and learned from the musicians who've been there.
Jim McNeely left Chicago for New York in 1975 and
performed with Ted Curson and Chet Baker, then joined the Mel
Lewis/Thad Jones big band to arrange, write and perform. “The
Marriott Connection: kicks it off to a whereabouts that even Mel
Lewis  and Thad Jones but will be a no show for the early morning
complimentary breakfast.  “Don't Even Ask,” an excellent tableau
to McNeely's writing and swinging, where improvisation is prominent
with key instrumentalists, keep it a fresh and evolving music
landscape where dynamics, power and engaging solos apply to a vivid
performance and like color pixels, McNeely's music has incredible
depth and perception.
There are two other McNeely originals performed here,
“Der Seiltanzer” and “Ad Parnassum,” displaying a similar
playful intricate overall joyous big band jazz couture.
Jim McNeeling has a sophisticated nuance in his
arranging of  this warm ballad,  Don Jonas “Platitude,” with a
Jonas solo that's quite a romance and atmosphere.  
Remember, this is a hip leader whose been there, passing
onto todays jazz theater of the 'now.'
ONES
TO WATCH:
KELLY
JOHNSON    HOME     Sapphire
Records
Kelly Johnson has vocal control, many envy and “Home”
is the experience and the power of her oratory. Many fine young
musicians from the Northwest participate and for good reason as
you'll know and listen. Kelly Johnson from Ironwood Michigan,
enthused by jazz and R&B enthusiasts developed an individual jazz
style, through Mark Murphy coaching and jazz Pacific Northwest scenic
poaching.
GORDON
GOODWIN'S BIG PHAT BAND      ACT YOUR AGE Immergent
Records
Gordon Goodwin's big new modern band generates post
modern enthusiasm in prime big band neo modern real estate especially
in post modern California, where all good things come at the last
minute, when Roy Rogers, Fred Astaire, Bing Crosby post modern
ecology meets cake, chocolate fudge sundays and Kay Kaiser, none of
which are mentioned here, except for a remarkable reappearance of Art
Tatum through a life like jazz stream with the Goodwin band built
around it. Chick Corea, Patti Austin and Lee Ritenour appear through
the power of modern technology and all the power goes to Gordon
Goodwin for it!
VASSILLIS
TSABROPOULIS /ANJE LECHNER/ U.T. GANDHI     MELOS ECM
There's a magical musical world somewhere in a space
between alternate world of jazz and classical, ethnic, folklore and
improvisation and this remarkable exists in an aura of select few
modern musicians.  
“Melos”
will take you there.
BENNY
POWELL      NEXTEP Origin
Records
New Orleans born, bred and influenced trombonist played
with the best from Basie to Hollywood and onto this unique set of
originals with pianist Sayuri Goto and saxophonist T.K. Blue in an
exciting scene for Powell you may not have experienced before.
DELMARK
55 YEARS OF JAZZ Delmark
Records
Chicago's great independent jazz and blues label
celebrates all that great truly American music with a CD and DVD
retrospective of fine artists from Coleman Hawkins, Eric Alexander.
Sun Ra and Art Hodes.

Dick Crockett
“The
Voice” 88.7fm
4623 T Street, Suite A
Sacramento, Ca 95819-4743
accesssacramento.org