Jacám Manricks is a saxophonist of incomparable technical skill with an engaging alto tone. His original compositions are challenging, yet maintain engaging and accessible qualities. His latest for Posi-Tone Records is Cloud Nine, featuring organist Sam Yahel, guitarist Adam Rogers and drummer Matt Wilson.
Despite this first-rate cast, a disc highlight is “Serene Pilgrimage”, a solo saxophone improv inspired by a visit Manricks made to the gravesite of Eric Dolphy. Other tracks of note include a 5/4 interpretation of John Coltrane’s “Countdown” called “Take the Five Train” with blistering saxophone work, and the ballad “Alibis and Lullabies” featuring guest trumpeter David Weiss.
Category: Reviews
Music and More on “Cloud Nine”…
Saxophonist Jacam Manricks is a player with a strong melodic sensibility, performing on this album with a potent unit which includes the leader on alto saxophone, Adam Rogers on guitar, Sam Yahel on organ, Matt Wilson on drums and David Weiss sitting in for one track on trumpet. Manricks has a has a nice and individual tone on the alto saxophone, a light and floating texture that makes a marked contrast to the more pinched and tart feel favored many other alto players. The band’s patient and subtle style of music works quite well, and should make their music accessible to mainstream jazz fans. The combination of organ and guitar is always a beguiling one and particularly here with Yahel and Rogers playing together, and combining with them always excellent drummer Matt Wilson to lay superb foundation stones for Manricks’ solo flights and their own individual statements. Inspired by a visit to visit to the grave of Eric Dolphy, one of his prime inspirations, “Serene Pilgrimage” is particularly interesting, with Manricks taking the song as an unaccompanied solo performance, developing a meditation and mindful format that allows him to show off different facets of his technique. The majority of the compositions are Manricks originals, leading off with the title track “Cloud Nine” which makes the most of his light and airy tone, interacting with the band at speed. David Weiss sits in with the group on the complex original “Lullabies and Alibis” and the album closes with their sole non-original, a lilting performance of “Luiza” by Antonio Carlos Jobim.
StepTempest weighs in on Jacam Manricks “Cloud Nine”…
For his second release on the Positone label (and 4th overall), alto saxophonist Jacám Manricks, a native of Brisbane, Australia, has assembled quite a cast to play his music. Guitarist Adam Rogers, organist Sam Yahel, drummer Matt Wilson and, on one cut, trumpeter David Weiss, do exactly what one might expect, play with fire and intelligence. Wilson keeps the rhythms flowing and, on pieces such as the Finnish hymn “Ystava Sa Lapsien“, creates a “conversationalist” tone with the other musicians, not driving the song but adding numerous colors. Rogers shares the front line while playing with intelligence and creativity throughout. He can so exciting even at lower volumes, as he so nicely displays on “Take The Five Train.” Yahel is a double threat – his bass pedal work sets the foundation for the songs, opening up the “bottom” for Wilson’s highly active percussion while his solos sparkle with invention (his work in the background also is quite fine. The organ and guitar spin a lovely web on “Cry“, Manricks wisely holding off until both have had their say. Then, he “ups” the intensity level with a crackling solo. Although listed alongside the other musicians, Weiss only appears on the languid “Alibis and Lullabies“, his declaratory solo, with his crisp intonation, a pleasing foil to the bluesier sounds of the saxophonist.
As for Manricks, he plays like he composes, with great assurance and fluidity. His compositions are fully-realized, not just riffs for solos. When he steps out, one hear the lineage of alto saxophone, with hints of Charlie Parker’s flurry of riffs, Cannonball Adderley’s bluesy tones and the occasional more contemporary attack of David Binney. Truly, he has absorbed any and all influences which the listener hear in great clarity on his unaccompanied piece “Serene Pilgrimage.” He displays a much softer and richly melodic side on Antonio Jobim’s “Luiza” – while Wilson’s drums dance beneath, the saxophone, guitar and organ weave around each other with gentle phrases swirling about.
As one knows, there are, seemingly, thousands of fine musicians throughout the world. Many of them are technically adept, many are good composers and arrangers, but few are as accomplished as Jacám Manricks. His writing is intelligent but not scholarly and his musicianship excellent and often soulful. “Cloud Nine” shines! For more information, go to jacammanricks.com.
Dan Bilawsky on “Cloud Nine”…
The euphoria-based title of Jacam Manricks’ latest album makes perfect sense. After all, who wouldn’t be on cloud nine with a band like this?! For his fourth album, the Australian-born, New York-based saxophonist mingles with three modernist elites who help to shape and define his sound. While Manricks’ compositional prowess could easily allow him to fully script every little musical nuance conveyed on this album, he wisely allows the distinct personalities on this date to add their own thoughts while still maintaining his vision.
Guitarist Adam Rogers joins Manricks on the front line, using his focused, yet lithe lines to deliver compelling solos and shadow the saxophonist during their mutual melodic excursions. Drummer Matt Wilson brings his inimitable sense of groove-plus-the-unexpected into Manricks’ world and, though he’s often the game changer when he shows up in the studio, that distinction goes to somebody else on this date. Organist Sam Yahel proves to be the most important impetus in helping Manricks explore new frontiers in his own work. Yahel’s playing is nothing short of spectacular, as he explores the aural possibilities that exist within the organ.
The album opens on the pulsating title track, but the mood quickly changes. Manricks’ arrangement of a Finnish hymn (“Ystava Sa Lapsien”) finds the group in looser confines. Yahel’s mysterious and semi-atmospheric organ and Wilson’s free-roaming thoughts set the tone for this song before the mournful theme comes into focus. “Any Minute Now” features an easygoing melody, as Wilson steers the ship with his Afro-Cuban-to-swing shifts, and Manricks’ nod to John Coltrane—”Take The Five Train”—proves to be the high point of the album. He borrows the changes from Coltrane’s “Countdown” and puts them in a 5/4 frame, but it’s his soloing, rather than this reconstruction, that makes this track such a winner. The heartfelt “Cry” also finds Manricks in fine form, as he delivers swooping runs during his solo spot.
While the first half of the album flies high on the ideas and machinations that Manricks concocts, the album hits a slight rough patch after the halfway point. “Alibis And Lullabies,” which features a guest appearance from trumpeter David Weiss, comes across as a bit underdeveloped and listless. The follow-up track—the unaccompanied “Serene Pilgrimage”—provides a welcome look at Manricks, as a solo performer, but it sounds more like woodshedding than fully formed music. Fortunately, things come back into focus with “Loaf” and the album ends with a stellar reading of Antonio Carlos Jobim’s “Luiza.” This last number is a textural marvel, as Manricks delivers under-his-breath lines behind Rogers before coming into the light. Yahel blends in and out of the scenery, while Wilson keeps everything on the grid with his soft, but firm brushwork. This number is a true team effort in every respect…and that’s what jazz is all about.
Bruce Lindsay chimes in on Steve Davis “Gettin’ It Done”…
http://www.allaboutjazz.com/php/article.php?id=42443
Calling trombonist Steve Davis a veteran is probably inappropriate—after all, he was a mere 44 year-old when he recorded Gettin’ It Done in October, 2011. However, he has such a wealth of experience, such a command of his instrument and such a rich back catalog of recordings that based on his body of work rather than his birthday such a soubriquet is not so out of place. Gettin’ It Done is a worthy addition to the Davis discography: a swinging, beautifully performed and exceptionally well-recorded sextet outing.
The album contains two covers, both classic tunes, given a fresh and vibrant sound by the sextet. John Coltrane‘s “Village Blues” opens the album as the band sets the scene with a passionate and coolly swinging performance that ups the tempo compared to the Coltrane Jazz (Atlantic, 1961) original—which, coincidentally, features bassist Steve Davis. There’s also a take on Bobby Hebb’s “Sunny” that showcases both Davis’ warm, rich tone and Josh Bruneau’s bright, brassy sound.
Davis’ own compositions range from the smooth swing of “Steppin’ Easy” to the punchy and up-tempo “Gettin’ It Done.” As might be expected from a player who was mentored by the great Curtis Fuller and who’s collaborated with Jackie McLean and Art Blakey, among many others, Davis writes a mean hard bop number. As the gentle, late-night groove of “Alike” shows, he can also write a romantic ballad, and his performance on the tune also demonstrates the more romantic and considered side of his playing.
Alto saxophonist and fellow Posi-Tone artist Mike DiRubbo is the only sextet member to have joined Davis on his previous album, Images—The Hartford Suite (Posi-Tone, 2010), although pianist Larry Willis and bassist Nat Reeves have a long history of collaborations with Davis. The sextet impresses on every track, a dynamic and intuitive ensemble that offers sympathetic support to the solos and proves itself eminently capable of laying down whatever Davis asks of it—a tight, funky, groove (“The Beacon”), a sultry swing (“Wishes”) or straight-ahead mid-tempo drive (“Longview”) are all delivered with style.
The music on Gettin’ It Done is the creation of a band that does much more than simply getting things done. Davis and his fellow musicians play with flair and an enthusiasm for the music that bursts out of the speakers. This is one of Davis’ most impressive albums—and one of the most enjoyable straight-ahead albums of 2012.
Brent Black reviews the new Steve Davis CD “Gettin’ It Done”…
The latest and most appropriately titled release from trombone wizard Steve Davis proves that both Davis and his label Posi-Tone are if nothing but consistent in releasing some of the finest in straight ahead jazz. Variety, texture and some out of sight cover art make Gettin’ It Done a most impressive release with producer Marc Free getting that classic Rudy Van Gelder sound down but with his own unique touch. This sextet swings hard and at times sounds dangerously close to a small orchestra of perhaps double the size. Davis is what I refer to as a stealth musician, widely respected but never getting as much attention as he may deserve – until now!
Kicking things off with more of a mid tempo number the classic John Coltrane “Village Blues” is a nice adventure is shifting harmonics and the horn section which is rounded out with Josh Bruneau on trumpet and Mike DiRubbo are on point with every note. The syncopated pop of the title track “Getting It Done” is a hard charging blast. The one tune I thought that may be a musical landmine is the cover of “Sunny.” The arrangement of “Sunny” takes the adult contemporary radio standard and flips it to a deceptively subtle swing which is a stroke of genius. One of the best tunes on this spotless release. Toss in a gorgeous ballad such as “Alike” and you have that nice all most forgotten working band sound that allows each member to shine. No bumps in the road here.
Arguably the best recording of Steve Davis to date. The rhythm section is worked out with Billy Williams on drums, Nat Reeves on bass and Larry Willis on piano and these guys sound like they have worked together for twenty years. I have long maintained you need to learn a little about a record label when it comes to making a purchase and Posi-Tone is simply classic swing brought up to date with some of the finest talent on the scene and Steve Davis is a perfect example.
From rock star cover art to inventive covers and great originals this disc swings. Period.
An easy 5 stars.
SomethingElse reviews the new Steve Davis CD…
http://somethingelsereviews.com/2012/07/07/half-notes-steve-davis-gettin-it-done-2012/
Former Jazz Messenger Steve Davis might not have the name recognition of his Blakey forbear Curtis Fuller, but he’s no less a talented trombone player. We last examined his handiwork on Images: The Hartford Suite from a couple of years ago and now he’s set to release his second album since then, Gettin’ It Done. It’s another set of suave but poppin’ organic soul jazz. Davis again brings in Mike DiRubbo as his sax foil, but this time has Josh Bruneau on trumpet, Larry Willis on piano, Billy Williams on drums, and the ever-steady Nat Reeves on bass.
A very sharp set of performances, Davis and his crew produce enjoyable coves of John Coltrane’s “Village Blues” and Bobby Hebb’s “Sunny” (YouTube above), both recognizable but also fresh renditions. The rest of the fare are Davis’ own tunes, a great mixture of toe-tappin shuffles (“Steppin’ Easy”), hot blues (“Gettin’ It Done) and smooth, melancholy ballads (“Alike”). Like Images, Gettin’ It Done is another flawless exhibition of triple horn, 60′s style jazz.
Lucid Culture reviews Orrin Evans “Flip the Script”…
Orrin Evans’ New Trio Album Is One of the Year’s Best
Pianist Orrin Evans has been on a creative rampage lately. Recorded at a single marathon session at a Brooklyn studio this past February, his latest album Flip the Script, a trio project with Ben Wolfe on bass and Donald Edwards behind the kit, does exactly that. It’s his most straightforward album under his own name (to distinguish his small-group work from his role as conductor/pianist with his mighty jazz orchestra the Captain Black Big Band.) To steal a phrase from the JD Allen fakebook (a guy Evans has worked with, memorably), this is jukebox jazz: roughly four-minute, terse, wickedly tuneful, relentlessly intense compositions. For lack of a better word, this is deep music, full of irony and gravitas but also wit. Evans’ work has always been cerebral: to say whether or not this is his most emotionally impactful recording depends on how much Captain Black makes you sweat.
Question, by bassist Eric Revis, opens the album with a relentless unease that will pervade much of what’s to come, the rhythm section walking furiously against an evil music-box riff from the piano: the way Evans shadows Wolfe as the bassist pulls away from the center and then returns is one of the album’s many high points and will have you reaching for the repeat button. The first Evans composition here, Clean House, works gravely bluesy modalities into a dark Philly soul melody: the trio’s simple, direct rhythmic rhythmic insistence on the third verse is a clinic in hard-hitting teamwork. With its apprehensive chromatics, the title track has echoes of Frank Carlberg, Edwards coloring it with counterintuitive accents and the occasional marauding, machinegunning phrase as much as he propels it, something he does throughout the album: fans of Elvin Jones or Rudy Royston will eat this up. The quietly imploring, spaciously Shostakovian minimalism of When makes quite a contrast: Evans’ coldly surreal, starlit moonscape could be Satoko Fujii.
A phantasmagorical blues, Big Small balances slyness against gravitas, Wolfe turning in a potently minimalist solo as he builds to quietly boomy chords against the drums, Evans offering hope of a resolution but then retracts it as the mysterioso ambience returns. The piano’s relentless interpolations build to an artful clave rumble by Edwards and then a false ending on a bracingly chromatic reinvention of Luther Vandross’ A Brand New Day, while TC’s Blues, a diptych, morphs from loungey swing to expansive, allusively shadowy modalities that give Edwards a platform to whirl and rumble on. They follow that with an unexpectedly brooding take on Someday My Prince Will Come, then go back to the originals with The Answer, a clever, considerably calmer response to the Revis tune
The album ends with The Sound of Philadelphia, Evans’ hometown. But this isn’t happy tourists gathered around a bicentennial Liberty Bell: it’s a vacant industrial lot in north Philly next to a diner that’s been closed for years and a house that may or may not have people in it. Evans strips Kenny Gamble and Leon Huff’s jovial Philly soul tune to the bone, slows it down, takes every bit of bounce out and adds a menacing turnaround. It’s a quietly crushing way to bring this powerful creation to a close. Count this among the half-dozen best jazz albums to come over the transom so far this year, another major contribution from the Posi-Tone label.
Brent Black is on “Cloud Nine” with Jacam Manricks …
http://www.criticaljazz.com/2012/06/jacam-manricks-cloud-nine-posi-tone.html
Cloud Nine should easily make my year end best of list! Jacam Manricks musical stock is an arrow pointing straight up. Aside from Cloud Nine as his fourth release as a leader, Manricks is compositionally outpacing a great number of his contemporaries and when you toss in his well respected status as an educator then you have one of the brightest alto saxophone talents to come along in some time.
“Cloud Nine” which is also the title track of this release captures and reflects the vibrant jazz scene that is the Big Apple. Creativity is the key word here as the band swings hard and when you have Matt Wilson not just in the pocket but owning it then the stage is ready for a killer record and Manricks slays this tune. “Any Minute Now” is a personal favorite. A keen sense of melody and a semi-hybrid of Afro-Cuban rhythm with a more standard swing feel and again the lyrical intensity from Manricks on this track seals the deal. “Alibis And Lullabies” features a guest shot by trumpet phenom David Weiss who takes a bit more command than usual on this gorgeous ballad dedicated to Manricks grandmother who recently passed on. “Loaf” features some great guitar work from the often under appreciated Adam Rogers. This is actually two tunes in one with a slight re harm that adds flavor without mangling a good melody. The first part of the tune is “Long Ago (and Far Away) and the second part of “I’m Old Fashioned.” Manricks creates a new tune but doing a riff on each. The only non original is a rarely performed ( by jazz artists) tune from Antonio Carlos Jobim and a perfect fit for this most formidable quintet. I would be remiss if I did not mention the outstanding organ work by the great Sam Yahel.
While this is of course Manricks release there is that delightful working band feel that can and in this case does take a very good release up to a great release in short order. Lyrically driven and with the ability to shift harmonics on the fly there is variety, texture and soul to one of the better releases you may find this year. One bit of irony at least for me is that Manricks is from Australia and I have yet to take on an Australian artist that was not top notch – Manricks keeps the streak going! Taste is of course subjective but it will show up again on my year end best of list!
Tracks: Cloud Nine; Ystava Sa Lapsien; Any Minute Now; Take The Five Train; Cry; Alibis and Lullabies; Serene Pilgrimage; Loaf; Luiza.
Personnel: Jacam Manricks: alto saxophone; David Weiss: trumpet (6); Adam Rogers: guitar; Sam Yahel: organ; Matt Wilson: drums.
5 Stars. Literally flawless with every aspect of the release on point!
StepTempest reviews the new Steve Davis CD…
Trombonist-composer-educatorSteve Davis teaches at Hartt School of Music’s Jackie McLean Institute and The Artist Collective. Mentored by saxophonist McLean, Davis (born in Binghampton, NY and raised in Worcester, MA) stayed in Hartford but has traveled around the world. He was in the final edition of Art Blakey’s Jazz Messengers, toured and recorded with Chick Corea’s Origins band and is an original member of One For All. “Gettin’ It Done” is his 3rd CD for PosiTone and does not stray far from the hard-bop swing that animates much of the trombonist’s recordings. It marks the 9th time Davis has led or co-led a session with alto saxophonist Mike DiRubbo. Also featured on the recording is several other long-time associates, pianist Larry Willisand bassist Nat Reeves. Rounding out the crew is 24-year old drummer Billy Williams and recent Hartt School alum Josh Bruneau on trumpet and flugelhorn.
The title tell its all – the band “hits” from the first note and never loses its focus. Opening with John Coltrane’s “Village Blues” (from the 1960 “Coltrane Jazz” Lp), the music is blessed by the leader’s warm tones and willingness to share the spotlight. Willis’s rich chords lead the piece in, Reeves and Williams lock into the grooves and the front line presents the sweet melody (which would have sounded out of place on “Kind of Blue.”) The leader takes the first solo; his winning combination of his sweet tone and smart improvisations lead to DiRubbo’s mellow-with-an-edge alto solo. But the surprise here is the dynamic work of young Mr. Bruneau. Throughout this program, his clear, clean, sound and feisty attack is a treat. His funky approach on Davis’s “The Beacon” shows the influence of Freddie Hubbard while the “groove” should remind listeners of The Crusaders. Williams does not settle into the groove; instead, he pushes the piece forward while Reeves’ strong bass support along with Willis’s bright chords gives the piece its shape.
Other highlights include the sprightly “Sunny” (yes, the tune by Bobby Hebb) with its joyful interplay of trombone and trumpet as well as the lovely and lyrical “Wishes” that closes the program. The latter opens with the leader and DiRubbo playing the handsome theme leading into a long piano excursion from Willis. The pianist is a masterful accompanist while every one of his solos seems to dance atop the beat with glee (he puts the dance steps into “Steppin’ Easy” and the fire into “Longview.”)
Steve Davis is one of the people who makes music that reflects his true being; to wit, the music on “Gettin’ It Done” is bright, highly rhythmical and melodic, never pushy or condescending. The band is sharp and attentive, the solos almost always impressive and one feels quite satisfied after spending tine with this music.