Category: Reviews

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Another fine review for David Gibson “End of the Tunnel”…

www.criticaljazz.com

If a musical chain is as strong as the weakest link this is one tight unit. With a stellar 4tet made up of Julius Tolentino on alto saxophone along with organ phenom Jared Gold and Quincy Davis on drums we have but another funk infused soulful jazz outing from David Gibson. End Of The Tunnel may be the perfect bookend to A Little Somethin’ (Posi-Tone, 2009). This formidable 4tet is beginning to take on that classic working band feel from the mid 1960’s with Gibson’s buoyant swing leading the charge.
Gold is an absolute standout on End Of The Tunnel serving as the perfect musical counterpoint for Gibson. As solid a release as you can find from Gibson or in the Posi-Tone discography there is soulful quality, an innate sound from the inner reaches of a musician that go well past playing from the heart. The cohesion between Gold and Gibson is nothing short of inspiring, especially on the more soulful tune “Preachin'” which is a Jared Gold original. The variety that embodies this release is deceptively subtle with the Herbie Hancock tune “Blind Man, Blind Man” kicking things off which may be one of the best examples of what some refer to as soul-jazz. Closing with a nice layer of texture to this outing is the Jackie McLean tune “Blue Rondo” which showcases the straight ahead lyrical swing of Davis. One of the more infectious pieces featured from Gibson is funk oriented tune “Wasabi” where again Gold is the musical yin to Gibson’s yang. Musical brothers from a different mother.
David Gibson is the living embodiment of the searching artist. Does he reinvent the musical wheel here? No…He does not have to but instead takes a soulful sound most musicians could work a career trying to find and he simply pushes the music forward with a quartet that is as tight as they come. David Gibson gives a masterclass in performance on End Of The Tunnel and proves despite reports of its demise that real swing, that groove you can use is far from dead.
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Brent Black reviews Fowser/Gillece “Little Echo”…

www.criticaljazz.com

Fowser & Gillece have been playing together since they were teens just outside Philly. Now this rock solid duo calls the Big Apple home and Little Echo is the follow up to their critically acclaimed 2009 debut Full View. The 2010 release of Little Echo puts a more modern spin on their classic hard bop sound and here we are treated to all new material.
Foweser & Gillece play with elegance and flair and a maturity far beyond their years. No need to flashy showmanship here where their style triumphs over pretentious substance that more often than not winds up tossing a similar quintet in the flavor of the month pile. Fowser has that classic tenor sound but with a slight Hank Mobley meets Dexter Gordon infusion. An original voice in a cookie cutter genre places Fowser in very special company with other tenor players including label mate Ralph Bowen. Gillece has a strong Bobby Hutcherson vibe but done his way and thus making his voice equally as unique as Fowser with a respect for tradition but the willingness and ability to push the musical envelope forward. Complacency or a sound available in the lounge of some of your finest hotels is simply not here. This is original and adventurous while retaining an intimate and soulful quality rare in ensembles of this size. Fowser shines on the bop oriented “Resolutions” with perhaps his finest hour being his funk infused composition “Ninety Five.” Gillece shows off his keen lyrical if not harmonic sense on the gorgeous ballad “The Dog Days” and the pop of the in your face quality of “Vigilance.”
There are several quintets that receive the majority of the recognition on new releases and overlooking Fowser & Gillece is simply a crime against music. All the stars were in perfect alignment for this gem. Hard charging post bop done with the flair and elegance of the old school masters simply does not get any better than this. Their improvisational approach to each tune is solid and the foundation of their own swing could be compared to the root system of a strong oak tree as their roots are firmly grounded and run deep beneath the sonic surface.
An absolutely impeccable release and a must for the serious collector or casual fan.
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A nice review for Ehud Asherie “Organic”…

www.criticaljazz.com

There are but a handful of truly gifted artists that posses the ability to split time between piano and organ without either skill taking a back seat or suffering some sort of sonic breakdown. Fats Waller, Larry Goldings and Sam Yahel are but a taste of the talent that does not draw a line between the two instruments and Ehud Asherie can now be placed along side these masters with the release of Organic.
Asherie’s metoric rise as one of the finest young lyrical players in the straight ahead genre now finds him cutting his musical teeth on an organ release that should help propel him to that next level of artistic achievement. A release that is evenly split between originals and covers that range from Leonard Bernstein to Antonio Carlos Jobim. Despite this being an Asherie release, Peter Bernstein at times flips the ensemble to the point you would swear this might be his record. Bernstein and his Kenny Burrell like crisp single note lines are engaging with perhaps his finest work on Organic displayed on the delightful ballad “Coquette.” Ehud Asherie’s organ work is similar to his piano led ensembles on the Posi-Tone label. Asherie is as far from self indulgent as one can artistically get and then end result is aesthetically pleasing without resorting to some of the more modern abstractions of harmonic adventure that is the sonic road to nowhere in most cases. As a tenor player my ears immediately went into overdrive on the forgotten Sonny Rollins tune “The Stopper.” Lyrically punctuated with the Rollins flair alto saxophonist Dmitry Baevsky does Rollins proud! Drummer Phil Stewart joins in the controlled sonic fury with a solo clearly establishing his comfort zone by owning the pocket. Another eclectic gem would be a more up tempo “Favela” from Antonio Carlos Jobim. A samba on steroids. Closing out with “Blues For Fats” showcases Asherie is a completely new and soulful light.
A one word review if possible or appropriate might be impressive. There are simply far too many highlights to list and any critical remarks would border on the hyper-critical as all the musical stars seem to be in perfect alignment for this stellar release.
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Brent Black pens a new write-up for Jacam Manricks “Trigonometry”…

I have often compared the work of a jazz critic/advocate as to that of a musical prospector. Hours are spent searching and more importantly listening for those special artists that can rise to the occasion with a new and exciting musical voice. Jacam ManRicks and Trigonometry are the perfect example of time and effort well spent.
For the uninitiated trigonometry is :
A branch of mathematics that studies triangles and the corresponding relationships between their side and the angles between these sides. The core of trigonometic functions describes those relationships that are applicable to certain cyclical phenomena such as waves.
Mathematics and sound waves are the very core of the fundamental music of improvisation referred to more commonly as jazz. While making the connection may seem the long way around the proverbial bush, the end result remains true.
Manricks possesses a full bodied tone with a fluid yet bop infused recording that the supporting cast seem to embrace with an enthusiastic approach to some incredibly inventive original compositions. The end result is one of attempting to figure out where the next wave of sound may be coming next.
“Trigonometry” showcases a first call rhythm section with Obed Calvaire on drums along with Gary Versace on piano and Joe Martin holding down the bass chair. The ability of this rhythm section to work seamlessly with the front line horn section is nothing short of amazing. This is a sextet on point every step of the way. “Cluster Funk” is exactly what the title implies, a strong group of musicians playing with flavor and tenacity for the more old school funk sound of early Blue Note or Impulse recordings.  “Micro Gravity” takes the improvisational chops of this ensemble to the next level while maintaining a lyrical sense of purpose and a harmonic reflective mood rarely captured as well. Manricks finest composition to date but then again taste is subjective.  Eric Dophy’s “Miss Ann” is an incredible showcase for both the rhythm section and the interaction between Manricks and this tight knit ensemble.
While I struggled to pass Trigonometry and school and did so primarily by complimenting the teacher to make up for my lack of conceptual understanding, Manricks gets an A+!
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Another review for Steve Davis “Images”…

www.criticaljazz.com

Images is a somewhat personal rather conceptualized musical love letter if you will to the hometown of trombonist Steve Davis. Hardly a jazz mecca I guess the old saying is true that home is where the heart is but happiness if where your friends are. Either way i roll a doughnut living in the cultural black hole that is Louisville Kentucky. This Hartford suite while occasionally predictable is so strong from a compositional standpoint that the vibrant swing and lyrical sense of purpose and direction is only occasionally taken outside the norm for the sake of creativity. Jazz that reflects the organic pulse of a city.
Opening with “Nato” which is a tune dedicated to bassist Nat Reeves, this mid temp swing has a plethora of soloist take a lyrical crack at the sonic direction Davis intended with this straight ahead swing tunes marches by with a certain air of predictability but not without a sense of adventure and improvisational variety to keep things fresh and moving. “The Modernist” moves towards the odd meter arena but without an air of self indulgence or time wasted. There is a deceptively subtle straight ahead under pinning that requires close attention but as this is picked up on suddenly the tune takes on a new texture and sonic depth of field that could have been originally missed on the initial first pass. There is a nice even pass, a lyrical sense of purpose without undue urgency. “Park Street” is a favorite as a Latin groove is built around a blues like progression which is another of the many subtle nuances built into this stellar work.
With all most as many dedications as their are tunes there is a great deal of information here to digest. Davis is as strong a composer as he is an instrumentalist and a master of the subtle nuance of having a disc give up something new of itself with each subsequent spin. At time this formidable septet border on a more small orchestra feel with a 4 man horn section on the front line but the arrangements are spot on and the end result is highly entertaining! Musical images created from a rich and deep sonic color pallet, imagery that is as energetic as the ensemble. A fine addition to any collection and certainly West Hartford Ct. should consider itself fortunate indeed to have an instrumentalist/composer place their lovely city in such a magnificent light.
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SaxShed recommends Tom Tallitsch and Brandon Wright…

saxshed.com

Posi-Tone Records continues to feature new, young and talented jazz saxophonists. Most recently two such talents have released their newest efforts on CD.

Tom Tallitsch’s “Heads or Tales” and Brandon Wright’s “Journey Man” represent just two of the fine recordings available from Posi-Tone.

Tom Tallitsch’s “Heads or Tales” Press Release reads:

“Tom Tallitsch unleashes a big sound and lets his horn do the talking with “Heads or Tales,” his debut CD for Posi-Tone. Joining Tallitsch on the date is label mate organist Jared Gold, along with the steadfast rhythm section of guitarist Dave Allen and drummer Mark Ferber. Featuring a program of exciting new compositions, and one tasty Neil Young cover thrown in for good measure, this session flows like a compelling collection of short stories, and will certainly speak volumes to discerning listeners about the quality Tallitsch’s talent as player and as a composer. With a delicate balance of modernity and classic aesthetics, “Head or Tales” is insightfully straight ahead and refreshingly melodic enough to evoke a wide assortment of bright moments in jazz fans everywhere.”

Brandon Wright’s Press Release reads:

“Brandon Wright swings out his axe and unleashes a big sound on “Journeyman,” his second release for Posi-Tone Records. Joining Wright on the date is the familiar rhythm section of pianist David Kikoski, bassist Boris Kozlov, and drummer Donald Edwards. With a program of exciting original compositions, and a few tasty covers, the whole session swings into action and shines with bright moments. Wright has noticeably moved to another level. Avid listeners will certainly agree that the record is a hard-hitting performance that will encourage jazz enthusiasts to travel along with the “Journeyman” in amazement and delight.”

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Straight No Chaser – Podcast: A Conversation with Brandon Wright

straightnochaserjazz.libsyn.com

It’s a treat to hear a musician coming into his own. A few listens to Journeyman, the second CD release from Brandon Wright, gives you a chance to hear a saxophonist  who has the verve and fire to become a major player. His debut CD, Boiling Point,featured his tenor sax alongside trumpeter Alex Sipiagin. Two years later, he’s the sole front man in a quartet with David Kikoski (piano); Boris Kozlov (bass); and Donald Edwards (drums).

The New Jersey native has been a solid contributor and soloist with the Mingus Big Band, as well as ensembles led by Chico O’Farrill, Doc Severinson, Chuck Mangione, and Max Weinberg.

Journeyman is a mix of Wright originals and inventive covers, including tunes from the soundtrack of The Muppets Take Manhattan and by rock bands Oasis and Pearl Jam. The veteran pianist Kikoski, who played with Wright in the Mingus Big Band, helps hold together the band, which gives as good as it gets from Wright’s driving sax.

I spoke with Brandon the day Journeyman was released, and his enthusiasm for the band, the record and his future are clear from our conversation. Click here to listen to our discussion, including musical selections:

Brandon Wright – “Walk of Shame” from Journeyman. A slice of funk (Wright often gigs with James Brown/P-Funk legend Fred Wesley) that allows drummer Edwards to set the tone right off the top.

Mingus Big Band – “New Now Know How” from Live at the Jazz Standard. Both bassist Kozlov and pianist Kikoski took home Grammy Awards for this New Year’s Eve 2009 recording. Kikoski shares solos with Randy Brecker and Kenny Rampton on this Charles Mingus tune.

Brandon Wright – “Better Man” from Journeyman. A teenager in the nineties, Wright has let that side show with covers of Stone Temple Pilots on Boiling Point, and Pearl Jam and Oasis on Journeyman. He takes a melodic approach to the tune, showing that there may soon be a whole new set of candidates for the position of contemporary classics in the modern jazz repertoire.

Abraham Inc. – Title Track from Tweet Tweet. Wright is a key player in this multicultural combo led by Klezmer clarinetist David Krakauer, funk legend Fred Wesley and rapper Socalled.  Guitarist Sheryl Bailey joins in on this track.

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Ken Franckling reviews Jared Gold “Golden Child”…

kenfrancklingjazznotes.blogspot.com

Jared Gold, Golden Child (Posi-Tone)

By it’s very nature, the Hammond B3 organ has a funky sound, but not all of the music produced on it has the greasy “chicken shack” feel associated with the late Jimmy Smith. I love that sound, dripping with soul, but I also like the cleaner, more contemporary sound that has evolved from the work of players like Larry Goldings, Sam Yahel and now Jared Gold. The leader, backed by guitarist Ed Cherry and drummer Quincy Davis, has a mighty groove of his own when covering classics like Sam Cooke’s “A Change is Gonna Come,” Johnny Nash’s “I Can See Clearly Now,” Jimmy Webb’s “Wichita Lineman and Duke Ellington’s ”In a Sentimental Mood.” But you get to hear his full voice on Gold’s original material. The title track, “Hold That Thought” and “Times Up” stand out. The trio interplay is exquisite here.
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Jazz CD reviews: Brandon Wright ‘Journeyman’…

www.nydailynews.com

Brandon Wright
“Journeyman” (Posi-Tone)

Wright comes right out of the gate with a swagger akin to the great West Coast tenor man Pete Christlieb. “Shapeshifter,” a Wright original based on the standard “What Is This Thing Called Love,” is a hard bop burner on which fellow members of the Mingus Big Band — pianist David Kikoski, bassist Boris Kozlov and drummer Donald Edwards — fly.

At 30, Wright is from a generation not very familiar with jazz, generally speaking. That’s one reason he chose to include the Pearl Jam staple “Better Man” on the recording. Sounding similar to the late Michael Brecker, Wright evokes the rising intensity of the original in his melodic interpretation and solo.

He also covers “Wonderwall” by Oasis and “He’ll Make Me Happy” from the movie “The Muppets Take Manhattan.” Both demonstrate that melodic materials from wide sources are good fodder for a jazz approach.

Six of the 10 songs are originals, and showcase Wright’s ability to compose in varying moods and tempos, from gritty funk and melancholic remembrance to uptempo flag-wavers and fusion-like evocations of the groups Steps Ahead and the Yellowjackets.

The title of Wright’s sophomore recording is appropriate: Wright’s embrace of his journeyman status, smack dab in the middle between apprentice and master, is refreshing and bodes well for this young man’s trek to mastery.

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Bruce Lindsay reviews Orrin Evans “Flip the Script”…

www.allaboutjazz.com

In the wrong hands, the contemporary piano trio can sound like a retread of piano trios since the dawn of popular music. In the right hands it remains a potent force: exciting, engaging, full of imagination and capable of flights of invention. The hands of Orrin Evans are the right hands. The Philadelphia-born pianist is approaching 20 years as a recording artist and, by the sound of Flip The Script, he’s in one of his most creative periods to date.

Evans’ other projects include the Captain Black Big Band—whose eponymous 2011 Posi-Tone debut was a full-on big band blowout—and Tarbaby, a small band with an edgier, darker, sound whose End Of Fear (Posi-Tone) was one of 2010’s finest releases. Flip The Script is a more straight-ahead recording, but it still shines with an inventiveness and an emotional directness, heightened through the strong interplay between Evans, bassist Ben Wolfe and drummer Donald Edwards.

Much of the music on Flip The Script is characterized by a high-energy drive, with tunes such as “Clean House” and “Flip The Script” utilizing a fast-paced, aggressive and breathtaking approach. “The Answer” shares the drive of the faster numbers, thanks especially to Edwards’ drums, but the pace is reduced a little on this swinging tune.

The slower tunes are equally inspiring: speed and strength give way to control and emotional engagement from all three players to form a set of resonant and powerful melodies. “Big Small” is a very slow blues on which Evans’ percussive lines and Wolfe’s fat, lowdown, tones contrast with Edwards’ lighter patterns. “When” is more downbeat—a romantic, flowing, ballad.

Evans includes four contrasting cover versions. The slightly fractured rhythms and repeated phrases of “Question,” by Tarbaby bassist Eric Revis, give the tune a strong bebop feel as well as a sense of fun. Evans invests “Someday My Prince Will Come” with a bluesy mood, an air of uncertainty that eschews the swing and optimism of Dave Brubeck or Bill Evans’ versions to hark back to the tune’s first appearance on the soundtrack of Snow White And The Seven Dwarfs(1937).

Two soul tunes also put in an appearance. Luther Vandross’ “A Brand New Day” swings strongly, Edwards and Wolfe driving the rhythm as Evans opens up with hard-hitting but melodic piano. Evan’s solo performance of Gamble and Huff’s “The Sound Of Philadelphia” (the theme tune toSoul Train) is exquisite. Another slow, almost funereal, tempo finds Evans exploring new avenues within the song, drawing out a reflective melancholy, a longing for times past, that is genuinely affecting.

Evans already has an exceptionally strong discography, so to describe Flip The Script as one of his finest is to give it high praise indeed, which is exactly what it deserves. It’s going to take a lot of pushing and shoving to get Flip The Script out of the 2012 Best Of lists.