Category: Reviews

Posted on by

Brent Black runs down Jim Rotondi “Blues for Brother Ray”…

www.criticaljazz.com

About a year ago I reviewed a tribute to Ray Charles that was a train wreck from the start. The focus of the release was placed squarely on the arrangements with the complete presentation of the tune best described as some sort of sonic after thought.
Consider this the flip side.
There is a more laid back feel to this release then one would normally expect. Those familiar with Rotondi who is a fixture on the New York scene may expect something with a little more bite. Rotondi is backed with what is the current Mike LeDonne quintet with the end result being a unique jazz interpretation of a soul/blue mix with Rotondi leading the charge. What works so well is that the heads are delivered straight without any unnecessary embellishments or self indulgent arrangement that could easily derail such a stellar recording. “What’d I Say” is brimming with a deceptively subtle syncopated pop led my Hammond B-3 star Mike LeDonne. Rotondi’s solo is clean, clear and swings like a beast. Peter Bernstein delivers a crisp angular single note solo again a groove you can use. The finesse of drummer Joe Farnsworth along with the lyrical soul of Eric Alexander lets the listener know this is indeed a musical celebration. “Cry Me A River” is re harmonized but with more of a swing feel and Rotondi does a magnificent job directing traffic on this gem. Solid contributions from guitarist Bernstein along with a slightly more aggressive approach from Alexander seem built around Rotondi’s talents. Mike LeDonne showcases his own versatility on the B-3 and is pure flavor on “Cry Me A River.” The joy of Ray Charles on stage was always apparent and the vibrant swing of “One Mint Julep” is indeed a fitting tribute to one of the finest entertainers ever. Alexander’s tenor solo never loses the key element of a lyrical sense of purpose which you find throughout this stellar release. “Georgia” even gets a face lift for the more straight ahead jazz aficionado. Rotondi makes this work when a lesser talent may have fallen flat. An amazing transformation that was a huge roll of the dice pays off big here.
Ray Charles was Jim Rontondi’s former boss and musical mentor. Blues For Brother Rayis an absolutely stellar recording of one of the better trumpet players you may not necessarily be familiar with backed by one of the hottest 4tets working today. All the stars were in perfect alignment for this recording. This is one of those releases you can play for the person that is intimidated by jazz and the immediate response will be, “I don’t like jazz but I sure like that!”
An absolute must for any library!
Posted on by

A stellar review for Art Hirahara “Noble Path”…

www.criticaljazz.com

The one that got away for 2011?
Art Hirahars began turning heads with his work on saxophonist Fred Ho’s more out of the box releases, but Hirahara’s voicing on Noble Path are a mirror image of this aptly titled release from Posi-Tone. While occasionally pushing the musical envelope as fitting the composition there is an intimate charm to this release featuring eight Hirahara tunes an a slightly eclectic mix of standards that includes Dizzy Gillespie and Cole Porter.
Capturing the tradition of a straight ahead piano trio while maintaining the virtuosity to literally play outside the box as the situation dictates and to be done with elegance and flair makes Noble Path unique and at times a release of indescribable joy. The ability to change dynamics at will and work without the proverbial harmonic net are due largely in part to the chemistry of working with bassist Yoshi Waki and drummer/percussionist Dan Aran. There is an intense and at times all most intuitive connection within this trio that takes the music to another level. There is your standard piano trio set list including “All Or Nothing At All” and the iconic Cole Porter tune ” Ev’ry Time We Say Goodbye.” The odd metered “All Or Nothing At All” still retains a level of charm and sophistication other pianists would be hard pressed to match. A distinct ebb and flow permeates this well thought out release with the more Brazilian flavored “Stood Down” and another Hirahara tune “Peace Unknown” is a dark yet more emotionally charged tune played with a sense of lyrical urgency. Despite the slightly darker voicing on “Peace Unknown” there is a sonic grandeur this trio captures that would be a daunting task indeed for lesser talent. While a release of the standard bill of fare works incredible well, Hirahara’s compositional genius is just that. “Vast” kicks off with bassist Yoshi Waki coupled with a deceptively subtle sonic exploratory from Hirahara who seems to command this as he does the release in its entirety with utter fearlessness.
While the four covers certainly stand on their own merit, were it not for that knowledge then the difference between these and the original compositions seems at times razor thin. Hirahara is a dynamic voice and a fresh sonic infusion into the straight ahead jazz dynamic. A first call rhythm section that plays with and not around Hirahara and this is what separates the mundane trio from the outstanding artistic voice that is Art Hirahara. Clearly Hirahara colored outside the lines as a child but brings all those vivid colors back in a harmonious union on an incredible release!
Posted on by

A fresh take on Dan Pratt “Toe The Line”…

http://www.criticaljazz.com/2012/05/dan-pratt-toe-line-posi-tone-2010.html

To toe the line implies a strict adherence to follow the rules. So right away the title is certainly a contradiction in terms but the end result is a remarkable organ quartet that while maintaining that special soulful groove never forgets the lyrical straight ahead sense of urgency with the finished product being a smoker!
For the uninitiated, Pratt’s professional resume includes work with Joe Lovano, the Vanguard Jazz Orchestra, and the Christian McBride Big Band. While having chops to spare, Pratt is a prolific composer having penned eight of the nine composition on this release. “Houdini” gets the party started with organ phenom Jared Gold and drummer Mark Ferber establishing the groove that has Pratt and trombonist Alan Ferber trading leads. Never content with playing it safe, Pratt’s solo takes a more free jazz turn without every tripping that ever present self indulgent sonic landmine lesser talents seem to find with minimal effort. A unique use of texture here is Jared Gold’s organ serves itself well by providing the bass line on all tunes. “Doppelganger” is certainly worthy of note. The term refers to the double of a living person. Trombonist Alan Ferber may well be Pratt’s musical doppelganger as the chemistry and cohesion displayed throughout the release borders on the uncanny. “Star Crossed Lovers” is the lone cover and presented with panache and style to create a most engaging number for the listener.
Dan Pratt has chops galore. Impressive lyrically driven solos with the ability to free lance where needed, Pratt is the real deal. The addition of Alan Ferber on trombone was a stroke of pure musical genius as two individual players seem to morph into one horn voice. Jared Gold and drummer Mark Ferber are as good as they come. The original compositions from Pratt are inventive and tunes of forward movement while maintaining a healthy respect for tradition. There are a handful of straight ahead acts that are working what some are calling the new sound of straight ahead jazz. To paraphrase Sonny Rollins, ” There is nothing new because of everything is a derivative of something else.” The pseudo-intellectual jazz enthusiast can argue theory and sub genre till they are blue in the face. I will be far too busy listening to Dan Pratt’s Toe The Line and this is certainly the future of modern jazz.
Tenor Saxophonist/Composer Dan Pratt succeeds in combining lyrical melodies with complex rhythm in an elegant fashion to foster a creative music that evolves and mixes together the soulful swing of yesteryear along with the steady swing of today’s most modern sounds.
Posted on by

Brent Black digs into Sean Nowell “The Seeker”…

www.criticaljazz.com

I have to admit that I am somewhat late to the party when it comes to tenor saxophonist Sean Nowell. Perhaps my hesitancy in exploring his work was based in part to what would appear to be his approach to the more hard bop as that of a musical chameleon. Nowell somehow magically and often mysteriously merges his roots in funk and post bop to create his own lyrical voice with the edge of a Dexter Gordon but the subtlety of a Hank Mobley.
The Seeker is an attempted rebirth of the modern day hard bop of the 50’s and 60’s which some argue was the pinnacle of jazz and it’s ultimate demise. Columbus having been told the earth was flat, I pay these media hounds as little attention as possible. The opening tune “New York Vibe” was intriguing based on the ambiguous title alone. With taste being subjective would not the same basic premise hold true for vibe which is a term more closely associated with smooth jazz? Long story short this is a tune with a driving intensity. “New York Vibe” captures the texture of the Big Apple as a tune of shifting dynamics and an edge that seems to allow the tune to develop a unique identity if not musical pulse. Nowell can swing and the harmonic development is as emotionally charged as Time Square on New Year’s Eve. Art Hirahara is a perfect pairing on piano while the rhythm section of Thomson Kneeland on bass and Joe Abbatantuono swing like a beast.The Seeker is far from a release built around the hustle and bustle of New York City as Nowell can translate a ballad with the best players working today. “You Don’t Know What Love Is” finds Nowell not just playing from the heart and phoning it in. Nowell digs deep while finding the special creative jones deep inside that some players spend an entire career searching for and never come close to finding. “Oy Matze Matze” has the cello of Dave Eggar providing the perfect counterpoint for a nice cultural subtle nuance not often heard on the more straight ahead release. Covering a Beatles tune such as “I Will” could spell certain musical death for a lesser talent. Again the cello of Dave Eggar provides a delightful lyrical counterpoint to Nowell intimate and somewhat wistful cover of the Lennon/McCartney classic. The release closes with a blistering take on “I Remember You” where both Nowell and Hirahara’s solos are proof positive they had to have spent a considerable amount of time coloring outside the lines as children but the end result is magnificent. Nir Felder turns in a first rate job on guitar as there are literally no weak links in this musical chain. An absolutely stellar release while seemingly old school still manages to side step definitive style categorization. The type of release that can drive a critic or a label executive nuts as they attempt to brand “their” product. Call it whatever lets you sleep well at night, a rose by any other name…A stellar release you may have missed!
Posted on by

A new review for Jared Gold “Supersonic”…

www.criticaljazz.com

Any critic or as I prefer to call myself a “jazz advocate” that does not have or claim definitive favorites is simply playing fast and loose with the musical truth. The 2009 release Supersonic marks Jared Gold stepping out as a leader and this funk infused gem features guitarist Ed Cherry and one of the most underrated drummers around in McClenty Hunter. This is some high octave stuff as this formidable trio lay down a groove that some working bands can search years for and not find.
Opening with a kicked-up riff on the 70’s TV show Welcome Back, Kotter we find the trio in an old school mood. What Gold does best is what I enjoy calling making old school new cool. With one foot in the past respecting the history of why he is here, Gold keeps another highly inventive foot in the future deciding where the music will take him. The soulful if not emotionally charged “Can’t Take My Eyes Off You” couple with the smoker “Battle of Tokorazawa” make this a release of diversity and texture. Harmonic exploration is Gold’s wheelhouse and has never been as evident as it is with Supersonic. There is even a more gospel influenced take on “Home Again.” The retro vibe is a tough one to pull off well much less consistently but Gold and his trio do it with ease.
Organ trios and smaller ensemble seem to be on the uptick. Mike LeDonne, Pat Bianci, Tony Monaco are to name but a few of the accepted masters of their craft. Jared Gold is a musical visionary quickly establishing his own voice and can even now be tossed in the mix when the better players are mentioned. High points on this release may be too many to list. A diverse and slightly eclectic song list sets the recording apart from the mundane and boring. The sound quality on Supersonic is pristine. One would have to look long and hard and dig incredibly deep to find fault with one of the better debuts as a leader you will ever find.
Posted on by

Another stellar review for Ralph Bowen “Power Play”…

www.criticaljazz.com

 

Hard to believe Ralph Bowen has been at this for roughly twenty five years and continues to fly just under the radar of some folks. First gaining attention as part of the new young lions of jazz, Bowen may be the last man standing when it comes to consistency of performance as well as a gifted composer. Unlike so many of his contemporaries from the mid 1980’s that have either faded into musical obscurity or spend more time creating cyber fire fights on social media then they do practising their craft – Bowen can play! Power Playis a most impressive release with that Blue Note meets Impulse quality that very few labels and artists can seem to match as well as Bown and Posi-Tone. Consistency.
Bowen draws upon one of the harmonic heavyweights in pianist Orrin Evans to mix things up just a touch on this his third release for the label. Eight originals on this nine track release with the lone cover being an elegant and slightly revamped “My One And Only Love.” Bowen’s impressive lyrical ability allows a subtle blues based influence to creep in and out of the tune at his leisure. Evans does a masterful job at the piano and his accompaniment of Bowen is as close to one singular instrumental voice from two player as you can get. “K.D.’s Blues” opens the release with the intensity of odd metered swing but the groove is unmistakable despite soloing in two different directions. Evans maintains an infectious blues feel while Bowen does more of a sonic exploratory. As hard charging as they come Ralph Bowen can hold his own and then some on any bandstand on any given night. “Solar Romance” is another Bowen original that finds this formidable 4tet dialing it down for a gorgeous ballad again showcasing the depth and character of Bowen’s artistry. Kenny Davis is a first call bassist who along with drummer Edwards and the understated groove and finesse necessary to fill in the necessary gaps. Not musical filler but the glue that binds this stellar 4tet together.
A release of power, subtlety and at times lyrical poetry find Power Play as one of the best you may have missed from 2011. Normally I don’t give out stars for older releases but this is a five star effort that is well worth checking out! Perhaps the best tenor play some may have never heard of so get acquainted with one of the very best in Ralph Bowen!
Posted on by

Brent Black reviews Noah Haidu “Slipstream”…

www.criticaljazz.com

Another captivating release they may have slipped past you from 2011 would have to beSlipstream from accomplished pianist Noah Haidu. Some may recognize Haidu’s name from the jazz collective Native Soul while for a great many Haidu is a relatively new discovery in the modern jazz meets hard bop discovery that Posi-Tone has built their stellar reputation on. A precise use of chromatics yet with a wandering harmonic ear the sense of melody matches the ebb and flow of Slipstream.
The horns consisting of Jeremy Pelt on trumpet and Jon Irabagon on alto sax seem to relish the spotlight as they launch a full frontal assault on the melody while Haidu pursues a more rhythmic approach to his work. Slipstream works because Pelt and Irabagon never take the more self indulgent approach despite given ample opportunity and the end result is the working band feel of some releases from the classic Blue Note era. “Soulstep” is a nicely controlled syncopated romp with a straight ahead vibe coupled with an intriguing rhythmic beat on the melodic line as played by Haidu. Pelt’s solo is impressive as this is a trumpet player that only gets better with each subsequent release by adapting to the creative process at hand. A musical chameleon. Jon Irabagon is one of the finer alto sax players you may have never heard of but is a perfect fit in this cohesive ensemble. “Slipstream” is a tasteful somewhat mid tempo cooker that again explores the more rhythmic side of Haidu and is punctuated with just the right amount of pop and vitality without turning this tune or release into the old fashioned blowing session thus burying the prolific talents of Haidu. Naturally there has to be a standard wedged in somewhere and onSlipstream we find one of the best in Cole Porter’s “Just One Of Those Things.” A slightly odd metered tune with a slight reharmonization of the melody and the tempo taken up a notch, Haidu then personifies all that is good and right with swing. A tune and approach definitely in Haidu’s wheelhouse.
Noah Haidu is fearless on this release as he works without a harmonic net and allows each participant the opportunity to let their own unique voice shine through. While other side projects from Haidu have consistently showcased an emerging talent, the ensemble on this Posi-Tone release as the potential to elevate his musical stock quickly. A true working band with a leader that understands a musical chain is only as strong as the weakest link find Haidu performing at the very apex of his talent. A must for the collector and for any serious student of piano.
Posted on by

An interesting analysis of Ralph Bowen “Dedicated”…

www.criticaljazz.com

I enjoy examining the output and development of a label as much as an artist so on occasion I will go “Back To The Future” as I have done with this exceptional 2009 release from Ralph Bowen. A highly personal release as the passing of a close friend and mentor left Bowen feeling the need for a musical thank you note or acknowledgement to those that have made a lasting impression on his life both personally if not professionally. An all-star lineup of Sean Jones, Adam Rogers, John Patitucci and Antonio Sanchez serve as the musical backdrop to one of Bowen’s finest releases to date. Posi-Tone founder Marc Free was a driving force behind this release and should certainly be commended for his contribution not just to Bowen but to literally jazz education in general.
While personal in nature, Bowen takes the somewhat conceptual road less traveled with the concept of building the quintet around guitarist Adam Rogers. Rehearsals lasted two weeks and so did the mixing of Dedicated which while somewhat unusual for an all-star recording it is their collective dedication that pays off big time with the finished product. Some still ask who does Ralph Bowen sound like? Simple…Ralph Bowen. Musical frames of reference can be inherently unfair but to give you a rough idea take the best of Michael Brecker and Dexter Gordon then dial back the intensity to a subtle nuance and then you have something close to Ralph Bowen. Welcome to the land of rhythm and groove.
“Pat” is dedicated to Pat Labarbera. A slightly more free form approach that borders on the melancholy. Adam Rogers work on guitar is a musical synergy that is a perfect fit with the energy and lyrical development of Bowen. Modern in style but with an old school improvisational bent “Pat” is that captivating sonic exploratory that has the potential to draw the listener in for a sonic journey of their choosing. “Mr. Bebop” is for the great David Baker and the addition of Sean Jones on trumpet adds texture and a nice cerebral depth of field. Jones takes on counterpoint throughout the head and then solos at the most opportune time. Rogers brilliant comping supports Bowen’s tenor riffs while John Patitucci and Antonio Sanchez are locked and loaded for a rhythm section that is second to none. “E.R.” is a solo piece for Eugene Rousseay that allows Bowen the Sonny Rollins type freedom to go where ever he allows the melody to take him. Far from free jazz but Bowen excels at playing outside of the box. A somewhat introspective and minimalistic approach to the art of jazz and a fitting conclusion to a stellar release for 2009.
Posted on by

A nice write-up for Ehud Asherie “Modern Life”…

www.criticaljazz.com

Ehud Asherie is one of a handful of brilliant young artists on the vibrant New York scene that simply does not get the recognition he deserves. Asherie has paired with tenor giant Harry Allen on more than one occasion and the results are consistently stunning. Modern Life is the straight ahead Back To The Future Of Jazz. While Asherie does contribute two stellar original compositions there is the expected standards for this impeccable 4tet. Instead of Asherie and Allen doing highly advanced covers of time tested if not well worn standards they do the opposite.
Asherie and Allen do their own riff on themselves and on a slightly eclectic selection of standards including “Soon” from George Gershwin and the iconic “A Flower Is A Lovesome Thing” from perhaps one of the greatest composers being Billy Strayhorn. An elegance and style permeate this recording while a minimalist and almost rustic presentation is used to their advantage to allow their keen sense of melody and harmonic whimsy to shine. Rustic can become messy. Melodies can get mangled almost to the point of being unrecognizable but not here. Modern Life is a release also built around ebb and flow. There is a feng shui vibe to this recording, a balance of musical cohesion including the contributions of bassist Joel Forbes and drummer Chuck Riggs. Tradition is respected but the uniformity of swing without the prentious pitfalls of self indulgence and over playing show the classic piano jazz understanding simply elevated to a more modern showcase. Asherie takes on the Strayhorn tune as though he has played it his entire life. Harry Allen has one of the most compelling sounds of any tenor player since Ben Webster. Allen’s tender and emotionally charged solo on “A Flower Is A Lovesome Thing” are simply masterclasses captured for posterity. The Asherie tune “Blues For George” is simply a standard waiting to be discovered and were it not for a working knowledge of the other tunes on the release you would be hard pressed to distinguish it from some of the killer numbers found here. With “Soon” Allen shows there is still plenty of gas left in the tank and digs deep for a groove other players could work thirty years for and still never find. The subtle nuances from Forbes and Riggs are essential to the success of this release. A true working band feel. Blue Note meets Impulse. Swing meets Bebop. Old school is indeed new cool.
Israeli-born Asherie delivers a throwback sound that embraces all that is good and right with both swing and bebop. An appreciation of tradition while pushing the music forward puts both Asherie and Modern Life as real winners!
Posted on by

Critical Jazz reviews Jared Gold “All Wrapped Up”…

www.criticaljazz.com

Change is never bad, just different. The forth Posi-Tone release for Gold finds two stellar horn players to replace the use of guitar on the previous three outings and with surprising results. Saxophonist Ralph Bown and trumpeter Jim Rotundi add freshness and depth to the eight composition where Gold compositions are featured on five selections and Jim Rotondi, Ralph Bowen, and Quincy Davis compositions round out this tight release and new musical chapter in Gold’s Posi-Tone discography.
The Gold tune “Mama Said” kicks off the fun with both horn players working through the swinging head and a deceptively subtle soul groove starts to build around the traded solos along with the finesse of drummer Davis. While each member contributes at least one composition, Ralph Bowen’s “Midnight Snack” is a syncopated adventure in odd meter punctuated with the rhythmic pop and vitality of what sounds like a working band having played together for a great many years. Bowen’s passion is certainly felt through the lyrical intensity of his playing and in turns spreads like wildfire throughout this formidable 4tet. “Dark Blue” is the sexy Rontondi composition which follows and intensity may be dialed back the passion is no less evident and is part of an intoxicating ebb and flow that envelopes All Wrapped Up. The Gold tune “Mama Said” has an intriguing all most retro vibe. A soulful groove you can use. “Just A Suggestion” closes this soulful romp with Bowen’s solo alone worth the price of the release. An odd metered tune but Gold is masterful is not building an entire release around the odd meter or harmonization of the melodies so as to become a member of the flavor of the month club. The addition of the two horn players is a stroke of genius as they in turn open Gold’s sound by highlighting some of the more soulful qualities and find Gold channeling his inner Larry Young or a young Jimmy Smith.
The creative juices flow deep on All Wrapped Up with Gold proving yet again he may be a relatively new shooter in the world of jazz organ but he is the real deal. All Wrapped Up is a virtually flawless release where Gold welcomes you to the land of rhythm and groove!