Category: Reviews

Posted on by

Steve Greenlee reviews David Weiss “Venture Inward” for JazzTimes…

jazztimes.com

Let’s call bunk on the claim that jazz should always find new things to say. Venture Inward, the new platter from trumpeter David Weiss and his quintet Point of Departure, is steeped in 1960s postbop—specifically that of Miles Davis—and it would be futile to argue that it is anything but jazz of the highest order.

Following his two outstanding live albums, Snuck In and Snuck Out, Weiss plants his feet unapologetically in jazz’s relatively unsung heyday, naming his band for Andrew Hill’s famous record and playing two of the pianist’s tunes. The group starts with an 11 1/2-minute cover of Herbie Hancock’s “I Have a Dream” that segues seamlessly into Tony Williams’ “Black Comedy,” all of which is framed by the restless, roiling drumming of Jamire Williams and the pinpoint precision of guitarist Nir Felder and bassist Luques Curtis, who stick their off-beat landings every time. Weiss blows fierce passages on these first two numbers and again on Charles Moore’s “Number 4”—until the rhythm softens, at which point he does too, and his brassy bursts take on rounded edges.

The quintet puts on a clinic in symbiosis; everybody pays attention to and appreciates what the other members are doing. Nowhere is this clearer than on Hill’s “Pax,” on which Weiss and fiery saxophonist JD Allen rein themselves in so that the patient work of the rhythm section can shine. When Allen solos, he does so with restraint, bringing forth his more romantic side.

The odd thing here is that Point of Departure has recorded four of these six tunes before—and in the same order on 2010’s Snuck In. Whereas many groups will release live albums containing music they had previously recorded in the studio, this band has done the opposite. Not only does this illustrate that Weiss tries to perfect his material on the road, but it reinforces the point that the essence of jazz is personal expression rather than breaking new ground.

Posted on by

CD Hotlist recommends Ehud Asherie “Lower East Side”…

http://cdhotlist.com

Joined by tenor saxophonist Harry Allen (who is himself one of the top players of straight-ahead jazz and swing currently working), pianist Ehud Asherie romps his way through a wonderful set of American Songbook standards, referring back to stride, bop, and swing traditions and making you hear familiar fare like “S’posin’,” “When I Grow Too Old to Dream,” and “Thou Swell” with new ears. Allen’s and Asherie’s back-and-forth is playful but respectful and both of them brim with fresh new ideas at all times. Recommended to all jazz collections.

Posted on by

The Jazz Word on Noah Haidu “Momentum”…

thejazzword.blogspot.com

Momentum is a strong trio recording featuring pianist Noah Haidu’s original tunes as well as a few choice covers. Haidu leads bassist Ariel de la Portilla and drummer McClenty Hunter with a strong, swinging conviction, aided by an imaginative approach and ample chops. From the familiar bounce of “I Thought About You” to a raucous take on “The End of a Love Affair” to the dancing complexity of Haidu’s own “Juicy,” the session as a whole maintains interest from track to track with an overwhelming warm vibe.

Posted on by

Brent Black reviews Fowser/Gillece “Top Shelf”…

www.criticaljazz.com

Roughly 27 years ago Stan Getz made one of the finest duet recordings on the Blue Note label with pianist label. Now the aptly titled Top Shelf picks up where Poetry left off. Granted this release is a sextet with attitude but Fowser and Gillece and the modern jazz evolution of tenor saxophone and vibraphone. Michael Dease sits in on trombone and pushes the front line to the next dimension while the rhythm section of Steve Einerson on piano, Dezron Douglas and Rodney Green on drums take the ten original compositions with the obvious attitude of swing hard or go home! This fourth release may well be arguably the finest with their own special brand of swing. I once asked Posi-Tone drummer Jordan Young, “Do you learn swing or is an innate ability to find your own groove?” Young’s answer was probably the best I have hears and certainly an apt description of this stellar release when he replied “How do you know you are in love? Is it a simple feeling with complex nuances or is it something learned from watching others?”
There are almost too many highlights to list here. “Slick” along with “Ginger Swing” and “Top Shelf” are perfectly titles pieces for a release  that is “Top Shelf.” The Gillece tune has a cross mixture sound of the more traditional Blue Note and Impulse  sounds. A different type of swing, slightly disjointed but melodically accessible with a straight ahead flair other working bands struggle for years and still run dry. “Ginger Swing” is a minor key, deconstructed swing that creates a unique dynamic tension that most bands struggle with to this day. “Top Shelf” is minor blues, free and open ended.
The improvisational skill level within the band is off the charts (pardon the pun). Fowser and Gillece are like Getz and Tjader, while the physical presence has left the planet, their spiritual dynamic will continue to  move forth and grow as long as one of the finest straight ahead labels in Posi-Tone still exists.
Posted on by

An interview with trombonist Steve Davis…

blogs.citypages.com

Contemporary jazz great Slide Hampton proclaimed, “we trombonists are problem solvers.” Yet for all the back-boning trombones provide, even the most famous ones — J.J. Johnson, Frank Rosolino, Al Grey or Curtis Fuller — aren’t household names like adored trumpeters or saxophonists. One such “problem solver” has long since made a name for himself in the contemporary jazz world — trombonist and composer, Steve Davis, who was called “one of the greatest trombone players in the world” by legend Freddie Hubbard.

Davis’s credentials include time spent playing with such greats as Art Blakey, Chick Corea and Jackie McClean, where he earned acclaim not only as an elite-caliber trombonist, but also as a sought-after improviser. Steve also happens to be the cousin of local jazz and avant garde monster Jon Davis, clarinetist, bassist and electronic composer known for a litany of envelope-pushing projects.

Steve took a few minutes between teaching lessons to chat with Gimme Noise in anticipation of his appearance this Sunday, April 7 at Icehouse.

Gimme Noise: Was trombone your first instrument?

Steve Davis: No, I started on trumpet, got braces at a young age, 10, and switched to baritone horn, which is like the euphonium, similar timbre to trombone, but it’s like a baby tuba. When I started getting interested in jazz, it was suggested to me, you might want to play slide trombone, and I went with the flow and picked that up at about 14 years old. Then I heard J.J. Johnson on the Horace Silver record my father had called Cape Verdean Blues — it’s one of the Blue Note mid-’60s Horace records — and once I heard J.J. and I heard Curtis Fuller I got really excited… I was listening to Lee Morgan, record of his calledSidewinder, Art Blakey and the Jazz Messengers… you know I was hooked!

Chick Corea said of your playing, “Steve can create the effect of a string section or brass section.” What is it about the trombone that affords it this timbral potential? Do you do that intentionally? Is it universal to trombonists or something you get/strive for specifically in your tone?

That’s a good question. I’m certainly honored by this compliment from Chick, I think certainly maybe a little bit of both. Trombonists, at least the good ones, tend to be very thoughtful players. I think we have the sound of the instrument going for us, what you refer to at the timbral qualities. It is a very majestic, rich sound, and its main strength. That being said, I probably get a lot of my ideas from other instrumentalists and from the piano, from the harmony, the chord changes of any given piece – all of it really, the rhythmic aspects…You develop a concept or an overall approach so you’re not just playing the music strictly from the vantage point of being a trombonist or a saxophonist…if you really think about the total music and how you can enhance what’s going on, as an improviser, as an arranger, it all comes together under one statement, one concept that hopefully comes through in your playing.

Do you take a similar philosophy when you’re writing pieces as well? Are you thinking in terms of the trombone, or more an ensemble?

Oh yeah, definitely. I’m a big fan of the rhythmic section, I love piano, bass, drums or guitar, bass drums — whatever it may be. When I write music and when I play, I’m playing with the intention of being a part of that, or as integrated in the total music — maybe like a fourth member of the rhythmic section, and it just so happens I’m a trombone player. My voice, I’m a single-note instrument, and you tend to be associated with a solo voice or the melody voice, but that’s not my number one approach. Certainly that’s a part of it, to sing the songs so to speak. I just like to play as much with whom I’m playing with…it’s not like they’re just back there laying down. I could never get into that vibe at all. To me, then you’re not really a jazz musician anymore. The whole fun of what we do, is we get to play together, it’s so important to have those connections in the music.

I would think the sheer physics of the instrument probably requires and promotes some of the best listeners among instrumentalists.

Sure, I think trombonists are good listeners, and good writers, but to me, after awhile, you are the musician you are regardless, and you just happen to be a trombone player and that’s your voice. I always tell my students, especially the incoming Freshman here at the Hartt School at the Jackie McClean Institute here where I teach at the University of Hartford. Here’s the first lesson, you are who you are every day of your life, that’s the person you are. And they all kinda look at you like ‘duh’, but I say, no, don’t take that for granted. And number two, you’re a musician, 24/7, without the horn in your hands. And the sooner you get with those things, THEN you’re the trombone player, trying to be the baddest cat you can be on the trombone – that’s third. You’ve gotta have one and two first. A lot of students have thanked me for that years later. I got that idea from Jackie McClean, who was an alto player, he was my mentor – it didn’t even matter that I played trombone and he played saxophone, it was the concept of being a musician, being a jazz musician and what that entails.

You cultivate your musical voice away from your instrument as much as you do on your instrument. So by the time you get the horn in your hands – and of course there’s many hours and years of practicing, and technique that’s inherent to the trombone, and I don’t take that for granted at all – but there’s more to it than that. I never play to impress the other trombone players. I always wanted to be accepted by the Jackie McCleans, the Chick Coreas, the Jimmy Heaths – all the great masters, Freddie Hubbard, that I’ve been so lucky to be around. Their acceptance always meant more to me than whether or not a room full of 40 trombone players thought I had great chops. That’s nice, but that’s not really it for me. The idea was, if Chick Corea, or Roy Hargrove likes you, wants to play with you, well then you’re going to be the trombone player…and BOOM, there you go, there’s your chance.

Recommend some favorite jazz albums featuring trombone for the new listener?

Wow. Anything by J.J. Anything by Curtis Fuller. Anything by Slide Hampton. Frank Rosolino. Recently I just did a wonderful project with Steve Turre, who’s very well-known and one of my heroes, and he had me and a great trombonist Frank Lacy and another great trombonist Robin Eubanks…a great rhythm section in New York, just recorded two weeks ago, and it’ll be Steve Turre’s next cd on the HighNote label…I don’t know what he’s going to call it, and the idea is that the four of us, the trombonists at least, were all at one time members of Art Blakey’s Jazz Messengers, so that’s the common thread and concept he had. It was a wonderful project, I haven’t heard it yet [laughs], but I can hopefully recommend that…and going back, I would suggest Jack Teagarden, that’s going way back, but he was just so good to listen to.

Should we expect any trombone/bass clarinet duo-ing this Sunday at Icehouse?

OH! With my cousin! I am SO excited to have a chance to play with him [Jon Davis]- cause we’ve never played together…and I think that sound is going to be fun. I was able to do that a little bit with Chick Corea’s group Origin, some of that involved bass clarinet, so it’s not totally unfamiliar to me, but it’s not every day either. And not everyday you get to play with your cousin who’s playing bass clarinet AND bass. I’m really excited to play with Jon, it’s gonna be a blast.

Posted on by

Critical Jazz takes on Noah Haidu “Momentum”…

www.criticaljazz.com

If James Brown was the busiest man in show business the smart money goes on Noah Haidu coming in a close second. Sitting in with numerous Post-Tone acts and the band Native Soul just begin to scratch the surface of a cross between McCoy Tyner and Horace Silver. Haidu can bang out a melody with the best of them but play with the artful finesse of a Silver or a Herbie Hancock while barely breaking a sweat. 

Momentum which is due to street in just a few short weeks is a trio with an incredibly lyrical bassist on the scene and of course McClenty Hunter who along with Haidu are my musical easy buttons. I am not as familiar with de la Portilla on bass but soon will be. Changing meter and harmonics all under the watch full eye of Haidu they work hand in glove and hopefully this is the start of a working trio. Variety is the spice of life, holds true in music too with Haidu knocking out Jimmy Van Heusen, Keith Jarrett and Joe Henderson and all on equal footing. 

I have noticed an odd occurrence, each year there seems to be one song recorded by everyone. This year the song happens to be my favorite “I Thought About You.” Thanks to a medical condition my playing days are over, I am still on the edge of my seat wondering will the slay it or will the tune crash and burn before the first change, Haidu is money, no worries here. A deceptively subtle swing, dynamic tension from dabbling in a little odd meter and the uniformity of a trio that easily bears my motto, “Swing hard or go home.” Another favorite from Thad Jones, A Child Is Born has a deep harmonic base with the dynamic tension that occurs when a major even happens in any life time. The reharms here are sublime. “Groove Interlude” is a Haidu original and both Haidu and the trio are on point every step of the way. Syncopated swing and Haidu and the boys welcome you to the land of rhythm of groove. 

Being a critic is far more than being critical. I try and approach each release as a story within itself with ideal the artist leading the way. More often than not that is a naive approach, Noah Haidu is accessible, intelligent and a master at his art. Critics are human, we have biases like everyone else. Recently a massive recording conglomerate lost their two best stars to the same label. I mention this for the way I was treated. Both Posi-Tone and their artists go out of their way to make my gig as easy as possible. It’s always better to work with someone than against them, you don’t tug on superman’s cape and you don’t spit into the wind. I have a few areas of expertise, these are some. 

There is simply nothing negative to say in regards to momentum.

Posted on by

The Jazz Word on Fowser/Gillece “Top Shelf”…

thejazzword.blogspot.com

Top Shelf is the fourth release for longtime conspirators Ken Fowser and Behn Gillece. Their brand of original straight-ahead jazz is heartfelt and swinging with an interesting mix of complexity and accessibility. Gillece’s vibraphone and Fowser’s tenor saxophone playing are equally grounded in the tradition with an aggressive approach to modern sensibilities. Both deliver memorable solos throughout, although tracks such as “Stranded in Elizabeth” and “Unstoppable” stand out with performances that seem especially inspired. Trombonist Michael Dease adds color to the proceedings and demonstrates his virtuosity on the samba “Pequenina.” A strong rhythm section comprised of pianist Steve Einerson, bassist Dezron Douglas and drummer Rodney Green elevates the session to a status that is indeed top shelf.

Posted on by

The Jazz Word on Jared Gold “Intuition”…

thejazzword.blogspot.com

Jared Gold’s latest for Posi-Tone Records is an electrifying organ trio release featuring the highly proficient purveyor of classic B3 sounds with the aid of guitarist Dave Stryker and drummer McClenty Hunter. Along with a slew of original pieces by Gold and Stryker, the disc features convincing renditions of two Carol King gems, “You’ve Got a Friend” and “Will You Still Love Me Tomorrow.” The latter makes for a swinging opener and maintains the feel-good vibe of the familiar Shirelles recording. Gold’s funky “Hoopin’ on Sundays” and Stryker’s uptempo “Shadowboxing” contain some of the disc’s most inspired blowing.

Posted on by

SomethingElseReviews takes on Sean Nowell “The Kung-Fu Masters”…

somethingelsereviews.com

Sean Nowell is a name I remember from a couple of years ago when sizing up his last album Stockholm Swingin’(2011), a snappy live encounter of solid, straight ahead jazz performed by both American and Swedish musicians in a small combo band. The Kung-Fu Masters is an about face from the trad direction Nowell went on Stockholm, propagating instead a brand of funk-jazz with one foot far in the past and another one far in the future. But other than the fact that it’s jazz, it could hardly be stylistically farther apart from the European date.

Though it’s a bit of a shock going from the prior record to the current one, followers of this tenor saxophonist, composer and bandleader were probably not surprised at all. Nowell’s career has always careened from one corner of jazz to another, and he’d already been trying out the new style performing with his Kung-Fu Masters band in local NYC clubs. Nowell’s brand of funky jazz-rock generally pits the electric keyboards of Art Hirahara and Adam Klipple along with electric bassist Even Marien and drummer Marko Djordjevic against the formidable horn section of Nowell, trombonist Michael Dease and trumpet player Brad Mason. I describe it as two opposing forces because that rhythm section is often moving between 70s style fusion and 21st century electronica while the horn section roots itself firmly in the soulful hard bop tradition of Art Blakey’s Jazz Messengers or the 60s version of the Jazz Crusaders. Even when those horns are run through effects pedals.

When you think about it, amping up the brass is old school,; Eddie Harris was electrifying his sax way back when in ’67 and Nowell’s plugged in sax goes great with the ’68 hit “Crosstown Traffic” that begins the album, as the bank o’ horns fill up the huge space that Hendrix’s guitar originally filled. And then for good measure, an original, dizzying horn figure is tagged on the end.

Nowell’s own tunes, which make up the rest of the fare on The Kung-Fu Masters, often get even more adventurous than that, but he stubbornly maintains his grip on the subtleties, spontaneity and swing of jazz. “In The Shikshteesh” has a chugging groove of its own, and Dease, whose made his name as a straight ahead trombonist of the highest order, is able to negotiate that groove like a champ. Nowell’s sax is modified to sound like an accordion, alternately playing an unadorned sax like Michael Brecker. That mutated chord sax shows up again on “Mantis Style” a song with knotty progressions locked in with knotty rhythms and a spunky Rhodes solo. On the rambunctious “Can Do Man,” Dease and Mason get their horns tricked up with circuitry, too, in a jerky ride through a multitude of motifs, from JB sweaty funk to a smooth slow funk vibe and spacey groove where Nowell and Dease’s alien horns engage in call and response.

The album contains some jazztronica moments, too as the one that begins “The 55th Chamber,” but theB3 and the horns are all old school funk. “Uncrumplable” boasts an electronics video arcade groove, complete with a Pac man synth solo. And still, it’s Dease’s bubbling trombone solo that’s the track’s highlight. A classic rock bass line form the basis for “Song Of The Southland” a song that wouldn’t be out of place on a 70s rock-jazz record. Horns seem to fly around Marien’s vamp, and the organ swells in and out to modulate the undercurrent of harmony. Mason’s searching and soaring trumpet solo tops it off.

Following up on such a friendly, by-the-book mainstream jazz with this attitude filled electric funk-jazz record might have caused my ears to do a double-take, but it became clear that Sean Nowell knew what he was doing, because he did it so well. Yes, from a guy (and a record label) who can make such good acoustic modern jazz records is one of the better electric fusion records to come out so far this year.