Category: News

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Midwest Record is pleased with “Gratitude” by Tom Tallitsch

TOM TALLITSCH/Gratitude:

Loaded with music borne of several personal situations that are life changing, Tallitsch finds his voice in a new place and takes his impressive past to a new level of the game.  With an up and coming murderer’s row of next gen jazz hitters behind him, this thoughtfully swinging set leaps off the disc and shows you just how much variety still lives in the spaces between the eight basic notes.  There is smoking jazz alive and well beyond the corporate world and this is a shining example of it.  Well done.

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Steve Davis “For Real” is KIOS album of the month…

kios.org

Here’s a release that is going to write it’s own review, a session so inspired and intuitively right-there that it all bubbles to the surface propelled by the buoyant trombone sound of Steve Davis. This quintet session is Davis’s seventeenth album as leader and a gem among a steady succession of strong recordings.

Certainly one of our great contemporary jazz artists, Steve Davis has acquired his impressive jazz chops through years of wood-shedding and playing in good company. A member of Art Blakey’s final group of Jazz Messengers, Jackie McLean’s group, Chick Corea’s “Origin” and the cooperative group “One For All”, he has been an essential element of the modern jazz scene for over two decades. With a warm trombone voice evoking the sound of J.J. Johnson, Davis is a superb soloist and composer. All but one of the pieces on this album are substantive originals.

The second horn player for the date is tenor saxophonist Abraham Burton, who was a member of drummer Arthur Taylor’s “Wailers”, plays in the Mingus Big Band and also tours with the Abraham Burton-Eric McPherson Quartet. He possesses a rich, authoritative sound and invokes a restless edge to the selections with his creative solos.

The rhythm section on “For Real” is a dangerous trio capable of supporting and steering the horn men with articulate drive and finesse. Pianist Larry Willis’s discography extends back to classic Blue Note sessions with Lee Morgan and Jackie McLean. He was a member of Jerry Gonzalez’s Fort Apache Band and has also led his own sessions. Willis is a player with consummate taste and a polished soulfulness expressed with exquisite chords. Bassist Nat Reeves has just the right touch. He spent a lot of time with Jackie McLean in the 1990s and has recorded with Steve Davis numerous times. Drummer Billy Williams is one of those fine musicians who combine taste and energy, laying back when the mood is serene and driving proceedings on more upbeat numbers – as evidenced with his splendid work upon “Daylight”.

All of these artistic elements come together on “For Real” in a pleasingly cohesive album. From the bluesy strut of the title track, the relaxed beat of “Angie’s Groove”, the smoking, boppish feel of “Tactics” to the insistent Latin beat of “Daylight”, there’s a lot to like. “Big East” sounds like a page from the Jazz Messengers book with mellifluous notes flowing from Davis’s trombone. “Days Gone By” finds the group in a pensive mood and “I Found You” is laid back and melodic. The one non-Davis piece, Larry Willis’s number “Blues On Blues”, is a low-intensity groover with marvelous interplay between bassist Reeves, drummer Williams and the soloists.

 

Yes, there is a lot to enjoy on “For Real”. Check it out this month during our jazz programs on KIOS-FM and even pick up a copy for yourself. As with Steve Davis’s other albums, his music stands up very nicely over the years as enduring jazz statements.

Musicians: Steve Davis: trombone; Abraham Burton: tenor saxophone; Larry Willis: piano; Nat Reeves: bass; Billy Williams: drums

Tracks: For Real; Nicky D; Angie’s Groove; Days Gone By; Big East; Blues On Blues; Tactics; I Found You; Daylight

 

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Captain Black Big Band gets some great local coverage from the Philly Inquirer…

articles.philly.com

It’s a challenge to keep even a small band going for any length of time in the current jazz climate, and maintaining a big band that splits its time and membership between two cities is even harder.

But pianist Orrin Evans has done just that, helming his Captain Black Big Band for more than four years since its beginnings at Chris’ Jazz Cafe in late 2009. So why does he regularly corral 14 musicians from New York and Philly to tackle the ensemble’s boisterous arrangements?

“When I figure that out, I’ll probably stop doing it,” Evans said with a shrug last week over lunch at McMenamin’s Tavern near his home in Mount Airy. “It’s overwhelming – I’ve got to make sure everybody’s there, we’re not making tons of money, there’s a lot of people to pay. Musically, I love the sound of all these different colors and different sounds coming together. But I still haven’t quite figured out why I like doing it, and that’s what makes me get on that highway every week to see what happens.”

These days, Captain Black calls New York City home, with a residency on Monday nights at the Upper West Side club Smoke. The band returns to Philadelphia Wednesday night to celebrate release of its second CD, Mother’s Touch, at World Cafe Live with a pair of guests, both Philly natives: vocalist Joanna Pascale and guitarist Kurt Rosenwinkel.

Rosenwinkel, who will also perform Tuesday at Underground Arts with his new psych-rock-improv trio Bandit 65, writes by e-mail that he’s a big fan of Evans: “Orrin is a brilliant pianist and dynamic composer and bandleader – a very soulful artist. It’s going to be a lot of fun.”

Wednesday’s show will mark their first chance to play together. “I wanted the opportunity to play with him and to get myself out of the comfort zone,” Evans said. “I don’t normally use guitarists that much, but with Rosenwinkel, I get a chance to play with a guitarist, someone from Philly, and someone I’ve wanted to play with for a while.”

Pascale is an old friend. Their first encounter was a near-disaster. She was 14 years old when her mother brought her to the now-defunct Blue Moon Jazz Club, where Evans was leading a regular jam session. When he called her to the stage, she brought up sheet music for Billie Holiday’s “Good Morning Heartache.” He waved it away.

“This was honestly the first time I’d ever sung when I wasn’t singing along to a record,” Pascale recalls. “Orrin starts playing, and something wasn’t right. I start singing, and he’s in a different key, and I’m horrified. So I turn around, and the bassist and drummer are laughing hysterically to the point where tears were rolling down their faces and their shoulders were shaking trying to hold it in.”

Nevertheless, Pascale and Evans established a musical relationship that has lasted nearly two decades. Most recently, he producedWildflower, her coming CD, which also features an appearance by Rosenwinkel. “Joanna’s like a little sister to me,” Evans said. “I think we really see time and space and rhythm in the same way. So whatever we do, there’s going to be space for us to grow and make something happen.”

What’s cool about Captain Black, Pascale says, “is how loose it is. But the level of musicianship of every single person in that band is so high that no matter what you put in front of them, it elevates the music to a whole other level.”

Mother’s Touch reveals a far more refined ensemble than the raw, combustible band captured live on its self-titled debut. Still, Evans is never one to plan much in advance and enjoys the thrill of the unexpected – even if it means occasionally playing a gig where not a single trombonist manages to show up.

“A part of me thinks it would be great to walk in and have a full band every week,” he said. “But I prefer to not know what’s going to happen. As much as it seems like it would be easier for it to all be the same every week, that would get real boring for me. I never really get nervous – but I get nervous about the big band.”

 

CONCERT

Orrin Evans’

Captain Black Big Band

8 p.m. Wednesday, World Cafe Live, 3025 Walnut St.

Tickets: $20.

Information: 215-222-1400, www.philly.worldcafelive.com.

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TimeOutNY mentions the upcoming gig for Sarah Manning…

http://www.timeout.com/newyork/music/sarah-manning

We hadn’t heard of saxist-composer Sarah Manning until recently, but now that we’ve checked out Harmonious Creature—a new Posi-Tone set featuring piquant themes, an ambient textural feel and the leader’s distinctive liquid tone—we feel like we have a lot of catching up to do. Here, Manning celebrates the disc with help from violist Mark Feldman, guitarist Jonathan Goldberger, bassist Rene Hart and drummer Allison Miller.

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Jordan Young is Artist of the Month at Critical Jazz…

www.criticaljazz.com

Jordan Young is a prime example of the incredible young talent that Posi-Tone seems to hit pay dirt with year after year. What makes Young special is very simple. Melody. The art of the melody and a deep respect for not just jazz but for all music where I strong melodic sense or feel is something that is celebrated. Sure, Young can reharm a cover with the best of them but what he does not do is mangle a melody beyond all recognition. The music stands on it’s on. From classic melodies including those from Jimmy Webb to Sting not to mention a couple of killer originals, Cymbal Melodies shows the importance of letting a good tune stand on its own and just play!.
Below is my review:
From my interview with Young, his comments on the importance of melody in music today.
J.Y. – “I chose these specific tunes not only because I like them, but because they are examples of strong melody writing. Not to mention the harmonies are beautiful and give the musicians some substance to work with. These two ideas of strong melody and harmonic motion have gotten a little lost in most popular music today. Sure you can find it somewhere, but there is something special about that era of popular songwriting. I am referring to the late 60’s and early 70’s. Two examples on my record of this are “Raindrops…” and “By The Time I Get To Phoenix.” A lot of these songwriters such as Burt Bacharach, Carol King, and Jimmy Webb really knew what it was to write a good melody. They knew about harmony and how it functions within a piece of music. Most of these people had some sort of musical training, studying the classics like Bach and Beethoven. The great jazz guitarist Pat Metheny said it best when speaking of some of the songs he recorded from this era on his solo guitar record. He said, “It was a period when harmony and melody were still important and viable elements in popular music. Every one of these songs has something going on that is just hip on a musical level, no matter how you cut it.” I couldn’t agree more Pat.”
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SaxShed recommends Tom Tallitsch and Brandon Wright…

saxshed.com

Posi-Tone Records continues to feature new, young and talented jazz saxophonists. Most recently two such talents have released their newest efforts on CD.

Tom Tallitsch’s “Heads or Tales” and Brandon Wright’s “Journey Man” represent just two of the fine recordings available from Posi-Tone.

Tom Tallitsch’s “Heads or Tales” Press Release reads:

“Tom Tallitsch unleashes a big sound and lets his horn do the talking with “Heads or Tales,” his debut CD for Posi-Tone. Joining Tallitsch on the date is label mate organist Jared Gold, along with the steadfast rhythm section of guitarist Dave Allen and drummer Mark Ferber. Featuring a program of exciting new compositions, and one tasty Neil Young cover thrown in for good measure, this session flows like a compelling collection of short stories, and will certainly speak volumes to discerning listeners about the quality Tallitsch’s talent as player and as a composer. With a delicate balance of modernity and classic aesthetics, “Head or Tales” is insightfully straight ahead and refreshingly melodic enough to evoke a wide assortment of bright moments in jazz fans everywhere.”

Brandon Wright’s Press Release reads:

“Brandon Wright swings out his axe and unleashes a big sound on “Journeyman,” his second release for Posi-Tone Records. Joining Wright on the date is the familiar rhythm section of pianist David Kikoski, bassist Boris Kozlov, and drummer Donald Edwards. With a program of exciting original compositions, and a few tasty covers, the whole session swings into action and shines with bright moments. Wright has noticeably moved to another level. Avid listeners will certainly agree that the record is a hard-hitting performance that will encourage jazz enthusiasts to travel along with the “Journeyman” in amazement and delight.”

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Some nice press for Doug Webb…

thechaparral.com/

On Saturday, Nov. 5 at 7:00 p.m., noted jazz saxophonist Doug Webb gave a free concert at the Pollock Theatre at College of the Desert, which the Arts Department announced was sold out.

Student Rafael Rodriguez, a music major at COD, who had the opportunity to play with Webb in COD’s jazz ensemble, described  it as one of his best musical experiences and that it was refreshing to play with such a great musician. Rodriguez and the student jazz ensemble worked together the day of the concert to prepare the pieces they were to play. He mentioned that he did not feel rushed or pressured since Webb is such a confident and experienced musician, and this attitude rubbed off on the jazz ensemble.

The concert amazed him, the songs had strong melody points and he could feel that the audience was really into the music. This has come a long way since jazz groups and big band style was introduced at COD by Dr. Anthony Fesmire, “The concerts are always free!” he exclaimed. Rodriguez has one suggestions for the college, he hopes COD will provide more enlightening experiences like this and gives a special thanks to Dr. Fesmire.

Mikael Jacobson, a music faculty member and bass player, told The Chaparral it was a real treat to play with Doug Webb, “he’s a world class artist, and among the best musicians I’ve accompanied onstage,” he said. Jacobson met Webb for the first time 90 minutes before the concert started. He said Webb learned difficult music by ear with the trio in 45 minutes, which he said was ‘insane.’ In Jacobson’s opinion, the most important thing about the concert was the inclusion of the COD Jazz Ensemble. “Not only did it give the students an opportunity to play with a master, it exposed the capacity house to what’s going on at COD. I’m not sure many people outside of COD knew we had a Jazz band of this caliber. My parents have already put the next Jazz Ensemble concert on their calendar.”

Being able to bring Doug Webb to COD and the desert community was huge. The music most certainly meant different things to different people.  As he spoke to a few people after the concert, reactions ranged from “That was unbelievable!” to “The music went over my head!”

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A nice blog post about Nick Hempton’s hurricane gig…

brontecapital.blogspot.com

The cooler Mr Hempton and the Nick Hempton band are launching their second CD “The Business” in New York on Saturday Night.

Smalls Jazz Club
183 W10th Street @7th Ave
New York, NY
7.30 – 10pm

Not only is Nick better looking than me but he blows almost as hard as Irene and much much cooler. The reviews have been universally good – but I will understand if you think you need to be home sandbagging…

PS. Apart from Irene I wish I was in New York for this. I will be in Early October (client visits). By then the wind might have died down…

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NPR makes nice mention of Captain Black Big Band…

www.npr.org

We’re pretty obsessive fans here at NPR Music. We make lists. And because the Internet periodically demands these sorts of things, we’ve put together a multi-genre listening list of our favorite 25 records of the year to date. Plus, here’s our listeners poll — it’s massive — where you can vote and tell us how wrong we were.

Our group consensus worked out such that new albums from Gretchen Parlato (The Lost and Found) and Ben Allison (Action-Refraction) made the top 25. I was happy to contribute short blurbs about both — both albums are definitely among my favorite of this year so far. Additionally, my colleague Tom Huizenga, who’s on the classical beat, informs me that the top-25-ed release from France’s Ebene Quartet, Fiction, is practically a jazz release too.

But there are plenty of other great jazz records from the first half of 2011. What are yours? Do tell us in the comments.

To get you started, here’s a quick brainstorm of 25 other, well-received jazz/-ish records from the first half of this year. Some have been featured at NPR Music; others are on the tips of critics’ tongues or radio airplay charts. What else would you add?

We’re pretty obsessive fans here at NPR Music. We make lists. And because the Internet periodically demands these sorts of things, we’ve put together a multi-genre listening list of our favorite 25 records of the year to date. Plus, here’s our listeners poll — it’s massive — where you can vote and tell us how wrong we were.

Our group consensus worked out such that new albums from Gretchen Parlato (The Lost and Found) and Ben Allison (Action-Refraction) made the top 25. I was happy to contribute short blurbs about both — both albums are definitely among my favorite of this year so far. Additionally, my colleague Tom Huizenga, who’s on the classical beat, informs me that the top-25-ed release from France’s Ebene Quartet, Fiction, is practically a jazz release too.

But there are plenty of other great jazz records from the first half of 2011. What are yours? Do tell us in the comments.

To get you started, here’s a quick brainstorm of 25 other, well-received jazz/-ish records from the first half of this year. Some have been featured at NPR Music; others are on the tips of critics’ tongues or radio airplay charts. What else would you add?

  • Ambrose Akinmusire, When The Heart Emerges Glistening
  • Bobby Sanabria & Manhattan School of Music Afro-Cuban Jazz Orchestra, Tito Puente Masterworks Live!!!
  • Captain Black Big Band, Captain Black Big Band
  • The Cookers, Cast The First Stone
  • David S. Ware/Cooper-Moore/William Parker/Muhammed Ali, Planetary Unknown
  • Eric Reed, The Dancing Monk
  • Erik Friedlander, Bonebridge
  • Fred Hersch, Alone At The Vanguard
  • The New Gary Burton Quartet, Common Ground
  • Gerald Clayton, Bond: The Paris Sessions
  • Gordon Goodwin’s Big Phat Band, That’s How We Roll
  • James Farm, JAMES FARM
  • JD Allen Trio, Victory!
  • Joe Lovano Us Five, Bird Songs
  • Julian Lage, Gladwell
  • Kurt Elling, The Gate
  • Lee Konitz/Brad Mehldau/Charlie Haden/Paul Motian,Live At Birdland
  • Matana Roberts, COIN COIN Chapter One: Gens de couleur libres
  • Matthew Shipp, Art Of The Improviser
  • Terell Stafford, This Side Of Strayhorn
  • Rene Marie, Voice of My Beautiful Country
  • Starlicker, Double Demon
  • Stefon Harris/David Sanchez/Christian Scott, Ninety Miles
  • Vijay Iyer, Tirtha
  • World Saxophone Quartet, Yes We Can

I have my own sleeper records I’ve been waiting to spring on folks … but you first. Comment, you!

 

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New CD released today on Posi-Tone! Art Hirahara “Noble Path”……

www.posi-tone.com

Art Hirahara – Piano

Yoshi Waki – Bass

Dan Aran – Drums

Turn over a new leaf and tune in to the tasteful stylings of pianist Art Hirahara as he travels down along the “Noble Path.” Employing a wide palette of styles and sounds, Hirahara quickly establishes himself as a gifted instrumentalist and makes a bold statement of purpose with both his stunning musicianship and his collection of original compositions.

Songs:

I’m OK 4:36 / All Or Nothing At All 4:19 / Stood Down 5:15 / Ebb And Flow 3:52 / Noble Path 3:38 / Con Alma 6:03 / Peace Unknown 5:18 / Change Your Look 5:22 / Isfahan 5:44 / Nocturne 5:30 / Vast 7:27 / Ev’ry Time We Say Goodbye 6:09