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Dan Bilawsky reviews Michael Dease “Relentless”…

www.allaboutjazz.com

Michael Dease: Relentless (2014)

Michael Dease: Relentless

While rising star trombonist Michael Dease’s previous albums have all been small group affairs, much of his sideman work has marked him as something of a large ensemble specialist. He’s put his slide to good use in numerous big bands and jazz orchestras, including those led by Christian McBrideCharles Tolliver,Roy HargroveRufus Reid, and Nicholas Payton. Given that information, it should come as no great surprise that Dease decided to make a go of fronting his own big band.

Relentless—the rising star trombonist’s sixth album, and his first on the Posi-Tone imprint—finds Dease in charge of a group that’s populated with other big band mainstays (trumpeters Seneca Black and Greg Gisbert), young jazz heavies (bassist Linda Oh, drummer Ulysses Owens Jr., saxophonist Sharel Cassity), and a few welcome guests (trombonist Wycliffe Gordon and guitarist Andrew Swift). The program reads like a history of Dease’s commissions and musical upbringing. He reclaims arrangements originally penned for Hargrove’s group (Duke Pearson‘s “Is That So”), the WDR Big Band (Eric Alexander‘s “Little Lucas”), and the Webster Groves High School Big Band (“Webster Grooves”); he expands music previously recorded in a small group setting (“Relentless”) and looks back on his early attempts at writing for big band (“The Takeover”); and he reshapes classics that he’s learned to love over the years (“Two Bass Hit,” I’m Glad There Is You,” and “Autumn Leaves”).

Dease’s charts kick, swing, leave lots of room for soloists, and occasionally put each section to the test with fiery, finger-busting passages. It’s not all high energy, adrenaline-fueled music, but the most memorable performances—”The Takeover,” “Roppongi,” and “Two Bass Hit”—tend to get the pulse racing in some way.

Groups like this tend to be studio-made bands, not working units, so it’ll be interesting to see if Dease can get this group on the bandstand and develop what he’s started. It’s a unit with plenty of muscle, driven by a leader with boundless talent, so here’s to hoping that Dease can keep it afloat and help it evolve.

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More All About Jazz coverage for Walt Weiskopf “Overdrive”…

www.allaboutjazz.com

 

Walt Weiskopf: Overdrive (2014)

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Walt Weiskopf: Overdrive

Since making his first two records on the independent Iris label back in the early ’90s, Walt Weiskopf has staked a claim as one of the most advanced and iconic tenor saxophonists in jazz. However, even as he went on to record one great record after another for Criss Cross beginning in 1993, Weiskopf remained under the radar of most listeners and seldom even registered on most critics polls.

Over the past several years his profile has risen via regular road work with the groupSteely Dan. What is great about this particular role is that within the framework of a popular touring act, there still is plenty of space for Weiskopf to exert himself musically. Although it’s been four long years since his last Criss Cross date, See the Pyramid, Weiskopf has fortunately joined the fold at Posi-Tone and his debut for the label is yet another singular release in his distinguished catalog.

Weiskopf is a talented improviser, but his real strengths have also always come in his compositional genius. This is no less the case with this new effort. And like his greatest work, Weiskopf always sounds best when he fills his ensembles with other lead voices. That signature blend of angular melodies is there at the get-go of “The Path is Narrow,” with Weiskopf’s tenor speaking in tandem with Yotam Silberstein‘s guitar. The upbeat vibe of “Like Mike” trades the guitar unison with the vibes of Behn Gillece, reminding one of the great teaming of Weiskopf and Joe Locke on the Criss Cross set Anytown. During his solo, the tenor saxophonist steams forward with a rush of quicksilver ideas that seem to be bursting at the seams. Then the tempo switches to cut time after a restating of the theme, leading to some collective interplay between Weiskopf and Silberstein.

Providing the perfect bookend to complement the previously penned “Song for My Mother,” the lovely “Waltz for Dad” includes a nice melodic hook at the end of the leading phrase. Drummer Donald Edwards a mainstay of the Weiskopf fold for the past several albums, boots things along nicely as pianist Peter Zak makes his own piquant statement with sly backing lines provides by Weiskopf and Gillece. 

 

 

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Here’s the first review for the new Joe Magnarelli CD “Lookin’ Up!”…

 

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somethingelsereviews.com

Longtime trumpet sideman Joe Magnarelli first bowed as a leader in 1995 (Why Not) but Lookin’ Up! (out June 24, 2014) marks his first for Posi-Tone Records. The welcoming environment the label offers for straight-ahead cats like Magnarelli is one good reason why Lookin’ Up! is already off on the good foot.

The other is because this adjunct professor of music at the Julliard School of Music and Rutgers University presides over a master class in mainstream jazz. Assisted by Steve Davis on trombone, Anthony Wonsey on piano, Mike Karn on bass and Jason Brown on drums, Lookin’ Up! teaches of the importance and the majesty of post-bop jazz not with words but with sounds.

The trumpet/trombone front line defines that sound in this case, as Davis brings his accomplished chops to bolster Magnarelli with his counterpoints, done with style as on the outro to Magnarelli’s composition “44,” harmonizing like hand-in-glove during “Third Set” and “Easy Transition,” and often following up the trumpeter’s hot solos with cool-toned ones; “In Walked Lila” is one example.

But Magnarelli shows time and again he gets the job done on his own, architecting a thoughtful aside on “44″ and easily conquers quick-tempo swingers like “Suddenly It’s Spring” with crisp trumpet flights, followed by Wonsey’s own, block chord-rich solo. Magnarelli’s muted horn acuity is on display for the tracks “Blue Key,” a bossa nova rhythm set to a ballad melody and during an agile take on John Coltrane’s “Miles’ Mode” backed only by Karn and Brown.

Ballads, however, are where Magnarelli shines the brightest; he tackles Jimmy Van Heusen’s classic number “Darn That Dream” with a clean delivery that’s sensitive to the beauty of melody, as Davis sits out. That warm, wistful tone is also put to great use on Magnarelli’s own pretty number “Inner Beauty.”

Lookin’ Up! is simply damned good, no-nonsense, straight-ahead jazz carried out with veteran proficiency. Anyone who likes their jazz served up that way will have no problem at all with this disc.

 

 

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Here are some French Reviews for several of our 2014 releases…

www.culturejazz.fr

DISCLAIMER: ALL TRANSLATIONS BY GOOGLE

 

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Steve DAVIS : “For Real”

Le tromboniste Steve Davis (né en 1967 aux USA) reste très attaché aux émanations du be-bop. Dans ce nouvel album il s’exprime avec verve et générosité sur ses propres compositions, essentiellement. Remarquablement entouré, il laisse de l’espace à des complices très aguerris. Si Abraham Burton se montre brillant, c’est Larry Willis qui impressionne par un jeu de piano qui apporte un punch revigorant à l’ensemble. Conventionnel, certes, mais jamais ennuyeux.

Steve Davis: “For Real”
Trombonist Steve Davis (born in 1967 in the U.S.) is still attached to the fumes of bebop. In this new album he speaks with verve and generosity on his own compositions, basically. Remarkably surrounded it leaves space at very seasoned accomplices. If Abraham Burton was brilliant, this is Larry Willis impresses by a piano playing brings a refreshing punch to the whole. Conventional, yes, but never boring.

 

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Sarah MANNING : “Harmonious Creature”

Une découverte pour bien commencer 2014 ! Nous ne connaissions pas la saxophoniste-compositrice Sarah Manning mais ce disque ne peut que nous inciter à la suivre de plus près. Les choix esthétiques, les assemblages de timbres (sax alto, violon alto et guitare) donnent à cette musique une silhouette singulière aux lignes épurées et assez audacieuses, jamais hermétique. La saxophoniste (excellente !) a su fédérer un vrai groupe dans lequel nous repérons en particulier le guitariste Jonathan Goldberger (qui croise parfois la route de Jim Black, entre autres et compose pour le cinéma) et l’altiste “miniaturiste” Eyvind Kang. Une de nos références préférées du label californien Posi-Tone.

Sarah MANNING: “Harmonious Creature”
Discovery to start 2014! We did not know the saxophonist and composer Sarah Manning but this disc can only encourage us to follow more closely. Aesthetic choices, assemblies stamps (sax alto, viola and guitar) give this music a unique silhouette with clean lines and bold enough, never sealed. Saxophonist (excellent!) Was able to unite a real band in which we identify in particular guitarist Jonathan Goldberger (sometimes crosses paths with Jim Black, among others, and composes for film) and violist “miniaturist” Eyvind Kang. One of our favorite references Californian label Posi-Tone.
Brian Charette - Square One cover
Brian CHARETTE : “Square One”Passionné d’échecs et ceinture noire de kung-fu, Brian Charette est un musicien déterminé qui va droit au but. Sa musique, directe et efficace ne manque pas de subtilité. Il apporte une touche personnelle à la tradition (renaissante ?) de l’orgue Hammond dans la formule assez conventionnelle du trio avec guitare et batterie. Ce musicien qui a travaillé avec Lou Donaldson ou… Chaka Khan, entre jazz, soul, funk ou pop, reste attaché aux éléments fondateurs du jazz. Il traite lui aussi la thématique du train, récurrente dans le jazz, d’une manière très personnelle dans “People On Trains”. Ça swingue et ça “groove” !

 

Brian Charette: “Square One”
Chess enthusiast and a black belt in kung-fu, Brian Charette is a determined musician who goes straight to the point. His music, direct and efficient does not lack subtlety. He brings a personal touch to the tradition (reborn?) Hammond organ in fairly conventional formula trio with guitar and drums. Musician who has worked with Lou Donaldson or … Chaka Khan, between jazz, soul, funk and pop, remains committed to the basic elements of jazz. It also deals with the theme of the train, recurrent in jazz, in a very personal way in “People On Trains”. It swings and it “groove”!

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Jared GOLD : “JG3+3”Golden Child“(PosiTone-2012), le précédent album de l’organiste américain Jared Gold, reprenait la formule du trio avec guitare, en l’occurence Ed Cherry l’ex-complice de Dizzy Gillespie. Cette fois, il augmente son nouveau trio d’une section de “souffleurs” qui renforce la dimension “funky” de la musique de Gold qui puise sa matière dans un répertoire varié, chez James Taylor (version en trio de “Shower The People”), Wayne Shorter, Cannonball Adderley ou Michael Jackson. Efficace !

Jared GOLD “JG3 +3”
“Golden Child” (PosiTone-2012), the previous album by American organist Jared Gold, repeated the formula of the trio with guitar, in this case Ed Cherry former accomplice of Dizzy Gillespie. This time, it increases its new trio of a section of “blowers” that reinforces the “funky” dimension of Gold music that draws its material in a varied repertoire, from James Taylor (trio version of “Shower The People” ), Wayne Shorter, Cannonball Adderley and Michael Jackson. Effective!

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Ralph BOWEN : “Standard Deviation”

Saxophoniste américain réputé pour sa maîtrise technique irréprochable,Ralph Bowen reprend ici une série de standards qu’il interprète avec une belle énergie, soutenu par une rythmique de haut vol. Une manière de se hisser au niveau des références du sax ténor mais sans vraiment apporter une touche de nouveauté. Un disque qui ne déroutera personne. Est-ce suffisant ?

Ralph BOWEN: “Standard Deviation”
American saxophonist known for his impeccable technical mastery, Ralph Bowen takes here a series of standards he interprets with great energy, supported by a rhythmic top flight. A way to reach the level of references tenor sax but really add a touch of novelty. A disc that will confuse anyone. Is it enough?

Walt Weiskopf - Overdrive cover

 

 

 

 

 

Walt WEISKOPF : “Overdrive”

Le saxophoniste Walt Weiskopf (né en 1960) a fait ses premières armes dans le big band de Buddy Rich avant de rejoindre celui que dirigeait la pianiste Toshiko Akiyoshi. De solides références auxquelles on ajoutera la participation au groupe Steely Dan de Donald Fagen et Walter Becker avec lesquels il joue régulièrement. Avec “Overdrive“, il passe la “surmultipliée” et emmène sa formation sur des thèmes simples et acrobatiques nécessitant précision et vélocité (et ils suivent !). Une musique “survitaminée” qu’on pourra apprécier si on est friand de jazz “high-speed” !

Walt WEISKOPF “Overdrive”
Walt Weiskopf saxophonist (b. 1960) made ​​his debut in the big band Buddy Rich before joining one Toshiko Akiyoshi led the pianist. Solid references that participation in group Steely Dan Donald Fagen to be added and Walter Becker with whom he performs regularly. With “Overdrive”, it passes the “overdrive” and takes his training simple and acrobatic issues requiring accuracy and velocity (and they follow!). Music “supercharged” we can assess whether we are fond of jazz “high-speed”!

 

 

 

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Walt Weiskopf and Ralph Bowen get high praise from Richard Kamins of StepTempest …

steptempest.blogspot.com

If ever there was an apropos name for recording, “Overdrive” is the one.  The brand new CD by saxophonist/composer Walt Weiskopf, his debut on Posi-Tone, is powered by the rhythm section of Donald  Edwards(drums), David Wong (bass) and Peter Zak (piano). The leader, who sticks to tenor sax for this date, also utilizes the talents of Yotam Silberstein (guitar) and label mate Behn Gillece(vibraphone).

The program powers out of the gate with the first of 9 original compositions, “The Path Is Narrow.”  The saxophonist heads straight to hard-bop territory but, to his credit, all the songs have solid melody lines.  His insistent attack, powerful tone and forceful solos stand out on pieces such as “Like Mike” (the lightning fast melody line will pin you to the chair), the title track (where Edwards’ cymbals set a torrid pace) and “No Biz” (where Weiskopf delivers a Coltrane-esque solo and Silberstein channels Charlie Christian).  The blend of Gillece’s vibes with the guitar, sax and piano on “Night Vision” stands out – the mix is so clear each instrument stands out.

 

The program includes several lovely ballads.  “Jewel And A  Flower” opens with a lovely melody and is notable for the harmony created by Zak’s left hand and the bass.  The vibes serve to color the melody and frees Wong to create counterpoint to the sax.  The blend of guitar and saxophone on the theme of “Waltz For Dad” fills out the sound, leaving both the piano and vibes to create the sumptuous background. The one non-orginal track, Michel LeGrand’s “What Are You Doing the Rest of Your Life“, a piece one might expect to hear as a ballad, is taken at a a medium tempo, giving the song a lighter feel.

Walt Weiskopf released 9 CDs for Gerry Teekens’ Criss Cross label (10, if you also count the season he co-led with saxophonist And Fusco), recordings that featured ensembles of various sizes, especially the 2 nonet albums. “Overdrive” displays his craftsmanship as both a musician and composer (his compositions all have very good melodies).  This is good music to play with the windows open, bright and appealing.  For more information, go to www.waltweiskopf.com.

Standard Deviation“, the 5th Posi-Tone release for tenor saxophonist Ralph Bowen, is another recording that lives up to its name.  The program is comprised of all standards, an approach that Bowen has yet to attempt in his discography.  However, the saxophonist does not deviate from his style;  he’s a powerful player with a full sound yet always keeps melody foremost in his music.  Joining him in this venture is Donald Edwards (drums) and Kenny Davis (bass) – the rhythm section from 2011’s “Power Play” release  – plus pianist Bill O’Connell

The quartet has fun with these pieces, some of which are considered “evergreens.” The program opens with Richard Rodgers’ “Isn’t It Romantic” (originally performed by Jeanette MacDonald in the 1932 movie “Love Me Tonight”). The rhythm section pushes the tempo up while both Bowen and O’Connell swing the heck out of the piece, the former adding real muscle to his sound.  Jerome Kern composed “Yesterdays” for the 1933 film “Roberta”.  Here, the pianist’s arrangement adds a Latin feel and lets Bowen loose over the energetic drumming (Edwards’ ability to “drive” an ensemble has been well documented over the past few years, from his work with pianist Orrin Evans to the Mingus Big Band.)

One of the other better-known piece on the CD is “You Don’t Know What Love Is“, composed by Gene de Paul (music) and Don Raye (lyrics), was originally composed for a movie starring Abbott & Costello (!) but was eventually pulled.  The movie studio, Universal, then placed the song in one its lesser productions (starring The Ritz Brothers).  The movie is long forgotten but the song as been recorded by countless pop and jazz artists.  Bowen and company play the song as a smoky ballad, with a most passionate reading by the leader.

O’Connell’s left hand joins with the bass of Davis to underpin the latin-inspired rhythms of Cole Porter’s “Dream Dancing“, the track with the longest and arguably, best tenor solo on the CD and that follows a wonderful solo by the pianist. Davis creates a furious walking line on the final track, “By Myself“, serving as a launching pad for a fiery tenor solo and rollicking work from Edwards.

Standard Deviation” is anything but standard or deviant. What it is is good music, fine playing and a pleasure to listen to.  For more information, go to www.ralphbowen.com or www.posi-tone.com/deviation/deviation.html.

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Ralph Bowen “Standard Deviation” gets a review on Dusted in Exile….

dustedmagazine.tumblr.com

Ralph Bowen – Standard Deviation (Posi-Tone)

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With a title that risks accusations of the overly arch, tenorist Ralph Bowen’s Standard Deviation still telegraphs its intent with admirable economy. Eight standards parsed and pieced back together in deviously different forms by a quartet of equals. Bowen quotes Zappa in the gatefold sleeve, and that influence is tangentially audible in the sanguine irreverence he brings to the arrangements of the antiquated tunes. Pianist Bill O’Connell handles two, but Bowen’s modest ingenuity informs the others. Bassist Kenny Davis and drummer Donald Edwards complete the ensemble.

Blue-hair composers Richard Rodgers, Jerome Kern and Cole Porter all make appearances starting with the opening rendering of “Isn’t It Romantic”, which wastes no time in celebrating Bowen’s crushed velvet tone and agile phrasing. O’Connell keeps the rhythm section moving, goading the leader into some coarser blowing before taking a jaunty two-handed solo and priming the others for the calm that returns on the close. The origins of “No Moon At All” are a bit more obscure, but it was a number popular with Sinatra. Bowen once again engages the theme with gusto, lacing his lines with upper register cries and sprinting to double-time mid-piece amidst boisterous cymbal splashes from Edwards.

“Yesterdays” and “You Don’t Know What Love Is” are the ballad equivalent of rib eye and green beans, the most standard of standards fare. O’Connell’s arrangement of the first adds some spice with some sharp comping under the Bowen’s melody statement and the brisk tempo helps, but the fossilized tune seems largely incidental when stacked against the energetic solos that frame it. Bowen takes a different approach on the second, slowing to a languorous lope and stretching his lines for heightened emotional heft. O’Connell opens up the accompaniment to enhance the sense of space.

Under O’Connell’s preparations “You Stepped Out of a Dream” gains an effervescent Latin rhythm and pivots on a tune-stealing solo from the pianist while “Spring Is Here” is also the territory of the rhythm section until Bowen’s soulful return in a barrage of register-leaping runs that littered with reed effects. “Dream Dancing” and “By Myself” carry over the momentum and are almost of a piece with shifting tempo signals and a steadying central thrust by Bowen on the first matching a communal propulsion on the last. Some of the saxophonist’s signature ornamentations begin to sound the same across the disc’s duration, but there’s no doubting the level of craft, drive and dedication behind the project.

Derek Taylor

 

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Midwest Records chimes in on Walt Weiskopf “Overdrive”…

http://midwestrecord.com/MWR812.html

WALT WEISKOPF/Overdrive: Delightful. A modern day cat that can deliver the daddio without the pretension. A driving, swinging straight ahead sax led session, this cat can blow and wail up a storm of late night oomph that makes you wonder where all the energy comes from. The back up crew is right in step making this a winner throughout. By all means, check it out.
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Rifftides recommends Orrin Evans “Mother’s Touch”…

www.artsjournal.com

Orrin Evans’ Captain Black Big BandMother’s Touch (Posi-Tone)

O. Evans Mother's TouchRegulars at the uptown New York club Smoke relish not only the musicianship but also the slap-dash camaraderie that pianist Orrin Evans’ big band exhibits during performances. Without the fun and games, the band is just as compelling in this studio recording. Evans’ “In My Soul,” slow and slinky with gospel overtones, sets the high standard that his contingent of bright youngsters and experienced veterans maintains throughout. Evans, tenor saxophonist Marcus Strickland, trombonist Conrad Herwig and trumpeter Tatum Greenblatt are among the excellent soloists. Greenblatt and saxophonist Stacy Dillard shine on Wayne Shorter’s “Water Babies.” Following Evans’ ethereal piano in “Dita,” lead alto saxophonist Todd Bashore solos with neo-Johnny Hodges sensibility. The two short parts of “Mother’s Touch” are built on a seven-note phrase in a head arrangement by this inventive band.

 

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Walt Weiskopf is on WBGO’s radar with “Overdrive”…

http://www.wbgo.org/

 

Walt Weiskopf - Overdrive cover

 

 

 

 

 

Walt Weiskopf is a “man of many colors,” to take from the title of one of his previous recordings.

The tenor saxophonist has been featured in the big bands of Buddy Rich and Toshiko Akiyoshi.

His diverse sideman credits include work with Frank Sinatra, Steely Dan and Steve Smith’s Jazz Legacy.

His instruction books like “Intervallic Improvisation” have been used and recommended by saxophone greats James Moody and Michael Brecker for broadening the horizons of jazz improvisation.

Weiskopf has passed his knowledge along as instructor at the Eastman School, Temple University, and starting this Fall at New Jersey City University.

But to hear Walt Weiskopf play is simply the main event. His new recording, Overdrive, from Posi-Tone Records, provides us with an energized listen to the art of improvisation.

He’s assembled a sextet for his 13th recording as leader, with vibraphonist Behn Gillece, bassist David Wong, guitarist Yotam Silberstein, drummer Donald Edwards and pianist Peter Zak, featured on two previous Weiskopf outings, “See The Pyramid” and “Day In Night Out” (Criss Cross).

“Overdrive” is made up of all Weiskopf originals save one.

“The Path Is Narrow,” with the opening statement in tandem from the leader and guitarist Silberstein, sets a wide open head bobbin’ pace for pianist Zak to show his stuff. Weiskopf demonstrates his is a pent up house waiting to be heard.

I suspect “Like Mike” to be a tribute to Michael Brecker. This original blisters with the tenorist setting a furious pace. The group delights in keeping up, with Silberstein showing his guitar mettle at the out.

Walt shows us how pretty a tenor saxophone sounds on his “Jewel And A Flower”. It gives the listener some soft pretty moments to ponder.

“Night Vision” is a 20/20 listen to exploring what’s ahead, though unknown, making us want to be part of the journey. The leader hands off to some nice moments with Gillece’s vibraphone and Siberstein’s guitar.

Zak’s piano chops are first rate. Bassist David Wong takes us further, showing this group knew the route all along.

The angular title track, “Overdrive”, with it’s stop time intro shows the muscle of Weiskopf’s playing, inventive chops cutting a path  the rest of the musicians thoroughly enjoy taking.

The relaxed feel of “Waltz For Dad” is a group dance, highlighted by Gillece’s Bobby Hutcherson feel, leading into some further sax steps as piano, bass and drums show us some new moves too.

“Four Horsemen” has these six riders at full speed, with Zak’s piano in a gallop, the leader playing with abandon, Gillece’s vibraphone neck and neck and the listener holding on for more.

 

A “Manteca”-like riff opens “Midwinter Night’s Dream.” No cold feet here as Weiskopf’s hearty blowing is surrounded by the fire of the vibraphonist and pianist. Wong’s bottom and drummer Edwards make this dream come true.

“I don’t see a point for me doing a standard on a record unless there’s some kind of different sound or spin to it,” Weiskopf has said before.

“What Are You Doing The Rest Of Your Life” was composed by Michel Legrand with lyrics from Alan and Marilyn Bergman. Weiskopf’s arrangement gives this gem a latin feel for the group to cover some new ground. Once again the saxophonist shows his agility in making a standard his own.

“No Biz” closes the date with a straight ahead blowing statement, the kind a band plays when they want you to stay for the next set. I’m sure you will.

“Overdrive” comes out June 10th, just as Weiskopf gears up for a summer long tour with Steely Dan.

   – Gary Walker, WBGO music director

 

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AAJ track review for Brian Charette “Square One”…

www.allaboutjazz.com

 

Brian Charette: Square One (2014)

By

MARK F. TURNER, 

Brian Charette: Square One

Track review of “Aaight!” 

It is said that imitation is the sincerest form of flattery but that can be a double edged sword with respect to self-expression and individuality. Reverence to past influences such as the pioneering organists Larry Young and Jimmy Smith is commonly heard in many contemporary jazz organ players including New York based Brian Charette who breathes originality in 2014’s The Question That Drives Us (SteepleChase) and particularly 2012’s Music for Organ Sextette(SteepleChase). Both feature that iconic Hammond B3 sound within a larger ensemble mashing up a progressive blend of jazz and chamber music influences.

But the trio setting is the standard by which jazz organists are measured and with Square One Charette teams with guitarist Yotam Silberstein and drummer Mark Ferber further proving why he was voted 2nd place in 2013’s Downbeat Critic’s poll for “Rising Star: Organ.” His technical facility of the instrument is immaculate while sporting an impressive tonal range with plenty of pizazz as captured in the opening track “Aaight!”

It’s an infectious piece dedicated to Charette’s fellow sextette member and saxophonistMike DiRubbo who would frequently utter the phrase “Aaight!” (Colloquial term for “All Right”) at the end of a gig on his way home. Charette delivers the funky hook while Ferber and Silberstein add rhythmic hot sauce to the bait resulting in what is effectively an old-school dance joint that will make you wanna get up and shake your groove thang.

It quickly settles into the pocket moving through unison lines then tight solo trades splashed with Silberstein’s Wes Montgomery-like chording and Charette’s skittering fingers working in-tandem with a purposed bass pedal. About midpoint through the piece Charette’s modulation travels from the barstool to the church pew with a gospel church organ sound that’s performed with fluid maneuverability and consummate touch.

Track Listing: Aaight!

Personnel: Brian Charette: organ; Yotam Silberstein: guitar; Mark Ferber: drums.