4 The bristling Afro-Cuban rhythms and precise, emphatic playing on Gregg August's debut release make it special--and much more than a disjointed, unconnected set of tunes. Instead, there's a conceptual unity that links these cuts despite the fact that all nine numbers don't feature the same personnel. But when your special guests include the great conguero Ray Barretto (who is outstanding on "Sweet Maladie") and masterful tenor saxophonist Frank Wess (who plays fantastic on "Deceptions"), the music won't be routine. August also wrote all the numbers, and his compositions reveal the considerable influence of his time working with Latin combos ("Melody in Black and Grey," "Los Dos Cotos") and hard-bop ensembles ("Deceptions," "Work in Progress"). While mixing and matching sidemen, the core group's strongest units feature trumpeter John Bailey, alto saxophonist Myron Walden and tenor saxophonist Donny McCaslin. August and company constantly keep things shifting between dance-oriented, percolating arrangements and straightahead, exacting works, and this tension is one more thing that makes Late August both an unusual and distinguished offering. true 192 2007-06-07T14:05:44-04:00 16655 100 200603 true 0 76 2006-03-01T00:00:00-05:00

The bristling Afro-Cuban rhythms and precise, emphatic playing on Gregg August's debut release make it special--and much more than a disjointed, unconnected set of tunes. Instead, there's a conceptual unity that links these cuts despite the fact that all nine numbers don't feature the same personnel. But when your special guests include the great conguero Ray Barretto (who is outstanding on "Sweet Maladie") and masterful tenor saxophonist Frank Wess (who plays fantastic on "Deceptions"), the music won't be routine. August also wrote all the numbers, and his compositions reveal the considerable influence of his time working with Latin combos ("Melody in Black and Grey," "Los Dos Cotos") and hard-bop ensembles ("Deceptions," "Work in Progress"). While mixing and matching sidemen, the core group's strongest units feature trumpeter John Bailey, alto saxophonist Myron Walden and tenor saxophonist Donny McCaslin. August and company constantly keep things shifting between dance-oriented, percolating arrangements and straightahead, exacting works, and this tension is one more thing that makes Late August both an unusual and distinguished offering.

2009-03-02T00:25:21-05:00

4 Michael Bisio's clear, declarative accompaniment and overall skill as a bassist, coupled with the equally decisive, alternately animated and reflective playing of saxophonists Avram Fefer and Stephen Gauci, are the strong points on this set featuring mostly quartet numbers. The lengthy works "Basic Deconstruction" and "History of a Mystery" are challenging compositions with enough space for taut, swirling solos, but they also feature extensive sections with intense exchanges and rich unison portions. Jay Rosen emerges from the background on the excellent duo rendition of John Coltrane's "Drum Thing," displaying impressive rhythmic facilities and some welcome humor in his encounter with Bisio. The disc's last two numbers have a decidedly different sensibility, as Bisio and multi-instrumentalist Fefer collaborate on "Sometimes I Feel" and "Zephyr." Whether working on saxes, clarinet, bass clarinet or flute, Fefer's work is clean, superbly executed and free of exaggeration or gimmicks. Yet it's not devoid of soul or swing, even though not particularly in the traditional sense of blues-based improvising. Still, he establishes a great rapport with Bisio, and their playing during the final portions of "Zephyr" proves especially attractive and offers a nice conclusion to an enjoyable and well-played date. true 192 2007-06-07T14:05:44-04:00 16656 100 200603 true 0 76 2006-03-01T00:00:00-05:00

Michael Bisio's clear, declarative accompaniment and overall skill as a bassist, coupled with the equally decisive, alternately animated and reflective playing of saxophonists Avram Fefer and Stephen Gauci, are the strong points on this set featuring mostly quartet numbers. The lengthy works "Basic Deconstruction" and "History of a Mystery" are challenging compositions with enough space for taut, swirling solos, but they also feature extensive sections with intense exchanges and rich unison portions. Jay Rosen emerges from the background on the excellent duo rendition of John Coltrane's "Drum Thing," displaying impressive rhythmic facilities and some welcome humor in his encounter with Bisio. The disc's last two numbers have a decidedly different sensibility, as Bisio and multi-instrumentalist Fefer collaborate on "Sometimes I Feel" and "Zephyr." Whether working on saxes, clarinet, bass clarinet or flute, Fefer's work is clean, superbly executed and free of exaggeration or gimmicks. Yet it's not devoid of soul or swing, even though not particularly in the traditional sense of blues-based improvising. Still, he establishes a great rapport with Bisio, and their playing during the final portions of "Zephyr" proves especially attractive and offers a nice conclusion to an enjoyable and well-played date.

2009-03-02T00:25:21-05:00

4 John A. Williams' books have often incorporated the fabric of jazz to make cogent and compelling points about critical issues. Tyrone Brown has assembled an unusual configuration to pay tribute to the author. The keyboard is excluded from the usual rhythm-section lineup, while alto saxophonist Bobby Zankel is aided by a configuration of viola, violin, cello and guitar. Since he was at one time an ace jazz critic, it's not surprising that John A. Williams would also prove a fine oral performer. The six-part suite's sections are named after pivotal Williams volumes; the tune "The Man Who Cried I Am," named after the author's popular book, leads off the CD, and the climatic "Readings From Safari West" demonstrates the author's ability to smoothly fit into a musical setting. "Night Song" and "Captain Blackman" have catchy melodies and exciting playing. The nearly 12-minute finale is the only piece where the arrangement loses some of its edge, but that's due more to the majesty of Williams' verbal forays than any flaws or excesses by the musicians. true 192 2007-06-07T14:05:44-04:00 16657 100 200603 true 0 76 2006-03-01T00:00:00-05:00

John A. Williams' books have often incorporated the fabric of jazz to make cogent and compelling points about critical issues. Tyrone Brown has assembled an unusual configuration to pay tribute to the author. The keyboard is excluded from the usual rhythm-section lineup, while alto saxophonist Bobby Zankel is aided by a configuration of viola, violin, cello and guitar. Since he was at one time an ace jazz critic, it's not surprising that John A. Williams would also prove a fine oral performer. The six-part suite's sections are named after pivotal Williams volumes; the tune "The Man Who Cried I Am," named after the author's popular book, leads off the CD, and the climatic "Readings From Safari West" demonstrates the author's ability to smoothly fit into a musical setting. "Night Song" and "Captain Blackman" have catchy melodies and exciting playing. The nearly 12-minute finale is the only piece where the arrangement loses some of its edge, but that's due more to the majesty of Williams' verbal forays than any flaws or excesses by the musicians.

2009-03-02T00:25:22-05:00

4 The vast majority of Arthur Kell's The Traveller is entertaining, delightful music, and even the few tracks that aren't quite as interesting are still very well executed. The only thing that keeps this from being a uniformly exciting work are a handful of uneven compositions, notably the meandering "Crinkum Crankum" and the concluding "Lucy's Back," which never generates any rhythmic or melodic energy. But those two numbers are more than balanced by the sheer beauty of tracks like "Hermeto," a sizzling piece that celebrates the wonderful percussionist and bandleader Hermeto Pascoal, the brisk opening tune "I Believe Ya" and the reflective works "Ijinna," "Djailo Feast" and "Mary Louise." Gorka Benitez is a good tenor saxophonist, but he's a better, more spirited and imaginative flutist. Guitarist Steve Cardenas adds the transition passages and links usually provided by the piano within the arrangements, yet he's also a capable soloist when necessary. Kell and drummer Joe Smith not only work well in tandem, each can guide or shape the musical direction when the other takes a more central role during a selection. true 192 2007-06-07T14:05:44-04:00 16658 100 200603 true 0 76 2006-03-01T00:00:00-05:00

The vast majority of Arthur Kell's The Traveller is entertaining, delightful music, and even the few tracks that aren't quite as interesting are still very well executed. The only thing that keeps this from being a uniformly exciting work are a handful of uneven compositions, notably the meandering "Crinkum Crankum" and the concluding "Lucy's Back," which never generates any rhythmic or melodic energy. But those two numbers are more than balanced by the sheer beauty of tracks like "Hermeto," a sizzling piece that celebrates the wonderful percussionist and bandleader Hermeto Pascoal, the brisk opening tune "I Believe Ya" and the reflective works "Ijinna," "Djailo Feast" and "Mary Louise." Gorka Benitez is a good tenor saxophonist, but he's a better, more spirited and imaginative flutist. Guitarist Steve Cardenas adds the transition passages and links usually provided by the piano within the arrangements, yet he's also a capable soloist when necessary. Kell and drummer Joe Smith not only work well in tandem, each can guide or shape the musical direction when the other takes a more central role during a selection.

2009-03-02T00:25:22-05:00

4 Adam Lane is unquestionably a wonderful bassist, and also a versatile one. He demonstrates these capabilities on this rather unusual trio outing. While the pianoless trio isn't a new format, this one includes in its ranks one of the most dominating saxophonists among contemporary improvisers in Vinny Golia. Whether he's on tenor or soprano, Golia's soaring, fast-paced forays through the middle and upper registers can be so commanding that they completely strip attention away from anything being played by the bassist and drummer. It's to both Lane and drummer Vijay Anderson's credit that their work stands right alongside his on such cuts as "Spin with the Earth," "Intonations for Being," "Dance" and "Clouds." By the time they come to the last number, "Relaxing With Vinny," it's crystal clear that this is really Lane's group, even though there's been plenty of room for everyone to demonstrate their proficiency. But Lane's presence in both rhythmic and lead capacities has been so robust that he's established his presence while still helping both other musicians flourish as well. true 192 2007-06-07T14:05:44-04:00 16659 100 200603 true 0 76 2006-03-01T00:00:00-05:00

Adam Lane is unquestionably a wonderful bassist, and also a versatile one. He demonstrates these capabilities on this rather unusual trio outing. While the pianoless trio isn't a new format, this one includes in its ranks one of the most dominating saxophonists among contemporary improvisers in Vinny Golia. Whether he's on tenor or soprano, Golia's soaring, fast-paced forays through the middle and upper registers can be so commanding that they completely strip attention away from anything being played by the bassist and drummer. It's to both Lane and drummer Vijay Anderson's credit that their work stands right alongside his on such cuts as "Spin with the Earth," "Intonations for Being," "Dance" and "Clouds." By the time they come to the last number, "Relaxing With Vinny," it's crystal clear that this is really Lane's group, even though there's been plenty of room for everyone to demonstrate their proficiency. But Lane's presence in both rhythmic and lead capacities has been so robust that he's established his presence while still helping both other musicians flourish as well.

2009-03-02T00:25:22-05:00

4 Veteran bassist Earl May demonstrates a lot more stylistic versatility than might be expected on this 13-song debut. He certainly excels on the prerock standards and swing staples, particularly the Basie/Durham title cut as well as "Tea for Two," "My Foolish Heart" and "My Old Flame." But what distinguishes this from being just another extremely professional but rather derivative set is how the quartet operates when the tone shifts into other areas. May's just as solid in his playing on the Charlie Parker vehicle "Confirmation" and on alto saxophonist David Glasser's originals such as "Blue Iridescence" and "Under African Skies," where the changes and chord structures are quite different from the basic swing styling. Guest pianist Barry Harris brings some harmonic flair and fervor to "Tea for Two" and "My Old Flame," but May and drummer Eddie Locke are quite up to the challenge. Glasser ably fulfills many roles throughout the date, being sentimental on "Blame It on My Youth," flashy on "Swinging the Blues" and "Confirmation" and explosive on "Lester Leaps In," not quite duplicating the energy of the original (no one could match Pres) but certainly communicating the passion on alto that Young brought to the tenor. true 192 2007-06-07T14:05:44-04:00 16660 100 200603 true 0 76 2006-03-01T00:00:00-05:00

Veteran bassist Earl May demonstrates a lot more stylistic versatility than might be expected on this 13-song debut. He certainly excels on the prerock standards and swing staples, particularly the Basie/Durham title cut as well as "Tea for Two," "My Foolish Heart" and "My Old Flame." But what distinguishes this from being just another extremely professional but rather derivative set is how the quartet operates when the tone shifts into other areas. May's just as solid in his playing on the Charlie Parker vehicle "Confirmation" and on alto saxophonist David Glasser's originals such as "Blue Iridescence" and "Under African Skies," where the changes and chord structures are quite different from the basic swing styling. Guest pianist Barry Harris brings some harmonic flair and fervor to "Tea for Two" and "My Old Flame," but May and drummer Eddie Locke are quite up to the challenge. Glasser ably fulfills many roles throughout the date, being sentimental on "Blame It on My Youth," flashy on "Swinging the Blues" and "Confirmation" and explosive on "Lester Leaps In," not quite duplicating the energy of the original (no one could match Pres) but certainly communicating the passion on alto that Young brought to the tenor.

2009-03-02T00:25:22-05:00

4 The opening passages of the cut "Ornettology" signal that this recording from Bill Moring and his Way Out East group isn't going to be remotely business as usual. Trumpeter Jack Walrath's tune has both a jagged melody and an arrangement that elicits fierce, edgy solos from Walrath and tenor saxophonist Tim Armacost. With no pianist supplying chordal reference points or frameworks, the music is less restricted and continually shifting gears in regard to time and pace. Compositional duties are rotated, with the most arresting works penned by Walrath ("Cave Canem") and Armacost ("Free Ditty"). The loose sense extends to the rhythm section as well. Rather than just accompanying and staying locked in the background, Moring and drummer Steve Johns challenge and complement the frontline, playing aggressively yet always providing capable support. This is also a well-engineered session, one that enables the listener to fully hear and appreciate the contributions of everyone involved, and also clearly decipher what Moring and Johns are doing behind the horn players and when they're in the spotlight. Other than Johns' interesting arrangement of Henry Mancini's "The Days of Wine and Roses," Moring and Way Out East offer the jazz audience rigorously performed, fresh music rather than repertory or interpretative fare. true 192 2007-06-07T14:05:44-04:00 16661 100 200603 true 0 76 2006-03-01T00:00:00-05:00

The opening passages of the cut "Ornettology" signal that this recording from Bill Moring and his Way Out East group isn't going to be remotely business as usual. Trumpeter Jack Walrath's tune has both a jagged melody and an arrangement that elicits fierce, edgy solos from Walrath and tenor saxophonist Tim Armacost. With no pianist supplying chordal reference points or frameworks, the music is less restricted and continually shifting gears in regard to time and pace. Compositional duties are rotated, with the most arresting works penned by Walrath ("Cave Canem") and Armacost ("Free Ditty"). The loose sense extends to the rhythm section as well. Rather than just accompanying and staying locked in the background, Moring and drummer Steve Johns challenge and complement the frontline, playing aggressively yet always providing capable support. This is also a well-engineered session, one that enables the listener to fully hear and appreciate the contributions of everyone involved, and also clearly decipher what Moring and Johns are doing behind the horn players and when they're in the spotlight. Other than Johns' interesting arrangement of Henry Mancini's "The Days of Wine and Roses," Moring and Way Out East offer the jazz audience rigorously performed, fresh music rather than repertory or interpretative fare.

2009-03-02T00:25:22-05:00

4 There's such closeness and affinity among the members of the Lynn Seaton Trio that there's almost no clearly delineated leader operating here. Seaton, pianist Stephen Anderson and drummer Joel Fountain mesh steadily on any and everything they play, whether exploring vintage Tin Pan Alley songs, reworking Ellington, weaving through the gospel/blues fare of Bobby Timmons or moving through Fountain's "Pretending." Anderson can be dazzling or supportive but is mostly content to incorporate his dense, spiraling phrases into the broader spectrum of unison work, complemented by Seaton's disciplined bass and Fountain's controlled rhythmic responses and foundations. So despite the emphasis on collective presentation rather than individual acrobatics, there are still plenty of exciting moments. Another attribute concerns each musician's ability to inject some surprising statements at the oddest times. Anderson will occasionally weave into his playing some furious lines or octave jumps, while Fountain sometimes accelerates the beat or Seaton adds some prominent bass lines that put a charge into their interpretations of "Nature Boy" or "Londonderry Aire." Granted, there's only so much that can be done to "Puttin' on the Ritz" or "Gone With the Wind," yet the trio finds ways of making even these sound almost as appealing as their renditions of "Mood Indigo" and "Moanin'." The results are consistently pleasing and memorable. true 192 2007-06-07T14:05:44-04:00 16662 100 200603 true 0 76 2006-03-01T00:00:00-05:00

There's such closeness and affinity among the members of the Lynn Seaton Trio that there's almost no clearly delineated leader operating here. Seaton, pianist Stephen Anderson and drummer Joel Fountain mesh steadily on any and everything they play, whether exploring vintage Tin Pan Alley songs, reworking Ellington, weaving through the gospel/blues fare of Bobby Timmons or moving through Fountain's "Pretending." Anderson can be dazzling or supportive but is mostly content to incorporate his dense, spiraling phrases into the broader spectrum of unison work, complemented by Seaton's disciplined bass and Fountain's controlled rhythmic responses and foundations. So despite the emphasis on collective presentation rather than individual acrobatics, there are still plenty of exciting moments. Another attribute concerns each musician's ability to inject some surprising statements at the oddest times. Anderson will occasionally weave into his playing some furious lines or octave jumps, while Fountain sometimes accelerates the beat or Seaton adds some prominent bass lines that put a charge into their interpretations of "Nature Boy" or "Londonderry Aire." Granted, there's only so much that can be done to "Puttin' on the Ritz" or "Gone With the Wind," yet the trio finds ways of making even these sound almost as appealing as their renditions of "Mood Indigo" and "Moanin'." The results are consistently pleasing and memorable.

2009-03-02T00:25:22-05:00

4 He's long been regarded among Europe's finest bassists, and Joris Teepe does nothing to hurt his reputation on Going Dutch, his seventh release as a leader. While mainly a showcase for his writing facility, the band also does two credible if a bit unusual versions of Wayne Shorter's "Footprints" and John Coltrane's "Syeeda's Song Flute." Each has exemplary playing from ace players trumpeter/flugelhornist Randy Brecker, tenor/soprano saxophonist Don Braden, pianist George Colligan and drummer George Jackson, plus Teepe has slightly altered their arrangement. Still, everyone sounds far more energized and electrifying doing Teepe's works, from the 12-minute-plus workout tune "The Princess and the Monster," to the short but entertaining "Nanananana" and more musically explosive "Inventions in Maine" and "Win Win Situation." Everything on these pieces, from the opening and closing melodies to the group exchanges and solos, has more musical precision and vitality and less politeness than the performances on the covers. That's not to say any of Teepe's numbers will become classics (though "The Princess and the Monster" has real promise). It's just that they are new, ongoing works rather than established classics, which can be more intimidating than revealing. true 192 2007-06-07T14:05:44-04:00 16663 100 200603 true 0 76 2006-03-01T00:00:00-05:00

He's long been regarded among Europe's finest bassists, and Joris Teepe does nothing to hurt his reputation on Going Dutch, his seventh release as a leader. While mainly a showcase for his writing facility, the band also does two credible if a bit unusual versions of Wayne Shorter's "Footprints" and John Coltrane's "Syeeda's Song Flute." Each has exemplary playing from ace players trumpeter/flugelhornist Randy Brecker, tenor/soprano saxophonist Don Braden, pianist George Colligan and drummer George Jackson, plus Teepe has slightly altered their arrangement. Still, everyone sounds far more energized and electrifying doing Teepe's works, from the 12-minute-plus workout tune "The Princess and the Monster," to the short but entertaining "Nanananana" and more musically explosive "Inventions in Maine" and "Win Win Situation." Everything on these pieces, from the opening and closing melodies to the group exchanges and solos, has more musical precision and vitality and less politeness than the performances on the covers. That's not to say any of Teepe's numbers will become classics (though "The Princess and the Monster" has real promise). It's just that they are new, ongoing works rather than established classics, which can be more intimidating than revealing.

2009-03-02T00:25:22-05:00

4 Brian Bromberg's latest spotlights his prodigious ability in the world of rock/fusion. He tunes his piccolo bass an octave and a fourth above conventional basses, and he overdubs it like a lead instrument over electric bass parts, successfully creating the impression that a full band is performing these songs. In fact, with the exception of a couple of tracks with pianist Dan Siegel, Bromberg's joined only by drummer Joel Taylor. "Fooled Ya" and "Top Down" have prominent melodies and entertaining choruses that are made even more attractive by Bromberg's flurries and solos. "Flight of the Phoenix" and "The Message Within" are other numbers that feature outstanding electric-bass technique and equally impressive studio and production touches. While this sort of music will probably have minimal interest for traditional or conservative jazz listeners, the CD should attract fans who enjoy funk, substantial fusion and a smidgeon of smooth jazz. While I prefer his acoustic projects, Brian Bromberg shows on Metal that he's just as formidable an electric improviser, with versatile musical tastes. true 192 2007-06-07T14:05:44-04:00 15914 93 200508 true 0 76 2005-07-01T00:00:00-04:00

Brian Bromberg's latest spotlights his prodigious ability in the world of rock/fusion. He tunes his piccolo bass an octave and a fourth above conventional basses, and he overdubs it like a lead instrument over electric bass parts, successfully creating the impression that a full band is performing these songs. In fact, with the exception of a couple of tracks with pianist Dan Siegel, Bromberg's joined only by drummer Joel Taylor. "Fooled Ya" and "Top Down" have prominent melodies and entertaining choruses that are made even more attractive by Bromberg's flurries and solos. "Flight of the Phoenix" and "The Message Within" are other numbers that feature outstanding electric-bass technique and equally impressive studio and production touches. While this sort of music will probably have minimal interest for traditional or conservative jazz listeners, the CD should attract fans who enjoy funk, substantial fusion and a smidgeon of smooth jazz. While I prefer his acoustic projects, Brian Bromberg shows on Metal that he's just as formidable an electric improviser, with versatile musical tastes.

2009-03-02T00:24:51-05:00

4 Jesper Bodilsen is an extremely capable soloist, but on this CD he spends as much time augmenting and embellishing the playing of pianist Stefano Bollani and drummer Morten Lund as he does displaying his own formidable skills. Sometimes Bodilsen, Bollani and Lund nicely deconstruct a number before returning to the central melody, notably on their treatments of "Nature Boy" and Michel Legrand's "The Summer Knows." But listeners get a more complete picture of the trio's talents when they venture outside the jazz canon and present works with more changes and surprises, such as Bollani's "Dark Valley Serenade." It's on these tunes that Bodilsen's booming phrases and Lund's crackling answering rhythms join with Bollani's lengthy, slashing octave leaps and percussive piano work. Bodilsen clearly has the tools of a world-class bassist, and his solos are technical marvels. On his next release let's hope that he eschews the covers and concentrates on fresh material that will test and stretch his considerable abilities. true 192 2007-06-07T14:05:44-04:00 15915 93 200508 true 0 76 2005-07-01T00:00:00-04:00

Jesper Bodilsen is an extremely capable soloist, but on this CD he spends as much time augmenting and embellishing the playing of pianist Stefano Bollani and drummer Morten Lund as he does displaying his own formidable skills. Sometimes Bodilsen, Bollani and Lund nicely deconstruct a number before returning to the central melody, notably on their treatments of "Nature Boy" and Michel Legrand's "The Summer Knows." But listeners get a more complete picture of the trio's talents when they venture outside the jazz canon and present works with more changes and surprises, such as Bollani's "Dark Valley Serenade." It's on these tunes that Bodilsen's booming phrases and Lund's crackling answering rhythms join with Bollani's lengthy, slashing octave leaps and percussive piano work. Bodilsen clearly has the tools of a world-class bassist, and his solos are technical marvels. On his next release let's hope that he eschews the covers and concentrates on fresh material that will test and stretch his considerable abilities.

2009-03-02T00:24:51-05:00

4 While the instrumentation is that of the prototypical bass-piano-drums trio, there's nothing remotely routine about the Ron Brendle Trio's music. The musicians blur idioms and converge styles. Every track represents a first-take version, and the compositions have a loose, spontaneous sound. A highlight is their superb cover of Ornette Coleman's "Broken Shadows" (hardly an overdone number). Brendle is a monster bassist, whether using the bow or playing with his fingers. Pianist Frank Kimbrough darts, dips and explodes, and drummer Al Sergel always connects his rhythms to the passages being articulated by Brendle and Kimbrough. While the trio can take things far out, get complex or build a solid groove, the common theme is that the Ron Brendle Trio consistently offers outstanding, unpredictable music. true 192 2007-06-07T14:05:44-04:00 15916 93 200508 true 0 76 2005-07-01T00:00:00-04:00

While the instrumentation is that of the prototypical bass-piano-drums trio, there's nothing remotely routine about the Ron Brendle Trio's music. The musicians blur idioms and converge styles. Every track represents a first-take version, and the compositions have a loose, spontaneous sound. A highlight is their superb cover of Ornette Coleman's "Broken Shadows" (hardly an overdone number). Brendle is a monster bassist, whether using the bow or playing with his fingers. Pianist Frank Kimbrough darts, dips and explodes, and drummer Al Sergel always connects his rhythms to the passages being articulated by Brendle and Kimbrough. While the trio can take things far out, get complex or build a solid groove, the common theme is that the Ron Brendle Trio consistently offers outstanding, unpredictable music.

2009-03-02T00:24:51-05:00

4 The debut CD by Canadian bassist Pat Collins has plenty of admirable qualities. These include his refusal to play it safe with the decision to highlight his compositions rather than familiar covers. In addition, the disc is sonically excellent, with several intense, striking solos delivered by saxophonist Mike Murley. Guitarist Reg Schwager, drummer Barry Elmes and Collins provide fine accompaniment, and their dashing playing indicates the wisdom of eliminating the piano from the instrumental configuration. Collins' pieces are extensive enough to give listeners a chance at fully hearing every quartet member, but not so long that choruses are overly repeated and solos drone on till they become tedious. While usually more content to operate in the musical background than the spotlight, Collins is also a strong and nimble soloist. The title track is the session's longest, most ambitious work, and it features every band members' best playing. It's also the top example of Collins' strengths as a bandleader and accompanist. Outside of wishing for a bit more thematic variety, there's little to complain about regarding Pat Collins' inaugural effort. true 192 2007-06-07T14:05:44-04:00 15917 93 200508 true 0 76 2005-07-01T00:00:00-04:00

The debut CD by Canadian bassist Pat Collins has plenty of admirable qualities. These include his refusal to play it safe with the decision to highlight his compositions rather than familiar covers. In addition, the disc is sonically excellent, with several intense, striking solos delivered by saxophonist Mike Murley. Guitarist Reg Schwager, drummer Barry Elmes and Collins provide fine accompaniment, and their dashing playing indicates the wisdom of eliminating the piano from the instrumental configuration. Collins' pieces are extensive enough to give listeners a chance at fully hearing every quartet member, but not so long that choruses are overly repeated and solos drone on till they become tedious. While usually more content to operate in the musical background than the spotlight, Collins is also a strong and nimble soloist. The title track is the session's longest, most ambitious work, and it features every band members' best playing. It's also the top example of Collins' strengths as a bandleader and accompanist. Outside of wishing for a bit more thematic variety, there's little to complain about regarding Pat Collins' inaugural effort.

2009-03-02T00:24:51-05:00

4 Bill Evans' writing and piano solos marvelously combined passion and lyricism. The Riccardo Fioravanti trio has crafted an ideal tribute to Evans, one that honors every aspect of his compositions yet smartly reconfigures them by eliminating the piano from the session. Instead, Fioravanti's deep, rich bass playing and the light, lush style of guitarist Bebo Ferra are a prime reminder of Evans' compositional sensibility, while vibist Andrea Dulbecco's splintering lines and phrases reaffirm an underrated component in the Evans' sound: intensity. The trio is also careful not to forget about rhythmic flow and texture. Dulbecco is the most animated and percussive of the three players, while Fioravanti constantly shifts responsibilities throughout the 13 selections. Each ensemble member alternates between feature and complimentary roles. Some pieces are duets and others are more individual spotlights than trio works, but the overall presentation highlights a cohesive and unified group salute. The menu includes poignant, well-played renditions of "B Minor Waltz," "Peace Piece" and "In April." true 192 2007-06-07T14:05:44-04:00 15918 93 200508 true 0 76 2005-07-01T00:00:00-04:00

Bill Evans' writing and piano solos marvelously combined passion and lyricism. The Riccardo Fioravanti trio has crafted an ideal tribute to Evans, one that honors every aspect of his compositions yet smartly reconfigures them by eliminating the piano from the session. Instead, Fioravanti's deep, rich bass playing and the light, lush style of guitarist Bebo Ferra are a prime reminder of Evans' compositional sensibility, while vibist Andrea Dulbecco's splintering lines and phrases reaffirm an underrated component in the Evans' sound: intensity. The trio is also careful not to forget about rhythmic flow and texture. Dulbecco is the most animated and percussive of the three players, while Fioravanti constantly shifts responsibilities throughout the 13 selections. Each ensemble member alternates between feature and complimentary roles. Some pieces are duets and others are more individual spotlights than trio works, but the overall presentation highlights a cohesive and unified group salute. The menu includes poignant, well-played renditions of "B Minor Waltz," "Peace Piece" and "In April."

2009-03-02T00:24:51-05:00

4 Exemplary playing and spirited compositions distinguish Drew Gress' third disc of original music. This combo includes three players equally at ease in lead or accompanying roles in alto saxophonist Tim Berne, trumpeter Ralph Alessi and pianist Craig Taborn, while drummer Tom Rainey is just as confident teaming with Gress to supply rhythmically vibrant foundations. With the exception of one 59-second teaser from Gress, the pieces feature attractive melodies, intense interaction and ample but not excessive solos. From Berne's explosive contribution on "New Leaf" and Alessi's consistently pungent and dynamic lines and Taborn's teeming phrases and support, the group nicely blends individual fireworks and cohesive unison work. While the three longer pieces, particularly "Bright Idea" and "Low Slung/High Strung," demonstrate more flexibility in terms of varied moods and structural contrasts, the quintet doesn't sound any less aggressive or compelling on the shorter works. Gress spends most of his time building and shaping the pieces, but he also displays his own fiery solo skills in disciplined insertions. true 192 2007-06-07T14:05:44-04:00 15919 93 200508 true 0 76 2005-07-01T00:00:00-04:00

Exemplary playing and spirited compositions distinguish Drew Gress' third disc of original music. This combo includes three players equally at ease in lead or accompanying roles in alto saxophonist Tim Berne, trumpeter Ralph Alessi and pianist Craig Taborn, while drummer Tom Rainey is just as confident teaming with Gress to supply rhythmically vibrant foundations. With the exception of one 59-second teaser from Gress, the pieces feature attractive melodies, intense interaction and ample but not excessive solos. From Berne's explosive contribution on "New Leaf" and Alessi's consistently pungent and dynamic lines and Taborn's teeming phrases and support, the group nicely blends individual fireworks and cohesive unison work. While the three longer pieces, particularly "Bright Idea" and "Low Slung/High Strung," demonstrate more flexibility in terms of varied moods and structural contrasts, the quintet doesn't sound any less aggressive or compelling on the shorter works. Gress spends most of his time building and shaping the pieces, but he also displays his own fiery solo skills in disciplined insertions.

2009-03-02T00:24:51-05:00

4 Seldom does a CD title so accurately convey the purpose and direction of a session than Roland Guerin's latest release. First, there aren't many contemporary bassists better at establishing and maintaining a groove than Guerin, a master of the slap technique and an equally outstanding accompanist. These pieces showcase his penchant for penning works with a swinging undertone, but his songs always contain sections that challenge and motivate soloists to extend themselves. Examples of this trend can be heard in the torrid and gorgeous solo from alto saxophonist Wess Anderson on "Alone Together," and his tenor counterpart Quamon Fowler, who is featured on three of the nine numbers. While there are several fine guest musicians participating in the session, such as drummers Jason Marsalis and Troy Davis, percussionist Calvin Veal and keyboardist Mike Esneault, it's often Guerin's alternately sweeping and stately bass lines and solos that emerge as the most musically appealing elements. Guerin appropriately wraps the session with "Chase N' Morgan," a work that's equal parts marvelous technique, gritty rhythm and sparkling soul. The piece spotlights the bassist's expertise and excellence that permeate every number on this disc. true 192 2007-06-07T14:05:44-04:00 15920 93 200508 true 0 76 2005-07-01T00:00:00-04:00

Seldom does a CD title so accurately convey the purpose and direction of a session than Roland Guerin's latest release. First, there aren't many contemporary bassists better at establishing and maintaining a groove than Guerin, a master of the slap technique and an equally outstanding accompanist. These pieces showcase his penchant for penning works with a swinging undertone, but his songs always contain sections that challenge and motivate soloists to extend themselves. Examples of this trend can be heard in the torrid and gorgeous solo from alto saxophonist Wess Anderson on "Alone Together," and his tenor counterpart Quamon Fowler, who is featured on three of the nine numbers. While there are several fine guest musicians participating in the session, such as drummers Jason Marsalis and Troy Davis, percussionist Calvin Veal and keyboardist Mike Esneault, it's often Guerin's alternately sweeping and stately bass lines and solos that emerge as the most musically appealing elements. Guerin appropriately wraps the session with "Chase N' Morgan," a work that's equal parts marvelous technique, gritty rhythm and sparkling soul. The piece spotlights the bassist's expertise and excellence that permeate every number on this disc.

2009-03-02T00:24:51-05:00