[JPL] bopndicks 10 picks February 2009

[Dick Crockett]

Bopndicks
10 picks February 2009
MILES
DAVIS   KIND OF BLUE Columbia Records 
Legacy Edition
Recorded,
New York City, March 2, 1959, in what might have been just another
session with Miles Davis retrieving his trumpet out of his case,
Cannonball Adderley adjusting his reed on his alto saxophone, big
John Coltrane blowing  cascading warm ups on his tenor, Bill Evans
sitting running off random chords at the Grand in the 30th street
studio.   Young Paul Chambers setting his proper place with his bow
ready, just in case, strumming the opening to “So What” and Jimmy
Cobb, fumbling with brush strokes, adjusting his cymbals within easy
range on drums. The engineer gives the sign from the control room and
Evans begins with Chambers in an almost symphonic open to “So What”
as the rest kick into a nice blues articulation with everyone
transposing their thoughts into solos that seem to stretch on and on.
This is what jazz is all about.  Each musician contributing his share
to the whole. There's a fabric, where man, all in one make peace with
an ever evolving Universe.  
These
sessions are considered the finest in recorded jazz.  
Many
musicians will say, “Kind Of Blue” changed their musical focus
and conception, forever.  
This 2
CD set celebrates the 50 th anniversary of this most celebrated album
with numerous out takes and off the cuff comments between takes. The
engineer slates the take over the intercom.
This CD
recreates the ambiance,
the casualness of this session, to be declared later as one of the
most influential jazz albums of all time.
JOSHUA REDMAN     COMPASSNonesuch Records
Saxophonist
Joshua Redman's new “Compass” CD is the second trio based album
after his first “Back East,” patterned after Sonny Rollins
celebrated 1957 release, “Way Out West.”  
Inventive,
even revolutionary, Rollins album was so different from his other
work in those days. The kind of experimentation  that Ornette Coleman
explored even further, then.  
As
Redman's “Back East”is considered  “the most agile and personal
record of his career,” “Compass” takes this journey even
farther with a pair of trios in studio. What a trip, to make sure
nobody stumbles on anybody else!  But it works with all present in
the same room, in double trio format, with one drummer, far right
speaker, another far left, and the two bassists closer to the middle.
“Identity Thief,” “Just Like You,” “Moonlight,” “March”
and “Little Ditty” are performed in double trio format with
“Uncharted” and   “Through The Valley” with drums and two
bass format, “Faraway,” “Ghost,” “Insomnomaniac” and
“Round Reuben” in trio form.  
The
variety of formats are very accommodating to Redman's ideas on this
CD.  
as the
players, Larry Grenadier, Reuben Rogers, Brian Blade and Greg
Hutchinson
have
known one another for years and are most familiar with each other's
work. This kind of re pore adds much to the synchronism of the new
and evolutionary “Compass” CD.
And for
we, who're still blissed by Rollin's “Way Out West,” this Redman
project is the next step forward.
TODD COOLMAN       PERFECT STRANGERS Artist
Share Records
Bassist
Todd Coolman combines the finest “first- call” New York jazz
musicians with  original compositions written by unknown composers
through his Artist Share website.  It took a year to compile the
material and with an exquisite quintet of Eric Alexander, Brian
Lynch, John Riley, Jim McNeely, this fresh, new and exceptional
project becomes reality. It brings new composers together with top
jazz musicians, creating fresh ideas, utilizing Internet based media
in a new way. It introduces the artist to the music through a kind of
intrusiveness, never fully realized before.
There's
real post bop excitement involved in “Perfect Strangers.”  It may
be the great arrangements, the stirring solo trips by these true
professional musicians, or the enthusiasm of the never before-
unheard -of new composers and their original compositions. That's why
you'll dig Todd Coolman's new project on Artist Share. A new feeling
and energy that jazz reproduces-nothing ever the same twice-so
endearing to us.
BENNY GOLSON       NEW TIME,  NEW 'TET Concord Jazz
Saxophonist Benny Golson brings the whole history from
bebop to post bop into his new  CD, “New Time, New 'Tet.” And in
his 80th year, he's as daring and evolving a composer, arranger and
musician, as he was at twenty,  jamming with young John Coltrane in
the basement of his home in Philadelphia.  
A young musician was asked, why does Detroit produce so
many jazz musicians and he replied, “because every house has a
basement so we can practice...”  
Basements were a breeding ground for young jazz
musicians in those days like Benny Golson in Philadelphia.
“New
Time, New 'Tet”  starts with a no holds barred hard bop original,
“Grove's Groove,” by trombonist Steve Davis with a nice solo
after the open as the rest with Benny Golson playing some mellow
lines to Eddie Henderson's hard bop lyricism.
The band includes veteran jazz pianist Mike LeDonne,
with the great Buster Williams and Carl Allen on drums. If you've
ever seen a sextet perform in person, especially in a club, then you
know it's a real workout.  And this new tet in person can be
considered memorable, especially with bop classics, “Airegin,”
“Whisper Not” with Al Jarreau, Monk's “Epistrophy,” some
interesting Chopin adaptation,””L'Adieu,” along with “Verdi's
Voice,” the pop “Love Me In A Special Way” and Golson's “From
Dream To Dream” and a classic hard bop signature, “Uptown
Afternoon.”  
Golson recreates the original Jazztet concept for this
CD with the same bite and enthusiasm that Art Farmer and Curtis
Fuller had with the original sextet in the sixties.  
This time Eddie Henderson, trumpet and Stephan Davis
trombone sit in, adding to the many subtleties that jazz engenders,
creating a post bop masterpiece.  
KEITH JARRETT          YESTERDAYSECM
This
is fourth in a series of concerts recorded on tour in 2001 with the
great Jarrett/Peacock/DeJohnette trio, a special year of live
performances for this trio and released now to commemorate their 25thanniversary.  
You realize Keith Jarrett enjoys this joyful meticulous
conversation of touch and tonality.  His key stroke is pure,
individualistic and ironic. In fact, you may listen, without knowing,
and realize it's Keith Jarrett by the sound of his voice. His
singing, dancing enthusiasm punctures home his message. That's the
joy of this CD,  to  interpose these classic trio jazz feelings with
fond memories of the Red Garland, Wynton Kelly, Bill Evans trios, and
with the first selection  Horace Silver's “Strollin” and bop
favorites, Dizzy Gillespie's “Shaw'nuff” and Charlie Parker's
“Scrapple With The Apple,” replete with distinctive
'Jarrettonian' modulation.  
Then, great standards, as hard driving as ever, “You
Took Advantage of Me,””Yesterdays'” “A Sleepin' Bee” from
“House Of Flowers,” Diahann Carroll and a great- one take- sound
check of “Stella By Starlight,” one take, perfect.  Well, I'll
be... that's a winner.  
You feel that especially with the likes of Keith
Jarrett, Gary Peacock and Jack DeJohnette, recorded live at the
Metropolitan Festival Hall in Tokyo and the sound check of “Stella
By Starlight” at the Orchard Hall in Tokyo as some of the finest
live trio recordings ever!
MIKE
HOLOBER & THE GOTHAM JAZZ ORCHESTRA        QUAKE Sunnyside
Records
Mike Holober, trained as a classical pianist and
conductor, moves to New York City in 1986 and now performs as a jazz
composer, arranger and conductor. It shows how ear and sight training
can make a vivid impression.
It's most certain that Mike Holober has proclivity in
both music genres. Wouldn't you?  
This is Mike Holober, writing and arranging The Gotham
Jazz Orchestra in a sophisticated subtle Gil Evans voicing, blended
with early Maynard Ferguson big band gumption.  
This is a most soft sophisticated Mike Holober
orchestration yet. Say it if you want to, it may be the most
revealing Mike Holober articulation on record.  
“Quake,””Twist
And Turn,””Roc And A Soft Place,”” Note To Self” and
“Thrushes” are Holober originals with solo entres by Tim Ries,
Joe Magnarelli, Charles Pillow , Pete McGuiness and Steve Cardenas.
No doubt the best in Gotham City.
There are two more, George Harrison's “Here Comes The
Sun” and the Rolling Stones, “Ruby Tuesday.” And this is why
this record is so revealing, given a free hand, letting this composer
do what he has to do, a superb contemplative upper East side
Manhattan.
DENNY ZEITLIN  TRIO       IN CONCERT Sunnyside
Records
With Denny Zeitlin, I have blueprints.  This is
personal.
1965 at WQRS in Detroit, played cuts off his “Live At
The Trident” album on Columbia records.  
In the early sixties, The Trident was a jazz club in
Sausalito and featured live recorded sessions with the Bill Evans
trio, some early work by Vince Guaraldi and Denny Zeitlin.
In 1989, Bob Squires, late friend and mutual jazz
enthusiast,(we did a few Monterey Jazz Festivals, together with his
wife Donelle,) recalls Denny Zeitlin and his days at the University
Of Illinois.
This recently released live session with the great
Buster Williams on bass and the young, vigorous Matt Wilson was
recorded at the Outpost in Albuquerque and The Jazz Bakery in Los
Angeles in 2001, 2004 and 2006.  
This is classic Denny Zeitlin right up front in his
element, the ideal setting to bear witness of this sort of jazz.  The
room is intimate, yet large enough to encompass willing audience
participation-perfect atmosphere to commune with the band.  
Zeitlin starts with Coltrane's tribute to bassist Paul
Chambers, “Mr P.C.”  Then “The Night Has A Thousand Eyes/Ten
Thousand Eyes.”  
Both selections are ample enough in length to hear
melodic, lyrical ideas carried to logical conclusions with Buster
Williams and Matt Wilson in active participation.  
Then Zeitlin's original “The We Of Us,” a very
melodic beautiful ballad adds more impact and romance in this session
and again the rhythm section lends excellent dynamics. Buster's  bass
line adds depth and tone to Wilson's subtle syncopation.  
“Bass
Prelude” is written by Buster Williams and this version reveals his
large secular depth especially in the low registers of his
instrument.
This is a special CD for people who remember the days of
bop wonder and yet contemporary for those who appreciate  a jazz
pianist's discretion, taste and the  exploratory modern dialogue to
reveal inner thoughts and ideas.
You begin to feel a kin ship with the artist.
I don't know Denny Zeitlin personally, but I've known
his music since 1964 and my friend Squires knew him at college.
You've heard the story of “Six Degrees Of Separation.”
Those events  and this live recording, and it is a
special one, will permanently ingrain me with Denny Zeitlin.
ANN
HAMPTON CALLAWAY       AT  LASTTELARC Jazz
There's no doubt that Ann Hampton Callaway's singing
style is timeless. And while listening, you just go with it.  Her
voice is as distinctive, from Ella to Joni, her wide range of song.
You'd
know it on a stereo from a crowded room. And over a whiskey sour, you
may compliment the host/hostess on their good taste in music, and Ann
Hampton Callaway. For them, it's joie de vive-the joy of living.
Extant, the moment. For Ann Hampton Callaway's remarkable versatility
is exemplified  on this new “At Last” CD.  
Life is good.
She has a facility, a precious care for the poetry of
the indecipherable song in Cole Porter's “What Is This Thing Called
Love.”
For Callaway,  the taste lasts in her version of Joni
Mitchell's pure poetry, “Carey.”
It's the groovy of the wild and crazy.  
The all encompassing goes from her own “Save a Place
for Me”
Then the heat and humidity rises with her version of
“Lazy Afternoon.”
With a backup of top musicians, Ted Rosenthal, piano,
Jay Leonhart, bass, Victor Lewis, drums, Rodney Jones, guitar, Marvin
Stamm, trumpet, Wycliff Gordon, trombone and Teodross Avery, tenor
saxophone, the top line jazz life on this CD is indeed, good.
I'm listening to Yip Harburg's optimistic “Over The
Rainbow” sung with Callaway timeless distinction as her version is
as real as Judy Garland.  
Ann Hampton Callaway may be this time's unrequited diva.
But let's drop all the hyperbolic regalia.
I'm from Detroit, and Aretha is our main lady..  
Ann Hampton Callaway, from Chicago is the jazz world
main lady, that Marvin Gaye would've akin to the ordained.
CHICK &  HIROMI       DUET Concord
Records
You like this for the spontaneity.  Who else could pull
off this duet between pianists.  
Bill Evans and “Conversations With Myself” and
“Further Conversations With Myself” is the bell weather, here. If
I recall, it was over dubbed, Bill Evans playing solitaire with
himself.  As Mae West would say: “Too much of a good thing is
wonderful.”
Chick Corea and Hiromi on the same stage, same time,
same place, playing the same song and it's astounding, how graceful
the right hand and the left hand, know each other so well.
For one to learn to play the piano with both hands takes
practice.
These two know each other's moves so well. Listen to
“deja vu.” The conjugation is effortless.
This was recorded at the Blue Note Jazz Club in Tokyo,
not the same sensual magnanimous as The Playboy Club in the fifties,
but close, for jazz in the Playboy was king, then.  
I'm serious and nostalgically challenged.
“Duet”
is a 2 CD set of live sessions between two prominent pianists  in
most recent years.
And you'll be enthralled by the musicians, both well
trained Berklee graduates with all encompassing expertise, as one
plays the right hand, the other, the left hand, then they switch back
and forth to “Fool On The Hill,” and the audience is stunned.  
Thank goodness, it's recorded, so you can hear it a few
times, just to hear the maize of ideas spewing out each one's
beautiful mind. Then Corea's “Humpty Dumpty,” more Fountain of
ideas cascading forth in dazzling crystalline display. Then Monk's
“Bolivar Blues”comps a humor button on both as they strut, walk
and talk, seemingly chewing gum at the same time. Believe me, it's
ingenious and remarkable how these two modern piano genies work
together. And this only part one!
Part Two has many hidden pleasures and it's your
pleasure of Part One, that'll motivate you to go on to Part Two, and
you will. Believe me...
Before hearing this, and ignorant of her talent. I
thought Hiromi was more into smooth jazz theatrics.
Chick Corea lends his creativity, jazz knowledge,
technique and experience to this project and Hiromi rises to the
occasion to create one of most compelling jazz piano duets to this
and any year.
MIKE
CLARK      BLUEPRINTS IN JAZZ  PART ONE Talking
House Records
Drummer Mike Clark presents a sextet of great hard bop
stylists, Christian McBride, Donald Harrison and nephew young trumpet
sensation Christian Scott, sultry bop soul pianist, Patrice Rushen
and tenor saxophonist Jed Levy. And this CD is a fun jam, for
everyone gets into the hard bop minutia momentum and the Art Blakey
thing with the over powering and dominant, but not stepping any
body's lines.  
As A.I. might say, “ if it's not a game, it's just
practice.”  
Therefore, Mike Clark is a tasty, top flight, unrequited
drummer, ready to go, any time.  
And you'll hear it in this CD, where Clark has the back
of some of the best hard bop musicians in the jazz world.
Mike Clark was born in Sacramento. His dad was a
railroad man and drummer, who sat in on gigs in the Bay area and all
over the country, and let Mike travel with him on occasion to even
sit in, as well. What a joy for a young musician.
Clark was the head of the jazz/funk/fusion scene as
drummer with Herbie Hancock's “Headhunters” in seventies and
moved to New York in the eighties and has played with all the great
musicians over the last eighty years.
This is more real acoustic experience, as most real
acoustics are, even if they're separate yet connected. It all makes
sense when you meditate on it.  
As pundits say: “Jazz Builds Bigger Brains.”
“You're
eating too much sugar,” you say.
All
the contrapuntal mindset doesexpand your focus, however,
You'll just have to go with me on
this....
“Thanks
Len” is a hip rapid Mike Clark count. An uptake the band responds
with warm solos, finger poppin jive, wrapped around emerging hard bop
vulva.
Hey, we're not talking Henry Miller here, but some
kind-a ass shaking modality with Jed Levy's tenor, going on here.  
Then a soulful “Left Funk” is up next. Remember the
drummer or bass player call the tempo depending on the leader. Since
it's Clark's gig, it's his call and he's got Patrice Rushen's soulful
statement, Christian Scott's wail, that this is Louis Armstrong
shouting from the rafters of Chicago's  roaring twenties. Then uncle
Don chimes with some hairy soulful alto saxophone chords. For this is
something you'd want to see in person especially New Orleans, this
time of year. For Fat Tuesday should be so fatuous.  
Then you'll hear Christian Scott's “Clark Kent” and
find this kid is so good, so original, so dynamic.
Like the opening, “In The House,” a swing and a
swatch of hard bop embolism “Conchita's Dance” caramelizes the
sexual tone on the other end, elevating to goddess ritualism.
This is what highly concentrated post soul modernism can
do, to elevate the mastery from roots to hard bop, striving to a
higher level.
“Morning
Becomes Electra” is so Eugene O'Neil cool with Christian McBride's
bass line and Jed Levy's saxophone, right on the case. The tempo of
this selection is the 'score' of this piece with Patrica Rushen,
Christian McBride and Mike Clark, so in lock step...
Enough of this St Vitus madness. This is the fastidious
of the most post hard bop fastidious.
ONES
TO WATCH:
MARCUS
BELGRAVE    MARCUS, CHARLIE & JOAN...ONCE
AGAIN Detroit
Jazz Musicians Co Op
You
listen to the tempo of this CD with trumpet player Marcus Belgrave,
originally from Philadelphia, now a dedicated Detroiter, which is
really my quip, for I love the city and it's inhabitants.
Turn the lights down low as Jean Belgrave sings “I'll
String Along With You,” this'll take you back to pre cell phone
days, when the “Five Spot” was cool and  the leader of the band
told the bass player to slow it down a pace.
KIRK
LIGHTSEY      LIGHTSEY TO GLADDEN Criss
Cross Records
Detroit pianist Kirk Lightsey continues the score as he
sets the count with bassist David Williams on “Donkey Dust” with
Marcus Belgrave setting his full trumpet gravitas in hard bop
nirvana. Recorded in 1991 Lightsey pays tribute to the late Eddie
Gladden, Dexter Gordon's drummer and friend Rufus Reid( I knew there
was a Sacramento connection.) Reid doesn't play on this CD, but
Gladden is the drummer on this session. You know how great musicians
and good friends hang together, not in a literal sense. But here they
are, together, enjoying the moment, as jazz can be a series of 
unforgettable moments. Gladden is steady,  never stands in the way of
the soloist. No wonder Dexter Gordon loved this drummer.
This is a poignant tribute to a great drummer, knowing
how friends never forget, now released this year. Saxophonist Craig
Handy,  
Kirk Lightsey resides now in Paris, enjoying his life as
a first call pianist.  
With all the background, you'll like what Kirk Lightsey
does on this CD.
By the way the liner notes of “Lightsey To Gladden”
are reflective in first person 50's bop history, giving this music
more validation.  
JO LAWRY      I  WANT  TO BE  HAPPY Fleurieu
Music
This young Australian vocalist has amazing control over
her original and cover songs with high selective and delicate vocal
approach. A light scat effect in her original “Prelude To
Happiness,” a hefty cohesive “I Want To Be Happy,” then a soft
duet with pianist Barney Meall on  “February” and “Our House”
with the kind of Joni Mitchell  romance and lyricism, a bright ¾
version of Sting's “Until.”
Guitarist Keith Ganz, Kate McGarry's husband is involved
in this project and lends valued contribution to this young Celtic
woman's post modern debut, an auspicious beginning to Jo Lawry's
evolving career.
LEA
DELARIA    THE  LIVE  SMOKE  SESSIONS Ghost
Light Records
Lea DeLaria entertains a series of lively songs in this
live session at “The Smoke” in New York City. She's torchy,
playful lyrically, especially with “Come Rain Or Come Shine,”
“Love
Me Or Leave Me” is no Doris Day, more Charles Mingus, but Charles
is not in charge. It's all Lea Delaria with Gil Goldstein, driving
piano runs, and all good.  She approaches “Love For Sale' as a side
car on a Cony island cloudy day.
Lea Delaria in “Puff” is all rangy with Ian Shaw on
a hipster holiday as the Moderrnaires pause for a smoke and Shaw
pulls a scat from the master Mark Murphy mastery.  Then the Lea
Delaria/Ian Shaw duet concludes with a rousing version of Lester
Young's “Jumpin With Symphony Sid.”  Well, all right!!!
MARK
O'CONNOR'S HOT SWING TRIO      LIVE IN NEW YORK
Mark O'Connor is multi functional in three distinct
musical languages, Nashville, modern classical and jazz as performed
here as the “Hot Swing Trio.” It all has to do with his chance
meeting with  gypsy jazz guitaristStephane Grappelli and how  the
encounter added to O'Connor's artistic conception.  His hot blazing
technique is aptly demonstrated on “Cherokee” with Frank
Vignola's  equally blazing guitar rhythms and key lightning leads.
Mark O'Connor creates an emotive version of “Fiddler Going Home,”
a tribute to the late jazz violinist, Clarence “Fiddler” Williams
with a sense of romance and immortality. Then with a picker friendly
“Gypsy Fantastic,” he demonstrates remarkable prowess to his
music.  
“Live
In New York” is a tremendous platform for Mark O'Connor and his
rich, warm and commanding style on jazz violin with “I Don't Get
Around Much Anymore,” showing why he is one of the best.
Dick Crockett
“The
Voice” 88.7fm
4623 T Street, Suite A
Sacramento, Ca 95819-4743
accesssacramento.org