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Burning Ambulance reviews the Doug Webb’s new CD…

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burningambulance.com

Tenor saxophonist Doug Webb has been playing professionally on the West Coast for over 30 years, and has appeared on over 500 recordings. In addition to gigging and performing as a sideman on over 150 jazz albums, he regularly records music for TV and movies—most notably, he provides the saxophone “voice” of Lisa Simpson.

Webb’s relationship with the Posi-Tone label goes back a few years. In 2010, he recorded three albums in one day with a band featuring Stanley Clarke on bass, Gerry Gibbs on drums, and three different pianists: Joe BaggMahesh Balasooriya, and Larry GoldingsMidnight and Renovations were released that year, while Swing Shift came out in 2011.

With 2013’s Another Scene, Webb came East, recording in New York with pianist Peter Zak, bassist Dwayne Burno, and drummer Rudy Royston. And now, he’s teaming up with the drummer again for the new album Triple Play, which comes out March 17. (Pre-order it from Amazon.) The disc also features organist Brian Charette and two more tenor saxophonists:Joel Frahm in the right stereo channel, and Walt Weiskopf in the left.

This is a killer band, and they burn through 11 tracks in an hour here. Charette and Royston have recorded together for Posi-Tone in the past, on guitarist Will Bernard‘s Just Like Downtown and alto saxophonist Mike DiRubbo‘s Chronos. They know how to set up a fast groove that swings so hard it’s almost rock ‘n’ roll, in the vein of tracks by 1950s and early ’60s players like Red Prysock and Don Wilkerson, and the saxophonists all step up to the plate and deliver. It never becomes a honking, bar-walking cutting contest, though; each man shines in the spotlight, but supports the other two at the same time.

Triple Play includes a speedy take on John Coltrane‘s “Giant Steps”; five originals (one by Frahm and two each by Webb and Weiskopf); a tender, midtempo interpretation of Cole Porter‘s “I Concentrate on You”; and the track we’re premiering here, an almost preposterously thick and funky version of Lou Donaldson‘s “Alligator Boogaloo” that’s as much a showcase for Charette as the horns.

Phil Freeman

 

 

 

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SaxShed does an in-depth review of our new “Triple Play” CD…

 

saxshed.com

Triple Play – Doug Webb with Walt Weiskopf and Joel Frahm Print E-mail
ImageTriple Play – Doug Webb with Walt Weiskopf and Joel Frahm

 

Posi-Tone Records will soon release Triple Play,the newest recording by Doug Webb. Webb is a long time resident of California and formidable tenor player in his own right. He is joined by his brothers on the tenor saxophone Walt Weiskopf and Joel Frahm. The tenor trio is backed by relative newcomers Brian Charette on organ and Rudy Royston on drums.

 

The recording was recently brought to my attention by Posi-Tone’s Marc Free however I have been familiar with the three tenor players for some time. Doug Webb and I were at Berklee College of Music at the same time and he was among the best players there at that time. Walt Weiskopf and I have a former student in common named Ed Rosenberg who co-wrote Beyond the Horn with Weiskopf. Lastly, I have had the pleasure to interview Joel Frahm in a “mini-view” here on SaxShed.com. I listened to Triple Play by Doug Webb no less than 4 times before completing this review. For those readers who are not familiar with any or all of these wonderful tenor saxophone players – you are missing out if you are not already listening to them.

 

The opening cut Jones, based on the changes of Have You Met Miss Jones opens with Doug Webb front and center on a hard swinging romp through the changes. Frahm, solos second swinging just as hard but with occasional punctuated staccatos and guttural growls emitting from his tenor. Walt Weiskopf bats clean up with a hard bopping solo of his own, with just a hint more edge than the first two. Finally the trio trades fours on the final vamp.

 

The second cut Three’s A Crowd was the first cut I heard on a SoundCloud preview upon the first two listenings. The 3 part unison melody is followed by Weiskopf’s hard edged and angular solo, nicely balanced by Webb’s Coltrane-inspired chorus. Frahm explores the upper range of the tenor and a decidedly different approach on the changes than the other two tenor men. Relative newcomer Brian Charette solos on Hammond B-3 before the final chorus.

 

What tenor saxophone recording featuring three tenor players playing early Selmers on Otto Link metal mouthpieces would be complete without a version of Giant Steps? Frahm opens up with the first jagged chorus and quickly embarks on a stream of 8th notes making the brisk tempo feel as smooth as silk. Webb and Weiskopf follow with hard bopping solos of their own. They all pay homage to John Coltrane while at the same time offering their own twist on this jazz classic. The relatively short version beckons multiple listens as there is a lot of information traveling through these very capable hands.

 

Weiskopf’s The Way Things Are shares the changes with the jazz standard All The Things You Are. His original Parkeresque melody weaves through the changes as does his first solo. Joel Frahm chooses some melodic motifs in which to begin his somewhat schizophrenic solo. (and I mean this as a compliment) Frahm transforms his melodic ideas into more angular lines leading into the altissimo and unexpected staccato passages. As if it were not enough, he hints at the blues before Doug Webb makes quick work of the brisk tempo. Lastly, the three brothers play the out chorus in harmony reminiscent of Woody Herman’s Four Brothers.

 

The 300+ beats per minute Avalon played at break neck speed clearly demonstrates these tenor giants are not afraid of tempos. Webb solos first. His blisteringly fast lines sound comfortable and relaxed before finally quoting the melody during his last few bars. Weiskopf’s tenor sounds somewhat angry over the stop time intro to his chorus. He continues to eat up and spit out his lines over the ambitious tempo. Frahm picks up without hesitation where Weiskopf left off. His style is neither angry nor relaxed but almost playful. Charette takes the last ride on organ over his own percolating bass line. Drummer Rudy Royston gets a piece of the action with some impressive 8s played with the three tenor men before the final chorus.

 

Jazz Car written by Joel Frahm is set to the changes of Charlie Parker’s Blues For Alice although not in the typical key of F concert. Jazz Car is written in G concert which puts it in the slightly more challenging key of A on the tenor saxophone. Frahm alternates between using his traditional jazz vocabulary and a decidedly more modern and dissonant approach. Walt Weiskopf solos second, showing off his post-Coltrane tenor sound and skills. Doug Webb’s sound here is big and warm to start. Initially his playing is very reminiscent of Dexter Gordon whether by coincidence or design. He leaves the Dexter behind, turns on the juice and inspires some spirited interplay between the entire group.

 

The joyful Your Place Or Mine credited to R. Aldcroft is penned by long time Webb colleague of Randy Aldcroft. Upon first listening I tried to identify the standard without success. A little searching revealed the Webb/Aldcroft connection. Aldcroft is also responsible for three of the arrangements on Triple Play. Perhaps not a standard but if this tune is not already well known, it should be. Webb solos first followed by Frahm and ultimately Weiskopf who’s sound here seems devoid of the same edge heard elsewhere on the recording.

 

Fans of standards and traditional, straight ahead jazz will likely gravitate toward Webb’s version of the classic I Concentrate On You. The 3 part harmony and melodic tenor features are delightful to listen. Frahm’s clear tenor sound stands out on his short melodic passages confined to his high register.

 

The final three cuts on Doug Webb’s Triple Play include Lanny Morgan’s medium up Pail Blues, Lou Donaldson’sAlligator Boogaloo and the title cut. These last tracks showcase the same great playing found earlier on Triple Playalong with a few noteworthy moments.

 

Brian Charette’s time and feel – exemplified in his 8th notes played over his walking bass line – are simply fantastic. His solos – especially on both Pail Blues and the earlier Jazz Car – are worth the price of the recording by themselves.

 

Donaldson’s soulful Alligator Boogaloo features Webb’s lone tenor solo. By far not the most sophisticated solo recorded on this blowing session, Webb says it all in only 3 gritty choruses. Charette then further schools us on how the Hammond B-3 is intended to be played.

 

The ultimate title track on Triple Play features the three tenors on rhythm changes in Bb. What can be said? Doug Webb, Walt Weiskopf and Joel Frahm backed by Brian Charette and Rudy Royston – I’m done attempting to describe this must-have recording on Posi-tone Records. BUY IT. You wont’ regret it!

 

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Brent Black gives 5 Stars to Doug Webb “Triple Play”…

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criticaljazz.com

An old school blowing session that can touch your heart and set you’re hair on fire at the same time!
I love a review that can write itself. Sure, one can take the more theoretical approach to looking at this release but I have yet to meet a person that bought a release based on meter. Doug Webb is joined with tenor titans Joel Frahm and Walt Weiskopf for a real deal old school throw down of tunes both old and new and a swing that is at times relentless!
The covers are classic yet not predictable for this particular setting including “Giant Steps” along with the  Lou Donaldson tune “Alligator Boogaloo.” These two particular tunes are pushed to new heights thanks to organist Brian Charette and drummer Rudy Royston. Frahm and Weiskopf contribute two stellar numbers in “Jazz Car” and “Three’s A Crowd” respectively. Charette shows yet again why he is the organ hot ticket with his solo on “Jazz Car” and drummer Royston is pure finesse each step of the way. Taking the more zen like less is more approach the artistic approach to three simple yet edgy choruses shows why Webb may well be one of the finest tenor players on the scene deserving of far wider recognition. Webb originals such as “Jones” and “Triple Play” are simply icing on the cake and confirm Webb as an artist that is as technically gifted as he artistically proficient!
A hard bop visceral slap to the head has Triple Play virtually flawless.
5 Stars!
Tracks: Jones; Three’s A Crowd; Giant Steps; The Way Things Are; Avalon; Jazz Car; Your Place Or Mine; I Concentrate On You; Pail Blues; Alligator Boogaloo; Triple Play

 

 

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Jon Davis “Moving Right Along” makes the March 2015 CD Hotlist

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cdhotlist.com

Jon Davis
Moving Right Along
Positone
PR8133

Here’s another very fine straight-ahead piano trio album, though this one has a very different feel. Pianist and composer Jon Davis leads his trio through a program made up of standards, originals, and versions of non-standards like Lennon and McCartney’s “She’s Leaving Home” and a couple of Jaco Pastorius tunes. His approaches vary subtly from tune to tune, sometimes incorporating gentle Latinisms and sometimes impressionistic clouds of chords that might shift gently but suddenly into a bluesy swing. Davis’s style offers a rare combination of delicacy and complexity, and this album would make an excellent addition to any collection supporting a jazz program.

 

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Ben Wolfe “The Whisperer” gets reviewed by Dusted Writer Derek Taylor

 

dustedmagazine.com

image

Working with big personalities is a recurring theme in bassist Ben Wolfe’s career arc. Half a decade spent in the employ of Harry Connick Jr. as the pianist’s musical director led to an extended tenure with Wynton Marsalis and ongoing membership in the Lincoln Center Jazz Orchestra. Wolfe parlayed those high profile assignments into a professional relationship with Grammy-winning singer Diana Krall. Along the way came gigs with Joe Henderson, Harry “Sweets” Edison, James Moody and other jazz royalty. All that name-dropping suggests an operator able to meet his bandleaders’ needs in an exacting and superlative fashion.

The Whisperer, Wolfe’s latest as a leader, points to one of the potential side effects of being a successful sideman to the stars. When a musician devotes his talent regularly to that kind of wattage does his own individuality and assertiveness necessarily suffer in the bargain? Put differently, when one is accustomed to delivering top flight work for others does it become at all difficult to switch gears into a leadership role? Wolfe’s lead-from-behind approach here suggests a compelling case that while it very well might, the overall effect isn’t adverse or worth getting worked up about.

The band at hand draws directly from the lasting ties Wolfe developed with the vibrant scene operating out of the Greenwich Village jazz club Smalls. Pianist Orrin Evans, saxophonist Stacy Dillard and drummer Donald Edwards are all regulars there and the quartet evinces the kind of rapport built from nightly stage conclaves from the opening hard swinger “Heroist”. Wolfe walks confidently through most of the piece, leaving the fireworks to Evans and Dillard. The slow ballad “Hat in Hand” finds him gearing down to a more porous sound, spacing his notes judiciously against the steady cymbal splashes of Edwards. Dillard’s soprano glides through the theme in close concert with Evans and result is a standout track.

Aplomb is also abundantly apparent in Wolfe’s chosen songbook, all originals except for a pithy rendering of “All the Things You Are”. His writing is uniformly sharp, evidence again that all that time spent in the company of heavy hitters rubbed off in the form of a decisive compositional voice. “Community” has the soaring, effervescent openness of classic postbop and benefits directly from another spiraling Dillard turn on the straight horn.  “S.T.F.U.” mirrors the stern sentiment of its acronym title on the back of a funky bass groove and a guest spot by trumpeter Josh Evans who proves just as attuned as the others to Wolfe’s self-effacing intents and purposes. Evans and Dillard are the principal soloists on most pieces, suggesting not a reticence on the part of the leader, but rather an abiding confidence in the expertise of his colleagues.

 

 

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More coverage for “The Whisperer” by Ben Wolfe

 

notreble.com

Jazz Bassist/Composer Ben Wolfe Leads Quintet on “The Whisperer”

Ben Wolfe: The WhispererDouble bassist Ben Wolfe has worked alongside some of the jazz world’s biggest names, including Wynton Marsalis and Diana Krall. And as he’s done so, he has also forged his own impressive path as a player, composer and bandleader.

His latest recorded effort sees him heading up a quartet on The Whisperer. The record features him, Orrin Evans on piano, Donald Edwards on drums and Stacy Dillard on saxophone. The album has netted positive reviews, including two on All About Jazz. Wolfe composed 11 of the 12 songs on the album. Reviewer Bruce Lindsay lauds Wolfe’s work in his piece and even plays on the record’s hushed title, noting that The Whispererdeserves to have its appearance shouted from the rooftops: a fine recording.”

The Whisperer is available on CD and as a digital download (iTunes and Amazon MP3).

The Whisperer Track List:

  1. Heroist
  2. Hat in Hand
  3. Community
  4. Love Is Near
  5. S.T.F.U.
  6. Camelot’s Lean
  7. Chronos
  8. All the Things You Are
  9. The Whisperer
  10. Becoming Brothers
  11. The Balcony
  12. If Only

 

 

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Bop ‘n Jazz on Ben Wolfe “The Whisperer”…

Ben Wolfe The Whisperer Posi-Tone 2015

Bassist Ben Wolfe is a master technician with an all star band and the end result, The Whisperer!
There are certain things one can count on in life and they are death, taxes and Posi-Tone Records releasing some of the finest straight ahead improvisational music. The Whisperer is Wolfe’s first  Posi-Tone release and a showcase for his compositional prowess. There is an amazing organic soul to this release that is part of the new sound of modern jazz. The band is composed of underrated saxophonist Stacy Dillard, the magnificent Orrin Evans on piano and the rhythmic beast that is Donald Edwards.
Only one cover and that being a stellar reharm of “All The Things You Are” along with 11 originals from Wolfe. Odd meters, shifting dynmmics, and straight ahead swing make tunes such as “Love Is Near” along with “The Balcony” and “If Only” sound as though they are standards in the on deck circle. The Whisperer is what happens when you capture lighting in a bottle!

 

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Jazz After Hours writes up Art Hirahara’s new CD…

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jazzafterhours.com

Libations and Meditations

Art Hirahara is a jazz keyboardist and composer based in Brooklyn, NY. Originally from the San Francisco Bay Area, Art moved to New York in 2003 to be challenged by its pool of world-class musicians. There he has honed his craft, performing in a wide range of musical situations ranging from straight ahead standards to time cycle-based progressive jazz to free improvisation. From the traditional to the avant-garde, Art has found a sound of his own that cuts across genres and boundaries.

Art began his training in music at the age of four, studying with Sue Shannon, an unconventional classical piano teacher who taught improvisation and composition from the earliest stages of musical development. This provided the foundation for his awakening to jazz during his studies at the Oberlin Conservatory of Music, where he earned a degree in Electronic and Computer Music. During his junior year, he began jazz piano studies with the Cleveland jazz giant, Neal Creque.

He then continued at California Institute of the Arts, where he was mentored by David Roitstein, Charlie Haden and Wadada Leo Smith. It was there that he immersed himself in world music, focusing on West African drumming and dance, Balinese gamelan and North Indian tabla. After his move to New York, Art studied at the Banff Workshop in Jazz and Creative Music program with Dave Douglas in 2004.

Art has had the privilege to perform with Stacey Kent, Freddy Cole, Akira Tana, Rufus Reid, Don Braden, Roseanna Vitro, Dave Douglas, Vincent Herring, Victor Lewis, Travis Sullivan’s Bjorkestra, Jim Black, Jenny Scheinman, Greg Cohen, Fred Ho, Sean Nowell, royal hartigan and Hafez Modirzadeh. He has performed around the world in Europe, Asia, South America, the Middle East and extensively around the United States.

In New York, he has played at the city’s premier venues, including Birdland, Smalls, the Jazz Standard and 55 Bar. In addition to performing, Art is an educator. He has taught master classes both domestically and abroad. He taught at the Brooklyn-Queens Conservatory and is currently a performing member of NY PopsEd, an educational organization focusing on bringing music to elementary and secondary schools.

Art’s piano and compositional sound are an amalgamation of the varied musical influences he has studied and the wide range of leaders he has worked for. Art is constantly seeking new situations to challenge his musicality. Most recently this manifested itself when he was Musical Director of an off-Broadway show.

 

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Bruce Lindsay reviews Ben Wolfe “The Whisperer”…

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allaboutjazz.com

Ben Wolfe is the man responsible for double bass duties for some of the most popular names in jazz. As well as his six previous albums as leader, in a recording career that extends back to the ’80s Wolfe can also be heard on a fist-full of recordings by Harry Connick Jr, Diana Krall and Wynton Marsalis among others. What keeps him gainfully employed by some of the jazz world’s biggest hitters? The Whisperer, a superb combination of great tunes and great playing, soon answers that question.

Wolfe’s partners on The Whisperer—pianist Orrin Evans, drummer Donald Edwards and saxophonist Stacy Dillard—might not be as world-renowned as Krall, Marsalis and company, but they’re prodigiously talented. Like Wolfe they all have impeccable taste, never over-playing, always supportive of each other. Evans’ comping is a masterclass in timing and effectiveness, Edwards is equally capable of combining with Wolfe to create and maintain the pulse or to spring from Wolfe’s steady bass rhythm to weave his percussion around the melody.

Wolfe’s talents as a writer are also much in evidence—with the exception of a mournful take on Jerome Kern’s “All The Things You Are” the tunes are Wolfe’s own. “Hat In Hand” and “Camelot’s Lean,” featuring Dillard on soprano, demonstrate the quartet’s laid-back, controlled, playing. The sound becomes noticeably warmer when Dillard moves to tenor sax on the melancholy “Love Is Near,” Dillard’s silky tone giving the number a softness that contrasts with the cooler soprano.

“Heroist,” anchored by Evans’ emphatic left hand and featuring Dillard’s wildest soprano, “The Balcony”—tenor and piano interweaving melodies built on the pulse of bass and drums—and the moody “Chronos” showcase a more up-tempo side. “The Whisperer” is a mid-tempo swinger—Wolfe and Edwards set up a sense of urgency, Evans’ comping evokes added suspense and Dillard’s tenor completes the noir-ish atmosphere. For drama, it’s the album’s star attraction.

Trumpeter Josh Evans joins in for “S.T.F.U.” Over Edwards and Wolfe’s bouncing, cheerful, rhythm, Dillard’s soprano and Evans’ trumpet engage in a conversation, or perhaps it’s an argument, before coming together for the closing section. As for the rather enigmatic title—”Some Things Feel Unusual,” or “Sunny Times For Us” perhaps? It doesn’t really matter: probably best to keep quiet about it. The Whisperer, by contrast, deserves to have its appearance shouted from the rooftops: a fine recording.

 

 

 

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D4M reviews Art Hirahara “Libations & Meditations”…

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D4M.com

Piano isn’t boring. Art Hirahara takes the organic foundation of subtle keys and harsh melodies, and blends them together with a modern jazz touch along with some friends. You’ll be hearing Linda Oh on bass, John Davis on drums, and a lot of chemistry. There’s only one song made publicly available from the album, and it’s pretty great all on its own. It’s a quick bebop based jam that only lasts a good two minutes; but it’ll give you a clear view at what can be in store, if nothing more.

Give this one a listen, and then maybe repeat the listen. Let your ear wander around all the talents forming one single piece, and that’s what you can expect from the album. You can almost hear the joy, you can understand the relationship they have with each other and their instruments. Now, this single is just misleading. It’s the stuff just about everyone should enjoy, which means that this is just slightly more commercial than the rest of the album is intended to be. This isn’t bad, it’s just sad that this is the only song right now. Besides catching Art live, how will a true jazz aficionado understand the depth this man and his band can achieve? 

I guess that’s where I come in. You should expect a slightly more erratic display of talent, some fluid progressions, and a lot of relatively smooth original work. Out of the 11 tracks, Only Child by Bill Evans and Karatachi No Hana (traditional Japanese song by Kosaku Yamada) are the only non-original compositions.

If you enjoy the talent, this album is most definitely worth checking out. If you enjoy the pace, I’d recommend staying away. This is best left for wandering ears in search of new jazz, and for piano jazz enthusiasts.