CODA 2004 Jimmy Cobb's Mob / Cobb's Groove / Milestone MCD-9334-2 CODA 313 Jan/Feb 2004
Jimmy Cobb won't rest on his laurels, which are many. A first generation bop drummer, Cobb was a member of the Kelly/Cobb/Chambers edition of the Miles Davis rhythm section and was there for "Kind of Blue ." He also provided rhythmic backing for Cannonball Adderly, Sarah Vaughan, Dinah Washington, and many other greats. Jimmy Cobb's Mob demonstrates his interest in passing on the tradition. He has taught at Manhattan's New School and the first Mob included students Brad Mehldau, Peter Bernstein, and John Webber. When pianist Mehldau went out on his own he was replaced with the veteran Richard Wyands. The current group of two young lions and two old tigers, with guest Eric Alexander on tenor, recorded "Cobb's Groove" live at The Studio in NYC shortly before Cobb's seventy-fourth birthday in January 2003. Cobb doesn't need solos to be a presence, although there's a great one on his hard-bop title track. He stokes the fires, trades fours ,and, with bassist John Webber, keeps time on the wide variety of rhythms that make up this CD. Wyands is a relaxed soloist and contributes a wistful ballad, "Willow Tree." Bernstein is a distinctive voice on guitar. His treatment of "Sweet and Lovely" is a delight. This release includes three of his compositions which range from swing and blues to boogaloo. And as the only horn, Eric Alexander is everywhere with his personal mix of warmth and agility. Cobb believes that what counts is "whatever you say with the time you've got there." Playing for him, musicians sound better and have fun. Professionalism and pleasure!
Randy Sandke and the Inside Out Jazz Collective /Inside Out Nagel Heyer 2025 CODA 314 MARCH APRIL 2004
Randy Sandke, Ray Anderson, Wycliffe Gordon,Scott Robinson, Marty Ehrlich, Ken Peplowski, Uri Caine, Greg Cohen, Dennis Mackrel. Composers all. Three brass, three reeds (with an arsenal of eleven axes and a theremin) three rhythm. A collective experience covering dixieland, small group swing, Basie, Goodman, modern big bands and the avant-garde. All of this contributes to the kaleidoscope of sound that makes up "Inside Out." I sense Duke Ellington nodding his head with appreciation. His early sound lives on in Sandke's 21st century setting of "Creole Love Call." He is recalled by Scott Robinson's baritone and contrabass saxes in "Plumbing the Depths." As with Duke's orchestra, each musician is an unique solo instrument and an integral part of the ever-changing blend. There's plenty to like. Intense solos. Beautiful colors. Humor, often provided by the raucous bones. Gordon's hard-driving"Sam Bone" is a chuckle while Anderson's "Sisyphus ", featuring the brass, is a take on swing rather than an uphill battle. Drummer Mackrel balances jagged rhythms, warm reeds and impressionistic solos with his "Simple Pleasure." Peplowski gives us "D.T." a spirited conversation between instruments, while the title track by Sandke is intriguing, complex and playful. The versatility of jazz performers is amazing and just what this music is all about. Sandke is but one example. A jazz party favorite, here he composes, arranges and leads the music of today. Inside out indeed. Enjoy!
Professor Peter O'Brien / Jazz Piano of a Celtic Soul / Arbors ARCD 19295 CODA 314 MARCH APRIL 2004
Stride piano. Harlem night clubs. Exuberant personalities - Fats Waller, James P. Johnson. An unassuming Licentiate of the Royal Irish Academy of Music playing stride! Not so strange. The technical demands almost call for classical training. Waller and Johnson both studied with classical masters. Love of the music, agility, swing and improvising skills are essential and O'Brien had all that. He was a good friend of, and recorded with, the late Ralph Sutton to whom this album is dedicated. This solo CD blends Celtic, classical and stride, often within a single tune. The Celtic touch includes a 1919 rag composed by a first-generation Irish-American, a nocturne from the 1700s written by the Irish inventor of that form, " Macushla"and "When Irish Eyes are Smiling." The Celtic surprise is Oscar Peterson's "Hymn to Freedom." Listen. You'll hear suggestions of "My Wild Irish Rose"and it's not from O'Brien's interpretation. There's much more, including a heartfelt "Brother, Can You Spare a Dime?"and a number of Waller tunes. Among them are an easy-going "Ain't Misbehavin'"and "Alligator Crawl"where at one point O'Brien's piano mimics Fats' voice. The set concludes with Mozart. O'Brien strides with power through "Rondo a la Turca" and closes with " Epilogue - A Little Jig," written in tribute to Bach during the last years of Mozart's life. Of this piece O'Brien said "... it shows the great bond, respect and love that musicians have for one another, which transcends even death." Professor Peter O'Brien died of pancreatic cancer in October 2003. He was only 64.
Cheryl Bentyne / Talk of the Town Telarc CD-83583 CODA 315 May June 2004
Bird uncaged! After almost twenty-five years with The Manhattan Transfer, Cheryl Bentyne was due to make a solo recording. Group vocals demand and hone singing skills - clarity,flexibility, range, and well-tuned ears. However they also stress blend over individuality, technique over emotional expression, and if the group is as popular as The Manhattan Transfer, there is constant pressure to perform those "Greatest Hits." Bentyne brings to "Talk of the Town"her talent and a sense of release. She has found her own voice. Plenty of variety on this CD. "You'd Be So Nice To Come Home To" combines seduction and swing. Great fills by Chuck Mangione on "They Can't Take That Away From Me." Bentyne combines the title song with a forceful "Get Out Of Town" and you know she means it! The two ballads with David "Fathead" Newman are taken at that so-slow pace that can reveal a singer's flaws. None here. "It Might As Well Be Spring" goes Latin while"These Foolish Things" is straight-ahead romantic. Although Monk's "Pannonica (Little Butterfly)", like all his melodies, is beautiful but challenging ,Bentyne handles the tune with ease. She flies through "Farmer's Market" in her only excursion into vocalese and returns to her Transfer roots with Corey Allen's arrangement of "Girl Talk." Bentyne is supported throughout by the strong rhythm section of John Patitucci, Lewis Nash, and the marvelously articulate pianist, Kenny Barron. She ends the set with "Still Good Friends," accompanied by pianist/producer/husband Corey Allen. They should be happy with this recording.
Kenny Davern Quartet at the Mill Hill Playhouse Arbors ARCD 19296 CODA 315 May June 2004
Churchill had it right. "Without tradition, art is a flock of sheep without a shepherd. Without innovation, it is a corpse." Jazz needs both. Virtuoso clarinetist Kenny Davern is a swinging shepherd. Davern started on clarinet, alto and baritone, then added soprano to his arsenal. Following his co-leadership of Soprano Summit in the late seventies, he decided to concentrate on clarinet. Davern has always preferred the traditional and, for example, treasures a framed Adrian Rollini bass sax pad. (Check out the interesting acquisition story on the internet.) However, when it came to selecting his quartet the requirement was quality, not style. Guitarist James Chirillo has a rock background and played with Benny Goodman's last orchestra . Greg Cohen, on bass, has worked with everyone from Dave Douglas to the Rolling Stones. Both these players were cutting teeth around when Davern was cutting his first record. Tony DeNicola, the drummer, is in his seventies. But he gigged with Mingus! The mood is relaxed as the quartet swings vintage tunes from "I Want to Be Happy" to "Diga Diga Doo" yet there's room for surprise. You'll enjoy guitarist Chirillo as he trades with Davern and alternates lines with chords from outside. The band drives the blues " It's Tight Like That." and Davern delivers an inspired "Lazy River." Perhaps the highlight is "Wabash Blues" where he opens wistfully and ends with a note borrowed from Maynard. You'll sense Pee Wee Russell in between. Tradition met innovation at the Mill Hill Playhouse in Trenton on May 19, 2003.
Shawnn Monteiro with Clark Terry One Special Night Whaling City Sound WCS 022 CODA 215 May June 2004
Halfway through this live session Shawnn Monteiro says "this is family." And it is. Her father, veteran Ellington bassist Jimmy Woode. Clark Terry, her godfather. "Papa"Jimmy Cobb on drums. John Harrison, her pianist, arranger and friend of whom Jimmy Woode has said "he provides uncanny taste, support,drive and swing, and also possesses that rare instinct for knowing what NOT to play." Incidentally Harrison also has an excellent CD," Roman Sun," on Whaling City, a label that shines light on many of New England's hidden treasures. Monteiro is one of those. Like many jazz artists including her dad, she has centered her career abroad, which says something about the state of North American jazz. She is gifted with a rich warm voice and phrasing that will have you thinking of Carmen McRae. ( I only wish more of today's vocalists were influenced by that giant,) Monteiro is versatile. High-spirited swing on "The Lamp Is Low," "Just In Time" and "Sunday." Bittersweet on "All My Tomorrows" and "Never Let Me Go." Earthy in the give-and-take on "Blues Medley with the Mumbles Man." As for that "Mumbles Man" he has come to play. Terry still has the chops and puts them to good use on the hilarious " Having Chit'lins on the Champs Elysees," Monk's "Let's Cool One," and in his tasty fills behind Montiero on "The Nearness of you." This gem of a CD will make you wish that you had been part of that family in Scullers in Boston on those two June nights in 2002.
Donnie O'Brien Drummer Donnie O'Brien Meets Manhattan Swing: In a Basie Mood Arbors ARCD 19286 CODA 316 July/Aug 2004
The Basie mood. Laid-back. Solo room. Lightly swinging. All brought to us in drummer Donnie O'Brien's debut CD which finds him in the select company of Manhattan Swing (Bucky Pizzarelli, John Bunch and Jay Leonhart) and special guest Carmen Leggio. The tunes run the Basie gamut. "One O'Clock Jump.""Blue and Sentimental," "Robbins Nest," "Lester Leaps In,""Moten Swing","Jive at Five" and a few more. Imitation may be the purest form of flattery but artistic integrity and respect demand impressions rather than impersonation. Impressions are what this CD delivers. Veteran pianist Bunch plays in the Bunch mode with his usual sparkling touch, some Basie licks and a sprinkling of quotes, including a nod to the Count "Along Came Bill." He teams up with Donnie O'Brien, Bucky Pizzarelli, the master of rhythm guitar, and the dependable Jay Leonhart on bass to make up a solid and steady Basie-like rhythm section. All have exciting solos, and John Pizzarelli drops by to duel with dad on the uptempo "Lester Leaps In." Carmen Leggio, with years of experience in the big bands and studios , is a special guest indeed. The individualistic tenor from Tarrytown brings to mind Prez, Herschel Evans and Illinois Jacquet and also contributes an inspired "Body and Soul." Another characteristic of the Basie Band was understated leadership. It's fitting that the closing track, "Bye Bye Blues," showcases Bucky Pizzarelli, who suggested the Basie theme, and the subtle brushwork of O'Brien in his only solo on this fine CD.
Andy Bey American Song Savoy Jazz SVY 17300330 CODA 316 July/Aug 2004
A celebration of the American ballad by a creative singer/pianist who has had a somewhat on-and-off career in the US and Europe. His most recent was "Tuesdays in Chinatown" with Ron Carter. released in 2001. Bey's bass-baritone voice may remind you of my favorite balladeer, Johnny Hartman. To some, however, his four-octave range and supple voice bring to mind Sarah Vaughan. He savors every word. "American Song" features Bey with guitar, bass, drums, and percussion. On several tracks the group is augmented by two woodwinds (one is Frank Wess), trumpet and trombone. Pianist/composer Geri Allen has written expressive horn arrangements which make full use of the players' multi-instrument abilities. Strayhorn's "Lush Life" deserves intimacy and emotion and those are provided by Bey, with Allen on piano. "Never Let Me Go" uses percussion and Wess's flute to create an air of mystery. Wess is on tenor for "Prelude to a Kiss" which is also colored by bass clarinet. There are so many high points on this CD. The "Speak Low" chart generates excitement with percussion, punctuation, shifting accents and Bey's piano solo. Here he seems to sing with more than one voice. Bey's intensity refreshes "Satin Doll" and "Paper Moon." two tunes on their way to chestnut status, while in"Lonely Town" voice and muted trumpet breathe isolation. Nat Cole's influence shows in Bey's smooth-as-silk sound. On piano, however, Monk is his main man. Bey's keyboard is as adventurous as his voice. May he never become a full time stand-up singer.
Percy Heath A Love Song Daddy Jazz CODA 317 SEPT/OCT 2004
Percy Heath made his first recording as a leader in 2002. It took him seventy-nine years of living and about three hundred recording sessions . Not surprising. Bassists usually play a supporting role and Heath has done so since the early days of bop. He was a founder of the MJQ, and continued in that somewhat confining setting for a major part of his career. For his debut album, Heath selected a backup trio of bass, piano and drums: Peter Washington, Jeb Patton, and younger brother Albert "Tootie" Heath. Washington plays the same part as Buster Williams did for Ron Carter's great groups of the seventies, providing an anchor to free up the bassist/leader for solos. Four compositions by Heath are included . He opens with a strong solo track on a just beautiful melody, "A Love Story," and then segues into the lively "Watergate Blues," The full Mardi Gras treatment is given "No More Weary Blues." Heath's "Suite for Pop" is his most ambitious composition and the impetus for this recording. It has to do with his father's death and life and will move you as it progresses from the brooding melancholy of" Passion" and "Lament" to the joyous concluding movements, "Rejoice" and "Celebration." Pianist Jeb Patton and Heath urge each other on during the latter, providing plenty of swinging momentum. Patton also contributes two tunes, a finger- challenging "Century Rag" and "Hanna's Mood," a tribute to his late mentor, Sir Roland Hanna. Watch for more by this brilliant musician,still in his twenties. Percy Heath smiles in the cover photos. He deserves to. A remarkable collaboration of the young and young in heart.
Lorraine Feather Such Sweet Thunder Sanctuary 06076-86353-2 CODA 317 SEPT/OCT 2004
Lorraine Feather writes poems for grownups and sings like a lark - a very hip lark! As her father, composer and writer Leonard Feather. was first drawn to jazz by Ellington records, it's fitting that this release focuses on Ellington/Strayhorn compositions and closes with his "Mighty Like the Blues." Feather's clear and supple voice will make Gilbert and Sullivan patter singers take notice. As a lyricist, she interprets the complexities of feelings in ways that are in complete contrast to the simplistic songs of today. Here she performs in settings ranging from a hard-driving big band with arrangements by Russell Ferrante and Bill Elliott to a sensitive piano accompaniment by Shelly Berg. Duke is always present. Feather has chosen from both the well-known and the obscure. " Chelsea Bridge" is a song that cries out for a lyric. In her hands it becomes a longing for a "September Rain" for those who "wander with a summer malaise hoping soon to leave far behind us troubled nights, and these feverish days." Loneliness and lack of control are the themes of "Rhythm Go 'Way," her take on "Such Sweet Thunder." There's fantasy in "Imaginary Guy" ("Dancers in Love"). a road trip on "The 101" ("Suburbanite") while the Nutcracker Suite's "Sugar Rum Cherry" suggests hoped-for love. Many more, each a match of words and music that was meant to be. As Nat Hentoff said in his liner notes: "Few singers today could recreate that singular Ellington ambience that brings a listener deep into his own life, dreams and losses, and then swing into the joy of jazz."
Warren Vaché / Dream Dancing / Arbors ARCD 19289 CODA 318 NOV/DEC 2004
"Dream Dancing" was originally a Fred Astaire/Rita Hayworth film feature. That's fitting. Like Astaire, cornetist Warren Vaché's approach to ballads is romantic. His awesome technique is never in your face, as he makes the difficult seem easy - and fun. This relaxed session finds him in good company. Pianist Bill Charlap and Harry Allen on tenor, like Vaché, prove that there is much to be said for growing up in a musical family. Versatile young bassist Dennis Irwin has worked with Joe Lovano and John Scofield - and Harry Allen. Rock-solid drummer Eddie Locke played with Roy Eldridge and is actually old enough to remember the swing era. And those composers! Cole Porter, Burton Lane, Leonard Bernstein, Saul Chaplin, Jimmy McHugh. Edgar Sampson, Bob Haggart and Bird, who is represented by "Quasimodo," his "Embraceable You." On the swingers, Vaché flies through "Blue Lou" without breaking a sweat while "Lover Come Back to Me" shows off Allen's big-toned horn. "Dream Dancing" and the obscure "You're a Lucky Guy" are light and danceable. The ballads are treated like the treasures that they are: "What's New?," "Too Late Now"and the Comden/Green/Bernstein classic "Some Other Time." This beautiful song is played simply, with an air of intense melancholy, by both Vaché and Charlap ( For more Bernstein by Charlap, check out his recent Blue Note CD, "Somewhere"). Vaché, who opened by introducing "Close Your Eyes," accompanied only by Locke, winds up the set with a Frishberg-like vocal on "Not Exactly Paris." Superb musicianship from start to finish. You can't just play this once!
Herbie Mann / Phil Woods Beyond Brooklyn Manchester Craftmen's Guild MCGJ1012 CODA 318 NOV/DEC 2004
Herbie Mann and Phil Woods first played together in 1951 at Tony's Bar on Flatbush Avenue in Brooklyn. They made a record together shortly thereafter and hadn't done so since. The catalyst for this 2003 reunion was their appearance at the 15th anniversary of the Manchester's Craftmen's Guild jazz series. MCG, a minority-directed arts and learning center in Pittsburgh, has also developed a fine reputation for jazz recordings. It's clear that Mann and Woods are comfortable with each other. Each has a solo feature: Mann in Jobim's haunting "Caminhos Cruzados" and Woods with an emotional "Blood Count" by Strayhorn. However, there's magic in their blend of alto and flute. As you might expect, the program extends from bossa to bop. Their cooking on "Bohemia After Dark," "Au Privave" and "Little Niles" belies their years. Mann contributes two compositions: "Another Shade of Blues," with tango coloring by accordionist Gil Goldstein, and the pretty "Sir Charles Duke." Woods' original, "Alvin G," moves right along while Bill Evans is represented by a Latin "We Shall Meet Again." An offbeat treatment of a Hungarian folk tune showcases Mann with trombonist Jay Ashby and pianist Alain Mallet. Ashby and Mallet also provide strong solos elsewhere on this CD. A highlight is Duke's "Azure" where Woods gives us a rare listen to his warm clarinet sound. "Beyond Brooklyn" was Mann's final recording. Following the duo session he recorded Its last track, "Time After Time" especially for his wife, Janeal,and passed away a few weeks later. This superb album is dedicated to his music and spirit.
Dick Hyman and Tom Pletcher: If Bix Played Gershwin Arbors ARCD 19283 CODA 318 NOV/DEC 2004
What if? Who better to take us on this speculative adventure with two geniuses of the past than Dick Hyman and Tom Pletcher. Hyman's brilliant charts. film scores and piano have qualified him as an expert time traveler while cornetist Pletcher has devoted himself to perpetuating the clean and clear Beiderbecke sound since a worn out 78 Okeh record changed his life 50 years ago. The session brings Bix's cornet and Gershwin's music together on a number of tunes, many familiar and a few obscure. "S'Wonderful" to "Kongo Kate." The recreations include Bix and his Gang, Frank Trumbauer's Orchestra, and Bix on piano with Trumbauer and Eddie Lang. Vintage atmosphere is provided by the use of verses, Vince Giordano's bass sax and Dan Levinson's C-melody saxophone. Giordano contributes a fine solo on "Rhythm" and plenty of syncopated backup while Levinson's light and beautiful tone illustrates why Prez loved Trumbauer's playing. For sheer beauty, listen to the ballads, "But Not For Me" and "I've Got a Crush on You." A melancholy "The Half Of It, Dearie, Blues" showcases Bob Leary's guitar and vocal plus a musical conversation between Pletcher and Levinson. Other gems include two versions-both keepers- of a lyrical Hyman/Pletcher duet on "Embraceable You" and Hyman's Gershwinesque approach to Bix's impressionistic "In a Mist" which incorporates Porgy and Bess, Rhapsody in Blue, and Prelude II. The concept for this album originated with a 1996 concert at New York's renowned 92nd Street Y where Dick Hyman presides over "Jazz in July." This year's program also included "If Bessie Sang Berlin." I wonder! .
Geri Allen The Life of a Song Telarc Jazz CD-83598 CODA 318 NOV/DEC 2004
Talented pianist/composer Geri Allen went six years without a record, a sad commentary on the industry. However, she let no grass grow under her nimble fingers as she blended family life with husband Wallace Roney and three children with her musical career that includes touring with Charles Lloyd and teaching at Howard University . I heard Allen perform " A Prayer for Peace (Mary Lou's Mass)" at Duke University Chapel in September 2003, the first to do so there since Mary Lou Williams herself. Unforgettable! This Telarc debut reunites the rhythm section from Betty Carter's 1993 "Feed the Fire" - Allen, bassist Dave Holland and drummer Jack DeJohnette. The result is a strong collaborative effort - a true trio. The session includes three standards. There's a moving reading of "Lush Life. " Bud Powell's playful "Dance of the Infidels" also salutes Lil Harden and Herbie Hancock. The trio is joined by Marcus Belgrave, Dwight Andrews and Clifton Anderson in "Soul Eyes" as an inspired tribute to Mal Waldron. The focus of the album is on eight Allen originals. They are many-faceted and speak of family, her Detroit heritage and her life experience. Her celebratory tribute to Rosa Parks just shouts out "Freedom!" The compositions are dramatic with Holland providing pulse and DeJohnette punctuation. Often, as in "LWB's House (The Remix)" the arrangement will begin with a simple theme which is repeated, developed and molded into many shapes. Geri Allen plays with power and thought. In her notes, she writes about music living and breathing, ebbing and flowing. Her music does. You'll find something new every time you listen.
CODA 318 NOV DEC 2004 Stockholm Jazz Orchestra Homage to Mel Lewis and Thad Jones Dragon DRCD 389
The Vanguard Jazz Orchestra The Way - Music of Slide Hampton Planet Arts 100225
In February 1966, Thad Jones and Mel Lewis introduced their orchestra at the Village Vanguard, initiating new creative opportunities for both players and writers. Their influence lives on in these recent CDs by two power-packed jazz bands: one in Sweden and the other, the original, still at the Vanguard on Monday nights. The Stockholm Jazz Orchestra, directed by founder Fredrik Norén, has been a factor in Swedish jazz since 1983. Their guest list over the years illustrates close ties to the Village Vanguard orchestra. On this CD, Dick Oatts and Gary Smulyan follow in the steps of Mintzer, McNeely,Brookmeyer and Mel Lewis. This session was recorded in 2003 at Jazzclub Fasching and features the music of Thad Jones - a combination of catchy tunes and inventive writing. It's hard to believe that some of these tunes go back to opening night. The light-hearted "Tiptoe" features the lithe trumpet of leader Norén. Time-shifting brings excitement to "Little Pixie"while "Interloper" just burns. "61st and 'Rich" brings in the flutes and a glowing trombone solo. "Don't Get Sassy," as you might expect is happy and alive. There are only two ballads. "Two as One," which showcases Smulyan on baritone, and "Thank You" (by Jerry Dodgion). Both combine sensitivity and intensity. This band swings! Dick Oatts sums up the experience: "The SJO is a wonderful match for the pen of Jones. Smulyan and Oatts had lots of smiles and laughs - like every Monday night."
Meanwhile, back where it all started, the Vanguard Jazz Orchestra plays new music, conducted and written by the master trombonist and arranger, Slide Hampton. The session opens with his free-flowing boppish "You Asked For It" and continues with the four-part suite " Inspiration: Suite for Jazz Orchestra" which pays tribute to Thad Jones and three other greats. The up-tempo "One For Thad" displays fine trumpet by Scott Wendholt. "Strayhorn" is a jazz waltz featuring colorful flute passages. "Gil" is impressionistic while in "Dameron" you can both feel and hear Tadd's music. There's a lot of electricity in both the title track and "Past, Present & Future." The album closes with "Frame for the Blues" which dates back to the sixties and Hampton's stint with Maynard Ferguson. On the new arrangement, Hampton picks up his horn and duels with trombonist Jason Jackson. Slide Hampton listened at length to the music of the VJO as part of his arranging process. The result is a winning CD.
Both orchestras fulfill the Jones/Lewis concept which provides increased solo space and demands creative charts, strong soloists and skilled sections. Also listen to those drummers - Mel Lewis lives! In the tradition but as fresh as today: the legacy of Thad Jones and Mel Lewis.