4 The recording sabbatical for Grachan Moncur III has ended. For the first time since 1977 the trombonist/composer has released an album as a leader: Exploration (Capri). Not that Moncur abandoned the jazz scene; for more than two decades he focused on teaching, writing, occasional playing and coping with dental problems. Now he's back fronting an octet featuring Tim Hagans (trumpet), John Clark (French horn), Gary Bartz (alto sax), Billy Harper (tenor sax), Gary Smulyan (baritone sax), Ray Drummond (bass), Andrew Cyrille (drums) and, on one track, trombonist Dave Woodley. All tunes are early originals by Moncur, and all arrangements are by Mark Masters, who spearheaded this project. Moncur shows a youthful vigor in the title tune, exploring the tune's whole-tone structure with his velvety tone. "Monk in Wonderland" captures Thelonious' staccato humor, providing Smulyan with his best solo moments. "Love and Hate," one of Moncur's darkest ballads, gives him a chance to show his highly personal side as soloist, and tenorist Harper matches the trombonist in introspection. "New Africa," a three-part suite, is also dominated by Moncur and Harper, but more interesting are the ensemble writing/playing and the strong walking by Drummond, free to roam in the pianoless environment. "Excursion" is a nonstop free ensemble with more tonality than anarchy. Just about everyone solos in "Frankenstein, with colorful statements coming from French hornist Clark. true 160 2007-06-07T14:05:44-04:00 15585 90 200504 true 0 101 2005-04-01T00:00:00-05:00

The recording sabbatical for Grachan Moncur III has ended. For the first time since 1977 the trombonist/composer has released an album as a leader: Exploration (Capri). Not that Moncur abandoned the jazz scene; for more than two decades he focused on teaching, writing, occasional playing and coping with dental problems. Now he's back fronting an octet featuring Tim Hagans (trumpet), John Clark (French horn), Gary Bartz (alto sax), Billy Harper (tenor sax), Gary Smulyan (baritone sax), Ray Drummond (bass), Andrew Cyrille (drums) and, on one track, trombonist Dave Woodley. All tunes are early originals by Moncur, and all arrangements are by Mark Masters, who spearheaded this project. Moncur shows a youthful vigor in the title tune, exploring the tune's whole-tone structure with his velvety tone. "Monk in Wonderland" captures Thelonious' staccato humor, providing Smulyan with his best solo moments. "Love and Hate," one of Moncur's darkest ballads, gives him a chance to show his highly personal side as soloist, and tenorist Harper matches the trombonist in introspection. "New Africa," a three-part suite, is also dominated by Moncur and Harper, but more interesting are the ensemble writing/playing and the strong walking by Drummond, free to roam in the pianoless environment. "Excursion" is a nonstop free ensemble with more tonality than anarchy. Just about everyone solos in "Frankenstein, with colorful statements coming from French hornist Clark.

2009-03-02T00:24:35-05:00

4 The Spirits Up Above (HighNote) is Steve Turre's all-star trek to the shrine of Rahsaan Roland Kirk. A collection of eight Kirk originals and one by trombonist Turre, who worshipped Kirk from his early teens, growing up to study and play with his mentor. He has gathered an impressive combo for this session: James Carter on tenor sax, Vincent Herring on alto and soprano, pianist Mulgrew Miller, bassist Buster Williams, drummer Winard Harper and, on one track, guest flutist Dave Valentine. It's easy to imagine what Kirk found so attractive in Turre's nascent technique; it must have appealed to Kirk's desire to spread his personal gospel of "listen to and play all genres." Ditto for the other players on the disc, particularly Carter, a monster on tenor who sets the mood for the six-voice chorus on "Volunteered Slavery" with his primal scream. Turre contributes two great solos, the second with plunger, on one of Kirk's loveliest melodies, "Stepping Into Beauty." Will-iams' playing alludes to the unusual gait of Kirk's second wife, Dorthaan, in "Dorthaan's Walk," while Turre and Her-ring exchange phrases, and the rest is a cooking swinger. true 160 2007-06-07T14:05:44-04:00 15586 90 200504 true 0 101 2005-04-01T00:00:00-05:00

The Spirits Up Above (HighNote) is Steve Turre's all-star trek to the shrine of Rahsaan Roland Kirk. A collection of eight Kirk originals and one by trombonist Turre, who worshipped Kirk from his early teens, growing up to study and play with his mentor. He has gathered an impressive combo for this session: James Carter on tenor sax, Vincent Herring on alto and soprano, pianist Mulgrew Miller, bassist Buster Williams, drummer Winard Harper and, on one track, guest flutist Dave Valentine. It's easy to imagine what Kirk found so attractive in Turre's nascent technique; it must have appealed to Kirk's desire to spread his personal gospel of "listen to and play all genres." Ditto for the other players on the disc, particularly Carter, a monster on tenor who sets the mood for the six-voice chorus on "Volunteered Slavery" with his primal scream. Turre contributes two great solos, the second with plunger, on one of Kirk's loveliest melodies, "Stepping Into Beauty." Will-iams' playing alludes to the unusual gait of Kirk's second wife, Dorthaan, in "Dorthaan's Walk," while Turre and Her-ring exchange phrases, and the rest is a cooking swinger.

2009-03-02T00:24:35-05:00

4 Meant to Be (Criss Cross) shows Steve Davis to be a double threat-as a composer and as a trombonist. All the tracks are originals, revealing Davis' inventive ear for harmony and passion for melody. His postbop phrasing and smooth tone result in an updated amalgam of J.J. Johnson and Slide Hampton-two of his heroes. As leader, Davis can be proud of his tight, swinging quintet. He's very generous with stretch-out time for sidemen and makes full use of saxophonist Jimmy Greene, whose tenor, soprano and flute offer colorful timbres for an ever-changing front line. "Bright Side" and "Choices" find tenor and trombone briskly alternating between unison and harmony lines. "As Fate Would Have It," introduced and ended by the explosive drumming of Nasheet Waits, features Greene's most intense tenor work, Davis at his most fluid (especially considering the bright tempo) and the shining work of pianist Xavier Davis. "Waiting" is one of Davis' most rhapsodic melodies, enhanced by Greene's flute. Bassist Dwayne Burno contributes a very melodic solo to "Blues Across the World," a track that marks the recording debut of young tenorist Ray McMorrin, who seemingly prefers the rarefied air of the alto. true 160 2007-06-07T14:05:44-04:00 15587 90 200504 true 0 101 2005-04-01T00:00:00-05:00

Meant to Be (Criss Cross) shows Steve Davis to be a double threat-as a composer and as a trombonist. All the tracks are originals, revealing Davis' inventive ear for harmony and passion for melody. His postbop phrasing and smooth tone result in an updated amalgam of J.J. Johnson and Slide Hampton-two of his heroes. As leader, Davis can be proud of his tight, swinging quintet. He's very generous with stretch-out time for sidemen and makes full use of saxophonist Jimmy Greene, whose tenor, soprano and flute offer colorful timbres for an ever-changing front line. "Bright Side" and "Choices" find tenor and trombone briskly alternating between unison and harmony lines. "As Fate Would Have It," introduced and ended by the explosive drumming of Nasheet Waits, features Greene's most intense tenor work, Davis at his most fluid (especially considering the bright tempo) and the shining work of pianist Xavier Davis. "Waiting" is one of Davis' most rhapsodic melodies, enhanced by Greene's flute. Bassist Dwayne Burno contributes a very melodic solo to "Blues Across the World," a track that marks the recording debut of young tenorist Ray McMorrin, who seemingly prefers the rarefied air of the alto.

2009-03-02T00:24:35-05:00

4 When trombonist Phil Ranelin defected from Detroit's Motown studio sessions to the West Coast in the '70s, he added new influences and mentors culminating in the release of Inspiration (Wide Hive). Since those who advanced his career include the likes of J.J. Johnson and Freddie Hubbard, it's surprising that the nonet he fronts contains no other brass; even the four guests are all saxophonists. That's not a complaint, as Ranelin's arranging skills utilize the reed players in the combo who are skillful doublers, and he knows how to voice the various colors at his disposal, from trombone to bass clarinet, plus a variety of percussion. Among the guests, Wendell Harrison contributes a great tenor solo on "Beyond a Memory," a tune Ranelin should not have wasted his fine voice on simply because it's not made for singing. Pharaoh Sanders enlivens "This One's for Trane," and the three-part suite for Eric Dolphy contains the most exciting sounds, with Michael Session on alto sax and the band engaging in free-for-all swinging over Latin rhythms. true 160 2007-06-07T14:05:44-04:00 15588 90 200504 true 0 101 2005-04-01T00:00:00-05:00

When trombonist Phil Ranelin defected from Detroit's Motown studio sessions to the West Coast in the '70s, he added new influences and mentors culminating in the release of Inspiration (Wide Hive). Since those who advanced his career include the likes of J.J. Johnson and Freddie Hubbard, it's surprising that the nonet he fronts contains no other brass; even the four guests are all saxophonists. That's not a complaint, as Ranelin's arranging skills utilize the reed players in the combo who are skillful doublers, and he knows how to voice the various colors at his disposal, from trombone to bass clarinet, plus a variety of percussion. Among the guests, Wendell Harrison contributes a great tenor solo on "Beyond a Memory," a tune Ranelin should not have wasted his fine voice on simply because it's not made for singing. Pharaoh Sanders enlivens "This One's for Trane," and the three-part suite for Eric Dolphy contains the most exciting sounds, with Michael Session on alto sax and the band engaging in free-for-all swinging over Latin rhythms.

2009-03-02T00:24:35-05:00

4 Trombonist John Hines claims "in the pocket" means "that moment in music where everything lines up, fits neatly into place." Ask trumpeter/flugelhornist Hugh Ragin, he'll claim it's the "spirituality of the molecules." But then, he's collaborated with Sun Ra. Their claims bring us to what might have been a dual approach to In the Pocket (Capri). Hines and his combo are based in Denver; guest Hugh Ragin is now teaching there, yet he fits in as though he had been playing with Hines for years. Their front-line highlights: "I Could Write a Book," with Hines carrying lead and Ragin filling gaps with his muted horn. The reverse doesn't happen, however, as Ragin leaves few gaps. Coltrane's tender "Central Park West" provides good lines for 'bone and trumpet, arranged by Hines. "Hard Times" has a nice gospel feel thanks to a Hammond C3 organ. Best track: "More Than a Friend," a gorgeous original by pianist Michael Pagan, who arranged it. It features Hines and Ragin at their best, the latter on flugelhorn. Ironically, Pagan's solo is weak. The molecules are there, but not the spirituality. true 160 2007-06-07T14:05:44-04:00 15589 90 200504 true 0 101 2005-04-01T00:00:00-05:00

Trombonist John Hines claims "in the pocket" means "that moment in music where everything lines up, fits neatly into place." Ask trumpeter/flugelhornist Hugh Ragin, he'll claim it's the "spirituality of the molecules." But then, he's collaborated with Sun Ra. Their claims bring us to what might have been a dual approach to In the Pocket (Capri). Hines and his combo are based in Denver; guest Hugh Ragin is now teaching there, yet he fits in as though he had been playing with Hines for years. Their front-line highlights: "I Could Write a Book," with Hines carrying lead and Ragin filling gaps with his muted horn. The reverse doesn't happen, however, as Ragin leaves few gaps. Coltrane's tender "Central Park West" provides good lines for 'bone and trumpet, arranged by Hines. "Hard Times" has a nice gospel feel thanks to a Hammond C3 organ. Best track: "More Than a Friend," a gorgeous original by pianist Michael Pagan, who arranged it. It features Hines and Ragin at their best, the latter on flugelhorn. Ironically, Pagan's solo is weak. The molecules are there, but not the spirituality.

2009-03-02T00:24:35-05:00

4 Tom McIntosh doesn't take one friggin' solo on his latest release, With Malice Toward None (IPO). Perhaps the explanation lies in the CD's subtitle: The Music of Tom McIntosh. At the moment, the manuscript pen is what he plays best. Admittedly his playing chops are rusty from 35 years of film and TV scoring, arranging and teaching. Regarding the latter, it must have been gratifying to see pianist Helen Sung occasionally spelling the likes of Roger Kellaway and Kenny Barron. Sung studied with McIntosh at the New England Conservatory. But what could be more gratifying than the realization that at age 76, McIntosh was cutting his first album as a leader! For the occasion he was surrounded by appropriate talent-James Moody, Benny Golson, Jimmy Owens, Richard Davis and many others-who allowed McIntosh to sprinkle his trademark voicings. The breakdown of the nine tracks finds four new McIntosh charts, three evergreens and two standards. Highlights: a gutsy tenor duel between Moody and Golson on "I'm Out, No Hating" and, above all, the astonishing pianistics displayed by Barron and Kellaway on "Billie's Bounce." true 160 2007-06-07T14:05:44-04:00 15590 90 200504 true 0 101 2005-04-01T00:00:00-05:00

Tom McIntosh doesn't take one friggin' solo on his latest release, With Malice Toward None (IPO). Perhaps the explanation lies in the CD's subtitle: The Music of Tom McIntosh. At the moment, the manuscript pen is what he plays best. Admittedly his playing chops are rusty from 35 years of film and TV scoring, arranging and teaching. Regarding the latter, it must have been gratifying to see pianist Helen Sung occasionally spelling the likes of Roger Kellaway and Kenny Barron. Sung studied with McIntosh at the New England Conservatory. But what could be more gratifying than the realization that at age 76, McIntosh was cutting his first album as a leader! For the occasion he was surrounded by appropriate talent-James Moody, Benny Golson, Jimmy Owens, Richard Davis and many others-who allowed McIntosh to sprinkle his trademark voicings. The breakdown of the nine tracks finds four new McIntosh charts, three evergreens and two standards. Highlights: a gutsy tenor duel between Moody and Golson on "I'm Out, No Hating" and, above all, the astonishing pianistics displayed by Barron and Kellaway on "Billie's Bounce."

2009-03-02T00:24:35-05:00

4 French jazz critic Hugues Panassie often quoted Charlie Parker's observation "bop is no love-child of jazz; it is something entirely separate and apart." That neatly segues to Steve Swell's latest creation, Slammin' the Infinite (Cadence). Classification is elusive despite obvious expertise by the quartet: trombonist Swell composed and arranged everything; Sabir Mateen is a one-man reed section; bassist Matthew Heyner contributes some interesting sul ponticello and Klaus Kugel bangs the drums. The problem is there are so few bar lines and tonal centers that one longs for more structure. All solo work is impressive, but heads are sloppy. The most colorful track, "Voices From the Asphalt," is an impressionistic tour de force utilizing Swell's plunger work and Mateen's deft flute. "East Village Meet and Greet" typifies the oxymoronic "organized chaos." Mateen opens it with a thoughtful solo clarinet; Swell enters with his gutsy tone yet everything is still rhapsodic. By the time the rhythm is added, it becomes an 11-minute study in crescendo going nowhere-except back to Berklee walking by the rehearsal rooms, absorbing the cacophony. true 160 2007-06-07T14:05:44-04:00 15591 90 200504 true 0 101 2005-04-01T00:00:00-05:00

French jazz critic Hugues Panassie often quoted Charlie Parker's observation "bop is no love-child of jazz; it is something entirely separate and apart." That neatly segues to Steve Swell's latest creation, Slammin' the Infinite (Cadence). Classification is elusive despite obvious expertise by the quartet: trombonist Swell composed and arranged everything; Sabir Mateen is a one-man reed section; bassist Matthew Heyner contributes some interesting sul ponticello and Klaus Kugel bangs the drums. The problem is there are so few bar lines and tonal centers that one longs for more structure. All solo work is impressive, but heads are sloppy. The most colorful track, "Voices From the Asphalt," is an impressionistic tour de force utilizing Swell's plunger work and Mateen's deft flute. "East Village Meet and Greet" typifies the oxymoronic "organized chaos." Mateen opens it with a thoughtful solo clarinet; Swell enters with his gutsy tone yet everything is still rhapsodic. By the time the rhythm is added, it becomes an 11-minute study in crescendo going nowhere-except back to Berklee walking by the rehearsal rooms, absorbing the cacophony.

2009-03-02T00:24:35-05:00

4 Nothing unusual about a musician taking the plunge and moving to Europe to enhance his career-especially Ed Neumeister, premier plungermeister, who honed his growling in the best possible context: the Ellington band under Duke's son Mercer (1981-1996). His latest release, New Standards (Meistero), offers remarkable insight into Neumeister as trombonist, composer and arranger. A product of San Francisco, Neumeister first resided in Europe when he was 21. He kept moving back and forth across the Pond, gaining more than frequent flyer miles: he is now equally fluent in the worlds of classical and jazz and currently teaching jazz composition at a conservatory in Lucerne, Switzerland, and jazz trombone at a university near his home in Graz, Austria. Neumeister's writing skills light up "Spring Street" with awkward intervals that he effortlessly negotiates. His arranging chops can be heard on "Take the 'A' Train" and "Speak Low," and reveal his mischievous sense of musical humor, toying with time on both. As for the plunging, it transforms Jimmy Rowles' classic "The Peacocks." He's blessed with alert trio backing, particularly from pianist Fritz Pauer. true 160 2007-06-07T14:05:44-04:00 15592 90 200504 true 0 101 2005-04-01T00:00:00-05:00

Nothing unusual about a musician taking the plunge and moving to Europe to enhance his career-especially Ed Neumeister, premier plungermeister, who honed his growling in the best possible context: the Ellington band under Duke's son Mercer (1981-1996). His latest release, New Standards (Meistero), offers remarkable insight into Neumeister as trombonist, composer and arranger. A product of San Francisco, Neumeister first resided in Europe when he was 21. He kept moving back and forth across the Pond, gaining more than frequent flyer miles: he is now equally fluent in the worlds of classical and jazz and currently teaching jazz composition at a conservatory in Lucerne, Switzerland, and jazz trombone at a university near his home in Graz, Austria. Neumeister's writing skills light up "Spring Street" with awkward intervals that he effortlessly negotiates. His arranging chops can be heard on "Take the 'A' Train" and "Speak Low," and reveal his mischievous sense of musical humor, toying with time on both. As for the plunging, it transforms Jimmy Rowles' classic "The Peacocks." He's blessed with alert trio backing, particularly from pianist Fritz Pauer.

2009-03-02T00:24:35-05:00

4 Is Eric Felten a trombonist who sings or a singer who plays trombone? His chops are equally versatile, as he demonstrates on his latest release, Eric Felten Meets The Dek-Tette (VSOP), but not equally distributed over the 13 standards taken from the Great American Songbook. Felten plays only two solos, yet sings on all tracks. Pity, his 'bone tone is just as pure and pleasant as his voice. Both can be gleaned from "I Hadn't Anyone Till You" and "It's All Right With Me," where he and Med Flory engage in some counterpoint. Felten has been playing trombone since age nine; he knows his way around the instrument. Perhaps he was humbled by the main soloists on the session: Bob Enevoldsen, Herb Geller, Jack Sheldon and Flory-all veterans of Marty Paich's legendary Dek-Tette. He had no cause to worry. This was meant as "a tribute to Mel Torme and Marty Paich." "Tribute" is the key word; Torme and Paich cannot be duplicated. true 160 2007-06-07T14:05:44-04:00 15593 90 200504 true 0 101 2005-04-01T00:00:00-05:00

Is Eric Felten a trombonist who sings or a singer who plays trombone? His chops are equally versatile, as he demonstrates on his latest release, Eric Felten Meets The Dek-Tette (VSOP), but not equally distributed over the 13 standards taken from the Great American Songbook. Felten plays only two solos, yet sings on all tracks. Pity, his 'bone tone is just as pure and pleasant as his voice. Both can be gleaned from "I Hadn't Anyone Till You" and "It's All Right With Me," where he and Med Flory engage in some counterpoint. Felten has been playing trombone since age nine; he knows his way around the instrument. Perhaps he was humbled by the main soloists on the session: Bob Enevoldsen, Herb Geller, Jack Sheldon and Flory-all veterans of Marty Paich's legendary Dek-Tette. He had no cause to worry. This was meant as "a tribute to Mel Torme and Marty Paich." "Tribute" is the key word; Torme and Paich cannot be duplicated.

2009-03-02T00:24:35-05:00

4 Shout bands, mainly from the Southeast, have been dominating the gospel circuit since the late '20s. Their instrumentation is usually comprised of very low horns plus trap set, and one or more members sing. There's no set pattern to the music, and the only constant is the musicians' religious fervor. That's what motivates Sound the Alarm (DT 8:18), the latest release by Kenny Carr and the Tigers. The group consists of three trombones, baritone horn, bass horn (providing the bass line), piano and drums. There are many uncredited 'bone solos; one can only assume they're played by the leader, Carr, who also plays a second piano. There is one so-so guest singer, Horace Brown. But guest trombonist Wycliffe Gordon is unforgettable. Featured on "Brass Glory" and "Sound the Alarm," his tailgating tones are a breath of fresh air on the first; his sense of humor is perfect counterpoint to bass hornist Raymond Tate on the second. Despite Carr's fine writing, the bottom-heavy instrumentation of four horns proves to be extremely dense. That density tends to become lethargic in "Coming Home," where an uncredited string bassist suddenly appears. "We Worship," a very pretty tune by Carr, offers him the chance to show his pianistic skills. true 160 2007-06-07T14:05:44-04:00 15594 90 200504 true 0 101 2005-04-01T00:00:00-05:00

Shout bands, mainly from the Southeast, have been dominating the gospel circuit since the late '20s. Their instrumentation is usually comprised of very low horns plus trap set, and one or more members sing. There's no set pattern to the music, and the only constant is the musicians' religious fervor. That's what motivates Sound the Alarm (DT 8:18), the latest release by Kenny Carr and the Tigers. The group consists of three trombones, baritone horn, bass horn (providing the bass line), piano and drums. There are many uncredited 'bone solos; one can only assume they're played by the leader, Carr, who also plays a second piano. There is one so-so guest singer, Horace Brown. But guest trombonist Wycliffe Gordon is unforgettable. Featured on "Brass Glory" and "Sound the Alarm," his tailgating tones are a breath of fresh air on the first; his sense of humor is perfect counterpoint to bass hornist Raymond Tate on the second. Despite Carr's fine writing, the bottom-heavy instrumentation of four horns proves to be extremely dense. That density tends to become lethargic in "Coming Home," where an uncredited string bassist suddenly appears. "We Worship," a very pretty tune by Carr, offers him the chance to show his pianistic skills.

2009-03-02T00:24:35-05:00