Category: Reviews

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Music and More on Ralph Bowen “Standard Deviation”…

jazzandblues.blogspot.com

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Ralph Bowen – Standard Deviation (Posi-Tone, 2014) Ralph Bowen is widely active in New Jersey and New York as a saxophonist and educator. This album finds him recording selections from the standard repertoire in the company of of Bill O’Connell on piano, Kenny Davis on bass and Donald Edwards on drums. Although the material on this album is quite familiar, they play the music with self-confidence and assurance. Opening with the medium tempo “Isn’t It Romantic” in which they pursue the music in a patient and thoughtful manner, the group uses the melodic material to unlock more of potential of the music like on the well known song “Yesterdays” where Bowen begins the song at a ballad tempo before slowly ramping up his solo to a fine faster statement. This album may not reinvent the wheel, but for fans of the popular songbook, this is classy and accessible jazz that is sure to please.

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StepTempest covers Michael Dease “Relentless”…

http://steptempest.blogspot.com/2014/07/large-bands-music-of-americas-world.html

 

Michael Dease - Relentless cover

 

 

 

 

 

 

 

Georgia native Michael Deaseis a multi-instrumentalist known mostly for his work on trombone but is also proficient on trumpet and saxophone.  He has established himself as a producer and sideman, appearing on dozens of recordings and gigs ranging from Alicia Keys to Illinois Jacquet’s Big Band to Neil Diamond to Maceo Parker.  There are a number of good reasons he’s such a popular musician – he can play any and everything plus he knows his musical history.

“Relentless” (Posi-Tone Records) is his 6th release as a leader and first in front of a large ensemble. He has stocked the band with excellent players including saxophonists Tim Green, Todd Bashore and Diego Rivera, a trumpet section led by Seneca Black, Greg Gisbert and Etienne Charles and fellow ‘bone players such as Tom Malone and Jeff Nelson.  The first-class rhythm section featuresMiki Hayama (piano), Linda Oh (bass) and Ulysses Owens Jr(drums).  Wycliffe Gordon makes 2 appearances on the program, joining the trombones for the slinky reading of “Autumn Leaves” (nice marimba work from Gwendolyn Burgett) and switching to slide trumpet for “Two Bass Hit.”  On the latter track, Gordon, Dease and trumpeter Benny Benack III engage in some sprightly scat work while, on the former, there are a slew of short but strong solo before the leader sings a verse before the song closes out by returning to its opening “groove.”

Then, there’s “Webster Grooves“, an uptempo Dease original (4 of the 10 tracks are penned by the leader) with the feel of a blues shuffle (a la Bill Doggett’s “Honky Tonk“) that morphs into a “swinging” piece with excellent section writing and more short but hardy solos.  Ms. Oh, who is rarely heard on record in a big-band setting, locks in with drummer Owens, keeping the band on an even keel.  The title track lives up to its name, pushed mightily by the fine work of Owens and the smart work of the reeds and brass. “The Takeover” takes off on the strength of Ms. Hayama’s piano work but hits its stride when the sections play off each other, all of which leads to a fiery solo from Bashore plus a friendly “give-and-take” from trombonists Malone and Jerrick Matthews before Charles and Ms. Hayama take turns flying over the bass & drums.

Other highlights include a lovely reading of Jimmy Dorsey’s “I’m Glad There Is You“, a ballad that gives Dease the spotlight as both a soloist and arranger.  His dramatic arrangement for the bridge section is forceful.  Guitarist Andrew Swift electrifies the band on its heavy funk reading of “Roppongi“, a tune Randy Brecker composed for the Brecker Brothers Band.  Ms. Oh’s electric bass anchors the piece while Owens Jr’s drums propels the funk forward.  Eric Alexander’s “Little Lucas” is a medium-tempo ballad that opens with more fine work from Ms. Hayama before Dease gives the melody and harmonies to the sections.  Tim Green’s alto solo has a bit of a rambunctious edge, setting the stage for a strong solo turn from the leader.

Michael Dease understands the power of a big band and, to his credit (and our pleasure), these songs are filled with excellent section writing.  There are certainly plenty of fine solos but what stands out on each subsequent listen are the strong arrangements and first-class work of the rhythm section. Both recording engineer John Davis(Bunker Studio in Brooklyn, NY) and mixing/mastering engineer Nick O’Toole (Woodland Studio, Lake Oswego, OR) make sure we hear all the musicians, especially the superior efforts of Ms. Oh, Ms, Hayama and Mr. Owens Jr.  “Relentless” is the proper name for this appealing CD and it’s well-worth exploring.

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Wondering Sound reviews Michael Dease “Relentless”…

Michael Dease - Relentless cover

 

 

 

 

wonderingsound.com

Michael Dease, Relentless: Solid big band release from trombonist Dease, who can always be relied upon for some tasteful, straight-ahead jazz, whether it’s a small combo or a large crowd on the bandstand. For this recording, he brings an entourage numbering the twenties, which is comprised of some heavy hitters on the scene, including bassist Linda Oh, trumpeter Seneca Black, alto saxophonists Todd Bashoe & Diego Rivera, and drummer Ulysses Owens Jr. A big sound that hits with some force, but stays light enough to swing. A few tracks express some mainstream tendencies, but it’s faint enough that the cohesion of the album’s sound doesn’t threaten to crack. Released on Posi-Tone Records, which is pretty consistent with its big band offerings.

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Audiophile Audition coverage for Michael Dease “Relentless”…

http://audaud.com/2014/07/michael-dease-relentless-posi-tone/

Michael Dease - Relentless cover

 

 

 

 

 

Michael Dease – Relentless – Posi-Tone PR8127, 64:12 [7/8/14] ****½:

I’d have to say that Posi-Tone is two for two on current releases by Joe Magnarelli and Michael Dease. Both are great acquisitions to the Posi-Tone roster, and I’m hoping that they stay put for awhile. I can’t give enough plaudits to Dease’s new (and first) big band session as a leader. Dease has flown to the top of first-call trombone session men, as well as having five CDs already as a leader. He was part of the inaugural jazz graduating class at the Juilliard School. Last May his Coming Home CD on D Clef Records earned 4 stars here.

His latest effort, just being released, is something really special. The energy and arrangements on big band jazz issues is often inspiring, but many times you can only imagine what they sound like in person in an auditorium with good acoustics.Relentless has upped the ante considerably as its soundstage is wide, warm, and as crisp as a fresh ripe apple just off the tree. Kudos go out to the recording team of Marc Free, John Davis, Andrew Swift, and Nick O’Toole. Whether it be the range and power of Dease’s trombone, or the walking bass of Linda Oh, the sound is rich, crystal clear and a pleasure to hear on a quality sound system, or a trip to heaven with a good pair of headphones.

Song selection is top notch. Whether it be the tasty Duke Pearson track, “Is That So,” the classics “Two Bass Hit” and “Autumn Leaves” or the four originals from the pen of Dease, the all-star band handles them all with aplomb. Dease wrote all the arrangements.

These days when we are losing the last of our golden age masters, the future of jazz is in good hands with artists like Michael Dease, who have soaked up jazz tradition, and are ready to take over the mantle from their teachers.

A strong shout out of praise should go out to soloists, pianist Miki Hayama (who is featured on four tracks), saxophonists Todd Bashore, and Tim Green, and trumpeter Greg Gisbert. Let’s not ignore the fact, though, that  every member is an integral cog of this jumbo big band and all seem to get solo time. Special treats are the scatting of Dease, Benny Benack, and the inimitable Wycliffe Gordon (an early mentor of Dease) on “Two Bass Hit.” Dease even takes a turn on vocals on the closer “Autumn Leaves.”

Band members are primarily New York City residents, and although there is little chance in today’s market that they’d take the show on the road, at least Posi-Tone eases our longing with such a well-recorded gem. I’m hoping that they’ll be just as “relentless” in getting a second Dease big band session out within the next year. Fingers (and toes) crossed….

 

 

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A nice review for Eric Wyatt new CD “Borough of Kings”…

www.criticaljazz.com

Eric Wyatt Borough of Kings Posi-Tone 2014

Eric Wyatt is the spirit of Brooklyn – tough, straight ahead and he can swing!
Brent Black / www.criticaljazz.com
You have as many tenor players running around New York as you have taxi cabs, Eric Wyatt simply happens to be one of the finest. Four releases as a leader under his belt and having a resume that includes Jeff “Tain” Watts, Kenny Garrett, and Jeremy Pelt there is little doubt that Wyatt can deliver the goods and his debut on Posi-Tone is proof positive. The aptly title Borough of Kings is a hard charging swing fest that features stellar originals from Eric Wyatt and band that would seem to feed off his lyrical sense of direction.

 

Some special appearance are made by Clifton Anderson, Duane Eubanks, and Kyle Poole. The lone cover would be the iconic John Coltrane tune “Countdown” which Wyatt takes temporary custody of in a inspired performance. The release immediately pops with the syncopated minor key composition “The Peoples Champ” which would seem to capture the smoldering pulse of the Brooklyn swing that is almost a genre unto itself. The title track “Borough of Kings” opens as an angst filled ballad but quickly morphs into a smoker that seemingly has no limits. Benito Gonzalez simply kills it as does Wyatt. The Gonzalez tune “Quest” works incredibly well within the confines of the release and the musical co-conspirators assembled. The closer “What Would I Do Without You” is a beautiful mid-tempo swing that simply caps off a rock solid release. The rhythm section of Ameen Saleem on bass and Shinnosuke Takahashi lay down a righteous groove and the addition of drummer Kyle Poole on the Wyatt original “Can He Come Out” takes in the pocket to that special place.
Eric Wyatt is not a rising star or a newbie. Wyatt is a seasoned pro with chops, talent and tenacity that exudes with his lyrically intense attack and melodic manipulation of emotions. Finding anything critical here is like looking for a needle in the proverbial harmonic haystack.
Having long said that Posi-Tone may well have the best stable of tenor players, Eric Wyatt simply confirms the accuracy of my statement.

 

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Step Tempest reviews Joe Magnarelli “Lookin’ Up!”…

steptempest.blogspot.com

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It’s been 20 years since trumpeter Joe Magnarelli released his debut on the Criss Cross label. In 1994, “Mags” was already an established voice on the music scene having worked with the Glenn Miller Orchestra, Brother Jack McDuff and Lionel Hampton.  Since then, he has worked with a plethora of groups and artists, from the Vanguard Orchestra to Harry Connick Jr. to Jane Monheit to the Lincoln Center Orchestra.

His 10th CD as a leader, “Lookin’ Up“, is his debut for Posi-Tone Records and is a highly attractive session from beginning to end. With the rhythm section of bassist Mike Karn (Vanguard Jazz Orchestra, Harold Mabern) and drummer Jason Brown (Wayne Escoffery, David Hazeltine) plus the articulate pianist Anthony Wonsey, Magnarelli (who plays his mellow flugelhorn on several cuts) weaves his way through a 10-song program evenly split between originals and standards.

Trombonist Steve Davis joins the group on 6 cuts, serving as both a harmony voice and counterpoint to the leader’s trumpet.  Their interaction on the original “Third Set” includes both call-and-response as well as harmony.  The tune is infused with the feel of Art Blakey’s Jazz Messengers, from Wonsey’s “bouncing” chordal accompaniment to the drive of Karn and Brown.  The blend of Davis’s rich and burnished tones with Mags’ muted trumpet give “Blue Key” (a Magnarelli original) a pleasing sound.  Wonsey’s pleasing solo exploration sets up the handsome trumpet solo. Karn’s splendid walking bass leads in the rest of the band on “In Walked Lila” (composed by saxophonist John Handy – there’s a voice one needs to her more often); everybody gets to “strut his stuff” and does so without going on too long (Brown’s joy-filled bass kick and snare rolls jump out of the speakers.) The pianist gives a lively “Satin Doll”-flavored opening to Magnarelli’s “Easy Transition“, a medium-tempo bluesy romp.  Davis displays his formidable yet amiable “blues” chops while the trumpeter lets fly several lively phrases

The flugelhorn makes an appearance on the lovely original ballad, “Inner Beauty.” Magnarelli weaves the melody and solo around the delicate piano chords and Karn’s intelligent counterpoint while Brown’s brushes sweep the piece along.  Wonsey’s introduction to Jimmy Van Heusen’s “Darn That Dream” opens with a slight flourish before he states the melody and sets the stage for the leader to come in on flugelhorn and repeats the melody. The rhythm section tiptoes in at the close of the second verse while Magnarelli repeats the melody once more before taking a well-fashioned solo.

“Lookin’ Up” breaks no new ground, all the while showing the listener how 5 musicians can have fun in the studio while making meaningful music. Each player contributes to the overall excellence of the performances with a special tip of the hat to the active and engaged rhythm section (including Anthony Wonsey.)  Joe Magnarelli’s move to Posi-Tone Records makes great sense – this is a label keeping the spirit of hard-bop alive and well into the 21s Century (while not ignoring newer developments).  To learn more about the leader, go towww.joemagnarelli.com.  To find out more about this and other Posi-Tone releases, go to www.posi-tone.com.

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Audiophile Audition reviews Joe Magnarelli “Lookin’ Up!”…

audaud.com

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Joe Magnarelli has long been a trumpeter that I have dug. We previously reviewed his sublime “with strings” CD in 2011 and last year’s Live at Smalls issue  teamed Joe with Mulgrew Miller just prior to Miller’s untimely passing.

It is welcome news that Joe is now with Posi-Tone Records as label guru and producer, Marc Free, knows how to find session mates to bring out the best for his roster artists. On Lookin’ Up , we find Joe’s front line trombone mate, the superb Steve Davis (ofOne For All fame) helping Joe flesh out the arrangements of both standards and five original Magnarelli tunes. With Anthony Wonsey leading the rhythm section, I found myself in eager anticipation of both a lyrical yet hot, near one hour swinging session. Once again Joe Mags has come through with flying colors.

I am most always pleased with the acoustics of Posi-Tone issues as both Marc, and engineer, Nick O’Toole, have an innate sense of instrument placement in the final mix, where the horns can have center stage, yet the rhythm section is upfront enough that you can sense their spurring on the horns to greater heights.

Right away on the opener, “44,” there is an immediate polish and sheen with Joe’s burnished tone, the snap of Jason Brown’s cymbals, Wonsey’s tasty comping, and Davis’ robust trombone blend with Magnarelli. The Joe/Steve simpatico is even more on display on their unaccompanied intro to “Third Set.” It’s enough to tempt you to catch a flight to New York with hopes of catching them at Smoke or Smalls.

Magnarelli can get your trumpet-loving heart pumping away happily on the up-tempo burners, yet can ease you back with cool comfort on ballads like “Inner Beauty” and “Darn That Dream.”

It’s easy to see why Joe is a professor of music at both the Juilliard School of Music and Rutgers University. Some aspiring trumpet students certainly have their tuition or scholarship funds in good hands. But we all know already that jazz is always “lookin up” in the Big Apple….

TrackList: 44, Third Set, Inner Beauty, You Go to My Head, Blue Key, Easy Transition, Suddenly It’s Spring, Miles’ Mode, Darn That Dream, In Walked Lila

—Jeff Krow

 

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Joe Magnarelli is “Lookin’ Up!” on Bop ‘n Jazz…

www.criticaljazz.com

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Joe Magnarelli is the perfect storm!
Respected educator, prolific composer and one of the most in demand players in mainstream jazz, Joe Magnarelli is a legitimate triple threat in improvisational music. Joined on the front line by critically acclaimed trombonist Steve Davis and you have a post bop release just screaming…literally.
What makes Lookin’ Up! jump is that the old school style is fortified with a more contemporary pop of color to have this harmonic chameleon changing colors, meter, and swing almost at will. The rhythm section is A list and rounded off with Anthony Wonsey on piano, Mike Karn on bass and Jason Brown on drums.
Some consider Magnarelli strictly a ballad player and make no mistake his reharm of “Darn That Dream” is as good as it gets. The original “Inner Beauty” is an exquisite number that not only encapsulates the more evocative tonal quality of Magnarelli but a lyrical sense of purpose that is second to none. The burning swing of “Suddenly It’s Spring” shows versatility while the muted work on “Blue Key” embraces a bossa nova rhythm set to a ballad melody. Not everyone does this folks. The meticulous attack on John Coltrane’s “Miles Mode” is perhaps the highlight of the release as this trio take with only Brown and Karn highlights his old school ability with a new world charm.
Lookin’ Up! works simply because this is not a rehash of old standards as Magnarelli contributes five originals. The success here is the lyrical vision and contemporary swing of a trumpet master that is deserving of far more ink then he has received in the past. Easily one of the two best trumpet releases I have heard this year.

 

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David Orthmann reviews Walt Weiskopf “Overdrive”…

www.allaboutjazz.com

Walt Weiskopf - Overdrive cover

 

 

 

 

 

Here’s a proposition for anyone who is about to plunk down their hard earned dollars on Steely Dan’s Jamalot Ever After Tour. For a mere fraction of the cost of a ticket you can invest in a copy ofOverdrive, the recently released set of original music byWalt Weiskopf, the band’s longtime tenor saxophonist. A viable alternative to the pleasures of SD’s warhorses, the disc has a “greatest hits” vibe of its own. It’s a composite of the dozen or so records under his leadership released over the past twenty-five years. Weiskopf, who often uses down time during SD’s tours to work on compositions, continues to develop a recognizable, challenging and invigorating sound which incorporates disciplined musicianship, adventuresome structures, memorable melodies, and a tightly wound group concept that yields surprises, large and small.

The leader’s tenor sets the tone of most of the tracks, especially the compositions “Like Mike,” “Four Horsemen,” and a wicked section of “Midwinter Night’s Dream,” all of which sound like they were generated by the horn. Weiskopf partially offsets the galvanizing effect of his instrument by utilizing the comparatively sedate sounds of Behn Gillece‘s vibraphone and Yotam Silberstein‘s guitar. By allowing a limited number of solos on most of the cuts and keeping the improvisations (by today’s standards) relatively brief, he avoids disconnect between the heads and solos and steers clear of the longwinded quality that pervades many current jazz recordings. Another unifying factor is the presence of subtle, smartly placed, written figures behind the soloists during tracks such as “The Path Is Narrow,” “Overdrive,” and “Waltz For Dad.” Weiskopf evinces a tender, romantic streak on “Jewel And A Flower” and “What Are You Doing The Rest Of Your Life” (the only standard on the record). A jarring, no nonsense, blues sensibility fuels his heads and solos on “Night Vision” and “No Biz.”

As of this writing the only opportunity to hear Weiskopf on his own terms is a pair of dates at Smalls Jazz Club in New York City in mid-December. Speaking as someone who can testify to the intensity of his live shows, I believe that Overdrive is a fitting substitute for the experience of sitting in close proximity and feeling his sound resonate through your nervous system. Not unlike the best jazz recordings, it works on a visceral level, and most importantly, it’s a brilliant representation of the breadth and depth of Weiskopf’s talent.
Track Listing: The Path Is Narrow; Like Mike; Jewel And A Flower; Night Vision; Overdrive; Waltz For Dad; Four Horsemen; Midwinter Night’s Dream; What Are You Doing The Rest Of Your Life?; No Biz.

Personnel: Walt Weiskopf:tenor saxophone; Behn Gillece: vibraphone; Yotam Silberstein: guitar; Peter Zak: piano; David Wong: bass; Donald Edwards: drums.

 

 

 

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Another nice review for Joe Magnarelli “Lookin’ Up!”….

www.allaboutjazz.com/

Joe Magnarelli: Lookin’ Up! (2014)

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Joe Magnarelli: Lookin' Up!

Trumpeter Joe Magnarelli has been a jazz scene stalwart for 30 years. Based in New York since 1986 he’s worked with a broad range of musicians including Lionel Hampton, Jimmy Cobb and Michael Feinstein and has released a series of albums as leader.Lookin’ Up! is his first recording for the Posi-Tone label and it proves to be a fine addition to that label’s roster of top-flight straight-ahead jazz.

Lookin’ Up! is a quintet outing, with trombonist and fellow Posi-Tone artist Steve Davis sharing the front line with Magnarelli. The album has a full, rich, sound courtesy of producer Marc Free and engineer Nick O’Toole. It showcases the five musicians as a group and the result is powerfully seductive.

Magnarelli and Davis form a strong front line—punchy and tough on Magnarelli’s “44” andJohn Handy‘s “In Walked Lila”; swinging on “You Go To My Head” and “Suddenly It’s Spring.” The rhythm section—pianist Anthony Wonsey, bassist Mike Karn and drummer Jason Brown—provides the expert support that ensures the lead players shine as brightly as they can. Brown is the driving force, Karn’s cool and reliable, Wonsey is a master of comping. Even without Magnarelli or Davis the three men hold the attention, establishing a groove or a mood with ease—on their brief but cool intro to the leader’s “Blue Key” for example, or during Karn’s energetic solo on “Suddenly It’s Spring.”

Magnarelli takes on the leader’s role with aplomb. His playing is consistently superb. On his own “Inner Beauty” he’s controlled yet romantic, characteristics that also define Wonsey’s solo: on John Coltrane‘s “Miles’ Mode” his muted trumpet flies over Karn and Brown’s rhythmic foundation, the whole tune full of exuberant joy. Jimmy Van Heusen’s “Darn That Dream” starts as a trumpet/piano duet then adds bass and drums—from start to finish it’s a graceful and lyrical reading of the old standard.

Lookin’ Up! closes with a fiery rendition of “In Walked Lila” which gives each musician a chance to loosen up and let rip. Five masterful talents, ten great tunes, that’s Lookin’ Up!.