4 Humor, warmth and vocal simulation are the essential elements of Wycliffe Gordon, and it takes three recent albums to show his breadth. The first, We (Nagel-Heyer), is a duo with pianist Eric Reed. Gordon is totally exposed, but he gets backing from Reed that is orchestral or intimate when needed. They are always on the same page, whether it's from a fake book or the Good Book, which brings us to a surprising highlight: "The Lord's Prayer," with touches of gospel in the comping. This is not a religious album, per se; two additional high points are the soulful treatment of Ellington's "Paris Blues" and the tender wah-wah wailing of "Embraceable You." More good humor and warmth is on United Soul Experience (Criss Cross), with a more modern Gordon fronting a standard bop quintet and coaxing an ideal unison timbre with tenorist Seamus Blake. Gordon's best solo effort can be heard on Blake's "Periwinkle." The final Gordon contribution comes as half of a two-trombone front line with John Allred, Head to Head (Arbors). This may be the start of the most beautiful friendship since J.J. Johnson and Kai Winding. Their phrasing is so similar, it's difficult to tell where one leaves off and the other begins. That's reinforced by an overdubbing tour de force, the ancient "The Curse of an Aching Heart," scored for four trombones, with Allred and Gordon each taking two parts. It becomes an understandably precise, very crisp 'bone section. true 160 2007-06-07T14:05:44-04:00 13680 68 200304 true 0 75 2003-04-01T00:00:00-05:00

Humor, warmth and vocal simulation are the essential elements of Wycliffe Gordon, and it takes three recent albums to show his breadth. The first, We (Nagel-Heyer), is a duo with pianist Eric Reed. Gordon is totally exposed, but he gets backing from Reed that is orchestral or intimate when needed. They are always on the same page, whether it's from a fake book or the Good Book, which brings us to a surprising highlight: "The Lord's Prayer," with touches of gospel in the comping. This is not a religious album, per se; two additional high points are the soulful treatment of Ellington's "Paris Blues" and the tender wah-wah wailing of "Embraceable You." More good humor and warmth is on United Soul Experience (Criss Cross), with a more modern Gordon fronting a standard bop quintet and coaxing an ideal unison timbre with tenorist Seamus Blake. Gordon's best solo effort can be heard on Blake's "Periwinkle." The final Gordon contribution comes as half of a two-trombone front line with John Allred, Head to Head (Arbors). This may be the start of the most beautiful friendship since J.J. Johnson and Kai Winding. Their phrasing is so similar, it's difficult to tell where one leaves off and the other begins. That's reinforced by an overdubbing tour de force, the ancient "The Curse of an Aching Heart," scored for four trombones, with Allred and Gordon each taking two parts. It becomes an understandably precise, very crisp 'bone section.

2009-03-02T00:23:15-05:00

4 John Fedchock, a former chief arranger for Woody Herman, has 16 of New York's finest sidemen, many of whom have recorded as leaders, and the way they respond to his charts for No Nonsense (Reservoir), they obviously relish his writing. The way Fedchock digs his soloists can be heard in the ample stretch-out room he provides. The title tune is an instant mood-setter. A sweeping, ascending figure by the brass literally raises the curtain on an ensemble that typifies that self-contradictory phrase "tight but loose." The band immediately asserts itself as a vehicle for Fedchock's concerted vision as well as a springboard for tons of solos between the band statements. Since there is more than 71 minutes of music, there is sufficient time to hear from 10 different soloists in addition to the leader. Fedchock's big fat tone dominates his originals "Big Bruiser" and the Latin-flavored "Eleven Nights." But two other tracks are memorable for his arranging and playing contributions: the trombones and bass of Lynn Seaton in unison for the Oscar Pettiford tune "Tricotism" and Freddie Hubbard's moody but lovely ballad "Eclipse." Monk's "Epistrophy" is given a three-against-four treatment as the trombones propel the head with a series of triplets. One unforgettable decision by Fedchock finds baritone saxophonist Scott Robinson as the featured voice on Ellington's "Come Sunday." Robinson and band are equally reverential in the interpretation. It's not possible to list each solo contribution, but no one disappoints. Ironically, one criticism can be made about Fedchock: his tone is so smooth you'd like to hear him get down and dirty-just once! true 160 2007-06-07T14:05:44-04:00 13682 68 200304 true 0 75 2003-04-01T00:00:00-05:00

John Fedchock, a former chief arranger for Woody Herman, has 16 of New York's finest sidemen, many of whom have recorded as leaders, and the way they respond to his charts for No Nonsense (Reservoir), they obviously relish his writing. The way Fedchock digs his soloists can be heard in the ample stretch-out room he provides. The title tune is an instant mood-setter. A sweeping, ascending figure by the brass literally raises the curtain on an ensemble that typifies that self-contradictory phrase "tight but loose." The band immediately asserts itself as a vehicle for Fedchock's concerted vision as well as a springboard for tons of solos between the band statements. Since there is more than 71 minutes of music, there is sufficient time to hear from 10 different soloists in addition to the leader. Fedchock's big fat tone dominates his originals "Big Bruiser" and the Latin-flavored "Eleven Nights." But two other tracks are memorable for his arranging and playing contributions: the trombones and bass of Lynn Seaton in unison for the Oscar Pettiford tune "Tricotism" and Freddie Hubbard's moody but lovely ballad "Eclipse." Monk's "Epistrophy" is given a three-against-four treatment as the trombones propel the head with a series of triplets. One unforgettable decision by Fedchock finds baritone saxophonist Scott Robinson as the featured voice on Ellington's "Come Sunday." Robinson and band are equally reverential in the interpretation. It's not possible to list each solo contribution, but no one disappoints. Ironically, one criticism can be made about Fedchock: his tone is so smooth you'd like to...

2009-03-02T00:23:15-05:00

4 The only way Rob McConnell knows how to play his valve trombone and write his arrangements is to saturate both with a sense of sardonic humor, a devil-may-care attitude that seems to say he doesn't take himself too seriously. Truth is, no one is more meticulous about putting the right notes in the right places. His latest CD, Thank You, Ted (Justin Time), is filled with the precise notes, so carefully distributed among his Tentet, sounding like it's nearly twice as large because the boss man knows how to make it sound big with his patented voicings and Gil Evans-type chordal clusters. His opener, "If I Were a Bell," cuts right to the chase with some of the tightest writing on the session and with a control of dynamics seldom found in other bands. Alex Dean has to be singled out for his aggressive tenor solo. The chart ends, in typical McConnell fashion, with four unresolved chords, leaving you yearning for the other shoe to drop. The hip, concerted writing on "Like Someone in Love," is held together by economic, Basielike fills from pianist Dave Restivo. Elsewhere the gaps are left to one of the best fillers in the business, drummer Terry Clarke. McConnell's valve trombone is heard to best advantage on "Everything Happens to Me." Toward the end of that chart, a long full-band quote from Basie's "April in Paris" suddenly materializes; it's like "Caravan" showing up in the middle of Horace Silver's "The Outlaw." No surprise then that McConnell would resuscitate a virtually unknown Vic Dickenson tune, "Constantly"-not to be found in the Great American Songbook but a pleasant cooker. This has to be the happiest, swingingest "big band" in North America. true 160 2007-06-07T14:05:44-04:00 13683 68 200304 true 0 75 2003-04-01T00:00:00-05:00

The only way Rob McConnell knows how to play his valve trombone and write his arrangements is to saturate both with a sense of sardonic humor, a devil-may-care attitude that seems to say he doesn't take himself too seriously. Truth is, no one is more meticulous about putting the right notes in the right places. His latest CD, Thank You, Ted (Justin Time), is filled with the precise notes, so carefully distributed among his Tentet, sounding like it's nearly twice as large because the boss man knows how to make it sound big with his patented voicings and Gil Evans-type chordal clusters. His opener, "If I Were a Bell," cuts right to the chase with some of the tightest writing on the session and with a control of dynamics seldom found in other bands. Alex Dean has to be singled out for his aggressive tenor solo. The chart ends, in typical McConnell fashion, with four unresolved chords, leaving you yearning for the other shoe to drop. The hip, concerted writing on "Like Someone in Love," is held together by economic, Basielike fills from pianist Dave Restivo. Elsewhere the gaps are left to one of the best fillers in the business, drummer Terry Clarke. McConnell's valve trombone is heard to best advantage on "Everything Happens to Me." Toward the end of that chart, a long full-band quote from Basie's "April in Paris" suddenly materializes; it's like "Caravan" showing up in the middle of Horace Silver's "The Outlaw." No surprise then that McConnell would resuscitate a virtually unknown...

2009-03-02T00:23:15-05:00

4 All eight, previously unreleased selections on Chain Reaction (Pablo), provide a nostalgic snapshot of J. J. Johnson and Nat Adderley during their 1977 Yokohama concert and showcases the unique timbre of trombone with trumpet or cornet. The Japanese tour followed a decade in which Johnson mainly exercised his writing chops (scoring films and TV shows in Hollywood), but you can't tell there had been a hiatus, certainly not by his trademark attack on such tunes as Dave Grusin's Asian-sounding "Modaji," which features a funky chorus in which Johnson is occasionally doubled by bassist Tony Dumas. On another funky head, "Mr. Clean," the staccato lines of Adderley and Johnson are effectively countered by Billy Childs' electric piano, though the trombonist's driving solo and the cornetist's forceful answer are somewhat diluted by Kevin Johnson's persistent back beat on the title tune. true 160 2007-06-07T14:05:44-04:00 13684 68 200304 true 0 75 2003-04-01T00:00:00-05:00

All eight, previously unreleased selections on Chain Reaction (Pablo), provide a nostalgic snapshot of J. J. Johnson and Nat Adderley during their 1977 Yokohama concert and showcases the unique timbre of trombone with trumpet or cornet. The Japanese tour followed a decade in which Johnson mainly exercised his writing chops (scoring films and TV shows in Hollywood), but you can't tell there had been a hiatus, certainly not by his trademark attack on such tunes as Dave Grusin's Asian-sounding "Modaji," which features a funky chorus in which Johnson is occasionally doubled by bassist Tony Dumas. On another funky head, "Mr. Clean," the staccato lines of Adderley and Johnson are effectively countered by Billy Childs' electric piano, though the trombonist's driving solo and the cornetist's forceful answer are somewhat diluted by Kevin Johnson's persistent back beat on the title tune.

2009-03-02T00:23:15-05:00

4 For Shades of Light (SteepleChase) the duo of trombonist Conrad Herwig and pianist Andy LaVerne chose some great tunes by great writers-the likes of Corea, Coltrane, Jobim, Ellington and Brubeck-but the results are not great. LaVerne's overactive left hand does not give Herwig's trombone enough space. The art of comping includes the art of discreet silence. There is no way to denigrate the technical skills or harmonic sense of either player, but the constant rhythmic jabbing can impede the flow of the swing. Worst effort: McCoy Tyner's waltz "Three Flowers," where LaVerne's constant syncopation eventually creates a plodding four-over-three that threatens to overshadow Herwig's awesome technique. Best collaboration: Joe Henderson's "Black Narcissus," where LaVerne opens up a bit following a mysterioso and impressionistic intro and enhances Herwig's consistently silken tone. Most interesting track: Brubeck's "In Your Own Sweet Way," where the challenging changes bring out the most creative moments by both as they trade eights, then fours. true 160 2007-06-07T14:05:44-04:00 13685 68 200304 true 0 75 2003-04-01T00:00:00-05:00

For Shades of Light (SteepleChase) the duo of trombonist Conrad Herwig and pianist Andy LaVerne chose some great tunes by great writers-the likes of Corea, Coltrane, Jobim, Ellington and Brubeck-but the results are not great. LaVerne's overactive left hand does not give Herwig's trombone enough space. The art of comping includes the art of discreet silence. There is no way to denigrate the technical skills or harmonic sense of either player, but the constant rhythmic jabbing can impede the flow of the swing. Worst effort: McCoy Tyner's waltz "Three Flowers," where LaVerne's constant syncopation eventually creates a plodding four-over-three that threatens to overshadow Herwig's awesome technique. Best collaboration: Joe Henderson's "Black Narcissus," where LaVerne opens up a bit following a mysterioso and impressionistic intro and enhances Herwig's consistently silken tone. Most interesting track: Brubeck's "In Your Own Sweet Way," where the challenging changes bring out the most creative moments by both as they trade eights, then fours.

2009-03-02T00:23:16-05:00

4 The most consistent aspect about Dan Barrett's Harlem 2000 (Nagel-Heyer) is the relaxed, Dixieland-tinged, John Kirby-type combo atmosphere. It's safe to say the sextet had a ball, and they obviously dig jamming with one another, sticking mainly to old chestnuts, a lot of Ellingtonia (Duke, Rex Stewart and Barney Bigard) and just three originals among the 15 tracks spread out over 72 minutes. Barrett plays trombone on just six tracks and elsewhere divides his talents between cornet and vocals. However there is enough of his 'bone playing to show off his reputation as one of the smoothest players on that instrument. Ellington's "Echoes of Harlem," containing the wah-wah stylings of "Tricky Sam" Nanton, offers eloquent proof. His smooth vocals may be throwaways, but his cornet solos are definitely keepers. So are his highly serviceable arrangements. It's not your father's Dixieland; there are too many swing-era touches. One historical gem: It is conjectured in the liner notes that the fiercely two-beat "Haven't Named It Yet" is what one of its co-composers, Lionel Hampton or Charlie Christian, volunteered when the studio engineer asked them what it was called. true 160 2007-06-07T14:05:44-04:00 13686 68 200304 true 0 75 2003-04-01T00:00:00-05:00

The most consistent aspect about Dan Barrett's Harlem 2000 (Nagel-Heyer) is the relaxed, Dixieland-tinged, John Kirby-type combo atmosphere. It's safe to say the sextet had a ball, and they obviously dig jamming with one another, sticking mainly to old chestnuts, a lot of Ellingtonia (Duke, Rex Stewart and Barney Bigard) and just three originals among the 15 tracks spread out over 72 minutes. Barrett plays trombone on just six tracks and elsewhere divides his talents between cornet and vocals. However there is enough of his 'bone playing to show off his reputation as one of the smoothest players on that instrument. Ellington's "Echoes of Harlem," containing the wah-wah stylings of "Tricky Sam" Nanton, offers eloquent proof. His smooth vocals may be throwaways, but his cornet solos are definitely keepers. So are his highly serviceable arrangements. It's not your father's Dixieland; there are too many swing-era touches. One historical gem: It is conjectured in the liner notes that the fiercely two-beat "Haven't Named It Yet" is what one of its co-composers, Lionel Hampton or Charlie Christian, volunteered when the studio engineer asked them what it was called.

2009-03-02T00:23:16-05:00

4 You can hear the influence of Carl Fontana on Steve Davis' fifth album for Criss Cross, Systems Blue. Uptempo tracks such as "Surrey With the Fringe on Top," "If I Love Again" and particularly the jet-propelled "My Old Flame" reveal a thinking man's trombonist. His ideas are well structured and his tone is pure velvet, as exhibited on the ballad "A Nightingale Sang in Berkeley Square." But there is something missing: a level of excitement commensurate with his technique. Davis fronts an excellent rhythm section but their efforts, even the intense walking of bassist Peter Washington, can't seem to light a constant fire under Davis. Speaking of Washington, one of the most successful tracks is his duo effort with Davis on "Three and One." Some sparks are induced during two guest appearances by altoist Mike DiRubbo on "Spirit Waltz" and the title tune, but nothing of the intensity of "My Old Flame." true 160 2007-06-07T14:05:44-04:00 13687 68 200304 true 0 75 2003-04-01T00:00:00-05:00

You can hear the influence of Carl Fontana on Steve Davis' fifth album for Criss Cross, Systems Blue. Uptempo tracks such as "Surrey With the Fringe on Top," "If I Love Again" and particularly the jet-propelled "My Old Flame" reveal a thinking man's trombonist. His ideas are well structured and his tone is pure velvet, as exhibited on the ballad "A Nightingale Sang in Berkeley Square." But there is something missing: a level of excitement commensurate with his technique. Davis fronts an excellent rhythm section but their efforts, even the intense walking of bassist Peter Washington, can't seem to light a constant fire under Davis. Speaking of Washington, one of the most successful tracks is his duo effort with Davis on "Three and One." Some sparks are induced during two guest appearances by altoist Mike DiRubbo on "Spirit Waltz" and the title tune, but nothing of the intensity of "My Old Flame."

2009-03-02T00:23:16-05:00