By Dee Dee McNeil
APRIL 1, 2026
DAVE SLONAKER BIG BAND – “SHIFTY PARADIGMS” – Origin Records
Years ago, you may have found a young Dave Slonaker hunched over books and piles of music sheets at Pittsburg’s Carnegie Library, researching the nuts and bolts of how big band music is created. His fascination developed when he was just a teenager and has continued for decades.
Today, he heads a 15-year-old Grammy nominated ensemble and is a busy orchestrator, arranger and composer for film and television. This big band features some of the crème de la crème of Los Angeles studio musicians. This is Slonaker’s third album for Origin Records.
They blast out of my CD player with an opening tune called “Dash Cam” that swings across my listening room with high energy, featuring Ida Meshulam on valve trombone and Tom Luer on tenor saxophone.
“Everyone in L.A. seems to have dash cams. Some like to upload videos of bad drivers on social media., So, imagine that we begin our drive on a Los Angeles freeway … will we make it home safely?” Dave Slonaker explains his inspiration for this tune.
I haven’t heard the familiar “Bye Bye Blues” in quite a while. The arrangement pleasantly surprised me. Slonaker starts the tune as a jazz waltz to feature Adam Schroeder on baritone saxophone, then pushes the piece forward, into a straight-ahead, up-tempo groove for Ron Stout’s trumpet to dance upon. Peter Erskine’s drums propel the music forward relentlessly. This is the only ‘cover’ tune on their album. Slonaker has composed and arranged all the others.
“We all leave home at some point in our lives to seek adventure. Sometimes we can go home again, but we are not always the same when we return. “Comin’ Home” with changeable, intense grooves and solos by Brian Scanlon and Andy Waddell, explores our journey,” Slonaker writes in his liner notes.
“Blue Windows” sounds thick and dark, like a navy-blue cashmere blanket that shelters a secret. It covers the space with warm, ominous feelings, until Bob Sheppard enters on soprano saxophone to brighten the mood. Edwin Livingston’s bass skips and supports the groove in the rhythm section. There is a brief pause of silence, then Livingston takes an impressive bass solo.
The title tune transports us to a Latin inspired experience. Brian Kilgore’s congas are dominant and enchanting.
Every original Slonaker tune is a sparkling gem arranged inside this big band’s musical necklace. Every player is excellent and dynamic in their own unique way. Together, they have created an album of great integrity, dynamics and beauty.
DAVE SLONAKER BIG BAND: Ed Czach, piano; Edwin Livingston, bass; Peter Erskine, drums; Brian Kilgore, percussion. REEDS: Bob Sheppard, Brian Schanlong, Rob Lockart, Tom Luer, & Adam Schroeder. TROMBONES: Alex Iles, Charlie Morillas, Ido Meshulam & Bill Reichenbach. TRUMPET/FLUGELHORN; Wayne Bergeron, Dan Fornero, Clay Jenkins & Ron Stout. DAVE SLONAKER, composer/arranger/conductor.
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EDWARD SIMON – “VENEZUELA: LATIN AMERICAN SONGBOOK, VOL. 2” – ArtistShare
Edward Simon. Piano; Reuben Rogers, bass; Adam Cruz, drums. SPECIAL GUEST, Jackeline Rago, cuatro maracas.
On this project, acclaimed pianist, composer and NAACP Image Award winner, Edward Simon, along with his celebrated trio, explore the music and Latin culture of Venezuela.
Beginning with “Presagio,” an Enrique Hidalgo composition that means ‘Omen.’ Simon has lushly arranged this Venezuelan song in a very European classical way. Halfway through the arrangement, Simon switches gears, invigorating the lovely tune with a very bebop style, giving it a jazz transformation. Towards the end of the production, Adam Cruz is wildly showcased on drums, rolling energy through the piece with great excitement.
A stunning ballad follows, with just Simon at the piano to play the introduction. When Reuben Rogers joins him on bass, it is to become the soloist who introduces my attentive ears to the melody. This piece, “Atardecer,” (in English, ‘Sunset’) is quite beautiful, performed as a duo, with only bass and piano, it snatches all my attention.
These songs, each one unfolding like an expensive fabric enhanced by spun gold, bring peace and calm to my world. Simon’s arrangements not only entertain, but are just plain delightful to hear.
There is a certain tenderness in these Edward Simon productions. He is a Guggenheim Fellow, a Chamber Music America grantee, and SFJAZZ Collective member since 2009. This Punta Cardon native has collaborated with iconic musicians like Paquito D’Rivera, Terence Blanchard, Bobby Watson, Chris Potter, David Binney and Grammy Award winning vocalist Diane Reeves. Simon adds contemporary jazz arrangements to Latin American, Caribbean, and West African music, creating a fresh blend of tradition and 21st Century ingenuity. Edward Simon celebrates a unique style and musical character, along with his excellence as a musician.
This may be Edward Simon’s best album release to date.
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MARK CHRISTIAN MILLER – “STRANGE MEADOWLARK” – Sliding Jazz Door Productions
Mark Christian Miller, vocals/arranger/piano; Chris Dawson, piano/arrangements; Joe LaBarbera, drums; Chuck Berghofer, bass; Robert Kyle, tenor saxophone/flute/alto flute/arranger; Josh Nelson, piano/arranger.
Mark Christian Miller always surrounds himself with the Los Angeles crème de la crème of the jazz community. This album is no exception to that rule. This is Mark’s fourth album as a band leader. His smooth tenor voice and swing delivery opens this recording with a 1962 Oscar Brown Jr. original that was popularized by Jerry Raye in 1967, featuring Fenwyck. Oscar Brown Jr. was such an amazing composer and lyricist. It’s nice to hear Miller rejuvenate his song, “Mr. Kicks.”
The “Strange Meadowlark” album cover is an acrylic on canvas that the multi-talented Mark Christian Miller has painted.
On a lovely medley, featuring special guest, Josh Nelson (who offers sensitive piano accompaniment) on this Dave and Lola Brubeck’s tune. The arrangement includes the title tune, Carmichael and Mercer’s familiar “Skylark.” This tune gives Miller a platform to show his skills as a vocalist and storyteller. At first, it’s a duet, just voice and piano. Soon they are joined by Berghofer on bass and LaBarbera’s sensitive drums. Mark’s final note of this song trembles in the air, like a bird fluttering its wings before taking flight. Mark Christian Miller expresses himself with humility and creativity, inviting the listener to hang on his every word.
It was a nice touch adding the Johnny Mercer opening verse to the old and familiar “Dream” tune. Miller seems to enjoy ballads, but I like to hear him ‘swing,’ like on the shuffle arrangement of Irving Berlin’s “I’ve Got My Love to Keep Me Warm.” Chris Dawson’s piano solo is lighthearted. He and Chuck Berghofer on bass share the solo spotlight. Miller also swings “I’ll See You in My Dreams” getting a boost from Robert Kyle’s supreme saxophone solo.
One of the things calling attention to this jazz vocalist is his careful selection of repertoire. He picks songs you may not have heard before, or compositions that recall historic eras of jazz. Another thing I appreciate about Mark Christian Miller is that he doesn’t try to copy the voice or style of Frank Sinatra. He is emphatically himself. Like any captivating storyteller or cabaret singer, he knows how to sing the lyrics and sell the song.
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TIERNEY SUTTON & TAMIR HENDELMAN – “SPRING” – BFM Jazz
Tierney Sutton, vocals; Tamir Hendelman, piano.
Award-winning jazz pianist, Tamir Hendelman has joined forces with nine-time Grammy nominated vocalist, Tierney Sutton. This is her 17th album as a leader or co-leader and her very first duo project. Sutton and Hendelman are longtime collaborators and friends.
In 2018, The duet toured Japan, so they have a certain comfort level working together.
“There are only a couple of pianists I really love to work with in a duo setting. Tamir is one of my favorites. He’s an encyclopedia of songs, and nobody swings harder,” Sutton praises the talented pianist.
This past Valentine’s Day they posted a musical wish to all the lovers worldwide.
I love the way they interact on Jobim’s famed “Waters of March” composition. Sutton’s voice becomes a flute, a percussive instrument, a teller of stories, an improviser that blends, like sugar and butter in a sweet cake bowl, with Tamir’s wonderful and creative accompaniment. His piano reminds me of a music box I once owned with a ballerina that twirled on top. The tinkling keys in the upper register work together with Tierney’s tinkling tones
Her interpretation of the classic ballad, “I Get Along Without You Very Well” speaks to a melancholy relationship. Sutton takes her time and tells the passionate story of heartache with deliberate compassion. Next, she and Hendelman explore the Peggy Lee swing tune called “Things Are Swingin’.” Tamir’s piano solo bounces with swing and playfulness.
But getting back to the theme song of “Spring” They have picked a handful of songs that celebrate this season, like the melodic Dori Caymmi and Tracy Mann tune, “Spring” and the familiar “Spring Can Really Hang You Up the Most.” I love their duet expression on this song. Tamir Hendelman is always so spontaneous and free during his improvisations. Sutton’s interpretation of this standard jazz tune is very beautiful and intriguing.
They tackle Frank Loesser’s “Spring Will Be A Little Late This Year” and another less known tune called “Spring, Spring, Spring” written by Gene de Paul & Johnny Mercer. But another one of my favorites is the popular “You Must Believe in Spring” where Sutton includes a previously unheard verse written by Alan and Marilyn Bergman, who were friends of the vocalist for a couple of precious decades.
This is music that reminds me of sitting at a piano bar, sipping cocktails somewhere exotic, and enjoying two master musicians who remind me how the simplicity of blending excellence, emotion and mastery can make the moments fade away and sooth the listening heart.
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DAVID BASSE – “THE WAR WITHIN” – Bighead Productions
David Basse, drums/vocals/composer; Stuart Elster, piano; Luther Hughes, acoustic bass.
Kansas City based jazz vocalist and drummer, David Basse, made this “live” recording in North Hollywood at a club called Kulak’s Woodshed. He’s accompanied by two of Southern California’s in-demand jazz players: Luther Hughes and Stuart Elster. The trio opens with “Something Fried” a cute tune written by Mike Melvoin with a humorous lyric.
Basse sings There’s a party here tonight,, and the band is out of sight … I’d like to order something fried, with mashed potatoes on the side … since the band is on a break, have another steak, this time put some gravy on top for me! …
While I’m laughing at the lyrics, one of my favorite Southern California bass players, Luther Hughes, takes a dynamic solo. When David Basse re-enters with his vocal presentation and shuffle drums, his voice and style recall the talented singer, songwriter and pianist, Mose Allison. Like Allison, Basse knows how to tell a story. At the same time, he uses every muscle in his body to play his trap drums. Impressive!
For decades, Basse has been at the forefront of the Kansas City music scene. In 1997, his band “The City Light Orchestra” performed at the Inaugural Gala for President Clinton. Currently, he is spearheading a syndicated radio show called, “Jazz with David Basse.” Back in 2012 he released a popular album called “UpTown” featuring Phil Wood and his sometime co-writer, Mike Melvoin.
On a song he co-wrote with Bob Benish called “Sins of the Father,” Basse sings this original composition with only drum accompaniment. It almost sounds like a confessional or a page extracted from his diary. This is followed by the Mark Winkler and Larry Steelman tune “Like Jazz.” It’s a great song with a wonderful lyric. I first heard this song, and fell in love with it, when it was delivered by Southern California jazz singer, Cheryl Barnes. Basse ads scat-singing to his talents when he trades fours with himself on drums.
“Katrina” is clearly a tribute to Louisiana and its historic jazz scene. From the first beat of the Basse drums, the pluck of the Hughes bass, and the shuffle blues chords of Stuart Elster’s piano, I recognize the music of New Orleans. Basse takes an extended drum solo during this arrangement.
As a composer, Basse offers us five original songs on this album that he has either penned or co-written with a partner. One of the songs is called “By My Baby’s Side.” As always, Stuart Elster shines during his bluesy piano solo. The album closes with this slow blues shuffle arrangement and unique lyric. He sings:
“My baby don’t make coffee. My baby don’t make bread. My baby, she stays out late and she’s a stranger to my bed. … My baby’s fast as lightening, for talking on the phone. The cats say that woman is frightening, while I sit home alone. … my happiness is forbidden, by my baby’s side.”
As usual, David Basse sells the song and tells his story with authority, sincerity and humor. Sometimes he forgets a word or two, but shrugs it off, the way he would if we were sitting at his kitchen table listening to his truth with undivided attention.
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PETER ERSKINE – “PEREGRINE” – Hard Wag Records
Peter Erskine, drums; Alan Pasqua, piano; electric piano; Scott Colley, bass; SPECIAL GUESTS: Kate Lamont, vocals; Bob Sheppard, saxophones; Brian Kilgore, percussion.
Two-time Grammy winner and drum icon, Peter Erskine had a specific idea in mind when he began work on this album. He wanted to record it in his friend Mark Brunner’s studio (who died prematurely in 2020) and he wanted to capture the warm, intimate sound of an analog studio. The other goal was to make the album contents a collection of tributes.
“Gumbo Time” is an Alan Pasqua composition and ode to New Orleans. It begins as a slow shuffle bluesy arrangement. Their next tune is “Bop Be,” written by Keith Jarrett as an homage to bebop. It features Alan Pasqua at the eighty-eight keys, displaying Pasqua’s keen harmonic imagination. Up steps Scott Colley into the spotlight on his double bass to express himself during his creative solo. Then comes the master, Peter Erskine, to display his drum chops.
There is something very melodic about Erskine’s approach to his trap drums. They sing their own sweet song, tapping perfect time and coloring this arrangement with bright moments. The trio trades fours with Peter Erskine, answering each bandmate with explosive energy in a very cool way.
The legendary Peter Eskine is quite famous for his work with Weather Report and currently, as a professor at the University of Southern California. He also serves as Director of Drumset Studies at the USC Thornton School of Music.
Erskine’s composition, “On the Lake” is his tribute to quiet, peaceful times. I can hear the peace and love in his music. I can visualize the lake and feel the time when man’s mind meets nature.
“God Only Knows” is a song written by Brian Wilson and lyricist Tony Asher. It has been a favorite of Erskine’s for a long time.
“It has been on my bucket list of music to record. Brian Wilson passed away shortly after we finished the mix,” Peter Erskine mused in his liner notes.
Another favorite was the Phobe Snow hit record, Poetry Man. For this arrangement he adds a few dear friends and exceptional musicians. Kate Lamont sings the song with clarity and beauty. Her voice is sugar sweet and full of emotion. Bob Sheppard steps forward to add his tasty saxophone to the mix and Brian Kilgore adds his percussion brilliance.
For all the tenderness and beauty of this album, the title screams of strength and power. The “Peregrine” falcon is a medium to large raptor, famed for its incredible speed, agility and distinctive plumage. It is believed to be one of the most formidable aerial predators in the entire world. Once found only on coastal cliffs and mountainsides, today they have adapted to nesting on skyscrapers, bridges and industrial structures. I suppose this bird could represent Peter Erskine, who certainly has the speed, agility and distinction in his drum world.
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RAY OBIEDO – “SLIGHT ACCENT” – Rhythmus Records
RAY OBIEDO BAND: Ray Obiedo, acoustic & electric guitar/composer/keyboards; Chloé Jean, lead vocals; Toots Thielemans, harmonica; Dave Garibaldi & Phil Hawkins, drums; David Belove, Marc van Wageningen & Dan Feizsli, bass; Peter Horvath & David K. Mathews, keyboards; Phil Hawkins, steel Pan; Karl Perazzo, Peter Michael Escovedo, & Michael Spiro, percussion; WOODWINDS: Bob Mintzer, tenor saxophone; Jesse Levit, soprano saxophone; Norbert Stachel, tenor saxophone/flute/alto flute/clarinet/bass clarinet/horn arranger; Rita Thies, flute/alto flute; Dana Bauer, oboe. TRUMPETS/ FLUGELHORNS: Skylar Tang, Mike Olmos & Bill Ortiz; Joel Behrman, flugelhorn. TROMBONES; Jeff Cressman & Joel Behrman. BACKGROUND VOCALS: Lilan Kane, Leah Tysse & Michelle Hawkins. STRING ARRANGER: Anne Sajdera.
Oakland, California-based guitarist and composer, Ray Obiedo has produced an album that’s simmering hot and spicy. It mixes Latin energy and contemporary jazz together in a rich musical stew. These arrangements and compositions tickle the taste buds and please the listener’s palate.
They start out with the Bill Wither’s hit song, “Ain’t No Sunshine” that features the lead vocals of Chloé Jean and a wonderful background vocal arrangement. Kudos to Lilan Kane, Leah Tysse& Michelle Hawkins, whose harmonies and vocal grooves are awesome! This is a toe-tapper. The familiar tune and unique arrangement should invite every radio station to play this one
Another infectious arrangement is Obiedo’s original tune called “El Matador” that allows him to spotlight his amazing guitar talents. The percussionists keep the music energized and Peter Horvath is dynamite on piano. Skylar Tang is magnificent on trumpet. When Peter Michael Escovedo takes a percussive solo, it lifts this exciting arrangement even higher. This is a wonderful tune for any jazz or Latin station to add to their programming.
I enjoy the refreshing Latin arrangement of the “Footprints” tune, featuring Bob Mintzer on tenor saxophone, and stellar percussions that elevate this familiar composition by Wayne Shorter to the moon and back.
Phil Hawkins is a solid drummer, strong as epoxy glue. He sticks the music together with punch and drive, leaving plenty of room for his fellow percussionists to shine. He shows his funk-side during their arrangement of Ray Obiedo’s finger-snappin’ title tune, “Slight Accent.” This tune will elevate your spirit and bring you joy. And on “Second Time Around” Hawkins pulls out his steel pans just to put an exclamation mark on his drum skills.
Ray Obiedo never disappoints! His musicality and composer skills shine on the five albums released on the Windham Hill Jazz label, with five more released on his own Oakland-based Rhythmus Records. On this album, every tune is noteworthy and every arrangement is a trendsetter. This album belongs in your record collection.
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Bob Reynolds
Eddie Told Me So
(Nosahu Records)
Tenor-saxophonist Bob Reynolds, a member of Snarky Puppy since 2014, has performed in many settings through the years. Eddie Told Me So, which is at least his 13th album as a leader, features him in prime form. A superior technician with a soulful sound, Reynolds dedicates his new release to the late tenor-saxophonist Eddie Harris whose mixture of soulfulness and sophistication inspired him early on.
On this set, Reynolds is joined by guitarist Andrew Renfroe, bassist Mike Gurrola, and drummer Charles Ruggiero. Each of the musicians make strong contributions with Renfroe getting his share of solos but Reynolds is the dominant force. On the opener “Harrisburg” which has a groove similar to Harris’ “Listen Here,” the tenor blows up a storm and that is true throughout most of these selections. His soulful playing on a swinging version of “When Your Lover Has Gone” will certainly be enjoyed by Stanley Turrentine fans. Irving Berlin’s “Change Partners” benefits from being turned into a fast bossa. A concise version of “Just Friends” begins as a tenor-drums duet before becoming a cooker while “Eddie Told Me So” has hints of Harris’ “Freedom Jazz Dance.” A Coltranish version of “Charade” and a remarkably soulful version of “You Don’t Know What Love Is” conclude the memorable set.
Eddie Told Me So is not only a tribute to Eddie Harris and other soul/jazz tenors but arguably Bob Reynolds’ finest solo recording to date. This set (available from www.amazon.com) is highly recommended and quite enjoyable.
Peter Erskine/Alan Pasqua/Scott Colley
Peregrine
(Hard Wag Records)
Drummer Peter Erskine has said that “this is the album I’ve always wanted to make.” An acoustic trio recording with pianist Alan Pasqua and bassist Scott Colley, Peregrine has plenty of variety within the modern mainstream of jazz along with many highpoints.
Alan Pasqua’s “Gumbo Time” (one of his four originals on the set while Erskine contributed three songs of his own) is a soulful number that is a bit left of center. It is the type of piece that Keith Jarrett might have written. Speaking of Jarrett, his “Bop Be” (a cousin of “Confirmation”) swings within the bebop tradition and gives each of the musicians an opportunity to be featured. Erskine’s “On The Lake” is a wistful and quietly expressive ballad. It is followed by Brian Wilson’s “God Only Knows” which is taken as a brooding medium-tempo ballad, and Phoebe Snow’s “Poetry Man.” The latter features a warm vocal by Kate Lamont and one of two guest appearances by tenor-saxophonist Bob Sheppard.
Pasqua’s “Chillipso,” a calypso based on “I Got Rhythm,” is basically Blue Mitchell’s “Fungii Mama.” In contrast to that happy piece is a slow and thoughtful version of “Wichita Lineman.” Sheppard returns for the uptempo blues “Leaving L.A.,” Pasqua puts plenty of emotion into “Contemplation,” Erskine’s “David’s Blues” is another swinging “I Got Rhythm” exploration, and the set concludes with Pasqua’s “Dear Chick” which actually has the pianist sounding closer to McCoy Tyner than to Chick Corea.
All in all, Peregrine is a memorable set with each of the musicians (including bassist Colley who takes several rewarding solos) in top form. It is recommended and available from www.hardwagrecords.com.
Brian Lynch
Torch Bearers
(Hollistic MusicWorks)
Trumpeter Brian Lynch and altoist Charles McPherson first met in 1980 but it took 44 years before they finally recorded together. Lynch, who is equally skilled at hard bop and Afro-Cuban jazz (he had a long association with Eddie Palmieri), is one of the underrated greats of the trumpet while McPherson has been a major altoist since working with Charles Mingus in the 1960s. It is not at all surprising that they make for a very compatible team.
The two masterful horn players are joined by either Orrin Evans, Rob Schneiderman or Luis Perdomo (for one song) on piano, bassist Boris Kozlov, and Kyle Swan or (on “Pursuit Of A Dream”) Ulysses Owens on drums. Although this is Brian Lynch’s CD, he basically makes McPherson a co-leader. They each contribute two songs in addition to co-writing a song apiece with Samara Joy (a guest on the two numbers). They also perform a pair of standards and an original by the late pianist Barry Harris.
Lynch and McPherson begin the enjoyable set with the trumpeter’s “Luck Of The Draw,” a harmonically advanced piece that inspires fine solos. Samara Joy’s luscious voice is featured on “The Joy Of Love,” Lynch’s “Kyle’s Dilemma” is a medium-tempo swinger, and McPherson’s “7-24” is a slower tune that hints at Charles Mingus in spots. Barry Harris’ “Luminescence” gives the group an opportunity to jam over the chord changes of “How High The Moon” (or “Ornithology’) with the altoist in particular sounding exuberant.
Samara Joy returns for the warm ballad “Pursuit Of A Dream.” McPherson’s “The Juggler” is a medium-tempo blues that has its heated moments. The ballad “But Beautiful” lives up to its title with McPherson getting the cadenza. Torch Bearers concludes with Dizzy Gillespie’s “Blue N’ Boogie” which has a hot tradeoff by the two horns that drives the song and the album to its climax.
Torch Bearers is a very suitable title for this album since Brian Lynch and Charles McPherson have always helped keep straight ahead bop-oriented jazz alive, not by recreating the past but by playing creatively in their own voices within the classic form. Fans of the timeless style will enjoy this set, available from www.hollisticmusicworks.com and www.amazon.com.
Ted Rosenthal Trio
The Good Old Days
(TMR Music)
Ted Rosenthal, who has led at least 19 albums of his own, has been heard in many settings through the years including working with such notables as Gerry Mulligan, Art Farmer, Phil Woods, and Bob Brookmeyer in addition to being an influential educator.
While he is best known as a bop-based improviser, The Good Old Days is a change of pace. Joined by either Martin Wind or Noriko Ueda on bass, Tim Horner or Quincy Davis on drums, and special guest clarinetist Ken Peplowski for two of the ten songs, Rosenthal is mostly heard as a swing pianist on this surprising recent set.
The program begins with a boppish rendition of “From This Moment On” before the music begins to go further back in time style-wise. Rosenthal’s first of six originals, “Hot Sauce,” is based on “Struttin’ With Some Barbecue” and features the late Peplowski. “Back Home In Okayama” is essentially a medium-slow rendition of “Indiana.” After a charming version of Hoagy Carmichael’s “Two Sleepy People,” Rosenthal digs into Scott Joplin’s “Maple Leaf Rag.” He follows the ragtime classic’s original format at first while not being tied down too closely to the melody, improvising throughout. The performance is extended with room for drum breaks and a second visit to its earlier themes. It works well for everyone except ragtime purists!
“The Good Old Days” finds Rosenthal quoting “Stompin’ At The Savoy” in its melody while his “Sultry Sweetie” is a bit more modern than the other music on this CD. “Sunny Side Up,” which has the feel of a calypso, is highlighted by Rosenthal’s tradeoff with Peplowski. After a medium-slow rendition of “Autumn In New York,” the pianist concludes the enjoyable set with an original rag in the style of James P. Johnson, “Schmatta Rag.”
Ted Rosenthal’s The Good Old Days is not only recommended to listeners who enjoy his other recordings but to swing fans who like the music of Teddy Wilson and his contemporaries. It is available from www.tedrosenthal.com.
Josh Nelson/Kevin van den Elzen
West Coast Echoes
(Self-Released)
After co-hosting an online interview series called The West Coast Hour during the pandemic that featured veteran Los Angeles-based musicians, pianist Josh Nelson and drummer Kevin van den Elzen decided to form a group to perform some of the songs discussed on the show. West Coast Echoes is the debut recording of their concept.
For this set, Nelson and van den Elzen are joined by bassist Eric Sittner and, on three numbers, tenor-saxophonist Bob Sheppard and trumpeter Ron Stout. The pianist contributed the opener, “Griffith Park Promenade,” a happy start that introduces the trio. They next perform Cal Tjader’s waltz “Liz Anne.” John Williams’ “The King Swings” has the full group sounding a lot like the Cannonball Adderley Quintet with Sheppard, Stout, and Nelson all contributing spirited solos. The mood shifts with Jerty Goldsmith’s “Chinatown” which is given a sensitive interpretation by the trio.
Shorty Rogers’ “Diablo’s Dance” is a swinging song with a memorable melody that should be performed more often; the trio does it justice. After a ballad feature for Nelson on Mike Wofford’s “Birds Of Paradise,” the quintet romps on Terry Gibbs’ “Townhouse #3,” an appropriate closer for the highly enjoyable outing.
West Coast Echoes is not only a fine tribute to vintage West Coast jazz but proof that there is a great deal of life still to be found in the classic music when played by creative musicians. It is available from www.amazon.com.
Catherine Russell
Live At Jazz At Lincoln Center
(Dot Time)
Catherine Russell was originally a very busy background singer for top pop and rock acts. Her “second career” as a solo swing singer got going in 2006 and since then she has led ten albums including the recent Live At Jazz At Lincoln Center. Despite her relatively late start (she was 50 in 2006), she quickly became one of the top swing singers of the past 20 years.
A delightful vocalist who explores songs from the 1920s, ’30s, ‘40s plus early r&b of the 1950s, Russell had not recorded a live album before this set. On her new release, she is joined by a seven-piece group that includes trumpeter Jon-Erik Kellso, trombonist John Allred, Evan Arntzen on tenor and clarinet, pianist Ben Paterson, guitarist Matt Munisteri, bassist Russell Hall, and drummer Domo Branch. In addition, tap dancer Michela Marino Lerman gets to take a tapping solo on four of the songs.
Considering the caliber of the soloists, I wish that they had more opportunities to stretch out a bit more. There are many concise solos heard throughout the set but only two of the 11 performances exceed four minutes. On the brighter side, Catherine Russell consistently displays her versatility, power, solid sense of swing, and joy at performing this music. Also, with the exception of an uptempo “Old Man River” and “Everybody Loves My Baby” (which Russell performs with just bass and the tap dancer), all of the songs are fairly obscure. Tunes such as “Now You’re Talkin’ My Language,” “Never Too Old To Swing,” and Ram Ramirez’s “I Just Refuse To Sing The Blues” (which had only been recorded one other time since its debut on a Helen Humes record in 1947) are certainly not performed too often. Other highlights include the Blanche Calloway pseudo-gospel song “You Ain’t Livin’ Right,” “Long About Midnight,” “You Can’t Pull The Wool Over My Eyes” and Ms. Russell’s remake of “You Can’t Pull The Wool Over My Eyes” which she had recorded earlier.
Catherine Russell’s Live At Jazz At Lincoln Center is easily recommended to any listener who enjoys hot swing. It is available from www.dottimerecords.com.
The Arcadia Dance Orchestra
St. Louis Jazz
(Rivermont)
Cornetist and banjoist T.J. Muller settled in St. Louis in 2013, was surprised by the city’s often-overlooked musical legacy (particularly its bands of the 1920s) and in 2017 formed the Arcadia Dance Orchestra. St. Louis Jazz is its debut recording.
There are several remarkable aspects to this CD. First is that the ten musicians in the orchestra all sound very much like musicians from circa 1925. The group, consisting of two cornets, trombone, two altos and a tenor (all three double on clarinet), piano, banjo/guitar, tuba/string bass, and drums, not only plays the ensemble parts flawlessly but their solos fit very easily into the time period. Beyond that, the recording quality (engineered by Ben Majchrzak) could pass for a superior early electric recording from the 1925-27 period.
All 15 songs on St. Louis Jazz were performed by local bands of the era and are obscurities; best-known are “She’s Crying For Me” and “Tia Juana.” The extensive liner notes (always a feature for Rivermont’s releases) tell the stories behind the songs and the groups that recorded them including Gene Rodemich, the Arcadia Peacock Orchestra, Charlie Creath, the Original St. Louis Crackerjacks, Dewey Jackson, Oliver Cobb, Herbert Berger, and Eddie Johnson’s Crackerjacks.
In addition to the core orchestra, there are guests on some of the numbers including cornetist Mike Davis, Andy Schumm on piano, clarinet and hot comb (featured on the latter during an exuberant Mound City Blue Blowers tribute on “Arkansas Blues”), drummer Josh Duffee, Matt Talentino (accordion, C-melody sax and bass sax), and Colin Hancock on cornet and alto. There are also several spirited vocals with Valerie Kirchhoff particularly rewarding on “Good Old Bosom Bread.”
The final two songs, a heated “Ah! Ah Archie” and “Got The Blues So Bad” (featuring Valerie Kirchhoff singing a song associated with Victoria Spivey) were recorded by Colin Hancock utilizing an acoustic 78 rpm recording lathe, the same equipment utilized 100 years earlier before electric recording took over. These two songs could easily pass for previously unreleased discoveries from a century ago.
Anyone interested in 1920s music will have to acquire St. Louis Jazz, a very successful project that is available from www.rivermontrecords.com.
Isabelle Bodenseh
Dignity
(Edition Collage)
Isabelle Bodenseh is a flutist and composer based in Germany. She has led her quartet with organist Thomas Bauser, guitarist Johannes Maikranz, and drummer Lars Binder for ten years, having much success in Europe. Her recent Dignity CD is dedicated to her family, particularly her disabled daughter Juliette.
The release consists of the five-part “Suite For Dignity,” her briefer “Fly High,” an original by drummer Binder (“Masha”), and “Juliette” which the flutist co-wrote with guitarist Maikranz. “Suite For Dignity” explores several moods and tempos. It starts with the quiet ballad “Prolog,” includes the happy and playful “Sospeso,” contains a pair of medium-tempo pieces with original chord changes (“Tempesta” and the passionate “Verve”), and has particularly rewarding guitar and organ solos on the ballad “Kantilene.” Binder’s “Masha” is a somber ensemble piece, a contrast to the exuberant “Fly High” which has some of the flutist’s best playing. Of more limited interest musically except to Ms. Bodenseh is “Juliette” which has her bass flute along with brief spoken word excerpts from several of her family members.
Isabelle Bodenseh serves as a fine example of the many talented European jazz artists who are not necessarily known to American jazz listeners. Her Dignity (available from www.isabellebodenseh.de) gives listeners an excellent sampling of her playing.
Michael Waldrop
Native Son
(Origin)
Drummer Michael Waldrop, who led four previous albums including two at the head of a big band, is featured at the head of a quartet/quintet on Native Son. He contributed all of the originals (co-writing one song) other than Alec Wilder’s “The Wrong Blues.”
Most notable about this project is that it features consistently brilliant piano playing from Vasil Hadzimanov who is based in Serbia, and that the piano trio with bassist Martin Gjakonovski (also a very skilled soloist) is expanded with the addition of both Brad Dutz and Jose Rossy on percussion. The sounds and rhythms that they come up with on a variety of instruments add to the color and variety of the outing.
The music is modern and sometimes utilizes different time signatures. Among the highpoints are the soulful and melodic “Native Son” (which is in 5/4 time), the mysterious ballad “Pythia: The Speaking Water,” a bluesy modal piece (“El Vino”), and “Bitter End” which is a bit eccentric rhythmically and mostly in 7/4 time. Hadzimanov is particularly inventive and expansive on the lyrical “Still Life” but his playing is colorful and creative throughout. The same can be said for the other musicians with leader Waldrop inspiring the players with his subtle but inventive accompaniment.
Native Son is recommended and available from www.michaelwaldrop.com and www.originarts.com.
Steve Masakowski Family & Friends
Two Worlds
(Masakowski Music)
Two Worlds is a heartfelt recording that celebrates guitarist Steve Masakowski’s 70th birthday and the growing musical legacy of his family. Featured, in addition to the guitarist, is his daughter singer Sasha Masakowski with her younger brother Martin Masakowski on bass. Also included in the group are drummer Brian Blade and two talented New Orleans players: pianist Oscar Rossignoli and saxophonist Rex Gregory.
The musicians perform four songs by the guitarist, three of which have lyrics by his daughter. In addition, Sasha Masakowski wrote the words to a song by James Black, contributed both the music and the lyrics to two other numbers, and there is an original by Martin Masakowski. In general, the performances are laidback and introspective, paying tribute to the New Orleans players who mentored and inspired the guitarist and those who made strong contributions to the modern jazz scene of the Crescent City.
While Steve Masakowski is well featured (as is pianist Rossignoli), Sasha Masakowski is often in the spotlight, displaying a beautiful voice and a quietly expressive style. She had formerly led six albums of her own, but the release of Two Worlds is a large step forward for the singer who easily crosses over between jazz and folk music and displays a lot of promise for the future.
Fans of Steve Masakowski will want to pick up this well-conceived tribute. It is available from www.amazon.com.
The New York Second
Cafe Madrid
(self-released)
The musical partnership of pianist Harald Walkate and vibraphonist Rob Waring began in 2023 when the Amsterdam-based Walkate contacted Waring (who is from Norway) for his octet album Room For Other People album. When the vibraphonist was in Amsterdam for the record release concerts, Walkate immediately got him into the studios.
The result, Café Madrid, consists of 11 of the pianist’s originals. Five are performed as vibes-piano duets while the other six songs add bassist Lorenzo Buffa and drummer Max Sergeant. While the instrumentation on the quartet numbers is the same as the Modern Jazz Quartet and the music features strong melodies, the New York Second has a different sound and a slightly different approach, closer to the interplay of Keith Jarrett and Gary Burton.
To name some of the highlights of this enjoyable set, “One Sunday” has an infectious rhythm pattern that at times reminds one of Lee Morgan’s “The Sidewinder.” “As The Crow Flies” is a slow and quietly emotional ballad, and Skylines” uses octaves quite effectively in its brooding melody and “West By Northwest Boulevard” has a particularly haunting theme. “The Lost Christmas” is a ballad that becomes a bit hypnotic near its conclusion. “Grow Your Quiet Fortune” has the most virtuosic playing by Waring who is impressive throughout the date. “So Long” is probably the strongest melody of the set while the “Now It’s Just You And Me” (played by the duo) is rather touching.
The New York Second is a group worth discovering. Their music is full of strong themes, explores a variety of moods, and is a fine showcase for Rob Waring and Harald Walkate. Café Madrid is recommended and available from www.haraldwalkate.com.
Corey Harris/Alvin Youngblood Hart/Guy Davis
Fight On – True Blues Vol. 2
(Yellow Dog)
The blues have now been recorded for over 106 years. Mamie Smith’s “Crazy Blues” in 1920 is often cited as the first blues recording. Although it was the earliest recording by an African-American blues singer, the blues chord changes were documented at least as early as the Victor Military Band’s 1914 recording of W.C. Handy’s “Memphis Blues.” And Ma Rainey reportedly was singing blues a decade before that. Although sometimes overlapping with jazz, the blues has always had its own identity. And while Buddy Guy is the best-known survivor of the blues of the late 1950s,’60s and ‘70s, the music continues to be documented and attract new listeners and musicians up to the present time.
Fight On has three songs apiece from three of the more vital veteran blues artists around today, all of whom are heard accompanying themselves on guitar. Corey Harris, who is now 57 and gained experience playing and living in New Orleans and in West Africa, performs the traditional title song, Rev. Gary Davis’ “I Belong To The Band,” and his own “What’s That I Smell.” The 63-year old Alvin Youngblood Hart, originally from Oakland but raised in Mississippi, is considered a master of country blues; he is featured on Charlie Patton (“Screamin’ And Hollerin’ The Blues”), a song by Fred McDowell, and his own “If The Blues Was Money.” Guy Davis (73), who was raised in New York but had parents from the rural South, portrayed Robert Johnson in an off-Broadway play. He wrote all three songs that he performs on this set including “Everything I Got Is Done In Pawn.”
Each of these blues masters, while inspired by earlier blues artists, display their own musical personalities in this vintage music, keeping it fresh and lively. Their styles are compatible and creative, the material that is included on this brief 27-minute CD is consistently strong and spirited, and each of these singer-guitarists is heard in prime form. Fight On (available from www.yellowdogrecords.com/trueblues) is a strong sampling of their talents and proof that the blues are timeless.
