Category: Reviews

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StepTempest on “The Kung-Fu Masters”…

steptempest.blogspot.com

Tenor saxophonist Sean Nowell, born in Alabama, educated in Boston and New York, has, over the course of his recording career for Positone Records, shown that he can not only swing but also bring the funk.  “The Kung-Fu Masters” is his 4th CD for the Los Angeles, California-based label and it would not be out of place that Nowell and his group display their considerable “chops” and that the music has a real kick.

Bad puns aside, Nowell’s new CD channels the sounds of The Crusaders (circa late 1970s), Chicago and The Headhunters into a most delightful mash-up.  With the driving rhythm section of Evan Marien(electric bass) and Marko Djordjevic (drums) plus the twin keyboards of Art Hirahara and Adam Klipple (he doubles on Hammond organ), the front line of Nowell, Brad Mason (trumpet) and Michael Dease (trombone) play music inspired by martial arts, breakdancing and comic books.  And this music is quite good fun.  With the exception of the explosive opening track, a ripping version of Jimi Hendrix’s “Crosstown Traffic“, Nowell composed and arranged the material.  It’s impossible not to snap your fingers to the crackling funk of “The 55th Chamber” and “In the Shikshteesh“, the former riding on Hirahara’s rippling electric piano while the latter features the rich trombone sounds of Dease (one can hear the influence of Crusaders bone-man Wayne Henderson on this track.) Funk oozes out of the speakers on “Song of the Southland“, with the languid melody lines drifting over the keyboard washes, the throbbing bass lines and the “fatback” drums.  Klipple’s burbling organ ushers in the handsome layered melody lines of “Prosperity” – the organist (who leads The Drive-by Leslies) takes the only solo and it drips with soulful conviction.

Other highlights include the rambunctious “The Outside World“, the propulsive excitement of “Uncrumplable” and the fiery overdrive of “Can Do Man” that takes the program out, leaving the listener breathless.  Through it all, Sean Nowell’s tenor, whether electronically altered (there’s even a bit of “wah-wah”) or clean, leads the charge.  He is generous in ceding the spotlight to his fellow players, preferring to blend in with the brass (though he stands on several tracks, including the aptly-titled “For All Intensive Purposes“).  If you’re looking to shake off the winter doldrums and just have a good listen, “The Kung-Fu Masters” “kicks out the jams” in fine style.

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Tim Niland on David Weiss & Point of Departure…

jazzandblues.blogspot.com

This studio LP was recorded the day before Weiss’ band was recorded live for two subsequent albums, and it makes a tidy companion piece for the trilogy of this particular group. The band consists of David Weiss on trumpet, J.D. Allen on tenor saxophone, Nir Felder on guitar, Luques Curtis on bass and Jamire Williams on drums. Naming the group after a famous Andrew Hill album Point of Departure, clues you in that this band is interested in adventurous hard bop performances that allow plenty of soloing opportunities for members of the group, sometimes sounding like a relay race of solo statements.“I Have a Dream” features a well-constructed medium tempoed trumpet solo with gentle guitar comping and deft drumming. Allen’s saxophone enters at a low flame and makes a solid statement as the drums continue to simmer below. A low-toned serpentine guitar solo snakes its way through before the whole group comes together once again.Weiss and Allen harmonize very well together on “Black Comedy” with the leader punching through the fog for a potent solo. A witty improvisation is built into “Number 4” which features Allen with an agile and questioning saxophone solo, straining at the form of the music. The band throttles back dynamically and leaves a wide open space for Williams to solo with patience and tact. The group mines a modern hard-bop vibe on “Venture Inward” with the leader’s trumpet having an immediate and forceful impact. Felder keeps things moving with a flowing even-keeled guitar interlude. This was a well done and exploratory, recording where the group pushes the limits of the hard-bop idiom, working very well as an ensemble and allowing each member of the group to demonstrate their skills in solo statements. The music here is modernized hard-bop polished to a sparkling shine. It’s not glib however, they mean every note and play for keeps.

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Lucid Culture reviews “Venture Inward”…

lucidculture.wordpress.com

Continuing with today’s “why would you want to make a record of somebody else’s tunes” theme, Cookers trumpeter David Weiss has gone the route of reinvention and reassessment with his quintet Point of Departure on their latest album Venture Inward, due out on the 26th from Posi-Tone. It’s both a look back and a step forward from the melodic 60s postbop sounds that Weiss loves so much. This group follows the Cookers’ blueprint both for starpower, with JD Allen on tenor sax and Nir Felder on guitar, and for having a monster rhythm section, bassist Luques Curtis and drummer Jamire Williams, to match Weiss’ other group’s veteran team of Cecil McBee and Billy Hart. Williams in particular owns this record. Given a lot of chances to cut loose, he adds grit and drive and wit in places, particularly on a long, surreal, rather droll solo on the second track. Having seen him play in many different contexts, this is one of his great achievements.

To open the album,  Herbie Hancock’s I Have a Dream gets both expanded and a lot more tightly wound – in both senses of the word – bristling with solos from Weiss, Felder and then Allen in surprisingly nonchalant mode over Williams’ curb-dusting assault. The horn counterpoint as Williams spins on a dime midway through is an artful treat. Miles Davis’ Black Comedy is a workout for tight horn harmonies as well as for a muscular performance from the rhythm section.

The first of two Contemporary Jazz Quintet pieces, an epic take of trumpeter Charles Moore’s Number 4 begins scurrying but moody, a launching pad for Allen’s signature blend of intensity and judicious tunefulness before Weiss chooses his own spots while Williams builds an almost imperceptible trajectory upwards. The group loosens as Felder goes exploring but never loses the swing, even when it seems they’re going to pull into a parking space for a second.

Two Andrew Hill compositions are included as well. Allen gets vividly restless on the first solo on Venture Inward  – it’s as long as many of his own songs – before Weiss moves in for another long, thought-out excursion. The Hill ballad Pax floats along with a rather somber, rainy-day ambience before Felder spikes it and then Allen takes it in a more seductive direction. The album winds up with the second Contemporary Jazz Quintet piece, Snuck In, replete with moody tension, scampering swing, purposeful postbop scampering from Weiss and darker, similarly measured contributions from Allen and Felder. Besides being great fun to hear, albums like this serve a lot of useful purposes: they make you want to revisit the source material, or discover it for the first time, not to mention keeping it alive for a contemporary audience.

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SomethingElseReviews! writes up an in depth look at the new Ehud Asherie disc “Lower East Side”…

 somethingelsereviews.com

As like-minded practitioners of traditional jazz, pianist Ehud Asherie and tenor saxman Harry Allen have gotten together to play duets in NYC’s famed jazz clubs such as Small’s. They also paired up for an enjoyable and intimate set on record, Upper West Side, Asherie’s forth album. Now only a year later, Asherie returns with Allen and Lower East Side, where they do more of the same happy, crisp treatments of reliable standards. As before, they get away with following with playing old songs the old way because they bring a fresh enthusiasm and advanced musicianship to it. Every description I applied to last year’s one-on-one affair can be said about this year’s, too.

That is to say, Asherie and Allen stride, swing and sentimentalize their way through the covers with personal warmth. They put the smile as well as the swing to upbeat tunes like “S’posin,” “Hallelujah!,” “‘Deed I Do,” which even gets a little attitude when Allen flashes that familiar rasp in his horn. Asherie, meanwhile, has such great facility to separate the comping of his left hand with the lead of his right, and “Thou Swell” shows how well he’s absorbed the detail of the style of his stride hero James P. Johnson. He can also caress the keys with just the right touch on softer numbers such as “Always,” and “Portrait In Black And White.”

Allen, who is perhaps the premier pre-Rollins/Coltrane tenor saxophonist of his generation, plays his horn in the way that made the saxophone the dominant horn in jazz. He growls and rolls his notes with a real character largely missing in sax playing today on the uptempo tunes. He balances that by his lustful intonations on the melancholy and romantic pieces such as “Hey There” and “Some Other Time,” where he so effectively breathes longingly into his mouthpiece. The two often engage in call and response where they trade off so smoothly because they undeniably have been performing these duets for years.

It’s a level of telepathy and a perfect matching of talents that plenty justified more than one album of this get-together.

Ehud Asherie – piano
Harry Allen – saxophone

1. S’posin’: swinging good time. Asherie bass walks with his left hand. Allen’s familiar rasp on display here. EA is crisp.
2. Hallelujah!: not gospel, but boy it’s rejoieful. EA plays like Fats Waller. HA can almost be heard smiling through his sax.
3. Portrait In Black And White: for this melancholy number HA plays closer to Stan Getz.
4. Hey There: HA lustful intonations. EA light touch.
5. Thou Swell: EA plays a nimble relaxed stride. Trades fours with HA.
6. Some Other Time: a romantic number , HA breathes longingly into his mouthpiece.
7. Thanks A Million: HA again blows like every note means something. EA’s phrasing is right in the pocket.
8. ‘Deed I Do: another joyful. EA’s conping is snappy. HA raspy. Trading fours.
9. Loads Of Love: light swing, HA “sings” the lyric lines.
10. Always: EA nice caressing touch on keys.
11. When I Grow Too Old To Dream: EA ornate sounding, but modulates well. Call and response.

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Midwest Record on “The Kung-Fu Masters”…

midwestrecord.com

Breath taking electric jazz/funk with the sax man giving as much time to the B3 as he does to his own axe. Kicking it with a funked up treatment that turns Hendrix on his head, the good vibes continue to flow in non-stop fashion as the party rolls on and gate crashers try to work their way in. A super sonic stew that really gets the blood flowing, Nowell finds himself on surer footing with each new release. A tasty, smoking winner throughout.

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An interview with Sean Nowell…

Part One

Part Two

Sean Nowell is another fine example of the high level of artistry to come out of the Posi-Tone stable of artists. I was fortunate enough to have Sean field some questions for us on his latest release and jazz in general.

Stockholm Swingin’ does just that…It swing hard! Can you tell us more about the record? 

S.N. – “Stockholm Swingin’ began when guitarist Fredrik Olsson decided to bring 15 year old pianist Leo Lindberg to New York for the first time. Fredrik reached out to drummer Joe Abba, an old college friend and longtime cohort of mine, to set up a jam session with some of his favorite musicians and much fun was had by all. This inspired Fredrik to apply for a travel grant from the Swedish Arts Council for Joe and I to fly to Sweden to make a 14 day tour. With the addition of acoustic bassist Lars Ekman, we piled into the van, braved the ice and moose, and were met with enthusiastic ovations across the Swedish countryside. Stockholm Swingin’ represents a snapshot of the group at the end of the tour performing at the world renowned Glenn Miller Cafe in Stockholm. Since then, the group has done another even more successful tour of Sweden and 2 tours of NYC to consistently delighted audiences. 
Stockholm Swingin’ was recorded over two nights at the Glenn Miller Cafe in Stockholm. It’s a great sounding, intimate room with lots of energy exchange with the audience. The people of Sweden are really psyched to hear killing swinging!”

The Seeker is another high octane foot to the floor type release. Your tone has a nice blues inflection that some cats work their entire career for and can never find. Being from Birmingham (I’m from Ky.), do you think your regional upbringing played a significant roll in your finding your voice?

S.N. – “I grew up singing in the Southern Baptist Church and even attended Samford, a Southern Baptist University for two years before learning about jazz at Berklee College of Music. It’s been extremely valuable to me to grow up  around people screaming the blues through their voice, guitars, horns, and drums…I learned how to swing from the old guys at the late night jam sessions in rough parts of Birmingham, Al. and have worked to keep that spirit as I’ve added more complexities that I’ve discovered here in NYC and through my world travels. I truly believe that keeping your eyes and ears open is the key to the real essence of jazz.”

You received your B.A. from what I call “Jazz U.” (Berklee) and your M.A. from Manhattan which are arguably the two finest schools to study jazz here in the United States. How tough is the competition and do you think some of the younger cats play with a little more academia than passion? 

S.N. – “Berklee was easily the best music school I’ve ever experienced. When I was there it was around 65% non-North American and most of those people were the best in their country and had been in jazz conservatory since they were 15. Suffice to say that I had quite a lot of ground to cover as I never had any proper schooling in jazz theory or jazz composition (which is why I majored in it). There were 3000 music students there at the time and around 350 of those were sax players. I started out way behind and ended up toward the up middle of the bunch. Many guys go there when they already sound great to just refine their craft and meet people. I was definitely there to learn. I graduated high school knowing 3 major scales and 2 blues scales and had the most uneven technique and pinched sound you’ve ever hear. When I was at Samford, I had to basically relearn how to play Alto Sax through studying classical music. I’ve not had as straight a path down this road as I would have liked to, but it’s given me the unique experiences to draw from that informs my musical taste and compositional style to this day. 

Brandford Marsalis said of Berklee and I’ll paraphrase – “yeah the school is o.k. but it’s close to New York where I can grab great gigs on the weekend otherwise its not really worth most peoples time. Is real swing taking a back seat to a more academic approach from some of the younger players that are starting to emerge on the scene? 

S.N. – “Swinging hard never goes out of style. As a matter of fact, doing anything on a high level with a warm inviting spirit never goes out of style. My favorite compliment to receive from audience members is “I have no idea what you guys are doing, but it makes me feel good!” The audience always knows what’s good. If it’s too self serving, they will be sort of quiet and indifferent. If it’s hitting, they go through the roof. Also if little kids are dancing all over the place and losing their minds, you know your delivering the goods.”

More passion, less academia? 

S.N. -“I like to ride the razors edge of both. To quote my own bio: “Sean Nowell is a tenor saxophonist and composer from Birmingham, Alabama steeped in the southern traditions of blues, gospel, jazz and funk fused with complex harmonic and world rhythm concepts that permeate the music of New York City.” I feel like it’s a necessity to have all of it up in your playing and composing. I like to write infectious (sometimes complex) grooves, strong singable melodies and colorful harmonies. I feel like a lot of guys try to be arbitrarily complicated in their playing and writing. I just simply write what I sing.”

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Brent Black takes on “The Kung-Fu Masters”…

www.criticaljazz.com

Zen and the art of improvisation. The human chemistry of abstract creation where limitations of form and function are cast aside for soulful interpretation of a deconstructed melody by the soloist and all those that choose to participate.
That and this is a really cool disc!
More than a jazz disc, Sean Nowell and The Kung-Fu Masters are a multi-media presentation of positive energy and the transference through a plethora of means further explained in a recent interview you can check out here:
But let us focus on the recording shall we? Nowell is a free spirit in every sense of the word and this sense of harmonic abandonment and lyrical intensity comes through more pronounced in this particular release than any other to date. Jimi Hendrix tunes were created for free interpretation and Nowell kicks this release off with Crosstown Traffic. While intense there is a deceptively subtle zen like quality of less is more that permeates not just this tune but the release as a whole. Old school tunes with a contemporary twist, the sonic circle being made complete. While there is a conceptual base to the recording there are no overt political statements, no causes to fight, and no battles attempted to be won. Similar artists with the majority leaning towards the slightly more contemporary pick jazz as a springboard for everything from racial intolerance to political activism. The Kung-Fu Masters are a springboard for the mind.
The band is as righteous and tight as they come with phenomenal performances laid down by trombonist Michael Dease, rising tumpet star Brad Mason with the rhythm section rounded off with bassist Evan Marien and drummer Marko Djordjevic. The keyboard work of Art Hirahara along with the organ and keyboard work have some referring to this particular sound as “jazztronica.” I tend to shy away from labels as I remember the scene from Back To The Future when Chuck Berry’s cousin Marvin holds up the phone with Chuck listening and says, “You know that new sound you been lookning for? Well listen to this!” The same applies to Sean Nowell and The Kung-Fu Masters. Outside the Hendrix cover the rest of the ten song set are Nowell originals and perhaps his finest and most innovative work to date. “For All Intensive Purposes” has a decidedly electronic middle eastern flair pulled together with more traditional post bop found here in the west. “Can Do Man” is a reaffirmation of the positive energy and spirit the exudes from this formidable ensemble cast of characters. Fortified with funk and an undercurrent of articulated syncopation that is somewhat reminiscent of the early days of Chicago.

Diversity in soundscapes with a contemporary twist of flavor and pop. Jazz, funk, jazztronica? No label works perfectly here. The labeling of the music is up to the listener. I hear a myriad of influences from Middle Eastern to British Acid Jazz and beyond. At time the ambient quality one may associate with jazztronica will make an appearance but I do not necessarily this was the specific harmonic path this group was intending to cross. The break down to a pure funk laden jam has Nowell at the very top of his game. Foot to the floor originals, breaking the rules and creating a new energy is indeed pushing the music forward. 

A remarkable recording on virtually every level one can think of.
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The Jazz Word on David Weiss “Venture Inward”…

thejazzword.blogspot.com

Trumpeter David Weiss, founder of notable groups such as The Cookers and the New Jazz Composers Octet, explores the wide open sounds of late 1960s jazz onVenture Inward with his quintet Point of Departure. With tenor saxophonist J.D. Allen, guitarist Nir Felder, bassist Luques Curtis and drummer Jamire Williams, Weiss sheds new light on overlooked compositional gems by Herbie Hancock, Tony Williams, Andrew Hill and Charles Moore.

Weiss’ power as a soloist stems from a deep understanding of the era emulated on the recording. His acrobatic leaps on Hancock’s “I Have a Dream” and Williams’ “Black Comedy” swing with fiery intensity. Although Williams’ tune is associated with his work with Miles Davis, Weiss approaches it with the gusto of his mentor Freddie Hubbard. “Number 4” and “Snuck In,” by trumpeter Moore, come from the somewhat obscure Contemporary Jazz Quintet, a group out of Detroit led by the late pianist Kenny Cox. “Number 4” is a high point of the session, featuring outstanding solos by Weiss, Allen, Felder and drummer Williams, whose intuitive mingling with bassist Curtis is electrifying.

The title track, from Hill’s Blue Note session Grass Roots, is taken slightly slower than the original but maintains the tune’s infectious bounce and abundant energy. “Pax,” also from Hill, is a poignant ballad that utilizes the orchestral possibilities of the quintet. Here, Allen’s gentle approach brings a welcome contrast to the decidedly muscular proceedings.

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Victor Aaron reviews David Weiss “Venture Inward”…

somethingelsereviews.com

Sometimes, a good thing is worth repeating.

Venture Inward, Weiss’ debut for Posi-Tone Records due out next week, is a studio song-by-song replication ofSnuck In, save for Andrew Hill’s “Erato” (the only studio cut from the earlier album) being replaced by two other Hill compositions of the late 60s, “Venture Inward” and “Pax.” Also as before, Weiss on trumpet is backed by J.D. Allen (tenor sax), Nir Felder (guitar) and Jamire Williams (drums). Luques Curtis (bass) replaced Matt Clohesy. The repeated songs presented on the new album were actually recorded in the studio on the day before the live performances, and the two Hill tracks were taped on the same day a few months later as the replaced Hill track.

 

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Step Tempest on David Weiss & Point of Departure “Venture Inward”…

steptempest.blogspot.com

“Venture Inward” (Posi-Tone Records) is the third release in 3 years by trumpeter David Weiss and his Point of Departure quintet. Coincidentally, all the music was recorded in 2008 but this release is the first “studio” album (the others, “Snuck In” and “Snuck Out” were recorded live on March 25th and released on Sunnyside Records, one day after 4 of the 6 tracks on “Venture Inward” were recorded – the remaining 2 cuts come from a June 2008 session.) Another interesting difference between the live and studio sessions is that bassist Matt Clohesy appears on the former and Luques Curtis on the latter. The rest of the lineup remains the same with J.D. Allen on tenor saxophone, Nir Felder on electric guitar and Jamire Williams on drums.

Compared to the live recordings where the majority of the songs clock in at over 10 minutes, this session, with the exception of Charles Moore’s “Number 4” (16:17) and Herbie Hancock’s “I Have A Dream” (11:36) has 4 songs under 8:25.  Then again, Weiss ties the Hancock song to Tony Williams’ “Black Comedy” (7:18), a song that first appeared on Miles Davis’s “Miles In The Sky.”  Both pieces are propelled by the dynamic drumming of Williams – when he and Curtis lock in, this music soars. Felder’s rhythm work is also worth mentioning.  His is the only chordal instrument and Felder is the foundation of this music, allowing the rhythm section to roam at will.  He eschews louder volume for a more mellow tone and his solo work is excellent. On “Black Comedy“, the guitarist plays against the beat as well as riding atop it to great effect.  It’s illuminating to hear Allen stretch on these songs as his own Trio material is usually fairly short and filled with interplay.
“Snuck In” has appeared on all 3 CDs – the song, also composed by trumpeter Charles Moore for Kenny Cox and the Contemporary Jazz Quartet (a group based in Detroit, Michigan, that was active on the 1960s and 70s), has a compelling forward motion.  Curtis, Felder and Williams really drive this peace hard and the front line does an excellent of floating the melody over the energetic rhythms.  “Number 4” has a similar feel but, here, it’s Williams and Curtis who lead the charge through the song. The bassist dances beneath Allen’s expansive and thoughtful solo.  Weiss, who is also the catalyst behind The Cookers (the “super” group with Billy Harper, Dr. Eddie Henderson, Billy Hart, Cecil McBee, Craig Handy and George Cables), displays the influence of Freddie Hubbard in his lengthy yet quite coherent solo.  Felder and Williams play a fiery duo before the drummer takes the spotlight for his excellent solo.

The quintet recorded “Erato” by Andrew Hill on “Snuck In“,  this CD includes 2 Hill compositions including the title track (first recorded on Hill’s “Grass Roots” Lp) and “Pax” (a piece from 1965 that was not released until 1975).  The latter is the “ballad” of the recording, with a melody from the trumpet and saxophone that weaves in and around the counterpoint of the guitar.  Williams is quite active but also somewhat subdued, serving to “color” the work of the front line and guitarist.

“Venture Inward” has the sound of American jazz in the mid-to-late 1960s but these renditions are not slavish recreations.  David Weisswisely uses younger musicians, ones who bring fresh ears and minds to this music.   The housing market may have collapsed in 2008, the banking industry suffered great losses but Weiss’s Point of Departure quintet gave the jazz world 3 excellent recordings.